Eugene Ionesco, my dearest absurd
Posted on December 27, 2010
I revisited in the past week Eugene Ionesco after more than ten years: a theatre play collection of The chairs, The Lesson, Victims of Duty, Jack or the Submission, and Amédée, or How to Get Rid of It to mention a few. Absolutely amazing.
Interestingly enough now I stopped seeing the absurd in his plays, but more the incredibly crisp evaluation of human moments: childhood and adolescence: gathering and passing on of knowledge, burst of adolescence with its freedom quest and love motions; adult life: emotional distress and subconscious burst of blockage, artist and the quest for inspiration; old age: memories and death, the theatre subject as such.
By far the most authentic writer and the best book I have read in the entire year: and I have struggled a bit with books, trying old and new, famous or not, awarded or not – after this true literary experience, I can say that one year of reading resumes to “books, three at the price of two”. Ionesco on the other hand, even though i have known his works since school, I have never paid too much attention to him: in my mind, the term “absurd” had secluded his works in the idea of manipulating form in its most pure sense. I could say: form which leaves meaning as a side note; now, though, I have discovered incredibly succulent meaning in its plays – true metaphors that create powerful messages in the reader’s mind.
Going back to Schwartz Responsive Chord, I truly see Ionesco as a point of art expression where the chord is touched in the most ingenious way.