A couple. What else can be more real? Reproaches, unfulfilled promises, fears, remorse, banal and illogical gestures, failed acts, looking for a scapegoat, etc. A classic tragic couple. The most classic tragic couple ever imagined. Let us remember Othello and Desdemona (Shakespeare), Clytemnestra and Agamemnon (Aeschylus), etc. And yet, in times when the quotidian tragic causes the tragedy to become non-representable, Ionesco’s writing, refractory to the mimetic representation of the real, offers a de-dramatization of family relationships, by providing surreal aspects for the infernal mechanics of the existential. As it happens in a dream – the starting point of this ‘comedy’ -, on the stage of Ionesco, life agonises, the real dematerialises, the cadaver lives and involves, in its ‘geometric progression’, the deconstruction of all the traditional mechanisms of the theatre: logic, language, characters, plot. In the Ionescian theatre, considering the ‘fundamentally dramatic’ nature of the dream (Entre la vie et le rêve, 1996: 12), the oneiric lucidity has its definite place on stage, beside the theatrical ludic and the black humour, but, paradoxically, it makes the incoherence of the real (symbolized by the proliferation of the authentic, of the materiality) become bearable thanks to the coherence of the theatrical signs.
RÉEL /ONIRIQUE DANS AMÉDÉE, OU COMMENT S’EN DÉBARRASSER DE IONESCO
Last Updated on: December 11th, 2017 at 9:49 P, by admin