Eugen IonescuEugen Ionescu

Eugène IonescoEugène Ionesco, born , born Eugen IonescuEugen Ionescu (November 26, 1909 – (November 26, 1909 – March 28, 1994), was a March 28, 1994), was a Romanian and French Romanian and French playwright and dramatist, playwright and dramatist, one of the foremost one of the foremost playwrights of the playwrights of the Theatre Theatre of the Absurdof the Absurd. Beyond . Beyond ridiculing the most banal ridiculing the most banal situations, Ionesco's plays situations, Ionesco's plays depict in a tangible way the depict in a tangible way the solitude and insignificance solitude and insignificance of human existence.of human existence.

Biographical informationBiographical information

Ionesco was born in Slatina, Ionesco was born in Slatina, Olt County, to a Romanian Olt County, to a Romanian father of the Orthodox father of the Orthodox religion and a mother of religion and a mother of French and Greek-Romanian French and Greek-Romanian heritage, whose religion was heritage, whose religion was Protestant (the religion into Protestant (the religion into which her father was born which her father was born and to which her originally and to which her originally Greek Orthodox mother had Greek Orthodox mother had converted). Eugène himself converted). Eugène himself was baptized into the was baptized into the Romanian Orthodox religion. Romanian Orthodox religion. Many sources cite his Many sources cite his birthdate as 1912, this error birthdate as 1912, this error being due to vanity on the being due to vanity on the part of Ionesco himself. He part of Ionesco himself. He spent most of his childhood spent most of his childhood in France, and, while therein France, and, while there..

HHad an experience ad an experience he claimed affected his he claimed affected his perception of the world perception of the world more significantly than any more significantly than any other. As Deborah B. other. As Deborah B. Gaensbauer describes in Gaensbauer describes in Eugene Ionesco RevisitedEugene Ionesco Revisited, , “Walking in summer “Walking in summer sunshine in a white-washed sunshine in a white-washed provincial village under an provincial village under an intense blue sky, [Ionesco] intense blue sky, [Ionesco] was profoundly altered by was profoundly altered by the light.” He was struck the light.” He was struck very suddenly with a feeling very suddenly with a feeling of intense luminosity, the of intense luminosity, the feeling of floating off the feeling of floating off the ground and an over-ground and an over-whelming feeling of well-whelming feeling of well-being.being.

When he “floated” back to When he “floated” back to the ground and the “light” the ground and the “light” left him, he saw that the left him, he saw that the real world in comparison real world in comparison was full of decay, corruption was full of decay, corruption and meaningless repetitive and meaningless repetitive action. This also coincided action. This also coincided with the revelation that with the revelation that death takes everyone in the death takes everyone in the end. Much of his later work, end. Much of his later work, reflecting this new reflecting this new perception, demonstrates a perception, demonstrates a disgust for the tangible disgust for the tangible world, a distrust of world, a distrust of communication, and the communication, and the subtle sense that a better subtle sense that a better world lies just beyond our world lies just beyond our reach. . Echoes of this reach. . Echoes of this experience can also be seen experience can also be seen in references and themes in in references and themes in many of his important many of his important works: characters pining for works: characters pining for an unattainable "city of an unattainable "city of lights" (lights" (The KillerThe Killer, , The The ChairsChairs) or perceiving a world ) or perceiving a world beyond (beyond (A Stroll in the AirA Stroll in the Air); ); characters characters

granted the ability to fly (granted the ability to fly (A A Stroll in the AirStroll in the Air, , AmédéeAmédée); ); the banality of the world the banality of the world which often leads to which often leads to depression (the Bérenger depression (the Bérenger character); ecstatic character); ecstatic revelations of beauty within revelations of beauty within a pessimistic framework a pessimistic framework ((AmédéeAmédée, , The ChairsThe Chairs, the , the Bérenger character); and Bérenger character); and the inevitability of death the inevitability of death ((Exit the KingExit the King).).He returned to Romania He returned to Romania with his father in 1925 after with his father in 1925 after his parents divorced. There his parents divorced. There he attended Saint Sava he attended Saint Sava National College, after National College, after which he studied French which he studied French Literature at the University Literature at the University of Bucharest from 1928 to of Bucharest from 1928 to 1933 and qualified as a 1933 and qualified as a teacher of French. While teacher of French. While there he met Emil Cioran there he met Emil Cioran and Mircea Eliade, and the and Mircea Eliade, and the three became lifelong three became lifelong friends.friends.

In 1936 Ionesco married In 1936 Ionesco married Rodica Burileanu. Together Rodica Burileanu. Together they had one daughter for they had one daughter for whom he wrote a number whom he wrote a number of unconventional children's of unconventional children's stories. He and his family stories. He and his family returned to France in 1938 returned to France in 1938 for him to complete his for him to complete his doctoral thesis. Caught by doctoral thesis. Caught by the outbreak of World War the outbreak of World War II in 1939, he remained II in 1939, he remained there, living in Marseille there, living in Marseille during the war before during the war before moving with his family to moving with his family to Paris after its liberation in Paris after its liberation in 1944.1944.Ionesco was made a Ionesco was made a member of the Académie member of the Académie française in 1970 . He also française in 1970 . He also received numerous awards received numerous awards including Tours Festival including Tours Festival Prize for film, 1959; Prix Prize for film, 1959; Prix Italia, 1963; Society of Italia, 1963; Society of Authors Theatre Prize, Authors Theatre Prize, 1966; Grand Prix National 1966; Grand Prix National for theatre, 1969 ; for theatre, 1969 ;

Monaco Grand Prix, 1969; Monaco Grand Prix, 1969; Austrian State Prize for Austrian State Prize for European Literature, 1970; European Literature, 1970; Jerusalem Prize, 1973; and Jerusalem Prize, 1973; and honorary doctorates from honorary doctorates from New York University and New York University and the universities of Leuven, the universities of Leuven, Warwick and Tel Aviv. Warwick and Tel Aviv. Eugène Ionesco died at Eugène Ionesco died at age 84 on March 29, 1994, age 84 on March 29, 1994, and is buried in the and is buried in the Cimetière du Cimetière du Montparnasse, in Paris. Montparnasse, in Paris. Although Ionesco wrote Although Ionesco wrote almost entirely in French, almost entirely in French, he is one of Romania's he is one of Romania's most honored artists.most honored artists.

Writing in RomaniaWriting in Romania

Though best known as a playwright, plays Though best known as a playwright, plays were not his first chosen medium. He were not his first chosen medium. He started writing poetry and criticism, started writing poetry and criticism, publishing in several Romanian journals. publishing in several Romanian journals. Two early writings of note are Two early writings of note are NuNu, a book , a book criticizing many other writers including criticizing many other writers including prominent Romanian poets, and prominent Romanian poets, and Hugoliade, or, The grotesque and tragic Hugoliade, or, The grotesque and tragic life of Victor Hugolife of Victor Hugo a satirical biography a satirical biography mocking Victor Hugo's status as a great mocking Victor Hugo's status as a great

figure in French literature. figure in French literature. . . The The HugoliadeHugoliade includes exaggerated retellings includes exaggerated retellings of the most scandalous episodes in Hugo's of the most scandalous episodes in Hugo's life and contains prototypes for many of life and contains prototypes for many of Ionesco's later themes: the ridiculous Ionesco's later themes: the ridiculous authoritarian character, the false worship authoritarian character, the false worship of language.of language.

The origins of his first playThe origins of his first play

Like Samuel Beckett, Ionesco Like Samuel Beckett, Ionesco came to the theatre late: he came to the theatre late: he did not write his first play did not write his first play until 1948 (until 1948 (La Cantatrice La Cantatrice chauvechauve, first performed in , first performed in 1950 with the English title 1950 with the English title The Bald SopranoThe Bald Soprano). At the ). At the age of 40 he decided to learn age of 40 he decided to learn English using the Assimil English using the Assimil method, conscientiously method, conscientiously copying whole sentences in copying whole sentences in order to memorize them.Re-order to memorize them.Re-reading them,he began to reading them,he began to feel that he was not learning feel that he was not learning English,rather he was English,rather he was discovering some astonishing discovering some astonishing truths such as the fact that truths such as the fact that there are 7 days in a week, there are 7 days in a week, that the ceiling is up and the that the ceiling is up and the floor is down;floor is down;

things which he already things which he already knew, but which suddenly knew, but which suddenly struck him as being as struck him as being as stupefying as they were stupefying as they were indisputably true.indisputably true.This feeling only intensified This feeling only intensified with the introduction in with the introduction in later lessons of the later lessons of the characters known as "Mr. characters known as "Mr. and Mrs. Smith". To his and Mrs. Smith". To his astonishment, Mrs. Smith astonishment, Mrs. Smith informed her husband that informed her husband that they had several children, they had several children, that they lived in the that they lived in the vicinity of London, that vicinity of London, that their name was Smith, that their name was Smith, that Mr. Smith was a clerk, that Mr. Smith was a clerk, that they had a servant, Mary, they had a servant, Mary, who was English like who was English like themselves. themselves.

What was remarkable about Mrs. Smith, he What was remarkable about Mrs. Smith, he thought, was her eminently methodical procedure thought, was her eminently methodical procedure in her quest for truth. For Ionesco, the clichés and in her quest for truth. For Ionesco, the clichés and truisms of the conversation primer disintegrated truisms of the conversation primer disintegrated into wild caricature and parody with language itself into wild caricature and parody with language itself disintegrating into disjointed fragments of words. disintegrating into disjointed fragments of words. Ionesco set about translating this experience into a Ionesco set about translating this experience into a play, play, La Cantatrice ChauveLa Cantatrice Chauve, which was performed , which was performed for the first time in 1950 under the direction of for the first time in 1950 under the direction of Nicolas Bataille. It was far from a success and went Nicolas Bataille. It was far from a success and went unnoticed until a few established writers and unnoticed until a few established writers and critics, among them Jean Anouilh and Raymond critics, among them Jean Anouilh and Raymond Queneau, championed the play.Queneau, championed the play.

Early playsEarly plays

Ionesco's earliest works, and his most innovative, were one-Ionesco's earliest works, and his most innovative, were one-act nonsense plays: act nonsense plays: La Cantatrice chauveLa Cantatrice chauve (1950), (1950), La LeçonLa Leçon translated as translated as The LessonThe Lesson (1951), (1951), Les ChaisesLes Chaises translated as translated as The ChairsThe Chairs (1952), and (1952), and Jacques ou la SoumissionJacques ou la Soumission translated translated as as Jack, or: The SubmissionJack, or: The Submission (1955). These absurdist (1955). These absurdist sketches, to which he gave such descriptions as "anti-play" sketches, to which he gave such descriptions as "anti-play" ((anti-pièceanti-pièce in French) express modern feelings of alienation in French) express modern feelings of alienation and the impossibility and futility of communication with and the impossibility and futility of communication with surreal comic force, parodying the conformism of the surreal comic force, parodying the conformism of the bourgeoisie and conventional theatrical forms. In them bourgeoisie and conventional theatrical forms. In them Ionesco rejects a conventional story-line as their basis, Ionesco rejects a conventional story-line as their basis, instead taking their dramatic structure from accelerating instead taking their dramatic structure from accelerating rhythms and/or cyclical repetitions. . He disregards rhythms and/or cyclical repetitions. . He disregards psychology and coherent dialogue, thereby depicting a psychology and coherent dialogue, thereby depicting a dehumanized world with mechanical, puppet-like characters dehumanized world with mechanical, puppet-like characters who speak in who speak in non-sequitursnon-sequiturs. Language becomes rarefied, . Language becomes rarefied, with words and material objects gaining a life of their own, with words and material objects gaining a life of their own, increasingly overwhelming the characters and creating a increasingly overwhelming the characters and creating a sense of menace. sense of menace.

The full-length playsThe full-length playsWith With Tueur sans gagesTueur sans gages translated as translated as The KillerThe Killer (1959; his (1959; his second full-length play, the first being second full-length play, the first being Amédée, ou Amédée, ou Comment s'en débarrasserComment s'en débarrasser in 1954), Ionesco began to in 1954), Ionesco began to explore more sustained dramatic situations featuring more explore more sustained dramatic situations featuring more humanized characters. Notably this includes Bérenger, a humanized characters. Notably this includes Bérenger, a central character in a number of Ionesco's plays, the last of central character in a number of Ionesco's plays, the last of which is which is Le Piéton de l'airLe Piéton de l'air translated as translated as A Stroll in the AirA Stroll in the Air..Bérenger is a semi-autobiographical figure expressing Bérenger is a semi-autobiographical figure expressing Ionesco's wonderment and anguish at the strangeness of Ionesco's wonderment and anguish at the strangeness of reality. He is comically naïve, engaging the audience's reality. He is comically naïve, engaging the audience's sympathy. In sympathy. In The KillerThe Killer he encounters death in the figure of he encounters death in the figure of a serial killer. In a serial killer. In RhinocérosRhinocéros he watches his friends turning he watches his friends turning into rhinoceroses one by one until he alone stands into rhinoceroses one by one until he alone stands unchanged against this tide of conformism. It is in this play unchanged against this tide of conformism. It is in this play that Ionesco most forcefully expresses his horror of that Ionesco most forcefully expresses his horror of ideological conformism, inspired by the rise of the fascist ideological conformism, inspired by the rise of the fascist Iron Guard in Romania in the 1930s. Iron Guard in Romania in the 1930s. Le Roi se meurtLe Roi se meurt translated as translated as Exit the KingExit the King (1962) shows him as King (1962) shows him as King Bérenger 1st, an everyman figure who struggles to come to Bérenger 1st, an everyman figure who struggles to come to terms with his own death.terms with his own death.

Later worksLater works

Ionesco's later work has generally Ionesco's later work has generally received less attention. This received less attention. This includes includes La Soif et la faimLa Soif et la faim translated as translated as Hunger and ThirstHunger and Thirst (1966), (1966), Jeux de massacreJeux de massacre (1971), (1971), MacbettMacbett (1972, a free adaptation (1972, a free adaptation of Shakespeare's of Shakespeare's MacbethMacbeth) and ) and Ce Ce formidable bordelformidable bordel (1973). (1973).Apart from the libretto for the Apart from the libretto for the opera Maximilien Kolbe (music by opera Maximilien Kolbe (music by Dominique Probst) which has been Dominique Probst) which has been performed in five countries, filmed performed in five countries, filmed for television and recorded on CD, for television and recorded on CD, Ionesco did not write for the stage Ionesco did not write for the stage after after Voyage chez les mortsVoyage chez les morts in in 1981. However, 1981. However, La Cantatrice La Cantatrice chauvechauve is still playing at the is still playing at the Théâtre de la Huchette today, Théâtre de la Huchette today, having moved there in 1952.having moved there in 1952.

Theoretical writingsTheoretical writings

Like Shaw and Brecht, Ionesco also contributed to the Like Shaw and Brecht, Ionesco also contributed to the theatre with his theoretical writings (Wellwarth, 33). theatre with his theoretical writings (Wellwarth, 33). Ionesco wrote mainly in attempts to correct critics who he Ionesco wrote mainly in attempts to correct critics who he felt misunderstood his work and therefore wrongly felt misunderstood his work and therefore wrongly influenced his audience. In doing so, Ionesco articulated influenced his audience. In doing so, Ionesco articulated ways in which he thought contemporary theatre should ways in which he thought contemporary theatre should be reformed (Wellwarth, 33). be reformed (Wellwarth, 33). Notes and Counter NotesNotes and Counter Notes is is a collection of Ionesco's writings, including musings on a collection of Ionesco's writings, including musings on why he chose to write for the theatre and direct why he chose to write for the theatre and direct responses to his contemporary critics.responses to his contemporary critics.In the first section, titled "Experience of the Theatre," In the first section, titled "Experience of the Theatre," Ionesco claimed to have hated going to the theatre as a Ionesco claimed to have hated going to the theatre as a child because it gave him "no pleasure or feeling of child because it gave him "no pleasure or feeling of participation" (Ionesco, 15). He wrote that the problem participation" (Ionesco, 15). He wrote that the problem with realistic theatre is that it is less interesting than with realistic theatre is that it is less interesting than theatre that invokes an "imaginative truth," which he theatre that invokes an "imaginative truth," which he found to be much more interesting and freeing than the found to be much more interesting and freeing than the "narrow" truth presented by strict realism (Ionesco, 15). "narrow" truth presented by strict realism (Ionesco, 15).

He claimed that He claimed that "drama that relies on "drama that relies on simple effects is not simple effects is not necessarily drama necessarily drama simplified" (Ionesco, simplified" (Ionesco, 28). 28). Notes and Notes and Counter NotesCounter Notes also also reprints a heated war reprints a heated war of words between of words between Ionesco and Kenneth Ionesco and Kenneth Tynan based on Tynan based on Ionesco's above Ionesco's above stated beliefs and stated beliefs and Ionesco's hatred for Ionesco's hatred for Brecht and Brechtian Brecht and Brechtian theatre.theatre.

Literary contextLiterary context

Ionesco is often considered a writer of the Theatre of the Ionesco is often considered a writer of the Theatre of the Absurd. This is a label originally given to him by Martin Absurd. This is a label originally given to him by Martin Esslin in his book of the same name, placing Ionesco along Esslin in his book of the same name, placing Ionesco along side such contemporary writers as Samuel Beckett, Jean side such contemporary writers as Samuel Beckett, Jean Genet, and Arthur Adamov. Esslin called them "absurd" Genet, and Arthur Adamov. Esslin called them "absurd" based on Albert Camus' concept of the absurd, claiming that based on Albert Camus' concept of the absurd, claiming that Beckett and Ionesco better captured the meaninglessness of Beckett and Ionesco better captured the meaninglessness of existence in their plays than in work by Camus or Sartre. existence in their plays than in work by Camus or Sartre. Because of this loose association, Ionesco is often Because of this loose association, Ionesco is often mislabeled an existentialist. Ionesco claimed in mislabeled an existentialist. Ionesco claimed in Notes and Notes and Counter NotesCounter Notes that he was not an existentialist and often that he was not an existentialist and often criticized existentialist figurehead Jean-Paul Sartre. Although criticized existentialist figurehead Jean-Paul Sartre. Although Ionesco knew Beckett and honored his work, the French Ionesco knew Beckett and honored his work, the French group of playwrights was far from an organized movement. group of playwrights was far from an organized movement.

Ionesco claimed instead an affinity for Pataphysics and its Ionesco claimed instead an affinity for Pataphysics and its creator Alfred Jarry. He was also a great admirer of the creator Alfred Jarry. He was also a great admirer of the Dadaists and Surrealists, especially his fellow countryman Dadaists and Surrealists, especially his fellow countryman Tristan Tzara. Ionesco became friends with the founder of Tristan Tzara. Ionesco became friends with the founder of Surrealism, Andre Breton, whom he revered. In Surrealism, Andre Breton, whom he revered. In Present Present Past, Past PresentPast, Past Present, Ionesco wrote, "Breton taught us to , Ionesco wrote, "Breton taught us to destroy the walls of the real that separate us from reality, destroy the walls of the real that separate us from reality, to participate in being so as to live as if it were the first day to participate in being so as to live as if it were the first day of creation, a day that would every day be the first day of of creation, a day that would every day be the first day of new creations." Raymond Queneau, a former associate of new creations." Raymond Queneau, a former associate of Breton and a champion of Ionesco's work, was a member of Breton and a champion of Ionesco's work, was a member of the Collège de ’Pataphysique and a founder of Oulipo, two the Collège de ’Pataphysique and a founder of Oulipo, two groups with which Ionesco was associated.groups with which Ionesco was associated.