Amedee Or How To Get Rid Of It The New Tenant Victims Of Duty
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Amédée, or, How to get rid of it. The new tenant. Victims of duty
Author | : Eugène Ionesco |
Publisher | : |
Total Pages | : 190 |
Release | : 1958 |
Genre | : |
ISBN | : |
Download Amédée, or, How to get rid of it. The new tenant. Victims of duty Book in PDF, Epub and Kindle
Amédée, or, How to get rid of it. The new tenant. Victims of duty
Author | : Eugène Ionesco |
Publisher | : |
Total Pages | : 188 |
Release | : 1958 |
Genre | : |
ISBN | : |
Download Amédée, or, How to get rid of it. The new tenant. Victims of duty Book in PDF, Epub and Kindle
Amedee or how to get rid of it. The new tenant. Victims of duty
Author | : Eugène Ionesco |
Publisher | : |
Total Pages | : 186 |
Release | : 1958 |
Genre | : |
ISBN | : |
Download Amedee or how to get rid of it. The new tenant. Victims of duty Book in PDF, Epub and Kindle
Amédée, The New Tenant, Victims of Duty
Author | : Eugène Ionesco |
Publisher | : Grove/Atlantic, Inc. |
Total Pages | : 144 |
Release | : 2015-03-31 |
Genre | : Drama |
ISBN | : 0802190782 |
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Three hilarious and provocative plays by the absurdist pioneer who remains “one of the most important and influential figures in the modern theater” (Library Journal). The author of such modern classics as The Bald Soprano, Exit the King, Rhinoceros, and The Chairs, Eugene Ionesco’s plays have become emblematic of Absurdist theatre and the French avant-garde. This essential collection combines The New Tenant with Amédée and Victims of Duty—plays Richard Gilman has called, along with The Killer, Ionesco’s “greatest plays, works of the same solidity, fulness, and permanence as [those of] his predecessors in the dramatic revolution that began with Ibsen and is still going on.” In Amédée, the title character and his wife have a problem—not so much the corpse in their bedroom as the fact that it’s been there for fifteen years and is now growing, slowly but surely crowding them out of their apartment. In The New Tenant, a similar crowding is caused by an excess of furniture—as Harold Hobson said in the London Times, “there is not a dramatist . . . who can make furniture speak as eloquently as Ionesco, and here he makes it the perfect, the terrifying symbol of the deranged mind.” In Victims of Duty, Ionesco parodies the conformity of modern life by plunging his characters into an obscure search for “mallot with a t.”
Amédée
Author | : Eugène Ionesco |
Publisher | : Grove Press |
Total Pages | : 194 |
Release | : 1958 |
Genre | : Drama |
ISBN | : 9780802131010 |
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Amédée creates a comic uproar out of a steadily-growing corpse just outside the bedroom of a middle-class couple. In The new tenant , a man moves furniture into his new apartment. Slowly the articles accumulate until there is no room left. In Victims of duty, the playwright has tried to drown the comic in the tragic, to oppose them in order to reunite them in a new synthesis.
Samuel Beckett and the Theatre of the Witness
Author | : Hannah Simpson |
Publisher | : Oxford University Press |
Total Pages | : 201 |
Release | : 2022-06-09 |
Genre | : French drama |
ISBN | : 0192863266 |
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Samuel Beckett and the Theatre of the Witness explores Beckett's representation of physical pain in his theatre plays in the long aftermath of World War II, emphasising how the issues raised by this staging of pain speak directly to matters lying at the heart of his work: the affective power of the human body; the doubtful capacity of language as a means of communication; the aesthetic and ethical functioning of the theatre medium; and the vexed question of intersubjective empathy. Alongside the wartime and post-war plays of fellow Francophone writers Albert Camus, Eugène Ionesco, Pablo Picasso, and Marguerite Duras, this study resituates Beckett's early plays in a new conceptualising of le théâtre du témoin or a 'theatre of the witness'. These are plays concerned with the epistemological and ethical uncertainties of witnessing another's pain, rather than with the sufferer's own direct experience. They raise troubling questions about our capacity to comprehend and respond to another being's pain. Drawing on an interdisciplinary framework of extant criticism, recorded historical audience response, theatre and affect theory, and medical understandings of bodily pain, Hannah Simpson argues that these plays do not offer any easily negotiable encounter with physical suffering, pushing us to recognise the very 'otherness' of another being's pain, even as it invades our own affective sphere. In place of any comforting transcendence or redemption of endured pain, they offer a starkly sceptical, even pessimistic probing of what it is to witness another's suffering.