Amédée, The New Tenant, Victims of Duty Three Plays
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Sprache:Englisch
12,83 €
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Produktdetails
Format
ePUB
Kopierschutz
Nein
Family Sharing
Nein
Text-to-Speech
Ja
Erscheinungsdatum
26.02.2020
Verlag
Grove PressSeitenzahl
192 (Printausgabe)
Dateigröße
430 KB
Übersetzt von
Donald Watson
Sprache
Englisch
EAN
9780802190789
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 Tenantwith
Amédéeand
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."
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 Tenantwith
Amédéeand
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."
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