![]() ![]() ![]() Puppetry must thus be seen as one of the strongest verifiable influences on Ionesco’s theater, as on modern drama in general. In fact, two of his later plays, A Hell of a Mess and Man with Bags, can be traced directly to nightmares recorded in his autobiographical writings of the mid-1960’s.Īs a boy, Ionesco recalled, he frequently attended puppet shows mounted for children in the Jardin de Luxembourg during the years since, he remained haunted by the reverse relationship of human beings to marionettes, seeing his fellow mortals as puppets pulled by forces unseen and unexplained, prone to violence either as perpetrator or as victim. ![]() Although Eugène Ionesco’s (26 November 1909 – 28 March 1994) dramatic art is often traced to such precursors as the plays of Alfred Jarry and Antonin Artaud, it is essentially sui generis, springing primarily from nightmarish visions deeply rooted in the author’s own mind and experience. ![]()
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