Documenti di Didattica
Documenti di Professioni
Documenti di Cultura
By MARTIN
ESSLIN
MARTIN ESSLIN
MARTIN ESSLIN
MARTINESSLIN
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MARTIN ESSLIN
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beled the absurd,"Ionesco says,"is only the denunciationof the ridiculous natureof a languagewhichis emptyof substance,made up of cliches
and slogans ."' Such a language has atrophied;it has ceased to be the
expressionof...anythingalive or vital and has been degraded into a mere
conventionaltoken of human intercourse,a mask forgenuine meaning
and emotion. That is why so often in the Theatre of the Absurd the
dialogue becomesdivorced fromthe real happeningsin the play and is
even put into direct contradictionwith the action. The Professorand
thePupil in Ionesco's The Lesson "seem" to be goingthrougha repetition
of conventionalschool book phrases,but behind this smoke screen of
course
language the real action of the play pursuesan entirelydifferent
with the Professor,,
vampire-like,draining the vitalityfromthe young
girl up to the finalmomentwhen he plungeshis knifeinto her body. In
Beckett'sWaitingforGodot Lucky'smuchvauntedphilosophicalwisdom
is revealedto be a floodof completelymeaninglessgibberishthatvaguely
resemblesthe language of philosophicalargument.And in Adamov's remarkableplay,Ping-Pong,a good deal of the dramaticpower lies in the
contrapuntalcontrastbetweenthe trivialityof the theme-the improvement of pinball machines-and the almost religiousfervorwith which
it is discussed.Here, in order to bringout the full meaningof the play,
the actorshave to act againstthe dialogue ratherthan withit, the fervor
of the deliverymust stand in a dialectical contrastto the pointlessness
of the meaning of the lines. In the same way, the author implies that
mostof the ferventand passionatediscussionof real life (of political conto give but one example) also turnsaround emptyand meaningtroversy,
less clich6s.Or, as Ionesco saysin an essayon AntoninArtaud:
As our knowledge
becomesincreasingly
divorcedfromreal life,our cultureno longercontainsourselves(or onlycontainsan insignificant
partof
and forms
a "social"contextin whichwearenotintegrated.
The
ourselves)
ourculturewithour lifeby
problemthusbecomesthatofagainreconciling
makingour culturea livingcultureoncemore.But to achievethisend we
shallfirst
have to killthe"respectforthatwhichis written"...it becomes
tobreakup our languageso thatit maybecomepossibleto put it
necessary
contactwiththeabsolute,or as I should
together
againand to reestablish
preferto call it,withmultiplereality.
This quest for the multiplerealityof the world which is real because
it exists on many planes simultaneouslyand is more than a mere unidirectionalabstractionis not only in itselfa search for a reestablished
poetical reality(poetryin its essence expressingrealityin its ambiguity
and multidimensionaldepth); it is also in close accord with important
movementsof our age in what appear to be entirelydifferent
fields:psychologyand philosophy.The dissolution,devaluation,and relativization
of language is, afterall, also the theme of much of present-daydepthpsychology,which has shown what in formertimeswas regarded as a
rational expressionof logically arrived at conclusions to be the mere
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MARTIN ESSLIN
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thatthe threewriters
concerned,
4It maybe significant
althoughtheynow all
live in Franceand writein Frenchhave all cometo live therefromoutside
and musthave experienceda periodof adjustmentto the countryand its
language.SamuelBeckett(b. 1906)came fromIreland;ArthurAdamov(b.
1908)fromRussia,and EugeneIonesco(b. 1912)fromRumania.
de l'Alma,"ThddtreII, Paris,1958.
5 Ionesco,"L'Impromptu
6Ionesco,"The Avant-Garde
Theatre,"WorldTheatre,VIII, No. 3 (Autumn,
1959).