UNESCO wrote Eugene Eugène Ionesco "Impromptu pain l'Impromptu de l'Alma "In 1955, having achieved any significant accumulation in the field of playwriting, and in time the so-called irrational or absurd theater has reached its peak.
If the experience of UNESCO intersect in many characteristics with other experiments belong to the same power absurd, it is characterized, however, the specificities associated with the path of the UNESCO Creative Profile, including, specifically, the interaction and interference with My main concern creativity and organization.
Was known for his deep concern - both in creativity or in Tnzirath - including were filled by the Western culture of the problematic, and in the manner that produces and receives the theater, and the reactions that were raised by the critics and among those interested in theatrical domain.
In this context, the fall "impromptu pain." It was, in fact, as a reaction to what he was subjected repertoire of former UNESCO vitriol was behind the names of prestige in the field of theater criticism at the time, Barth Krolan Roland Barthes And Bernard Dort
Bernard Dort .
Have influenced the views of those deep in the UNESCO, particularly as it stems from the symbols representing the specific streams of thought, and defend the basic principles related to aesthetics play contrary, radically, because he believed the intellectual aspect of UNESCO, and was expressed in his creativity.
This conflict based on the intellectual and aesthetic stance is the one who tried to "impromptu pain" Msarhth, so by turning to the scenes of the play rounds of punching hot symbolic center of the conflict revolves around the peculiarities theatrical discourse and its mechanisms. Perhaps this is why we consider the formulation of an improvised play what could be termed a "conflict Dramatizing La querelle de la théâtralité "Between the critic and the creator. And endorsing this view is the fact that the argument Dramatizing the same - as the saying cash - was formed in one of the improvised elements of controversy and disagreement between UNESCO and the critics.
In so far as to confront critical issues related to the phenomenon the play and its various dimensions, has scoffed at UNESCO have all his might of the ability of Tejealah and linguistic, in order to clarify his own point of view, and makes a mockery of his rivals and make fun of their speeches and destabilize the background of intellectual and aesthetic on the other.
If the rule established by UNESCO imagined his play is very simple, is the story of writer preoccupied with his work in his house, entered the solitude of personnel for the tough questions about issues related to his profession, which shows that the improvised is not interested in the concept of event classic as they are concerned the status of the characters in the interface and to raise attention to Slokathm and attitudes; the raises since the beginning, is this double title developed by UNESCO for his play: "impromptu pain Or chameleon sponsor l'Impromptu de l'Alma ou le Caméléon du berger ".
The title of this form can not be arbitrary, and UNESCO itself does not deal with - like the absurd book - with the title of how arbitrary, but notes that the wording of this address is present in the characters in the improvised dialogue itself. When I asked Brtalmeos UNESCO's why he chose the title "chameleon sponsor," he replied:
"UNESCO: It is a scene in my play and the main engine. I have noticed, once, in a large regional city, the center of the street, summer, shepherd small, about the third ephemeral, accept the chameleon We have moved me with this and decided that I create from it a tragic farce".
When I commented on it Brtalmeos Saying that it is scientifically acceptable, however, UNESCO:
"UNESCO: This will not be only a starting point. I do not know if we'll see the shepherd on the tree and he accepts a chameleon, or I would just by invoking the scene or it is not only a theater background is visible in the second degree, in fact, I think that this will not only serve as an excuse".
This dialogue provides us with important data to understand the dimensions of the address in relation to the play, and can be summarized in two elements:
- Generating the address from the scene in reality.
- The possibility of converting the scene into a tragic farce.
Can distinguish, then, between the two frames of the scene: a realistic framework realized at the time and place Malomin, then under which swing between the imagined possibility and the impossibility of re-production on stage. That evoke this scene is not, in fact, only a pretext to call the symbolic other things.Kissing a sponsor of the chameleon after Anqadha from certain death refers to the behavior of noble humanitarian, and refers to the possibility of creating reconciliation between man and nature, especially if the rights of the kind that no contamination of civilization (ie, sponsor), and regardless of the quality component embodied nature (chameleon known to change color as the cases).
What matters to UNESCO in all this, is to stand on the issue of reconciliation between the self and the other, whatever the type of the other. This reconciliation achieved and actually sponsor and the chameleon, it may seem impossible when it comes to Palmtejel, which means - in what appears - the impossibility of re-production of the same scene with the opponents of the critics. He chose this formula is to express it.Perhaps fueling the belief that we have, is that the improvised will take us directly, and without prior announcement, this level Altejeala (the story of the shepherd and the chameleon) to the level of Mitamsarha which UNESCO declared the goal of writing Mrtglth:
"UNESCO: I told you that this is only a pretext, a starting point, in fact, I will put myself on the stage itself in order to initiate discussion about the theater, for presentation of my thoughts about it.
As long as it issues a play, it declares that the proper formula for that is the foot:
"UNESCO: will be an impromptu".
It follows from all this, that the title refers to the dual form and content of the play, to the level of Altejeala Almitamsrahi and at the same time. Then, P, "an impromptu pain" suffered a creative conflict is UNESCO himself against his critics. It is noticeable that he engaged in this conflict openly and publicly, taking on the same selection Almolliera site of the author - participating in the epic events of the play, the viewer of the same and perfect stage performance of his own.
From the first scene puts us in the heart of UNESCO's suffering as a playwright, theater, where he describes the first extension being deep in sleep, putting his head on the desk after tired of writing that refers to the pen, which is still in his hand, despite his sleep. This photo gives us a first impression about the writer who works in very difficult conditions and sacrifice Braanh for creativity.
This first side of the image highlights the suffering of us started in the isolation of prepares us to receive the second face of the suffering of the writer with his critics who do not appreciate his work, and Athamilon it. And waving the features of this second face into Brtalmeos I UNESCO, which disturbed the sleeper beats strong on the door. These chimes are, in fact, beats cash in the door of creativity, especially since IBrtalmeos UNESCO was asked about his work and waiting for him to announce his new play.
At the time when the beginning of the UNESCO to read his play that were not only the beginning of "impromptu pain" itself, join Brtalmeos II Then Brtalmeos III After that, everyone starts to discuss in a noisy combines the serious and joking count, and mixed with ironic black intellectual and aesthetic stance explicit.The limits of this sudden noise but calls for a maid Marie, who came to clean the house and organized by the UNESCO. Maybe it reflects, perhaps, calls for the public theater absent from this debate between the creator and his critics.
UNESCO has chosen for his critics in the improvised one name is "Brtalmeos," and distinguished them only by number. Whether we look at their names or their outward appearance, we will notice that UNESCO make them indications suggest authoritarianism and dogmatism and the prosecution.
The very name reminds us Brtalmeos Saint Barthélemy Saint Brthlmy One of the students or disciplesapotres Of the twelve chosen by Christ to preach the gospel. Therefore, the choice of the UNESCO label critics of the name can be understood him to say that the missionary speeches and propaganda. Perhaps their interventions in the play confirm this, especially as they include certain qualities constantly repeated, such as: scientific, dialectical and phenomenal.
These qualities that recur in the letters I Brtalmeos And II Reveal that the background controlling the background of intellectual and aesthetic Bristah. And this is what strengthens the belief we have that it's about, in fact, the position of each of the Roland Barth and Bernard Dort, especially as these critics customarily Bdvallma, during this period, the theory epic theater cross-platform cultural famous is the magazine "theater popular Théâtre Populaire . "And noted that the improvised show itself in the margin where the only need to" return to the scene of a popular magazine (for Brtalmeos I And II ) And articles Alvekaro drama criticism (for Brtalmeos III ) " (39) .
If the names of the characters in the improvised with the standard semantics, the external appearance of molded Stéréotypé Is in the same direction, in another way. Valarashadat theatrical show that they wear the dress sense of doctors and coordinated in the same way; but their conversations first, as they entered, making them identical to the echoes of one vote. This unified appearance shows that the multiplicity and diversity of the critics of the UNESCO holds speeches, in fact, the tendency of one print and reliability of scientific claims and dealing with cash as a panacea for the ills of theatrical creativity, with the critic as a doctor is able to direct to the creator "Prescription cash" that cures defects of the theater.
The image of ridiculing the critics this course, absurd to Aonescualschria used by the kind of serious controversy, which is contained in which their views and explain the theatrical perspective. So, we note that the issues and topics Almmsarhh divided into two sections: one on the concept of the theater, function and techniques, and the other for theater criticism and function of the critic.
In the first part, highlighted UNESCO's concept about the theatrical text. When asked about the subject of his play he replied:
"UNESCO: Huh, you know, I do not know my plays never listed .. everything is in the dialogues in the play, in the photos Alrkahih. The question is largely visual as always the image of the first or the first is a dialogue which I have raised Creativity is always a mechanism, and then let myself go with my characters never own and do not know exactly where to go each play is, for me, an adventure, chase, the discovery of a world is revealed to me personally and be the first to be surprised at his presence".
This answer put the concept of text, for UNESCO, in which the real goal of what can be called a "Dramatizing the absurd" which "is characterized by resorting to the language of the stage of physical and psychological destruction of the plot in its true sense, in that one".
For this, UNESCO recognizes the possibility of not telling the story of his play as long as the text is not absurd story of the traditional sense. The theater of the absurd to suggest and support the reference to address the eye, first and foremost. UNESCO has summarized this property when he mentioned in his interview status "optical Visuel . "This reference moving in the direction established by the new rhetoric of unreason book, which was launched by Emmanuel Emmanuel Jacquart Jacquart Eloquence of the senses or sensitization Sensorialisation.
This rhetoric inspired by the concept of returning to Antonan Erto in his book "Theatre and a companion," is "incarnations Matérialisations "Built on the basis of concrete images show called UNESCO - the former in his dialogue - the" image Alrkahih. "Theatrical text, then, is the embodiment of the eloquence of the mark and not the eloquence of the word.
In the context of revealing "a mechanism creativity" to him, speaking for UNESCO Sirortin: the excitement and the consequences, because they allow the creation and Allamentzer Alsdfoa, and help to liberate the creative energies of the imagination, as in the dream. And a mechanism for highlighting creativity, uniqueness shows the character of UNESCO, which reviled texts theater of the absurd, where each play to become a stand-alone adventure or a new revelation is unprecedented. Perhaps this is what alerted him Jacquard also when he said that all the absurdity of the play poses a special vision impossible "to use the traditions of public Passe-partout . Every business should create its own rules". Then, the image is appropriate to describe the work is absurd "borrow maze."
And Moish with this, the UNESCO debate with his critics go, necessarily, to the original concept and not a universal concept of "Dramatizing". Because of the difference is obvious on this matter between UNESCO, which confirms that the Dramatizing is "what is theater," and I Brtalmeos Dramatizing who says that is "what is against - Theatre," UNESCO was forced to move, as usual, to tinker and play with words, especially in one word is: "vice versa Vice - Versa ".
As long as the matter of Banagad believe in intellectual and aesthetic perceptions of well-defined, it has taken the issue of jobs and an important place in the theater improvisation. Critics have tried to persuade UNESCO to three theater "tutorial" in line with their perception of the epic Albraista. However, it confirms that, in return, the theater dramatization of the internal worlds of the author, including: his dreams, his apprehensions, desires and psychological contradictions. Do not take this dimension of self-demobilized, as you might think, but not necessarily are of a human dimension.
The "impromptu pain" does not stop at the borders to highlight the elements of Dramatizing the absurd, but also goes beyond this towards the identification of intellectual logic that underpins this Dramatizing. In this regard, it is noted that the Freudian discoveries opened a new horizon to explain that it allowed a single act Besbben contradictory. Therefore, we find in the improvised UNESCO echo of the new logic - by Stefan Opasco Stéphane Lupasco - The "causal conflicts Causalité d'antagonismes , "Or in other words, the logic of paradox, as Hocon in the following dialogue:
"UNESCO: (Mgmgma) does not go only to stay in better, run away in any reasonably to Amacol, run away so as not to leave .. (a lot of self-confidence) Yes I go to stay ...
As long as the UNESCO provides the intellectual and aesthetic perspective on the theater in the context of a confrontation with his critics, has been turned into impromptu trial directly to the criticism and critics. We have already mentioned that I Brtalmeos And II And III Representing a slice of critics Bristah frequency categories, including: alienation, dialectics of the theater, education, preparing Alrkahih, historicism, started painting, realism, etc. ... abstractionism. Even Brtalmeos II Did not hesitate to say:
"Brtalmeos II : Brecht is the only god, and I am His Messenger".
The UNESCO Mrtglth reveals the background of intellectual and aesthetic critics to help in the discovery of their identities, particularly that disclosed in the context of the play on platforms where they write, namely: the magazine "Popular Theatre" and "Al-Alvekaro."
The magazine "theater people" associated with the cultural context of the fifties - the period during which amounted to the same theater of the absurd aspects - including the names of prominent Krolan Barth, who moderated for a specific period, and Jean-Dovi and Bernard Dort and others. So, Voukov "impromptu pain" when the term "Dramatizing" It was not, in fact, only in response to the stage of the debate was focused on during this term among the members of the magazine in question. Perhaps this is confirmed by Jean-Dovi himself by saying: "This Dramatizing sink in the social and the public".
Focusing on the social dimension of Tmsarh is echoed in the speeches I Brtalmeos And II And III With reference Albraistah. This is not unusual as long as the critics who refer to them associate an intimate relationship with Albraistah. Fbernar rounded singled Brecht book under the title "read Brecht Lecture de Brecht "Read the bulk of his work, and Roland Barthes, who wrote about them a lot, it was" see it as the answer to the question that was posed to himself: the existence of the art of theater in the service of social criticism".
Perhaps this is what raises the attention in this context, is that "impromptu pain" written at a time she lived through the magazine "theater people" moments of agony, where Sttafrq the edit between the years 1956 and 1957, making us go on to say that this play did not come only in response creative act on the letters of reference Bristah cash linked to a cultural platform, but came in order to proclaim the end of this platform, and thus the end of the "myth Albraistah" in cash, in the era of do not know where the cultural values stable.
It is noticeable that these were formulated in two ways overlapping end to end fusion: violence discourse on the one hand, to detect the nature of the standard, Aloabedi, Altgayni, exclusionary and authoritarian to this criticism, and ridicule and absurdity on the other. Perhaps this is a dual formula that made the UNESCO describes Mrtglth - in qualitative terms - as "a tragic farce Farce tragique ".
The improvised paint, in the end, a caricature of the critics, which reveal their ignorance (they are considered Shakespeare's Russia or Poland), and show rush and contradictory speeches (they differ about the word "Vice - Versa "The argument about the" honesty "), and make a mockery of the chanting of the things received in advance Tautologies , And disruption of sources of knowledge (Back to the dictionary "Larousse Small" to learn about Shakespeare), and thus reveal their tendency for aggressive about the creator who does not keep pace with their ideas.
In parallel with this disruption and destruction, UNESCO is working, at the end of the day, to highlight the constructive attitude of criticism in relation to innovation, and through direct address to the public which he says:
"UNESCO: Oaakhz to those doctors discovered facts preliminary and classify the language of exaggeration made her turn, in what appeared to facts crazy. These facts - that would just like all the facts, even if preliminary - subject to rejection. It becomes serious when he shall take the appearance of the beliefs that do not discussed, and when he claims Drs, its name, the exclusion of other facts and direct artistic creation, or rather the tyranny it. The criticism to be descriptive rather than normative if the cash turn right at the sentencing, he should not do so except in accordance with the laws of artistic expression itself, according to the legend of the work Technical private, so engaging in his world".
The UNESCO defends the relative monetary values, and calls to avoid the standard, and considering the internal world of the work of the fundamental premise of the rule of cash. If we look at the formulas that Kalosfih hesitate in his dialogue and the laws of artistic expression and the myth of the work, we discover some of the resonance approaches the cash began to be established footholds in the Western cultural scene at the time, and in particular: structural and psychological analysis.
For this, we can say that UNESCO critic takes in the improvised clothing creator, but his play is not a dramatization of a conflict between two playwrights are: Albraistah and absurd and, but also are, in fact, the dramatization of the reality of cultural and civilizational destruction experienced by French culture, especially after the Second World War marked a split about the political and social reality and human, and therefore about the art that expresses them.
In summary, the "clash of Dramatizing" Adopted by the UNESCO as a pretext in
Mrtglth make his Almitamsrahi open to multiple dimensions: cash (the play is a practice of creative criticism theater criticism), Tnziria (improvised determine the components of Dramatizing the absurd), history (history of a crucial stage in the history of western theater known as a conflict between the Albraistah and absurd), then ideology (relative values and the unity of the human condition regardless of the social contradictions).
