Frases de Eugéne Ionesco

Eugéne Ionesco Foto
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Eugéne Ionesco

Fecha de nacimiento: 26. Noviembre 1909
Fecha de muerte: 28. Marzo 1994

Eugène Ionesco fue un dramaturgo y escritor franco-rumano en lengua francesa, elegido miembro de la Academia francesa el 22 de enero de 1970. Fue uno de los principales dramaturgos del teatro del absurdo.

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Eugéne Ionesco

Frases Eugéne Ionesco

„Las ideologías nos separan; los sueños y la angustia nos unen.“

—  Eugéne Ionesco
Source: Citado en García, Ruth. La Procedencia: Un inicio dentro del lapso. Editorial Tektime, 2018. ISBN 9788873045526.

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„I abandoned criticism because I am full of contradictions, and when you write an essay you are not supposed to contradict yourself. But in the theater, by inventing various characters, you can. My characters are contradictory not only in their language, but in their behavior as well.“

—  Eugéne Ionesco
The Paris Review interview (1984), Context: The theater chose me. As I said, I started with poetry, and I also wrote criticism and dialogue. But I realized that I was most successful at dialogue. Perhaps I abandoned criticism because I am full of contradictions, and when you write an essay you are not supposed to contradict yourself. But in the theater, by inventing various characters, you can. My characters are contradictory not only in their language, but in their behavior as well.

„I am told, in a dream … you can only get the answer to all your questions through a dream.“

—  Eugéne Ionesco
Context: I am told, in a dream... you can only get the answer to all your questions through a dream. So in my dream, I fall asleep, and I dream, in my dream, that I'm having that absolute, revealing dream. Speaking of a dream not fully remembered, in Fragments of a Journal (1966)

„My thoughts were not yet organized or coherent at that age, but I had feelings, a certain nascent [[humanism], and I found these things inadmissible.“

—  Eugéne Ionesco
The Paris Review interview (1984), Context: I remember one day there was a military parade. A lieutenant was marching in front of the palace guards. I can still see him carrying the flag. I was standing beside a peasant with a big fur hat who was watching the parade, absolutely wide-eyed. Suddenly the lieutenant broke rank, rushed toward us, and slapped the peasant, saying, “Take off your hat when you see the flag!” I was horrified. My thoughts were not yet organized or coherent at that age, but I had feelings, a certain nascent [[humanism], and I found these things inadmissible. The worst thing of all, for an adolescent, was to be different from everyone else. Could I be right and the whole country wrong?

„There were no longer words being spoken, but images being visualized. We achieved it above all by the dislocation of language. … Beckett destroys language with silence. I do it with too much language, with characters talking at random, and by inventing words.“

—  Eugéne Ionesco
The Paris Review interview (1984), Context: Beckett shows death; his people are in dustbins or waiting for God. (Beckett will be cross with me for mentioning God, but never mind.) Similarly, in my play The New Tenant, there is no speech, or rather, the speeches are given to the Janitor. The Tenant just suffocates beneath proliferating furniture and objects — which is a symbol of death. There were no longer words being spoken, but images being visualized. We achieved it above all by the dislocation of language. … Beckett destroys language with silence. I do it with too much language, with characters talking at random, and by inventing words.

„Beckett shows death; his people are in dustbins or waiting for God. (Beckett will be cross with me for mentioning God, but never mind.)“

—  Eugéne Ionesco
The Paris Review interview (1984), Context: Beckett shows death; his people are in dustbins or waiting for God. (Beckett will be cross with me for mentioning God, but never mind.) Similarly, in my play The New Tenant, there is no speech, or rather, the speeches are given to the Janitor. The Tenant just suffocates beneath proliferating furniture and objects — which is a symbol of death. There were no longer words being spoken, but images being visualized. We achieved it above all by the dislocation of language. … Beckett destroys language with silence. I do it with too much language, with characters talking at random, and by inventing words.

„No society has been able to abolish human sadness, no political system can deliver us from the pain of living, from our fear of death, our thirst for the absolute. It is the human condition that directs the social condition, not vice versa.“

—  Eugéne Ionesco
Context: I believe that what separates us all from one another is simply society itself, or, if you like, politics. This is what raises barriers between men, this is what creates misunderstanding. If I may be allowed to express myself paradoxically, I should say that the truest society, the authentic human community, is extra-social — a wider, deeper society, that which is revealed by our common anxieties, our desires, our secret nostalgias. The whole history of the world has been governed by nostalgias and anxieties, which political action does no more than reflect and interpret, very imperfectly. No society has been able to abolish human sadness, no political system can deliver us from the pain of living, from our fear of death, our thirst for the absolute. It is the human condition that directs the social condition, not vice versa. "A Reply to Kenneth Tynan: The Playwright's Role" in The Observer (29 June 1958)

„You know, the Cathars believed that the world was not created by God but by a demon who had stolen a few technological secrets from Him and made this world — which is why it doesn’t work.“

—  Eugéne Ionesco
The Paris Review interview (1984), Context: You know, the Cathars believed that the world was not created by God but by a demon who had stolen a few technological secrets from Him and made this world — which is why it doesn’t work. I don’t share this heresy. I’m too afraid! But I put it in a play called This Extraordinary Brothel, in which the protagonist doesn’t talk at all. There is a revolution, everybody kills everybody else, and he doesn’t understand. But at the very end, he speaks for the first time. He points his finger towards the sky and shakes it at God, saying, “You rogue! You little rogue!” and he bursts out laughing. He understands that the world is an enormous farce, a canular played by God against man, and that he has to play God’s game and laugh about it. canular refers to hoaxes, humorous deceptions.

„He understands that the world is an enormous farce, a canular played by God against man, and that he has to play God’s game and laugh about it.“

—  Eugéne Ionesco
The Paris Review interview (1984), Context: You know, the Cathars believed that the world was not created by God but by a demon who had stolen a few technological secrets from Him and made this world — which is why it doesn’t work. I don’t share this heresy. I’m too afraid! But I put it in a play called This Extraordinary Brothel, in which the protagonist doesn’t talk at all. There is a revolution, everybody kills everybody else, and he doesn’t understand. But at the very end, he speaks for the first time. He points his finger towards the sky and shakes it at God, saying, “You rogue! You little rogue!” and he bursts out laughing. He understands that the world is an enormous farce, a canular played by God against man, and that he has to play God’s game and laugh about it. canular refers to hoaxes, humorous deceptions.

„Lorem ipsum dolor sit amet, consectetuer adipiscing elit. Etiam egestas wisi a erat. Morbi imperdiet, mauris ac auctor dictum.“

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