Anathematizing Barthes and Admiring Beckett with Eugène Ionesco

Abstract

This article explores the world of theatre from within and beyond the stage and brings together Roland Barthes as a critic and Samuel Beckett as a playwright via a third character, the Romanian-born playwright Eugène Ionesco, who anathematized the former and admired the latter. The article starts from Martin Esslin’s The Theatre of the Absurd (1961), which defined Beckett’s and Ionesco’s art, pointing out that whilst Esslin showed why their works produced ‘bewilderment’ in England and the US, he ignored the Paris debates of the 1950s to early 1960s. It then covers the intricate history of Barthes’s polemical articles on avant-garde theatre and focuses on Barthes hailing Bertolt Brecht as an innovator who redefined theatre as belonging to a community. The next section engages with Beckett’s and Ionesco’s ideas on staging and their relation to Brecht and the Brechtians. The epilogue proposes a reading of Ionesco’s satirical play Improvisation or the Shepherd’s Chameleon (1955), which features Barthes and two other representatives of nouvelle critique as characters.

Performing Irony: Eugène Ionesco's Battles With His Critics

“…As I showed in "Anathematizing Barthes and Admiring Beckett with Eugène Ionesco", these terms are direct allusions to terminology Barthes used in his articles in the 1950s: the remarks about costumology ("Your costume is very ill... It's got to be cured" 69 ; "Your costume is suffering from faulty nutrition…") 70 allude to Barthes's "The Diseases of Costume" (1955) 71 , the "consciousness of unconsciousness" of the audience to Barthes's Mother Courage Blind (1955) 72 .…”