Eugéne Ionesco citáty
Eugéne Ionesco
Datum narození: 26. listopad 1909
Datum úmrtí: 28. březen 1994
Eugène Ionesco [Jonesko] byl francouzský dramatik a básník rumunského původu, ačkoliv v některé literatuře se vyskytuje i rumunský dramatik, žijící v Paříži. Jeden z hlavních představitelů absurdního dramatu.
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francouzský dramatik a dramatikCitáty Eugéne Ionesco
„It won’t matter to me at all whether the Church canonizes him or not. The important thing is that such a man existed.“
— Eugéne Ionesco
Context: It’s a play about the life and martyrdom of a modern saint, who has just been canonized by the Church — or is it beatified? Which comes first? I’m not sure. Anyway, his name was Father Maximilian Kolbe, a Pole, and he died in Auschwitz. They were going to send some prisoners to a mine, where they would die of hunger and thirst. Father Kolbe offered to go instead of a man who had a wife and children and didn’t want to die. That man is still alive. … It won’t matter to me at all whether the Church canonizes him or not. The important thing is that such a man existed.
„People always try to find base motives behind every good action.“
— Eugéne Ionesco
Context: People always try to find base motives behind every good action. We are afraid of pure goodness and of pure evil.
„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
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.
„I let characters and symbols emerge from me, as if I were dreaming.“
— Eugéne Ionesco
Context: I let characters and symbols emerge from me, as if I were dreaming. I always use what remains of my dreams of the night before. Dreams are reality at its most profound, and what you invent is truth because invention, by its nature, can’t be a lie. Writers who try to prove something are unattractive to me, because there is nothing to prove and everything to imagine. So I let words and images emerge from within. If you do that, you might prove something in the process.
„The most implacable enemies of culture — Rimbaud, Lautréamont, dadaism, surrealism — end up being assimilated and absorbed by it.“
— Eugéne Ionesco
Context: The most implacable enemies of culture — Rimbaud, Lautréamont, dadaism, surrealism — end up being assimilated and absorbed by it. They all wanted to destroy culture, at least organized culture, and now they’re part of our heritage. It’s culture and not the bourgeoisie, as has been alleged, that is capable of absorbing everything for its own nourishment. As for the oneiric element, that is due partly to surrealism, but to a larger extent due to personal taste and to Romanian folklore — werewolves and magical practices. For example, when someone is dying, women surround him and chant, “Be careful! Don’t tarry on the way! Don’t be afraid of the wolf; it is not a real wolf!”—exactly as in Exit the King. They do that so the dead man won’t stay in infernal regions.<!-- The same thing can be found in the Tibetan Book of the Dead, which had a great impact on me too. However, my deepest anxieties were awakened, or reactivated, through Kafka.
„Béranger represents the modern man. He is a victim of totalitarianism — of both kinds of totalitarianism, of the Right and of the Left.“
— Eugéne Ionesco
Context: Béranger represents the modern man. He is a victim of totalitarianism — of both kinds of totalitarianism, of the Right and of the Left. When Rhinoceros was produced in Germany, it had fifty curtain calls. The next day the papers wrote, “Ionesco shows us how we became Nazis.” But in Moscow, they wanted me to rewrite it and make sure that it dealt with Nazism and not with their kind of totalitarianism. In Buenos Aires, the military government thought it was an attack on Perónism.
