La Cantatrice chauve : théâtre, anti- théâtre ou spectacle du monde

[Autom. eng. transl.] It is with very little support that Nicolas Bataille staged in May 1950, The Bald Singer, first piece of a writer who did not want to playwright: Eugene Ionesco. If the work meets initially little echo - thereafter it will hold the absolute record of longevity in Paris, appearing continuously with the poster of the theater of the Huchette since 1957 - it attended its own repercussions on the international scene. Ionesco's play has indeed laid the foundations of modern dramaturgy, where the tragic coincides with the comic and even, henceforth resides in him: "the comic being the intuition of the absurd," writes the author, "he seems to me more hopeless than the tragic. The comic is tragic, and the tragedy of the derisory man. In explaining his point, the artist shows how the two tensions coexist naturally and how it is very often enough to "a slight boost, [of] an imperceptible slip and we find ourselves in the tragic". Some passages of the bald cantatrice, we propose to reflect here on the new value offered to "tragic" and "comic" in the drama of Ionesco.