Le Théâtre du peuple (1903)
2000s, 2003, A Vision for Iraq and the Iraqi people (March 2003)
“If people should ever start to do only what is necessary millions would die of hunger.”
C 54
Variant translation: If all mankind were suddenly to practice honesty, many thousands of people would be sure to starve.
Aphorisms (1765-1799), Notebook C (1772-1773)
Raymond Loewy, cited in: William Marling (1998) The American Roman Noir: Hammett, Cain, and Chandler. p. 279
“One's past is what one is. It is the only way by which people should be judged.”
Nazrin Muizzuddin Shah (2018) cited in " Change or go extinct, Perak Sultan tells Malays http://www.freemalaysiatoday.com/category/nation/2018/07/21/change-or-go-extinct-perak-sultan-tells-malays/" on Bernama, 21 July 2018
Introduction : The absurdity of the Absurd
The Theatre of the Absurd (1961)
Context: The "poetic avant-garde" relies on fantasy and dream reality as much as the Theatre of the Absurd does; it also disregards such traditional axioms as that of the basic unity and consistency of each character or the need for a plot. Yet basically the "poetic avant-garde" represents a different mood; it is more lyrical, and far less violent and grotesque. Even more important is its different attitude toward language: the "poetic avant-garde" relies to a far greater extent on consciously "poetic" speech; it aspires to plays that are in effect poems, images composed of a rich web of verbal associations.
The Theatre of the Absurd, on the other hand, tends toward a radical devaluation of language, toward a poetry that is to emerge from the concrete and objectified images of the stage itself. The element of language still plays an important part in this conception, but what happens on the stage transcends, and often contradicts, the words spoken by the characters. In Ionesco's The Chairs, for example, the poetic content of a powerfully poetic play does not lie in the banal words that are uttered but in the fact that they are spoken to an ever-growing number of empty chairs.
