Eugène Ionesco en ses réécritures

After creating La Cantatrice baldin 1949, Ionesco was quick to appear as a renewal force for French theater. If he gradually detaches himself from his aggressively avant-garde stance, he does not give up his dramaturgy as an object of exploration: from the introduction of dreams on the stage to the temptation of dramatic autobiography. The movement of the artistic quest, however, has coexisted with an ontological immutability, often claimed by the author himself. The pieces bear the imprints of a reiteration which, in the shadow, works the man. He feeds on obsessions such as the anguish of death, the bewilderment at the violence of his fellows, the pain of helplessness in resuscitating the light of childhood. Ionesco has found in rewriting a creative process that can embrace and overcome its contradictions. SinceThe bald singer - autoadaptation of a first Romanian version - until his last theater - conceived from an autofictional narrative and dreamy stories - through the transmodalization of news and the revival of two masterpieces Allogene, Diary of the Year of the Plague Daniel Defoe and Macbeth Shakespeare, Ionesco rewritten, others as himself. The textual revival, in that it follows the double movement of the reflexive pause and the conquering impulse, has thus provided it with a precious tool for thinking and rethinking its dramaturgy. The analysis of the manuscripts of the author gives privileged access to the work of the repetition at work in the rewritings ionesciennes.--Honoré Champion.