'Eugene Ionesco’s Existentialist Views Essay\r'

'†Eugene has written 28 p sics. His most famous toys accommodate The Lesson (1951), The Chairs (1952), and Rhinoceros (1959). -Eugene has been recognized as a leading writer in the landing field of the Absurd. His plays break theatrical archetypes of plot and eon; explore mortality, and introduce existential conundrums plot of land utilising over imaginative, unrealistic and out of the blue(a) humor. The line between fiction and globe is consistently blurred as I onesco depicts nonsense(prenominal) worlds ruled by chance.\r\nWas made a member of the French Academy in 1970, and won a number of prizes including the Tours feast Prize for film, Prix Italia, Society of Authors Theatre Prize, impressive Prix National for theatre, Monaco Grand Prix, Austrian land Prize for European Literature, Jerusalem Prize, and unearned doctorates from New York University and the universities of Leuven, Warwick, and Tel Aviv. Contribution to Existentialist conception and Relation to Gui ldenstern and Rosencrantz argon Dead †Eugene’s enceinteest contribution to existential feeling comes from developing the building blocks for theater of the smashed.\r\nEugene popularized geometrical writing techniques to a point which audiences assemble it acceptable, and used basic existential concepts in his plays, inspiring future writers such as Tom Stoppard. †Eugene constantly refers to ii briny floors throughout his writings; loneliness and closing off; and having no hold back over one’s fate. The setting of The Chairs provides a great physical exertion, in which an old couple 90s entirely excite each other in their small house on an island, which represents the isolation.\r\nGuil and Ros be always alone in their absurd existentialist thought which does non come along to twoer anyone else, which leads them unable to relate to the great deal around them and feel alienated. They are physically apart(p) in their un-determinable location; unless they are also mentally isolated. The two characters puddle no memory of their past, and as such they cannot retain any future purpose or goals they may sine qua non in the future; they are isolated to the present, and as such they can moreover react to things happening around them, or else than seeking tasks for the betterment of themselves.\r\nGuil expects that the letter they are bringing to the king will pronounce him their next task in life. He opines â€Å"[t]here may be something to keep us going a bit. ” Ros then asks, â€Å"And if not? ” to which Guil replies, â€Å"Then that’s it, we’re undefiled” (Stoppard, 96). Stoppard shows here how little control Ros and Guil have over their own life. †Eugene’s work focuses on human existence and triviality of everyday life. Rhinoceros is bold comely to hypothesize â€Å"sometimes I rarity if I exist myself”. Eugene constantly challenges the nitty-gritty of life and what it means to exist in his writing.\r\nStoppard compliments this topic as well, as demonstrated when Guil and Ros first gain intelligence on the boat. Guil converses with Ros by saying â€Å"‘we’re not finished, then? ’ ‘Well, we’re here, aren’t we? ’ ‘Are we? I can’t see a thing. ’ ‘You can electrostatic think can’t you? ’ ‘I think so. ’ You can still talk. ’ Ah! on that point’s life in me yet. ’ â€Å"(88). Stoppard explores the musical theme of living within a informed mind, and no body, and only had thought and a voice in the dark. †Restraint imputable to social norms is another major theme throughout Eugene’s writing, specifically in Rhinoceros.\r\nOne of the main reasons Eugene wrote Rhinoceros, was to explore the humor of those who so easily succumbed to Nazism. Ionesco wanted to treat the German fascist movement by having chara cters in his book all discharge into rhinoceros’s because everyone was talking most it and doing it themselves, which leads to one of Eugene’s main existential opinions: that â€Å"one must break external from conformism and commit oneself to a world-shaking cause to give life essence”. Eugene has people in his plays repeat ideas others have said earlier, or simultaneously say the same things.\r\nNot only do Guil and Ros constantly repeat each other when they lack the originality or purpose to say something new, Stoppard takes lines directly from Shakespeare’s Hamlet, and has Guil and Ros unknowingly depart to Shakespearean English and speak Shakespeare’s words whenever they converse with other characters from Hamlet, for example when first meeting Claudius, they say â€Å"We both obey/ And here give up ourselves in the full bent/ To lay our service freely at your feet/ To be commanded” (27-28).\r\nTheir inability to control their lan guage and their conformity with the original play demonstrates the lack of control they have over their destiny, as if it was planned.\r\n'