THE TIME OF THE MONOLOGUE IN THE THEATRE OF EUGÈNE IONESCO: IMPROVISATION AT ALMA AND THE KILLER
THE TIME OF THE MONOLOGUE IN THE THEATRE OF EUGÈNE IONESCO: IMPROVISATION AT ALMA AND THE KILLER

Summary/Abstract: In this article (Le temps du monologue dans le théâtre d’Eugène Ionesco : L’Impromptu de l’Alma et Tueur sans gages), we propose to study the inflections of the monologue in two plays by Eugène Ionesco: Improvisation at Alma and The Killer. The first play was written to satirise Roland Barthes or Bernard Dort. Both are criticised by a monologue held by the central character of the text: Ionesco, the author. In The Killer, Béranger, a potential buyer of a house in the neighbourhood where a murderer is active, tries in vain to communicate with the killer. The 'dialogue' with the killer turns into a very long monologue in which the hero expresses all his fears. Although the monologue has become an essential part of theatrical performance, it has its roots in the novel or the short story. This research is a thematic study and the method used is the comparative approach.

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