Simbol şi gest în teatrul lui Eugène Ionesco
Symbol And Gesture In The Theatre Of Eugène Ionesco And Samuel Beckett

Summary/Abstract: The symbol appears as a manner of spontaneous communication of a complex and notionally inexpressible reality. The symbolic expression is the best enunciation of a relatively unknown thing, that could not be presented in a more lucid and eloquent way. In some plays, Eugène Ionesco mingles the symbols, simplifies them and reduces them. The antiheroines have gestures in which certain symbolic significations are geminated. In The Lesson, after the murder of the Student, the Maid Marie finds the redeeming solution to motivate the criminal gesture of the Professor, by the disposal of an armband with the Nazi swastika on his arm. Marie, from Improvisation at Alma or the Sheppard’s chameleon, dissipate the “conclave” of the three pedants, chasing them away with the broom and giving thus to the dramatist Ionesco the possibility to expose his “conception on criticism and on theatre”. Also, in the texts of Samuel Beckett, the antiheroines have geminated in their substance symbolic values and references to sanctity. Oh, what wonderful days! present life from birth to death, concentrated in a feminine figure buried in the sand hammock. Winnie is the visual symbol of birth as death. She transmits, though, through words rather than through her gestural language, different messages illustrated by the handling of some daily used objects, that she pulls out from her bag of “hidden treasures”.

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