30 PLAYS IN 30 DAYS: Play #25 "Hunger and Thirst" by Eugene Ionesco

 I have decided for the month of September to read 30 plays in 30 days. It is my belief that, if possible, a play should be read in one sitting to get a better inherent sense of the dramatic arc. Each day, I will write a short post here about the play of the day.

Play #25

Hunger and Thirst by Eugene Ionesco

I have mentioned my abiding love of the Theatre of the Absurd before on many occasions, and when it comes to writers I am fascinated by, Eugene Ionesco is near the top of the list. While I certainly am a fan of works like Rhinoceros, Exit the King, The Killer, The Bald Soprano (an anti-play) and others, it was some of his shorter plays like The Chairs and Jack or the Submission that really turned me on and blew my mind by their creativity. Ionesco's influence is huge, no doubt. Just read Albee's The American Dream and The Sandbox--- they are practically overflowing with Ionesco's influence.

Hunger and Thirst is labelled as 3 episodes. The first, called "The Flight", finds Jean dissatisfied at his new home with his wife Marie-Madeleine and their small baby in a cradle. As much as his wife adores him and comforts him, he feels a lack. There is a strange (it is Ionesco after all) visit from an Aunt who may or may not be dead (you can see in scenes like this how Ionesco also influenced comic writers like Christopher Durang), and after, Jean plays a prolonged gamed of hide and seek with his wife before disappearing altogether. And while she honestly believes that he cannot tear out his love from his heart, he does so, symbolically, in order to set out for something different. 

Episode 2, "The Rendezvous" finds Jean at a gorgeous mountain top museum, waiting to meet a woman, who may in fact just be some idealized version of something that does not exist. He waits and waits, while the two museum keepers look on him. In this episode, one might be able to see how Beckett influenced Ionesco... Ionesco, in the one interview I could find with him that was subtitled, talked about his love for Beckett's work. 

Episode 3, "The Black Masses of the Good Inn" finds Jean taking rest at an Inn (or is it a monastery?). The "brothers" who work their keep filling his plates and his drink-- and he keeps eating and drinking, never sated, a physical literal representation of his dissatisfaction in the first episode. The brothers then put on a show for him, which, in truth, goes on a bit too long and becomes a little tedious, though the message is strong--- it demonstrates belief as a kind of conformity, or, perhaps, conformity as a means to being fed. After the play, Jean finds himself in Inn (or monastery's) debt, though he sees visions of his wife and daughter, the baby girl now 15, waiting for him. Though he wants nothing more than to at last go home, it is time for him to feed others. 

There is much to be admired in this play (though I do think a good 5 pages could be cut from the final episode), and I underlined a great deal of it. The ending is powerful, and, as usual, Ionesco reveals some frightening truths in a manner both dark and comedic all at the same time. 

I thought it was brilliant.  

Meaning? What Meaning?: Why Bobby Keniston Loves the Theatre of the Absurd

While I Do Not Advocate Smoking, I DO Advocate Samuel Beckett, particularly Wating For Godot

Hello everyone, and welcome to Theater is a Sport.  I am your host.  My name is Bobby Keniston, and I will be your host on this blog. That's right, I'm your host.  (repetition is key in so many things)  If you're worried about reading a blog about theater by some random guy , I will happily tell you that I have been a lifelong student of theater, in acting, directing and playwriting.  In fact, I'm a playwright with over 20 published titles (please don't feel bad if you haven't heard of me). 

Judging by the title of this post, and the picture of Mr. Samuel Beckett, I am sure you clever folks must know that today's post is about the Theatre of the Absurd.  What it is, some of the biggest names involved, and, really, why I like it so much.  You might even say I love it.  Well, not all of it, of course, but, if I were forced to choose my favorite type of theatre, I mean, was literally FORCED, I would probably answer Theatre of the Absurd.  A big reason will become clear from the pictures of people you will see throughout this post, including Mr. Beckett above, and this fellow below:

Harold Pinter, Nobel Laureate in Literature, and, on some days, my favorite playwright (and in my top five on all days)

Let's start off simply enough with a definition:

THEATRE OF THE ABSURD:  
Theatrical movement beginning in the 1950s in which playwrights created works representing the universe as unknowable and humankind’s existence as meaningless.

Of course, origins of Theatre of the Absurd date back before the 1950s, even all the way back to the tragicomedies of Elizabethan Theatre.  In fact, the mode, or "genre" (for lack of a better word) of most Absurdist plays is tragicomedy.  To quote the play Endgame by Mr. Beckett, "Nothing is funnier than unhappiness.... it's the most comical thing in the world".  Arthur Kopit's 1964 Absurdist masterpiece (at least a masterpiece in my opinion)  Oh Dad, Poor Dad, Mamma's Hung You in the Closet and I'm Feeling So Sad, is subtitled as A Pseudoclassical Tragifarce in a Bastard French Tradition, and that is certainly a dark comedy that achieves a sense of tragedy as well. 

And, yes, Theatre of the Absurd began as a French movement. 

Okay, let's look at some characteristics of Theatre of the Absurd:

---  Theatre of the Absurd, as mentioned before, puts into question the meaning of humankind's existence, and often finds that there is absolutely none.  Building on this point, Theatre of the Absurd often presents a protagonist who is almost a puppet to some unseen force, with no control whatsoever to the world around him (forgive the pronoun). 

---  Because life is not backed by any sense of meaning, in the Theatre of the Absurd, logical communication ceases to exist, leading to a complete breakdown of communication and, well, eventually and inevitably, silence.  A simpler way to say this is that many playwrights dipping into the Absurd will play with language a great deal.  One need only to the character Lucky in Waiting for Godot for an example of communication going completely haywire.  Mr. Pinter, who, as I mentioned, is a favorite of mine, says so much in his pauses.  I don't know if there is a playwright who uses ellipses (...) as well as he does. 

--- Some Theatre of the Absurd almost actively wants to parody the notion of what constitutes as a well-made play.  Look at Eugene Ionesco's The Bald Soprano, which he called "an anti-play".  In fact, why not take a look at this picture of Mr. Ionesco:

Mr. Ionesco, no doubt on the lookout for a charging rhinoceros

--- A good deal of Theatre of the Absurd mixes a kind of interesting stew of broad comedy, even Vaudevillian or slapstick (see Waiting for Godot--- Beckett loved Vaudeville), and mixes it with horrific things and tragedy.  After all, in a world without meaning, there is bound to be severe tonal shifts, wouldn't you say?

--- Many Absurdists plays may have a cyclical nature, in some ways representing the idea of humankind making the same damn mistakes over and over again. 

---- Big old wordplay.  Some of my favorite comes from Tom Stoppard in Rosencrantz and Guildenstern are Dead, like their wonderful game of questions or referrng to England as "a conspiracy of cartographers". 

Why do I love the Theatre of the Absurd?   Look, I'm not a literary critic, I just know what I like, and largely, what I like are things that effect me viscerally.  Things I feel deep in my bones and that stay with me long afterwards.  There are many types of plays and musicals that do this for me, but, the largest percentage is represented by the Theatre of the Absurd.  I dig it when I go from laughing to being shocked.  I enjoy having to think about why something is making me feel the way it does.  I like the bold audacity that is represented in so many Absurdist works.  And, truly, I like playwrights who ask the big questions and aren't afraid of not giving answers (because, well, to the really big questions, there aren't any). 

Here is a partial list of some of my favorite Absurdist plays that I recommend to anyone and everyone (no particular order, just as I think of them) :

Waiting for Godot by Samuel Beckett
Happy Days by Samuel Beckett
The Caretaker by Harold Pinter
A Slight Ache by Harold Pinter
The Dumb Waiter by Harold Pinter
The Maids by Jean Genet
A Night Out by Harold Pinter
The Chairs by Eugene Ionesco
The Zoo Story by Edward Albee
Rhionoceros by Eugene Ionesco
Endgame by Samuel Beckett
The Homecoming by Harold Pinter
Rosencrantz and Guildenstern are Dead by Tom Stoppard
Exit the King by Eugene Ionesco
The Killer by Eugene Ionesco
Amedee or How to Get Rid of It by Eugene Ionesco
Jack or the Submission by Eugene Ionesco
Oh Dad, Poor Dad, Mamma's Hung You in the Closet and I'm Feeling So Sad by Arthur Kopit
God by Woody Allen
The Sandbox by Edward Albee
The American Dream by Edward Albee
The Nature and Purpose of the Universe by Christopher Durang
Firebugs by Max Frisch

Okay, so that's only a partial list, but there are plenty more.  That's enough to get anyone interested started, however.

Thanks for checking out my blog today.  Feel free to follow the links below to find out more about me.  In the meantime, life can be absurd, so it's important to remember that theater is a sport.  Bye bye.
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