E. Ionesco - representative of the French "theater of the absurd"

When the Second World War died down, people all over the world began to wonder how it could turn out that fascism arose in the middle of civilized Europe. Most of all, humanity was worried about the question of how smart, educated and kind people allowed the extermination of millions of fellow citizens for the sole reason that they were of a different origin.

One of the first attempts to explain similar movements was made by Eugène Ionesco. "Rhinos" (in another translation "Rhinoceros") is a play in which he described the mechanism of the emergence of an alien phenomenon in society, which is gradually becoming the norm.

Biography of Eugene Ionesco

The playwright was born in Romania in 1909, as his father was from there, and his mother was French. Since childhood, the boy spoke several languages, including French. With the beginning of World War I, relations between the boy's parents deteriorated, and they broke up. The mother took the children and left for her homeland, in France.

When Eugene Ionesco grew up, he tried to live with his father in Romania. Here he entered the University of Bucharest, planning to teach French. But in 1938 he returned to his mother's homeland and stayed in Paris forever.

Ionesco wrote his first poems in and over the years of his life in Romania he began to forget French, so that, returning to France, he had to re-learn his second native language.

Becoming a playwright

Even while studying in Bucharest, Eugene saw the emergence of the popularity of pro-fascist movements. However, to the playwright himself, this enthusiasm of others seemed wild, and later this experience became the theme of Rhinos and his other works.

Returning to Paris, Ionescu writes a dissertation on Charles Baudelaire, and is also actively engaged in writing his own works. Ionesco was most famous for his plays, but he also wrote short stories and essays.

As a playwright, Eugene made his debut in 1950 with the play The Bald Singer, which he wrote under the influence of a self-taught book. in English. It was this work that became a classic example of the "theater of the absurd" - literary direction, which Ionesco adhered to in his work.

Eugene Ionesco died in March 1994. The most popular among creative heritage Ionesco's plays Rhinoceros, The Bald Singer, Chairs, The Disinterested Assassin, Macbeth, Air Passage and others.

The origins of the play "Rhino" ("Rhinoceros")

After the success of his first play, the playwright actively honed his ability to write in the genre of absurdity and paradox. Denying realism theatrical productions, he believed that it was necessary to return to the origins, when all the plays were full of hidden symbols and half-hints. In the late fifties, when Europe was slowly recovering from the war, many began to think about the reasons for the emergence of fascism, fearing a repetition of such a tragedy. Being an opponent of any totalitarian system since the time of studying in Romania, Eugene Ionesco was more familiar with this topic than anyone else. "Rhinoceros" ("Rhinoceros") - that was the name of his new play, published in 1959. In the same year, it was staged at the Dusseldorf Theater.

Eugene Ionesco "Rhinos": a summary

The play consists of three acts. In the first, near the cafe on the square, two comrades, Jean and Beranger, sit down. Jean reprimands his friend, who, apparently, drank a lot yesterday and has not yet had time to recover. Suddenly, a rhinoceros runs past them. Everyone around is scared and discussing this out of the ordinary event, expressing their indignation. Only Berenger is indifferent to everything, until the charming Daisy enters the cafe, with whom the man is in love. In the meantime, Jean reads him a moral about the right way of life and in the end Béranger agrees to dedicate the evening to cultural development.

Suddenly, a rumble is heard and it turns out that the rhinoceros has just crushed the owner's cat. Everyone is arguing about how many rhinos there were and what they looked like. Berenger unexpectedly declares that nothing could be seen in the dust that the running rhinoceros raised. Jean takes offense at him, insults him and leaves. A frustrated man orders a drink and decides to abandon the planned cultural program.

The second act of Ionesco's play "The Rhinoceros" takes place in the service of Beranger in the office.

Here everyone is actively discussing rhinos and the inexplicable increase in their number. They argue, quarrel, express different opinions, until they realize that their colleague Beth never showed up for work.

Soon his wife comes and tells them with horror about the loss of her husband, and after her a giant rhinoceros comes running. Suddenly, Madame recognizes him as her husband, and the beast answers her call. Sitting on his back, she leaves for home.

Daisy calls the firemen to help the office workers downstairs, as Beth the rhinoceros has broken the stairs. It turns out that there are already a huge number of rhinos in the city, and their number is growing.

One of Dudar's workers suggests that Berenger go for a drink together, but he refuses, as he decides to go to Jean and make peace with him.

Arriving at a friend's apartment, Berenger sees that he is unwell. Gradually, almost before the eyes of the hero, his friend turns into a rhinoceros. A frightened man calls his neighbor for help, but he has already become a beast. Glancing out the window, Berenger sees that many rhinos are already destroying benches in the street. Terrified, he runs to his house.

The third act of Eugene Ionesco's play The Rhinoceros takes place in Béranger's apartment.

He feels sick, and his colleague Dudar comes to him. During the conversation, Beranger always seems to be turning into a rhinoceros. This scares him terribly. However, the visitor reassures the man, saying that this is normal, because rhinos are quite cute, although slightly uncouth creatures. It turns out that many respected residents of the city, in particular the Logic, have long become rhinos and feel great. Béranger is horrified that such a noble and sensible citizen would choose such a path.

Meanwhile, Daisy comes running to the apartment. She informs the men that their boss has also become a rhinoceros, to keep up with this now fashionable phenomenon. Béranger muses that rhinos can somehow be isolated from humans to stop their population growth, but the guests convince him that rhino relatives will be against it, as well as animal rights activists.

Dudar is clearly sympathetic to Daisy, however, he is jealous of her for Beranger, so he leaves his interlocutors and turns into a rhinoceros voluntarily.

Daisy and Beranger, who are left alone, are frightened, as the roar of animals is heard from everywhere, even on the radio. Soon the girl changes her mind, deciding that rhinos are worthy of respect and, having received a slap in the face from the indignant Beranger, goes into the herd.

The man is left alone, he ponders whether he needs to be a rhinoceros. As a result, he is looking for a gun, preparing to defend himself to the last.

The protagonist of the play is Beranger

All the action taking place in Ionesco's play "The Rhinoceros" is centered around Beranger.

Against the background of other respectable residents of the town, he seems like an outcast. Untidy, unpunctual, often talking out of place, others, even best friend Jean. In doing so, he does absolutely no harm to anyone, except perhaps to himself.

However, as the action develops, it turns out that Beranger's main fault is only that he does not strive to comply with generally accepted norms or fashion. So, when everyone in the cafe is busy watching rhinos, a man thinks about his girlfriend. In addition, he does not try to lie in order to join the team, and accidentally exposes others in lies.

Unlike the rational inhabitants of the city, Berenger lives by feelings. He is in love with Daisy and because of her does not notice the surrounding problems. In addition, a man who clearly looks like an alcoholic appreciates friendship much more than Jean, who is correct in all respects. After all, in order to make peace with him, Berenger refuses even to go out for a drink.

Another difference is the feeling of inferiority. When everything is still calm in the city, the hero looks unfavorable against the background of those around him. And when all the inhabitants, for various reasons, become animals, refusing to become a rhinoceros, Beranger again feels different from everyone else.

Eugene Ionesco "Rhinos": analysis

If today the style of the play and the ideas expressed in it look ordinary, then at the time of its appearance in the sixties it was something new, standing out.

This was facilitated by the fact that this play included all the features of the theater of the absurd, which were distinguished in this direction by Eugene Ionesco ("Rhinos"). Critics received the play positively, in particular, they considered this work to be anti-fascist. However, the author himself reacted negatively to such an interpretation of his work, arguing that his ideas were much broader, but everyone is free to interpret them at their own discretion.

In his work, the writer actively protested against any totalitarian ideas that turn people into a submissive gray mass, destroying individuality.

In this play, such features of the theater of the absurd as the denial of realism are clearly traced - all events seem fantastic and meaningless. Spectators and readers understand what happened, but why people suddenly began to turn into rhinos (punishment for sins, UFO tricks or something else), no one knows.

Rational, pragmatic thinking, which Ionesco considered the cause of all problems, is also criticized in the play. Beranger's only irrational character remains immune to a strange disease that turns people into rhinos.

Interestingly, in his play, Eugene Ionesco described all the stages of the technology of legalizing any phenomenon alien to society, which was formulated and called the Overton window only in the nineties of the twentieth century. According to her, any idea, even the wildest, for example, cannibalism, can be accepted by society as a norm, having gone through six stages: unthinkable, radical, acceptable, reasonable, standard and normal.

Stage fate of the play

After his magnificent performance in Parisian theater"Odeon" in 1960, the drama "Rhinos" was staged in many countries of the world. The play was initially perceived as anti-fascist, so at the premiere some of the characters were dressed in German military uniforms. But over the years, her perception has changed, and new directors have used other techniques to convey their vision.

Rhinoceros has been staged on most of the most famous stages in the world, and the greatest actors of theater and cinema have been honored to play in this play. For the first time, the role of Beranger was played by the French actor Jean-Louis Barrot. Later this character was played by such famous artists like Victor Avilov, Laurence Olivier, Benedict Cumberbatch and others.

The fate of the Rhinos in the USSR

Having become a recognized anti-fascist work, after the premiere, Rhinos appeared in the USSR only five years later. The play was published in Foreign Literature. But it was soon banned, as the ideas expressed in Rhinos criticized communism and socialism. However, this did not prevent the spread of the play. Her text was copied, reprinted and passed from hand to hand. And the ban added unprecedented popularity to this work.

In 1982, the play was staged by one of Moscow's amateur theaters. However, almost immediately after the premiere, the performance was closed, and they were not allowed to stage it until Perestroika. However, after Gorbachev came to power, the Rhinos began their victorious march through the best stages of the USSR, and then Russia.

Quotes from Rhinos

One of the integral elements of the theater of the absurd Ionesco considered a play on words. "Rhino" (quotes below) contained a lot of verbal paradoxes. For example, thinking Logic about a cat.

Or a small dialogue about children:

- I don't want to have children. Such a bore.
How are you going to save the world then?
"Why do you need to save him?"

Also deep are the thoughts of the heroes about the truth: "Sometimes you do evil by accident, not wanting it at all, or you inadvertently encourage it."

More than fifty years after its premiere, Ionesco's play "Rhinos" still does not lose its relevance and is staged in many theaters around the world.

E. Ionesco's play "Rhinos" is unusual in form, plot, although it is completely understandable from the point of view of characters. And this is not surprising, because it is absurd. It is the absurdity and humor of the plot that carry the idea of ​​\u200b\u200bvictory over fear of society, the state, and people. All these phenomena impose their own rules, their will on a person, turning a person into a puppet. This seems to the protagonist of the play absurd, meaningless, which we already see in the first scenes. This explains his appearance, and his clothes, and behavior.

Everyone is shaking with their fear and loneliness as best they can: someone avoids society, someone adapts, and someone opposes it.

In "Rhinoceros" we see the drama of the loneliness of a man who is faced with social mechanisms. Rhinos are multiplying, and Berenger feels himself squeezed by them from all sides. He himself remains among the rhinoceroses in an enemy world for him, however, he is not going to change and capitulate. For a moment, he seems to be weakened, looking at the heads of rhinos. He thinks they are beautiful. Maybe this is the way out: to become, like everyone else, a rhinoceros? But he discards this thought: “My conscience was not clear, it was necessary to go after them in a timely manner. And now it's too late!

Too bad I won't be a rhinoceros someday. This is the meaning of what is happening: the normal and the abnormal are reversed. Berenger understands this and bitterly says: “Woe to those who want to preserve their originality!” But at the same time, he resolutely cries out: “I will go against everyone!”

He is not going to attack, but defends his right to remain a man: “I will fight against everyone! I am the last and will be until the very end. I will not Give Up!" This last words plays. And it was Berenger who gave these words. Since the essence of this resistance lies in the realization of a person's right to be an individual, a person. To be not like everyone else is a sacred human right in every society, where a person is recognized the right to freedom, to free choice.

A significant contribution to the development of the "theater of the absurd" was made by the Romanian playwright E. Ionesco.

"He always remained a poet, because his loneliness was besieged tragic images. His theater is filled with symbols, but the image has always preceded the meaning."

The French writer J. Gauthier called him "not a poet, not a writer, not a playwright at all, but a prankster, a hoaxer, a talker and a liar."

The Bulgarian writer A. Natev attributed Ionesco's success to ingenuity and self-promotion.

G. Boyadzhiev wrote that the goal of E. Ionesco "is to cynically laugh at a person ... to pull it out of modernity .... to kill the social principle in it, drag it into darkness .... And leave it alone with animal instinct."

The French playwright Eugene Ionesco was born on November 26, 1909 in the town of Slatina, not far from Bucharest. His father was Romanian, his mother was French. In 1913, the family moved to Paris, with whom E. Ionesco Sr. pinned hopes for a successful legal career. After 2 years, leaving his wife with two children, he returned to Romania, where he began to practice as a lawyer, and after a while he got new family. The care of the first family fell on the shoulders of the mother, who was forced to take on any job in order to feed the children. Mother became for Ionesco the prototype of human loneliness.

But, despite the difficulties, childhood left in his memory the impression of a continuous holiday - "holidays for no reason" “This,” Ionesco later recalled, “is the time of miracles or the miraculous; as if a shining, brand new and completely strange world. Childhood ended the moment things stopped being weird. As soon as the world began to seem familiar to you, as soon as you get used to your own existence, you became adults." The farm "Mill" in the area of ​​La Chapelle-Anthenaise, where he spent two years, from 1917 to

1919. Enjoying the "absolute" fullness of life, he felt himself the center of the universe, unchanging and eternal. Here, wanting to somehow return the "lost paradise", he visited and during adult life. One of these trips was connected with the filming of a film based on autobiographical novel"Lonely", where the author played the role of the protagonist.

The "feast of childhood" ended in 1922, when Eugene and his sister moved to Bucharest. Life in the capital of Romania was overshadowed by constant conflicts with his father - a selfish and despotic man who constantly interfered in the affairs of his son. However, to the thirteen years spent on Romanian soil, the writer owed both all his creation and attraction to another cultural tradition, and the first steps in the literary field.

A visit to the Bucharest Lyceum required him to seriously study the English language, which by that time he practically did not know. As he immersed himself in the elements of the new language, the young man became more and more distant from his native language, so that by the end of his stay in Romania he forgot how to write literary language. Another advantage of studying at the Bucharest Lyceum was the acquaintance of the future playwright with a different political and educational system, which provided him with strong immunity against any ideology. The writer ironically: "As a child, I experienced a great shock. In France, in a rural school, I was taught that French, which was my native language, best language in the world, and the French are brave, they always defeated their enemies. In Bucharest I learned that my language is Romanian, that Romanians have always defeated their enemies. For this, it turned out that not the French, but the Romanians are the best. It is a great happiness that I did not end up in Japan in a year."

1929 Eugene entered the University of Bucharest, where, against the will of his father, who wanted his son to become an engineer, he studied French literature. Started publishing as a student. The collection of elegies, published in 1931 and written in Romanian, was the first and last publication of poetic experiments. During university time, E. Ionesco spoke as literary critic. Among the works of that time, two essays stood out, in one of which the author defended the importance of Romanian literature, and in the other, on the contrary, he reproached her for being secondary. The result of the activity of the young critic was a book of articles, published in 1934 under the title "No".

Finding a doctoral dissertation to write in Paris on "Sin and Death in French literature after Baudelaire", the writer hastily left Bucharest. However, he spent ten years wandering between the two homelands.

"The 75-year-old playwright," wrote the Austrian writer Gerhardt Roth, "lived in the Swiss town of St. Gallen. Once he made an appointment with me at a local printing house, where he painted pictures from time to time for ten years. Printing house - divided by room partitions, paved with lime and illuminated by neon.On the walls - bright pictures Ionesco, reminiscent of funny children's drawings. The playwright himself - in a stained blue dressing gown - was sitting in front of the cups of paints. He said that he liked to work in the printing house under the rhythmic roar of the machine next to the workers, because he could not stand being alone. And he added that he loves life very much, loves people, but with his creativity he approached the border of Silence.

All the works of E. Ionesco are complex and incomprehensible, full of philosophical problems.

The appearance of the "Bald Singer" became a new period of life, filled with professional literary work. She was followed by works that glorified the aesthetics of the "theater of the absurd": "Lesson" (1950), "Chairs" (1951), "Victims of Duty" (1952), "Etude for Four" (p. 50s), "disinterested killer" (1957), "Rhinoceros" (1959), "Air Pedestrian" (1962), "The King Dies" (1962) and others.

The play "Bald Singer" is a sharp parody of an artificial language in which manuals were written for those who studied foreign languages, caused a 1950 shock among the Parisian public. The author immediately became famous as the most exponent of the "theater of the absurd". The dialogues in The Bald Singer are an exchange of banalities, phrases devoid of meaning. What was hidden under the surface of life - the emptiness of everyday existence, isolation, alienation of a person in everyday life, where existence turns into a mechanical, automated, meaningless - was supposedly displayed on the surface of the very absurdity of the language, the structure of the play.

The next play, The Lesson (1951), is a satire, a climactic act of rudeness.

"Chairs" (1952) is a tragic farce about an elderly couple who were waiting for visitors who would never come. Here, by focusing on objects, attention was focused on the process of dehumanization modern life. The playwright, according to him, portrayed the situation of dying, when the world disappeared. Empty chairs - stage metaphor. She connected the classical existential Nothing with the known existential state of the soul. In addition, since empty chairs seemed to be filled with welcome visitors, this is also a metaphor for illusions with which a person filled the emptiness of being, a metaphor for life pride.

In "Aerial Pedestrian" main character- the creator of Beranger's plays - in the afternoon unexpectedly took off above the ground. The range of sensations that arose during this "air" walk, resurrected the mention of his own "flights". This is a symbolic moment, because the flight of Beranger is a symbol of that spiritual upsurge, at the moment of which the world was reborn, becoming affectionate and bright, and a person free from the nausea of ​​life and the fear of death. The flight revived the child in Beranger, revealing in him the unity of fullness and lightness.

In the play Victims of Duty, which Schubert took an unusual walk - he paved the way both to the top and into the abyss. But even at the bottom of the abyss, the hero found a "miracle" - a fireworks palace, surrounded by fabulous flowers and cascades of streams that shimmered.

The plot in the drama "The King Dies", according to the playwright, woven from his own experience, has become a "practical course of death." At the beginning of the work, King Beranger the First, informed that he would die at the end of the play, said timidly: "I will die when I want. I am the king and I decide." And in last picture he, like an exemplary disciple, gave himself up to death. There were two women in his life: Maria and Margarita. Beloved Mary supported the fading fire of life in the kings. Margarita, on the contrary, with the indifference of a midwife, "cut the umbilical cord" that connects Beranger with the world. In the struggle of two wives for the soul of Beranger, the Freudian duel of the deepest principles of the personality - Eros and Thanatos, was traced, without a conscious desire for love and death.

In other plays, E. Ionesco ridiculed the values ​​of married life, the conflicts that arose between parents and children.

Demand for the artist's dramas grew at home and abroad. The author received numerous awards, in 1971 he was elected a member of the French Academy.

In addition to three dozen plays, Ionesco's literary heritage included prose (collection of stories "The Photograph of a Colonel" (1962), novel "Lonely"), diary notes "in the spring of 1939", essays, articles, speeches. But nevertheless, the central place in his work Yosko, by right, belonged to dramaturgy. The death of the artist in 1994 to a certain extent became the final feature of an entire era in the development of world theater.

His plays differed significantly from the works of other actors in the "theater of the absurd". Individual style dominants of E. Ionesco's creativity:

o tragic farce;

o phantasmagoric;

o simultaneity and overlapping of two or more dialogues with their combination in certain places into one meta-dialog;

o art is extremely cold and indifferent to a person;

o stimulating the activity of viewers only to solve their own puzzles, riddles, the vague metaphorical nature of the system, which provided for a plurality of interpretations;

o absurd situations as a way of organizing artistic material;

o lack of characters with believable behavioral psychology;

o uncertainty, facelessness of the place of action of the works, violation of the temporal sequence;

o using the technique of simultaneous deployment of two, three, and sometimes more dialogues, absolutely distant on the topic of conversation, which coincided in certain places;

o important problems - love, death, surprise, delirium;

o the desire to deprive their "heroes" of any hint of their own psychology, to make them interchangeable, characters without characters, puppets, models, "the archetype of the petty bourgeoisie";

o heroes are conformists who existed under all conditions, at any time, under any power. They moved, thought, felt together.

The dominant place in the work of E. Ionesco belonged to the play "Rhinos".

In the society of the 20th century, whole mechanisms of influencing human consciousness have been developed in order to control humanity, manipulate it, turn people into obedient puppets. That is why at the present time there is a need to protect human individuality, to warn about the threats that awaited a person. The spirit of collectivism invariably acted in one direction: it opened the personality in the element of the impersonal, killed the individuality, and, therefore, the person. This is how - in close connection with the loss of human appearance - the phenomenon of mass depersonalization society in the play "Rhinos". The play is permeated with criticism of deindividualization, automatism, conformism, philistinism and, at the same time, deep pain for a person and his inner world.

The fantastically absurd plot of the wholesale transformation of people into rhinos, however, had a very real root in political life Europe in the 30s. In the preface to the drama, E. Ionesco noted that the impetus for writing it was given by the impression of the French writer Denis de Rougemont, which he brought from a Nazi demonstration led by Hitler in Nuremberg in 1936. “Denis de Rougemont,” the playwright said, “saw this crowd, which was gradually captured by some kind of hysteria. From afar, people in the crowd, like crazy, shouted out the name of this scary person. Hitler was approaching, and with his approach, a wave of this hysteria was growing, which captured more and more new people. "This eyewitness account really contained the germ of the Rhinos content. Two main thematic plot lines of the play were recognized in it - the development of collective hysteria (in drama - epidemic "rhinocerosity") and the irrational resistance of a loner to mass psychosis (in the drama he was embodied in the image of Beranger).

However, in addition to the eyewitness account, the impetus for writing the drama "Rhino" was an episode from the life of the author himself. He witnessed the mass hysteria at the city stadium during Hitler's speech and nearly suffered it himself. What he saw caused the playwright to think deeply. Of course, those in the stadium, first of all, the Nazis, for whom everything that Hitler said was their conviction, a fanatical faith. But the majority, of course, are temporarily blinded people who were simply used, "raping" their consciousness.

Thus, the drama "Rhinos" is a work, first of all, anti-fascist, Antinous-cyst. According to Ionesco himself, as a witness to the birth of fascism in Romania in the 30s, he really sought to describe the process of pacification of the country.

“I am amazed by the success of this play,” the playwright shared his doubts, “do people understand it the way they should? soul, the one and only? "

E. Ionesco called his play "Rhinoceros" a tragic farce. It was with the help of farcical means and techniques that the playwright emphasized the tragic meaning of existence. The main tool - tragicomic grotesque, at the same time emphasized the meaning of the terrible phenomenon and exposed the comically absurd rice (turning people into rhinos).

The play consisted of three acts. In the first act, the events took place in Europe, in a provincial French city, in which "there was not even a zoo." One day, incomprehensible terrible metamorphoses began to occur here: people turned into rhinoceroses, thick-skinned, indifferent, self-confident, aggressive. At first, the concern of some residents is noticeable. As always, journalists were the first to worry. People, hiding from problems, did not think about how to prevent trouble, but had discussions about the type of rhinoceros - whether it is African or Asian.

In the second act, the situation became more complicated: there was a threat of mass rhinoceros, some of Beranger's employees became rhinos, and then in detail, almost "realistically", the transformations of the second Jean were depicted.

In the third, the absurd situation reached its climax: everyone who surrounded Beranger became rhinos, the roar of rhinos sounded on the radio, their images appeared in the paintings. And here is the culmination and at the same time the finale of the work: the absurd has become the norm, the norm - the absurd. Everyone became a rhinoceros, and only one person remained as he was. And she was not going to change her views, change herself. And it was this choice of hers that brought chaos certain order: the absurdity remained absurdity, the norm - the norm. Beranger retained his human essence, therefore, confirmed the ability of a person to resist evil, in this case- Omasov-nyu. Even if he was left alone, the world order is preserved.

Hidden philosophical problems shone through the visible absurdity in the work:

o a person's ability to resist evil (in this case, masochization)

o the reasons for the onset of people (according to their own conviction, "infected", dragged in by force)

o the human tendency to hide from unpleasant evidence (rhinos are a "myth", "hoax", "illusion").

To understand the versatility of the problems posed in the play, the playwright named Kafka's "Reincarnation" as a literary and artistic source.

The process of "rhinoceros", the transformation of people in the play, went through several stages:

o the appearance of one rhinoceros as a reaction to it from the inhabitants of the city

o the reaction of city residents to a few rhinos as an indisputable reality from which there is no escape;

o epidemic of "rhinosorozhennia" of the majority of representatives of the city, distortion of all norms of morality, ideological positions.

Analyzing the characters, the playwright focused on inner world personality. Depicting the transformations of one of central characters, Zhana, with the help of "rhinoceros" slogans, the author reproduced the dynamics of the growth of the inner monster and its subsequent triumph over the civilized and humane part of the personality. The transformed Jean proclaimed the sad truth - the cult of primordial energy, the beauty of strength, the need to sweep away moral barriers and restore instead of them the "laws of the jungle".

The images in the work carried a certain semantic load. Kan is a snob who unconditionally bowed to fashion, manners, tastes, above all, what was accepted in the aristocratic environment.

Botar is a man who denied everything, a skeptic, did not believe in anything. But such skepticism is not a consequence of beliefs, but a convenient life position: especially not to interfere, not to think about life phenomena. Faced with a negative phenomenon, realizing the danger, such people tried to blame others for everything. Dudar is the antagonist of Botar. He, on the contrary, tried to understand the logic of phenomena, to theorize them. Madam Beth is a manifestation of blind faith in the one you love. The logician is a demagogue in its original, naked form. His expression "All cats are mortal. Socrates is mortal" - has become a formula for any demagogy. Desi is an example of a person who could not resist the power, pressure, to some extent and the attractiveness of the phenomenon, became massive. Having healthy moral inclinations, Desi is still too practical, overestimated the role of strength. Desi insulted Mr. Papillon, caused a depressed state of Dudar, who was secretly in love with her, accelerating their transformation into rhinos.

Thus, E. Ionesco emphasized that certain impressions at the everyday level, for example, unrequited love, also very often influenced a person’s decision to change something in his life.

Thus, only one of the heroes did not succumb to the "rhinoceros". It's Beranger who had steady moral principles, which are undoubted for him, which he believed, even if intuitively, guided not by theory, but by life practice. The hero had a clear mind, not cluttered with scholasticism, divorced from reality. He was not afraid to reason and express thoughts that did not coincide with the thoughts ordinary people, that is, had free and independent thinking. All this made him an individual, although it was very difficult for the hero.

E. Ionesco warned: ""Rhino" is an anti-fascist play, but it is also a play against those epidemics, "dressing up in clothes" of various ideas, without becoming less dangerous epidemic diseases. But like every outstanding work, the play "Rhino" prompted a deeper and broader interpretation of its content, it is at the same time a generalization, an exploration of the programming process, the bombing of any nation of a certain ideological theory. The playwright revealed all the stages of this process from its appearance to the end. So, the work is directed against all types of hysteria, against attempts to masquerade, to deprive a person, although in real life it was very difficult to distinguish truth from demagoguery. By the tone of the play, it was felt that the author perceived this phenomenon not only as a disgrace to the nation, but also as its misfortune, tragedy. And he sought to penetrate even deeper, to the level of ordinary, ordinary person and find the reasons for her inability to resist attempts to influence his mind.

The lives of people were not manifested, but with a respectful glance, they can appear illogical and seem absurd. It is especially hostile, if there are manifestations of a suspenseful life, if a person’s skin is okrema according to the laws of special logic, and in the future, one can go out to be stupid. Globalnі half -first hexperimensti XX Storichchi repeatedly shutdowned the tragedy of the people, the stench was in health on the eyes of the writings, the bachiychi mijahuyuly, the billes of the great, if they didn’t commit it one by one, then they naively sighed and kept saying that all the stinks didn’t know anything and didn’t understand.
Not vipadkovo vinik especially artistic directly, scho having set his respect on the most visible moment of human reason. The theater of the absurd, one of the most beautiful representatives of which is Ezhen Ionescu, destroys the problems of the suspense-philosophical plan, marvels at the world from a new angle of the crisis of dramatic works.
In the theater of the absurdity, those things that you can’t be buti are introduced. , yak, in his own line, is a natural result of a totalitarian suspense system. I don’t have a meaning, like the same: an artistic technique to work with a universal universal. If tsyu p "yesu was put in the first place, more peeps and critics thought that there was something about national socialism, ale Jonescu, asking for a similarly simple clouding. It's better to go about the main causes and principles of contemplating people and about the search for paths of resistance, as in p "yes" I present Beranger - the same way, which spontaneously speaks out against totalitarianism, against collective hysteria and epidemics the author's thought, collective illness.
Nevdaha, that idealist Beranger is not much like a traditional positive hero, but he himself seems to be losing his people. On the cob it is possible that the image is indistinguishable: I don’t declare clear ideas, on the other hand I see other characters, I’m sure, I can’t instill an airy position, just one of the first not safe. the perekonan is more programmatic at first glance, wanting a bunch of "idea" characters to be perekonly looking, so like an intelligent Jean, perekonan, scho "Most people are worthy, like a viconu of their own language" . Not in the middle of them is "Logic, which should be his silologisms to lead with classic logical pardons. In their methods of thought, it is already encoded that it is possible to bring it to be, so illogicality under the mask of logicity. - tse kit) - an image of a similar thought.
Rhinoceroses do not care for bachiti for a long time. Їhnє іsnuvannya zaperechuyut, called "mystification", "propaganda", "ilusion". For Beranger, the stench is a reality that you don't deserve: "Stupid chotirinoge, don't spell a single word! That's fierce...". If the rhinoceroses become rich, other voices of protest begin to sound, that mooning is either declarative or inconsistent.
Jean's words before the transformation of yoga on the creature hang an additional change to the image of "rhinoceroses", not an ideological plan (which is not specified for now), but the principle of setting people up: melt me ​​on the road, I will grow them", "I have a meta, and I'm torn to it". In such an approach, it’s already unhuman.
The other character, slender to the philosophical level, Dudar, asks rhetorically: "Hiba can you know, de evil, and de good?" and eat at the shepherd of the sweet perekonan: why wouldn’t youma reach the great “useful homeland”, if the rhinoceroses have more? "You need to go for an hour," - as if before the transformation to the rhinoceros Botar. "Choose your own reality, how you come," - for the sake of Berenger Desi. Vaughn pronounces to you "Double, without anyone - be happy." But the very test of flowing into the light of the world is to cause it to the point where we start to hoot with rhinoceroses - "For the stink of the people. I am good in their skin."
Beranzhe vvazha, that he himself is not podkuty at philosophy, but he does not care for the heart. І heart appears wise for "reason". The very same tim vіn vіrіznyаєє z svoo otochennya, i zdatnіstі vіdchuvati, svіvchuvati, suzhdeniya allow him to rely on the epidemic. It is not in the form of a formulated idea that Beranger emerges, but his alterations appear to be the strongest. "Ludina is a sight of a rhinoceros!" - to believe wine, and it does not require proof. The people of Tim and Vishcha, who do not build everything in front of you, but are able to speak conscience and mother conscience. Beranzhe ryatuєtsya zavdyaє that, scho steals from itself tsyu zdatnіst.
And having guessed the main essence of Beranger's support, you can understand the author's idea: in order not to allow "mass psychosis", you need to learn to take care of your own people. Create on a similar topic:

Rhinos is a play by Eugene Ionesco. (The common translation of the play's title as "Rhinoceros" contradicts the author's claims that he always meant plural"one-horned" and "two-horned" animals).

The centuries-old history of world literature has not so many works, the heroes and images of which continue to exist beyond artwork, turning into common names or definitions. For European culture of the XX century. such a phenomenon is undoubtedly the play Rhinos by Ionesco. Since its first production, carried out in January 1960 at the Odeon Theater in Paris by Jean-Louis Barrault, and the performances that appeared immediately after it in different countries, the neologism “rhinocerosity” has entered many European languages ​​​​to denote a stupid and unquestioning following slogans imposed on the crowd, contagiousness and contagiousness of totalitarian thinking.

Already recognized, like Beckett, as the master of the "theater of the absurd," Ionesco wrote short stories and plays in the late 50s that differed significantly from his earlier works, such as The Bald Singer, Lesson, and Chairs. In The Unselfish Assassin and Rhinos, a hero appears who confronts the world around him and tries to maintain his human dignity. In the short story "Rhinos" (1957), then in the play of the same name (1959), the writer creates a grotesque image of any kind of fanaticism that deprives a person of the ability to live outside the herd. Everyone turns into a rhinoceros, except for Berenger, regardless of social origin and position in society. The transformation taking place with people is not the result of some deep internal changes. It only brings the outer shell in line with their essence. Precisely because Berenger has always been a stranger, who looked at life differently than those around him, appreciating something different than they do, he is not allowed to become a rhinoceros. What he bitterly regrets at the moment when his beloved Daisy is also in the herd of rhinos. In the short story, the personal drama of the hero takes center stage, the scene of Beranger's farewell to Daisy subtly conveys the despair of a man who is unable to hold on to his dear being. This scene passed into the play, but ceased to determine the overall tone of the work to the extent that it did in the short story.

Having made the scene of action (as in The Disinterested Killer) a provincial town, Ionesco the playwright creates several amusing street scenes in which it is easy to detect the narrowness of interests and the narrow-mindedness of the townspeople who want to be like each other in everything. For them, guided in life only by common sense, Beranger is a failure and an idealist. His antipode Jean is deeply convinced that he is right and constantly teaches Berenger. “A convinced rhinoceros”, he is glad to join the herd life and finally develops a misanthropic theory in front of a friend, no longer hiding stupid cruelty and intolerance behind the integrity of the layman.

By dividing the play into three acts, Ionesco offers a highly symbolic picture of the general oncology. In the first act, the appearance of a rhinoceros in the urban space seems strange. In the second, the action is transferred from the street to the office, and the first to change human form into a rhinoceros are officials, as people who are most unaccustomed to thinking for themselves. In the third act, it becomes obvious that not only those who accept the "system of beliefs" are leaving for the herd, but also those who simply want to be "like everyone else." The play, like the short story, ends with Beranger's monologue full of despair. But it has a motive unbending will a man who decided not to capitulate even if he was alone against everyone.