Frases de Eugéne Ionesco

Eugéne Ionesco photo
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Eugéne Ionesco

Data de nascimento: 26. Novembro 1909
Data de falecimento: 28. Março 1994

Eugène Ionesco foi um dos maiores patafísicos e dramaturgos do teatro do absurdo. Para lá de ridicularizar as situações mais banais, as peças de Ionesco retratam de uma forma tangível a solidão do ser humano e a insignificância da sua existência.

Filho de pai romeno e mãe francesa, Ionesco passou a maior parte da infância na França, mas no princípio da adolescência regressou à Roménia onde se formou como professor de francês e casou em 1936. Em 1928, na Universidade de Bucareste, conheceu Emile Cioran e Mircea Eliade, e os três tornaram-se amigos de toda a vida.

Regressou à França em 1938 para concluir a sua tese de doutoramento. Apanhado pela eclosão da guerra, em 1939, Ionesco permaneceu em França, acabando por revelar-se escritor de talento. Foi eleito membro da Académie Française em 1970.

Morreu aos 81 anos e está sepultado no Cemitério do Montparnasse, em Paris.

Obras

Rhinoceros
Eugéne Ionesco

Citações Eugéne Ionesco

„O fato de sermos habitados por uma nostalgia incompreensível seria mesmo assim o sinal de que existe um além“

—  Eugéne Ionesco

Le fait d'être habité par une nostalgie incompréhensible serait tout de même le signe qu'il y a un ailleurs
Notes et contre-notes‎ - Página 18, Eugène Ionesco - Gallimard, 1966 - 378 páginas

„O homem superior é aquele que cumpre sempre o seu dever“

—  Eugéne Ionesco, Rhinoceros

L'homme supérieur est celui qui remplit son devoir.
Théâtre: Rhinocéros ; Le piéton de l'air ; Délire à deux ; Le tableau ...‎ - Volume 3, Página 13, Eugène Ionesco - Gallimard, 1963

„Ideologias nos separam, sonhos e angústias nos unem“

—  Eugéne Ionesco

Les idéologies nous séparent, les rêves et les angoisses nous rapprochent.
Criminal Minds, 1a. temporada, episodio 10 http://www.seriessub.com/blog/criminal-minds/?title=title_34&more=1&c=1&tb=1&pb=1
Atribuídas

„Sendo o cômico a intuição do absurdo, ele afigura-se-me mais desesperante do que o trágico“

—  Eugéne Ionesco

Le comique étant l'intuition de l'absurde, il me semble plus désespérant que le tragique.
Le tragique et le comique dans le théâtre de Eugène Ionesco‎ - Página 16, Magdel Schenk - Dept. of French and Italian, 1965 - 230 páginas

„Só as palavras contam; o resto é tagarelice“

—  Eugéne Ionesco, Rhinoceros

il n'ya que les paroles qui comptent, le reste c'est du bavardage
Théâtre: Rhinocéros ; Le piéton de l'air ; Délire à deux ; Le tableau ...‎ - Volume 3, Página 268, Eugène Ionesco - Gallimard, 1963

„Mergulha, sem limites, no espanto e na estupefação; deste modo podes ser sem limites, assim podes ser infinitamente“

—  Eugéne Ionesco

Plonge dans l'étonnement et la stupéfaction sans limites, ainsi tu peux être sans limites, ainsi tu peux être infiniment.
Le roi se meurt‎ - Página 83, Eugène Ionesco - Gallimard, 1963 - 157 páginas

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„Querermos ser do nosso tempo é estarmos já ultrapassados“

—  Eugéne Ionesco

Vouloir être de son temps, c'est déjà être dépassé.
Notes et contre-notes‎ - Página 293, Eugène Ionesco - Gallimard, 1966 - 378 páginas
Variante: Querer ser do seu tempo é estar, já, ultrapassado.

„Devemos escrever para nós mesmos, é assim que poderemos chegar aos outros“

—  Eugéne Ionesco

Il faut écrire pour soi, c'est ainsi que l'on peut arriver aux autres
Notes et contre-notes‎ - Página 197, Eugène Ionesco - Gallimard, 1962 - 248 páginas

„Pensar contra o nosso tempo é um acto de heroísmo. Mas dizê-lo é um ato de loucura“

—  Eugéne Ionesco

Penser contre son temps c'est de l'héroisme. Mais le dire, c'est de la folie
Three plays: La Canntatrice chauve, La leçon, Les chaises‎ - Página 15, Eugène Ionesco - Heinemann, 1965 - 165 páginas

„The more you make revolutions, the worse it gets.“

—  Eugéne Ionesco

The Paris Review interview (1984)
Contexto: The French Revolution liberated people from the power of the aristocrats. But the bourgeoisie that took over represented the exploitation of man by man, and had to be destroyed—as in the Russian Revolution, which then degenerated into totalitarianism, Stalinism, and genocide. The more you make revolutions, the worse it gets. Man is driven by evil instincts that are often stronger than moral laws … there is a higher order, but man can separate himself from it because he is free — which is what we have done. We have lost the sense of this higher order, and things will get worse and worse, culminating perhaps in a nuclear holocaust — the destruction predicted in the Apocalyptic texts. Only our apocalypse will be absurd and ridiculous because it will not be related to any transcendence. Modern man is a puppet, a jumping jack.

„It won’t matter to me at all whether the Church canonizes him or not. The important thing is that such a man existed.“

—  Eugéne Ionesco

The Paris Review interview (1984)
Contexto: It’s a play about the life and martyrdom of a modern saint, who has just been canonized by the Church — or is it beatified? Which comes first? I’m not sure. Anyway, his name was Father Maximilian Kolbe, a Pole, and he died in Auschwitz. They were going to send some prisoners to a mine, where they would die of hunger and thirst. Father Kolbe offered to go instead of a man who had a wife and children and didn’t want to die. That man is still alive. … It won’t matter to me at all whether the Church canonizes him or not. The important thing is that such a man existed.

„They are miserable and they don’t know why. They are puppets, undone. In short, they represent modern man. Their situation is not tragic, since it has no relation to a higher order. Instead, it’s ridiculous, laughable, and derisory.“

—  Eugéne Ionesco

The Paris Review interview (1984)
Contexto: I found ancestors, like Shakespeare, who said, in Macbeth, that the world is full of sound and fury, a tale told by an idiot, signifying nothing. Macbeth is a victim of fate. So is Oedipus. But what happens to them is not absurd in the eyes of destiny, because destiny, or fate, has its own norms, its own morality, its own laws, which cannot be flouted with impunity. Oedipus sleeps with his Mummy, kills his Daddy, and breaks the laws of fate. He must pay for it by suffering. It is tragic and absurd, but at the same time it’s reassuring and comforting, since the idea is that if we don’t break destiny’s laws, we should be all right. Not so with our characters. They have no metaphysics, no order, no law. They are miserable and they don’t know why. They are puppets, undone. In short, they represent modern man. Their situation is not tragic, since it has no relation to a higher order. Instead, it’s ridiculous, laughable, and derisory.

„No society has been able to abolish human sadness, no political system can deliver us from the pain of living, from our fear of death, our thirst for the absolute. It is the human condition that directs the social condition, not vice versa.“

—  Eugéne Ionesco

"A Reply to Kenneth Tynan: The Playwright's Role" in The Observer (29 June 1958)
Contexto: I believe that what separates us all from one another is simply society itself, or, if you like, politics. This is what raises barriers between men, this is what creates misunderstanding.
If I may be allowed to express myself paradoxically, I should say that the truest society, the authentic human community, is extra-social — a wider, deeper society, that which is revealed by our common anxieties, our desires, our secret nostalgias. The whole history of the world has been governed by nostalgias and anxieties, which political action does no more than reflect and interpret, very imperfectly. No society has been able to abolish human sadness, no political system can deliver us from the pain of living, from our fear of death, our thirst for the absolute. It is the human condition that directs the social condition, not vice versa.

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