| Title: | Secretul cadavrului din patul conjugal. Amédée ou Comment s’en débarraser |
| Author: | Matei Călinescu |
| Publication: | Studia Universitatis Petru Maior. Philologia, 4, p. 5-17 |
| p-ISSN: | 1582-9960 |
| Publisher: | Universitatea Petru Maior |
| Place: | Târgu Mureș |
| Year: | 2005 |
| Abstract: | The author questions in the paper whether there is any connection between the play Amédée ou Comment s’en débarraser and Ionesco’s identity problems. The answer is yes, rather indirectly and ambiguously. It may be a positive answer, but without a certain resolution of these possibilities. It is known that Amedee declines his identity under various circumstances: it is not about me, he says, I am not me, what is happening is against my will. An uncertainty of the identity (due to the amnesia Amedee is suffering of) is invoked in the play, almost always in a defensive manner. The ethnic identity of Biccinioni is uncertain, although he argues that a third of the citizens of Paris have the same name he does. Eventually, if he does not decline his identity, he declines his responsibility. “Je suis une autre” say, in some form, several main characters from the previous plays, to which Amedee answers like an echo. This identity uncertainty, if it can’t be decided in one way or the other, is a distinctive feature of a type of character from Ionesco’s theatre. It is an uncertainty we cannot find in other contemporary playwrights. Drawing attention on it, we are not suggesting a precise interpretation, only that we must be aware of it. The Romanian identity of the author is, in this weak and remote play, like an echo that is hardly heard and one cannot tell exactly the direction it is coming from. |
| Language: | Romanian |
| Links: |  pdf  html |
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