Le sujet de notre thèse, Le théâtre (néo)-gothique d'Eugène Ionesco propose une nouvelle approche de l'oeuvre ionescienne. Il s'inscrit dans la suite d'une étude de MaryBeth Inverso, The Gothie impulse in Contemporary drama (Michigan, U. M.I. Research Press, 1990) et du livre de Laura Pavel, Ionesco. Anti-lumea unui sceptic 1 l'Anti-monde d'un sceptique (Bucuresti, Para!ela 45, 2002), qui proposen t une filiation entre la dramaturgie de Ionesco, désignée comme étant« (néo)-gothique » et la résurrection des thèmes, de l'atmosphère et des personnages du roman anglais du XVIIIe siècle. Cette optique, totalement novatrice, et n'ayant jamais été dév loppée, renouvelle les études de l'œuvre dramatique ionescienne. La première partie de la thèse, consacrée à la présentation de la littérature gothique, met l'accent sur le contexte historique et culturel de l'apparition du roman anglais du XVIIIe siècle, sa thématique et sa poétique, tout en évoquant la résurrection de ces traits romanesques dans le « théâtre gothique » du X!Xe si èc le. Ensuite, il a été mis en évidence que l'auteur Ionesco a été imprégné du gothique, ce qui se retrouve dans son œuvre théâtrale, comme le défendent des critiques qui la qualifient de « (néo)-gothique ». La seconde partie de la thèse montre comment la dramaturgie d'Ionesco ressuscite le décor gothique et le jeu stylistique entre la lumière et les ténèbres. L'analyse a démontré la présence, chez Ionesco. des personnages tyranniques et de l'atmosphère de terreur, hérités de la création romanesque anglaise du XVIIIe siècle. Quant à ce dernier sujet, une deuxième perspective s'est imposée: l'analyse des enjeux de l'évocation burlesque de la torture et de la monstruosité dans le théâtre ionescien. La troisième partie approfondit la portée du modèle romanesque gothique sur la vision désespérée ionescienne de la nature humaine. Ainsi, on a mis en exergue que l'empreinte « noire », retrouvable dans la dramaturgie ionescienne. pouvait être également identifiée au niveau de l'inconscient de l'homme Eugène Ionesco et de son propre destin, tourm enté par la tyrannie paternelle et par celle de l'histoire oppressive des deux Guerres mondiales. / The subject of our thesis, Eugène Ionesco's the "neo-gothic" theatre, proposes a new vision for Ionesco's literary work. It follows the study written by MaryBeth Inverso, The Gothie impulse in Contemporary drama (Michigan, U. M.I. Research Press, 1990) and the literary work, realised by Laura Pavel, Ionesco. Anti-lumea unui sceptic/ Ionesco. The Anti-world of a skeptical man, which propose a connection between Ionesco's theatre, called "neo-gothic" and the revival of the themes, the atmosphere and the characters of the english novel from the XVIIIth century. This conception, completely innovating, and which has never been tackled, renews the studies dedicated to Ionesco's theatre. The first part of our thesis, devoted to the presentation of the gothie literature, presents the historical and cultural context of the publication of the english novel from the XVIIlth century, but also its themes and its poetic, presenting the revival of this features in the "gothie theatre" from the XIX th century. Then, it was proved than Ionesco, the author, was impregnated with the gothie, which can be identified in his theatre, named by sorne critics as beeing "neo-gothic". The second part of our thesis shows how Ionesco's theatre revives the gothie scenery and the stylistic game between the light and the darkness. Our analysis proved, to Ionesco, the presence of the tyrannical characters and the terror atmosphere, inherited from the english novel of XVIllth century. Relative to this last point, a new perspective appeared: the analysis of the role of the burlesque evocation, dedicated to the torture and the monstrosity in Ionesco's theatre. The fird part increases the rote of the gothie novel in the appearance of the desperated vision which Ionesco has about the hu man nature. We proved th at the "dark" mark was recognaizible in Ionesco's theatre and its his own life, devastated by the tyranny of his father and of the two World Wars.

Si d'aucuns pensent que la tragédie est morte, le tragique quant à lui reste une catégorie théâtrale toujours actuelle. Chez Eugène Ionesco, dramaturge de la deuxième moitié du XXe siècle, nous retrouvons le sens du tragique dans ses oeuvres même si celui-ci diffère de l'époque antique. Le tragique ionescien s'inspire sur une vision du monde fondamentalement absurde. Ainsi, à l'instar de ses contemporains comme Samuel Beckett par exemple, Eugène Ionesco propose un tragique humble (cf. Jeux de massacre : tragique = absence d'issue), un tragique politique à la mesure des bouleversements du siècle (cf. Rhinocéros, Le Roi se meurt, Macbett, etc.). A la place des héros combattants, on a chez Ionesco des fantoches qui gesticulent, des objets qui prolifèrent (cf. Les Chaises) ; un langage humain qui est mis en cause (cf. La Cantatrice chauve « tragédie du langage »). Le théâtre d'Eugène Ionesco naît plutôt de la crise de l'humanisme. / If some people think that the tragedy died, the tragic as for him rest an always current theatrical category. At Eugène Ionesco, playwright of the second half of the XXth century, we find the sense (direction) of the tragic in its works even if this one differs from the antique time (period).The ionescien tragic is inspired on a vision of the world fundamentally absurd. So, following the example of his contemporaries as Samuel Beckett for example, Eugène Ionesco proposes a tragic humble (cf. Games (sets) of massacre: tragic = absence of outcome (exit)), a tragic political in the measure of the upheavals of the century (cf. Rhinoceros, King is dying, Macbett, etc.). On the place (square) of the heroes fighters, we have at Ionesco the marionettes which gesture, objects which proliferate (cf. Chairs); a human language which is questioned (implicated) (cf. The bald Opera singer "tragedy of the language"). The theater of Eugène Ionesco arises rather from the crisis of the humanism.

O escritor Eugène Ionesco é um dos expoentes do teatro francês do século XX. Bastante conhecido por sua produção dramática de maneira especial, pelas peças La Cantatrice chauve e Rhinocéros , sua obra não se restringe, no entanto, à dramaturgia. Polemista, o autor escrevia textos de caráter ensaístico, muitas vezes em defesa da própria obra, e os publicava em jornais e revistas franceses, como Arts ou la Nouvelle Revue Française. Alguns desses textos, além de fragmentos de diário e notas acerca de suas peças, estão recolhidos sob o título Notes et contre-notes, publicado originalmente em 1962, obra que permite entrever o perfil crítico de Ionesco e as reflexões em relação ao fazer literário. O trabalho de pesquisa proposto consiste, pois, na análise dos textos que compõem Notes et contre-notes, buscando pensar uma teoria do teatro da derrisão, que se constrói dia a dia, por meio dos debates com a crítica em jornais e revistas. Da mesma maneira que existe na base das reflexões do dramaturgo uma ideia do teatro que as determina, também vemos no ataque/defesa em relação aos críticos uma ideia da crítica, anterior mesmo à sua produção dramática e que a extrapola amplamente. Para a investigação que ora proponho, acredito inverter o que seria o caminho mais habitual, da teoria ao texto teatral: aqui, penso de que maneira a teatralidade está implicada no perfil crítico de Ionesco. A pesquisa dos manuscritos do autor no Fundo Ionesco constituiu, nesse sentido, importante fonte para refletir sobre movimentos de escritura. A derrisão, expressa pela paródia dos modelos tradicionais, parece participar tanto da obra dramática quanto da obra crítica do escritor. / Eugène Ionesco is one of the most important writers of the French Theatre in the XXth century. Known by his dramatic production especially the plays The Bald Soprano and Rhinoceros his work is not restricted to drama. The polemic author used to write essays to defend his own work and published them in French newspapers and magazines, like Arts or la Nouvelle Revue Française. Some of these texts, besides journal fragments and notes about his plays, were collected in Notes et contre-notes, published in 1962. In this book, Ionescos critic profile and his reflections on literary writing are in evidence. This thesis analyses the texts that compose Notes et contre-notes, trying to think about a theory of the theater of derision which is constructed day by day, through discussions with the critics in journals. In the same way there is underlying the discussions of the playwright an idea of the theater, we can also notice in the attack/defense in relation to critics an idea of criticism. Following the investigation, I reverse the traditional way, from the theory to the theatrical text: I try to identify how theatricality is implicated in Ionescos critic profile. The manuscripts research of the author in the Fonds Ionesco is an important source to discuss writing procedures. Expressed by parody of the traditional examples, derision seems to take part in both dramatic and critic work of the writer

O escritor Eugène Ionesco é um dos expoentes do teatro francês do século XX. Bastante conhecido por sua produção dramática de maneira especial, pelas peças La Cantatrice chauve e Rhinocéros , sua obra não se restringe, no entanto, à dramaturgia. Polemista, o autor escrevia textos de caráter ensaístico, muitas vezes em defesa da própria obra, e os publicava em jornais e revistas franceses, como Arts ou la Nouvelle Revue Française. Alguns desses textos, além de fragmentos de diário e notas acerca de suas peças, estão recolhidos sob o título Notes et contre-notes, publicado originalmente em 1962, obra que permite entrever o perfil crítico de Ionesco e as reflexões em relação ao fazer literário. O trabalho de pesquisa proposto consiste, pois, na análise dos textos que compõem Notes et contre-notes, buscando pensar uma teoria do teatro da derrisão, que se constrói dia a dia, por meio dos debates com a crítica em jornais e revistas. Da mesma maneira que existe na base das reflexões do dramaturgo uma ideia do teatro que as determina, também vemos no ataque/defesa em relação aos críticos uma ideia da crítica, anterior mesmo à sua produção dramática e que a extrapola amplamente. Para a investigação que ora proponho, acredito inverter o que seria o caminho mais habitual, da teoria ao texto teatral: aqui, penso de que maneira a teatralidade está implicada no perfil crítico de Ionesco. A pesquisa dos manuscritos do autor no Fundo Ionesco constituiu, nesse sentido, importante fonte para refletir sobre movimentos de escritura. A derrisão, expressa pela paródia dos modelos tradicionais, parece participar tanto da obra dramática quanto da obra crítica do escritor. / Eugène Ionesco is one of the most important writers of the French Theatre in the XXth century. Known by his dramatic production especially the plays The Bald Soprano and Rhinoceros his work is not restricted to drama. The polemic author used to write essays to defend his own work and published them in French newspapers and magazines, like Arts or la Nouvelle Revue Française. Some of these texts, besides journal fragments and notes about his plays, were collected in Notes et contre-notes, published in 1962. In this book, Ionescos critic profile and his reflections on literary writing are in evidence. This thesis analyses the texts that compose Notes et contre-notes, trying to think about a theory of the theater of derision which is constructed day by day, through discussions with the critics in journals. In the same way there is underlying the discussions of the playwright an idea of the theater, we can also notice in the attack/defense in relation to critics an idea of criticism. Following the investigation, I reverse the traditional way, from the theory to the theatrical text: I try to identify how theatricality is implicated in Ionescos critic profile. The manuscripts research of the author in the Fonds Ionesco is an important source to discuss writing procedures. Expressed by parody of the traditional examples, derision seems to take part in both dramatic and critic work of the writer

Partant de la conjecture selon laquelle le « théâtre du verbe » de Valère Novarina est moins un phénomène singulier dans le paysage théâtral contemporain qu’une forme d’aboutissement des tentatives d’avant-garde précédentes en quête d’un théâtre dédramatisé fondé sur un langage « inhumanisé », cette étude retrace le chemin spirituel qui relie la pataphysique de Jarry à la logodynamique de Novarina, en passant par le nonsense chez Ionesco et chez Tardieu, chemin sous le signe du jeu verbal. En situant cette dernière notion dans la perspective moderne (anti-utilitaire et anti-anthropocentriste) du langage et du théâtre, le travail s’interroge, dans un premier temps, sur les relations particulières entre le jeu verbal et le théâtre « non dramatique » du XXe siècle. En examinant, dans un second temps, les quatre formes de jeu verbal chez Jarry, Ionesco, Tardieu et Novarina, aussi bien dans les écritures que dans des explorations scéniques, la thèse invite à comprendre le jeu verbal comme une manifestation du doute sur le langage, un pouvoir critique vis-à-vis des conformismes, un appel au changement de perception et au mouvement de toutes les « règles de jeu ». / Starting with the conjecture that Valère Novarina’s “theatre of the verb” is less a singular phenomenon in the contemporary theatrical landscape than a form of culmination of previous attempts to search for a dedramatized theatre based on a “dehumanized” language, this study retraces the spiritual path that connects Jarry’s pataphysics to Novarina’s logodynamics, via the nonsense in Ionesco and Tardieu’s writings, path under the sign of verbal game. By situating this last notion in the modern perspective (anti-utilitarian and anti-anthropocentric) of language and theatre, the study questions, firstly, the particular relations between the verbal game and the “non-dramatic” theatre of the twentieth century. Next, by examining the four forms of verbal game in Jarry, Ionesco, Tardieu and Novarina’s works, both in the scriptures and in scenic explorations, the thesis invites the readers to understand the verbal game as a manifestation of the doubt about the language, a critical power towards conformism, a call for change of perception and for movement of all “rules of the game”.

The topic of this diploma thesis is to prove the author's deep roots in the Romanian literary tradition (Urmuz, I. L.Caragiale), to try to prove that the poetics of his famous plays is actually contained in his work from the 30's and echoes of his personal and artistic experience from Romania can be also found in his French mature creative period. Therefore, Ionesco's writings will be compiled for the first time in our country in its wholeness since Czech and Occidental interpreters and comentators have mostly ignored the author's Romanian period of creation. Key Words Eugen Ionescu, Eugène Ionesco, Romanian literature 20th century, French literature 20th century, The Theatre of the Absurd, Romanian literaly exile

À partir d’un dispositif théorique et méthodologique emprunté au structuralisme figuratif de Gilbert Durand, ce mémoire propose une exploration du Mythe de la Fin du Monde dans quelques unes de ses manifestations romanesques et théâtrales. Les postulats de base qui fondent notre démarche sont au nombre de trois : a) l’œuvre littéraire possède toujours un substrat mythique ; b) un mythe représente un noyau de mythèmes, dont le trait définitoire est la redondance ; c) il n’y a pas de version privilégiée ou primitive du mythe, qui doit être vu comme une constante de l’esprit humain. Au niveau des applications pratiques, notre travail s’articule en deux démarches complémentaires, reprises d’une section à l’autre. Dans un premier temps, en nous appuyant sur le corpus romanesque – où le mythe nous semble abondant et complet – nous identifions les redondances internes et génériques que nous qualifions de «mythèmes». Dans un second temps, nous vérifions la présence et le fonctionnement de ces mythèmes dans le corpus dramatique. / Within the theoretical and methodological framework of the figurative structuralism devised by Gilbert Durand, this work sets out to explore the Myth of the End of the World based on two corpora: five novels and two plays. Three main postulates underlie our research: a) the literary work is always based on a mythical substratum; b) myth is an aggregation of mythemes, whose defining characteristic consists in their redundancy; c) myth is a constant of the human spirit and therefore none of its versions takes precedence over another. As far as the applications of the theory are concerned, our work is articulated in two distinct phases, repeated form one section to another. Based on the body of novels, where the myth manifests itself in its most complete and abundant form, phase 1 is devoted to the identification of redundancies, both internal to each work and generic, that are categorized as mythemes. Phase 2 verifies their presence in the body of plays.

À partir d’un dispositif théorique et méthodologique emprunté au structuralisme figuratif de Gilbert Durand, ce mémoire propose une exploration du Mythe de la Fin du Monde dans quelques unes de ses manifestations romanesques et théâtrales. Les postulats de base qui fondent notre démarche sont au nombre de trois : a) l’œuvre littéraire possède toujours un substrat mythique ; b) un mythe représente un noyau de mythèmes, dont le trait définitoire est la redondance ; c) il n’y a pas de version privilégiée ou primitive du mythe, qui doit être vu comme une constante de l’esprit humain. Au niveau des applications pratiques, notre travail s’articule en deux démarches complémentaires, reprises d’une section à l’autre. Dans un premier temps, en nous appuyant sur le corpus romanesque – où le mythe nous semble abondant et complet – nous identifions les redondances internes et génériques que nous qualifions de «mythèmes». Dans un second temps, nous vérifions la présence et le fonctionnement de ces mythèmes dans le corpus dramatique. / Within the theoretical and methodological framework of the figurative structuralism devised by Gilbert Durand, this work sets out to explore the Myth of the End of the World based on two corpora: five novels and two plays. Three main postulates underlie our research: a) the literary work is always based on a mythical substratum; b) myth is an aggregation of mythemes, whose defining characteristic consists in their redundancy; c) myth is a constant of the human spirit and therefore none of its versions takes precedence over another. As far as the applications of the theory are concerned, our work is articulated in two distinct phases, repeated form one section to another. Based on the body of novels, where the myth manifests itself in its most complete and abundant form, phase 1 is devoted to the identification of redundancies, both internal to each work and generic, that are categorized as mythemes. Phase 2 verifies their presence in the body of plays.