'Made in Japan (& America, & Japan.This paper deals with the language used by one of the most famous modern writers EUGENE IONESCO (1909-1994), in his plays The Chairs and The Bald Soprano.
'A fresh arrangement of 'The Chairs' Seattle Post-Intelligencer (November 12, 2004) 'The Chairs – Broadway Play – 1998 Revival - IBDB'. And as far as society was concerned, he wrote: 'the authentic human community is revealed by our common anxieties, our desires, our secret nostalgias … no political system can deliver us from the pain of living, from our fear of death.' 'Nor can any work of art', Tynan answered, 'but both are in the business of trying.' I found it exciting to be involved in such a hullabaloo, and of course it meant that the theatre was packed every night. Ionescu was not impressed by the contemporary playwright's century drama (O’Casey, Sartre, Arthur Miller, John Osbourne, Tennessee Williams and even Brecht) and called them the 'new auteurs du boulevard'.
The correspondence grew larger as half of London's artistic and literary community battled it out. Devine wrote defending his author's conception of theatre as an art and Orson Welles joined in on Tynan's side, saying 'an artist must confirm the values of his society as he must challenge them'. Ionesco wrote to the Observer in his own defence, claiming a work of art has nothing to do with doctrine and saying that a critic's job was to look at it and decide whether it was true to its own nature. This sparked off a vigorous controversy on the merits of the Romanian-born author, and escalated into a debate on the role of the artist in society. He warned that it must not be held up for emulation as the gateway to the theatre of the future. Tynan expressed his dislike of Ionesco's nihilistic view that communication between human beings is impossible and went on to chastise those who championed the playwright's evocative escape from realism.
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