| Many of the Absurdists were contemporaries with Jean-Paul Sartre, the philosophical spokesman for existentialism in Paris, but few Absurdists actually committed to Sartre's own existentialist philosophy, as expressed in Being and Nothingness, and many of the Absurdists had a complicated relationship with him. |
Mnogi od apsurdista su bili savremenici Jean-Paul Sartrea, filozofičara i zastupnika egzistencializma u Parizu ali poneki apsurdisti su bili pomno posvećeni samoj Satreovoj egzistencionalnoj filizofiji, kao što je ona izražena u djelu "Bitak i ništa", dok su mnogi od njih imali komplikovan odnos prema njemu. |
| Sartre praised Genet's plays, stating that for Genet, "Good is only an illusion. Evil is a Nothingness which arises upon the ruins of Good". |
Sartre hvali Genetove predstave, navodeći da je za Geneta "Bog samo iluzija. Zlo je ništavilo koje se nastaje na ruševinama dobrog". |
| Ionesco, however, hated Sartre bitterly. |
Ionesco je u suprotnom mrzeo Satreovu ogorčenost. |
| Ionesco accused Sartre of supporting Communism but ignoring the atrocities committed by Communists; he wrote Rhinoceros as a criticism of blind conformity, whether it be to Nazism or Communism; at the end of the play, one man remains on Earth resisting transformation into a rhinoceros Sartre criticized Rhinoceros by questioning: "Why is there one man who resists? At least we could learn why, but no, we learn not even that. He resists because he is there". |
Ionesco optužuje Sartrea za podržavanje komunizma a igorisanje svirepih zločina počinjenih od strane komunista; za predstavu "Nosorog" piše kritiku o slijepom pridražanju bilo nacizmu ili komunizmu; na kraju predstave , jedan čovek ostaje na Zemlji oduprevši se preobraženju u nosoroga a Sartre kritikuje postavljajući pitanje: "Zašto postoji jedan čovek koji se opire? Mogli smo makar saznati zašto, ali ne, mi ne naučismo ništa, pa ni to. On se opire prosto što je tu.". |
| Sartre's criticism highlights a primary difference between the Theatre of the Absurd and existentialism: the Theatre of the Absurd shows the failure of man without recommending a solution. |
Sartreeva kritika ističe prvensvenu razliku između pozorišta apsurda i egzistencializma: pozorište apsurda prikazuje neuspeh čoveka bez navođenja rešenja. |
| In a 1966 interview, Claude Bonnefoy, comparing the Absurdists to Sartre and Camus, said to Ionesco, "It seems to me that Beckett, Adamov and yourself started out less from philosophical reflections or a return to classical sources, than from first-hand experience and a desire to find a new theatrical expression that would enable you to render this experience in all its acuteness and also its immediacy. If Sartre and Camus thought out these themes, you expressed them in a far more vital contemporary fashion". |
U intervjuu iz 1966, Claude Bonnefoy, upoređujući apsurdiste sa Sartreom i Camusom, govori Ionescu: "Čini mi se da ste Beckett, Adamov i vi počeli iz manje filozofskih razmišljanja ili povratka klasičnim izvorima, već iz ličnih iskustava i čežnje za pronalaženjem novog pozorišnog izraza koji bi vam omogućio da dočarate ta iskustva u svoj njihovoj oštrini i neposrednosti. Ako su Sartre i Camus osmislili ove teme, vi ste ih izrazili na daleko životniji i savremeniji način. |
| Ionesco replied, "I have the feeling that these writers – who are serious and important – were talking about absurdity and death, but that they never really lived these themes, that they did not feel them within themselves in an almost irrational, visceral way, that all this was not deeply inscribed in their language. With them it was still rhetoric, eloquence. With Adamov and Beckett it really is a very naked reality that is conveyed through the apparent dislocation of language". |
Inesco na to odgovara: "Mislim da kao da su ovi ozbiljni i važni pisci govorili o apsurdnosti smrti ali da nikada te teme nisu stvarno proživeli, da ih nisu osetili u to sebi samima na zamalo iracionalan, utroban način; kao da ovo sve nije bilo dubinski upisano u njihov jezik. Za njih je to još uvek bila retorička rečitost. Kod Adamova i Becketta to je zaista vrlo ogoljena stvarnost koja se prenosi kroz prividnu dislokaciju jezika.". |
