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The Bald Soprano and Other Plays

eugène ionesco donald m. allen

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The leading figure of absurdist theater and one of the great innovators of the modern stage, Eugene Ionesco (1909-94) did not write his first play, The Bald Soprano, until 1950. He went on to become an internationally renowned master of modern drama, famous for the comic proportions and bizarre effects that allow his work to be simultaneously hilarious, tragic, and profound. As Ionesco has said, "Theater is not literature. . . . It is simply what cannot be expressed by any other means."

160 pages, Paperback

First published January 1,1958

This edition

Format
160 pages, Paperback
Published
January 1, 1982 by Grove Press
ISBN
9780802130792
ASIN
0802130798
Language
English

More editions

About the author

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eugène ionesco

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Eugène Ionesco, born Eugen Ionescu, was a Romanian playwright and dramatist; one of the foremost playwrights of the Theatre of the Absurd. Beyond ridiculing the most banal situations, Ionesco's plays depict in a tangible way the solitude and insignificance of human existence.

Excerpted from Wikipedia.

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Community Reviews

Rating(3.9 / 5.0, 100 votes)
5 stars
33(33%)
4 stars
27(27%)
3 stars
40(40%)
2 stars
0(0%)
1 stars
0(0%)
100 reviews All reviews
Profile Image for Kimberly .
NaKriminal
★ ★ ★ ★ ★
July 15,2025
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It might be 5. However, I just can't recall clearly as it was a long time ago. The passage of time has blurred my memory. Maybe it was an event that occurred during that period, or a number that was significant in some way. But now, it's difficult to pinpoint exactly what it was.

Despite the vagueness, there is still a hint of curiosity lingering in my mind. I wonder if there was any particular reason why that number 5 came to my mind. Was it related to a specific situation, a person, or something else entirely?

As I try to jog my memory, I find myself sifting through the fragments of my past. But unfortunately, the details remain elusive. It's like trying to catch a wisp of smoke. Nevertheless, the fact that this number has resurfaced in my thoughts makes me believe that there is still some hidden significance waiting to be discovered.

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Aegaeon14
★ ★ ★ ★ ★
July 15,2025
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Ionesco writes plays for masochists.

His works are often characterized by absurdity, illogicality, and a sense of the grotesque.

In his plays, characters find themselves in strange and often nightmarish situations, facing challenges and conflicts that seem impossible to resolve.

The dialogue is often disjointed and filled with non sequiturs, adding to the overall sense of confusion and disorientation.

However, despite the apparent chaos and absurdity, Ionesco's plays also contain deep insights into the human condition.

They explore themes such as alienation, loneliness, and the search for meaning in a world that often seems senseless.

Perhaps it is this combination of the absurd and the profound that makes Ionesco's plays so appealing to masochists, who seem to delight in the discomfort and challenge that his works present.

Whether or not one enjoys Ionesco's plays, there is no denying that they have had a significant impact on the world of theater and continue to be studied and performed today.
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Huffy839
★ ★ ★ ★ ★
July 15,2025
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So silly and so nice.


From now on, I will be using the quote “Everything is cat.” very aggressively.


This simple yet profound statement seems to hold a certain charm. It makes me look at the world from a different perspective.


When I say “Everything is cat,” it's like a magical incantation that can transform the ordinary into the extraordinary.


Maybe it's because cats have this mysterious and alluring quality. They are independent, yet also affectionate.


By associating everything with cats, I find myself seeing the beauty and wonder in the simplest of things.


It's a way to add a touch of playfulness and fun to my life.


So, let's embrace the “Everything is cat” mantra and see where it takes us.


Who knows, maybe it will lead us to discover new joys and experiences.


<3
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Ravell
★ ★ ★ ★ ★
July 15,2025
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2.5 stars? Gosh,

I thought I would read some absurdist plays. I really believed I could handle it. At the beginning of each play, I was completely rapt, my attention firmly fixed on the words and the unfolding scenes.

However, somewhere along the way, they lost me. It didn't just get weird; it got crazy... cubed! The plots seemed to spiral out of control, and I found myself struggling to keep up and make sense of it all.

I want to be cool enough to appreciate this unique form of theater, but unfortunately, I'm just not quite there yet. Maybe with more exposure and a deeper understanding, I'll be able to see the beauty and significance that others seem to find in these absurdist plays. For now, though, I'll have to settle for a somewhat confused and less-than-fully-appreciative experience.
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jhonnytest70
★ ★ ★ ★ ★
July 15,2025
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In July 1982, the Portland Playreaders once again read "JACK, OR THE SUBMISSION."

This play holds a certain allure and significance. It likely presents a story that captivates the audience and engages their emotions.

The act of reading it again with the Portland Playreaders indicates a continued interest and appreciation for the work.

Perhaps new interpretations and insights are discovered each time it is read.

The playreaders bring their own perspectives and talents to the table, enhancing the overall experience.

July 1982 becomes a memorable month as they gather to explore the depths of "JACK, OR THE SUBMISSION" once more.

It is a time of artistic expression and connection, as the words of the play come to life through the voices and efforts of the Portland Playreaders.

This repeated reading not only enriches the understanding of the play but also contributes to the cultural and artistic fabric of the community.

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Emanharlem55
★ ★ ★ ★ ★
July 15,2025
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The theatrical productions of the Cedar edition:

The bald singer, The Lesson, The Chairs.

To begin with, the fact that there are no comments at all is unacceptable. This particular theater of the absurd seems more like a theater of boredom. The first work is crude and repetitive, aiming to show us that communication in modern societies is impossible or to shatter all theatrical conventions. It is a torture.

The second play, The Lesson, is somewhat better, but it also has its own obsessions, such as the idea that philology is the destruction of the world, as Voltaire said, and that knowledge is the destruction of the people, etc. Logically, it wants to show the problem of the excessive scholasticism of education and the lack of a meaningful relationship and communication between the student and the teacher.

The Chairs is the most obvious example of the theater of the absurd that supports the futility of life and the existential void that is created in people.

All of these were not things that excited me or made me think.
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Mai_P
★ ★ ★ ★ ★
July 15,2025
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The four plays included in the book are: The Bald Soprano, The Lesson, Jack or the Submission, and The Chairs.

The three stars are given inclusively for the latter. “The Chairs” can be regarded as an allegory representing the entire Ionescoean theatre, particularly when considering the present four plays. The Orator in “The Chairs” is none other than Ionesco himself, whom we, as the viewers, have been eagerly and anxiously waiting for. We have meticulously prepared the stage for the revelation of truth by the Ionesco-Orator. However, in the end, what we hear is the Orator's incomprehensible mumblings such as “mme, mm, mm. Ju, gou, hou, hou, heu, gu gou, gueue”, and finally a “ADIEU” which the Ionesco-Orator throws in our faces to宣告 the end of our waiting for some truth to be disclosed on the stage. There is simply nothing to be revealed. Ionesco is truly the master of depicting the failure of both life and drama.

We leave the theatre in shame, and on our way back, we accidentally stumble upon two dead old bodies. This unexpected encounter further adds to the sense of absurdity and disillusionment that pervades the entire experience.
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Elydan
★ ★ ★ ★ ★
July 15,2025
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In 201118, I have delved into a limited number of experimental plays, yet those I have encountered have been truly remarkable. Works like "Waiting for Godot," "Dumbwaiter," "Rhinoceros," and others have left a lasting impression. The reason I rate it a four is due to the variable nature of appreciation. I have a profound affection for plays such as "The Bald Soprano," "The Lesson," "Jack, or the Submission." However, "The Chairs" was perhaps a bit too abstract for my taste.

It's important to note that these are just plays on paper, and the true key to the art experience lies in witnessing a production. I'm eagerly anticipating seeing "Rhinoceros" at a certain venue soon. Some of these plays present very challenging acting requirements, like the imperceptible changes in "The Lesson." Therefore, the overall impact will heavily depend on how skillfully they are mounted on the stage.

Each play offers a unique world of exploration and interpretation, and I'm excited to see how these productions bring them to life and further expand my understanding and appreciation of experimental theater.
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