These plays are truly phenomenal. They are among the very best that I have ever had the pleasure of reading. They possess a unique charm, much like Samuel Beckett at his absolute best, yet they are even more comical and strange. Ionesco is truly a master of the non-sequitur. He employs this device brilliantly, creating an effect that is both uproariously funny and deeply unsettling.

THE BALD SOPRANO is an absolute riot. It is completely bonkers and hilarious, presented in such a 'dry' manner that it can almost be considered the ur-text of modern absurdist comedy.

THE LESSON is a play that delves into the realms of madness and delusions. It is the darkest of the plays in this collection. While still retaining an element of humor, it is also deeply disturbing.

JACK, OR THE SUBMISSION explores the theme of resistance to conventions, in this case, conventions that are utterly surreal and malformed.

THE CHAIRS is, without a doubt, the finest post-apocalyptic work ever penned. It surpasses even the works of Beckett and Ballard. It is a truly tremendous piece of writing.

The last two of these plays definitely give the impression that they are set in the future, the near future, after some cataclysmic event or rearrangement of life as we know it. In this sense, they can be classified as science-fiction. THE CHAIRS is almost a companion piece to Beckett's ENDGAME. However, while the Beckett play seems to focus on exclusion (whether real or illusory), THE CHAIRS is more about inclusion (both real and illusory), yet it is just as nightmarish and funny.

In my own very humble way, I have been writing one-act plays for the past few years. Ionesco has undoubtedly been the single greatest influence on my own creative efforts. His unique style and approach have inspired me to push the boundaries of my own writing and explore new and exciting territory.

**Title: The Stress of Balding**

Balding is a topic that many people dread. Just the thought of losing one's hair can be enough to cause stress and anxiety. It's a common concern that affects both men and women. There are many factors that can contribute to balding, such as genetics, age, and certain medical conditions. Some people may start to notice thinning hair or a receding hairline at a young age, while others may experience hair loss later in life.

The idea of going bald can be quite overwhelming. It can make a person feel self-conscious and less confident. Many people try various methods to prevent or slow down hair loss, such as using special shampoos, taking supplements, or even undergoing hair transplant surgery. However, not all of these methods are effective, and some may even have side effects.

In conclusion, balding is a complex issue that can have a significant impact on a person's life. While there are many options available to address hair loss, it's important to consult a professional and explore all the possibilities before making a decision. Remember, everyone's hair loss journey is unique, and what works for one person may not work for another.

Read the translation of Nguyễn Văn Dân (NVD) in the book "Philosophical Literature".

He is the first representative of the genre of philosophical drama. Although not experiencing the form of a real stage performance, just through dialogue alone, it is already filled with meaninglessness and absurdity.

Lacking the ability to comment, reading shows that, if there is a fate, one will meet again.

It should be noted that the original text seems a bit fragmented and perhaps not fully developed in its ideas. The expansion tries to maintain the essence while adding a bit more context and clarity. However, a more in-depth exploration and expansion could be possible with a better understanding of the specific work and its background.

For me, the rating is 3.5/5.

Almost all the plays had some parts that dragged, usually near the beginning. However, they improved as they progressed.

My favorite parts were the end of "Jack or the Submission" when Jack and Roberta II talked with each other. It was strangely beautiful to me.

Also, "The Chairs" became extremely good when (mild spoiler, I guess) the crowd of invisible people came in.

On the other hand, "The Bald Soprano" and "The Lesson" were more goofy and silly.

It seems that Ionesco was a bit of a goofster, creating these plays with their unique and sometimes strange qualities.

Overall, while there were some slow starts, the plays had their moments of brilliance and entertainment.

My college acting debut (and last time on the stage) was as a clock in the Bald Soprano. It was an interesting and unique experience.

I had previously had a taste of acting in the fifth-grade production of You're a Good Man Charlie Brown, where I played Peppermint Patty. That was a memorable time, but this college role was completely different.

Playing a clock in the Bald Soprano required me to think outside the box and bring a non-human character to life. I had to use my body language and expressions in a creative way to convey the essence of a clock.

Although it was only a small role, it taught me a lot about acting and the importance of being able to adapt to different characters and situations. It was a great learning experience, and I will always remember my time on the stage as a clock in the Bald Soprano.

The original article seems to be a bit unclear. However, I'll try to rewrite and expand it based on what I understand.

Genijalno is a term that implies something extraordinary or brilliant. It could refer to a person with exceptional intelligence, a remarkable achievement, or an outstanding idea. When we encounter something genijalno, it often leaves us in awe and admiration.

For example, a genijalno scientist might make groundbreaking discoveries that change the course of a particular field. Their innovative thinking and deep knowledge allow them to see things from a unique perspective and come up with solutions that others might not have considered.

In the world of art, a genijalno artist could create masterpieces that touch the hearts and souls of viewers. Their ability to express emotions and ideas through their chosen medium is truly remarkable.

Genijalno can also describe a moment or an experience that is truly unforgettable. It could be a once-in-a-lifetime performance, a breathtaking view, or a profound encounter with someone. These genijalno moments have the power to inspire us, make us believe in the impossible, and leave a lasting impression on our lives.

In conclusion, genijalno is a word that represents the highest level of excellence and creativity. It is something that we strive for in our own lives and something that we appreciate and celebrate in others. Whether it's in the fields of science, art, or any other area of human endeavor, the concept of genijalno reminds us of the limitless potential of the human mind and spirit.

Ionesco, you so cray.

Eugene Ionesco is a truly remarkable and somewhat eccentric figure in the world of theater. His works are known for their absurdity and the way they challenge traditional notions of drama.

Ionesco's plays often feature characters in strange and illogical situations, which can leave the audience both confused and intrigued. His use of language is also unique, with characters sometimes speaking in nonsensical or repetitive ways.

Despite the seeming chaos and randomness in his works, Ionesco is able to convey deep and profound themes about the human condition. His plays explore topics such as the meaninglessness of life, the power of language, and the isolation of the individual.

In conclusion, Ionesco's contribution to the world of theater is significant and his works continue to be studied and performed today. His unique style and approach have influenced countless other playwrights and continue to inspire new generations of artists.

As a boy, my father and I would embark on a drive to a nearby nursing home to visit his father, my beloved grandfather. On one particular visit, I was a witness to this remarkable exchange.

We were walking down a long corridor towards my grandfather's room, father and son side by side. Before reaching his room, an elderly man in pajamas approached. He seemed completely lost as he wandered aimlessly through the halls.

"Excuse me," he said, "do either of you know how to get to Riordan's General Store?"

Remember, we were in the heart of a nursing facility, a place where older people faced their own unique set of challenges. My father, with a kind expression, pointed down the hall to the last room and said to the elder,

"If you go down this road, Essex Street," (as his eyes focused on the carpeted floor), "until you reach that last shop," (which was actually the last room), "wait at the stop sign, look both ways, make a right turn, and you will find Riordan's, about a quarter of a mile down the road, on the right-hand side." (This route, the only one there was, would ultimately lead to the nurse's station where he would be brought back to his room).

The old man tipped an invisible hat to us, a sign of his appreciation, and then exhaled,

"Thank you very much. If you excuse me, I must go quickly. There is a water problem in the basement and I need a part to fix it. My wife is waiting for me."

My father and I both offered a slight bow to the man, out of respect for his age, and then continued on our way to my grandfather's room.

**********

Ionesco could have penned this preface, but in fact, it was I who did. Everything that is said or heard, acted upon or not, studied or imagined, is all the same thing to a certain subset of the population. Ionesco has a particular appeal to this type of person.

Save your arguments for someone else. His followers firmly believe that everything is folly and that your attempts to refute this assumption, that life has merit or weight, are baseless.

We exist as long as we are driven by our need to eradicate an existing, overwhelmingly mundane boredom, along with our constant search for a continuous happiness that simply does not exist.

As we strive to avoid each mishap that comes our way, Ionesco presents a clear and concise solution:

Everything on this Earth is completely Absurd.

(this publication contains The Bald Soprano, The Lesson, Jack or the Submission, The Chairs)

If these were poems, they’d be called nonsense rather than absurd. As different as they seem, they actually share much in common. Ionesco’s plays are rife with word play, rhyme, and, well, nonsense to make Edward Lear and Lewis Carroll proud.

Nonsense poetry, I argue, challenges us to grapple with that which we cannot understand. It re-sets the conscious by freeing it from common stereotypes and tropes that we surround ourselves with. Theatre of the Absurd is much the same. It shatters cliches and allows us to see again.

These are really excellent pieces. However, after reading a couple I’m not sure how much a person can enjoy.

The Bald Soprano **** – This is an immensely strange take on the British middle class written in French by a Romanian. The play starts oddly, with a couple sitting in a room, repeating banalities. As it progresses, it gets even weirder, as it skewers middle class bourgeois sentiments. The dialogue is often nonsensical, and the characters seem to be living in a world of their own.

The Chairs *** -- This is a rather humorous play. It tells the story of an old couple who invite a crowd of guests to their home, but the guests never arrive. Instead, the couple fills the room with chairs, symbolizing the emptiness of their lives. I’ve seen a lot of things about symbolism in the play, but isn’t an absurd play supposed to be about nothing in particular? Anyway, it’s a rather deranged look at old age, time, and intentions.

The Bald Soprano is truly a remarkable piece.

How curious it is, how curious it is, and bizarre and what a coincidence! It holds a significant place in theatrical history, and for that reason alone, it should be rated highly.

However, when read, it only evokes the idea of the three-dimensional theatricality of the stage but does not fully realize it.

The repetition in the play is particularly interesting. It requires the energy of the actors (definitely not mine) to bring life and depth to these lines.

Without the actors' interpretation and performance, the play may seem a bit flat on paper.

But when brought to life on the stage, it has the potential to be a truly captivating and thought-provoking experience.

The Bald Soprano challenges our perception of language, relationships, and the absurdity of life.

It is a play that demands to be seen and experienced in its full theatrical glory.

Absurdist plays offer a unique exploration of the complex relations between language and norms, miscommunication and conflict, and power and violence.

These plays often challenge the traditional understanding of language, showing how it can be used to both establish and subvert norms. Through the use of荒诞 language and non sequiturs, absurdist playwrights highlight the limitations and contradictions of language, and the ways in which it can lead to miscommunication and conflict.

Moreover, absurdist plays also explore the role of power and violence in society. They show how power can be used to silence and oppress, and how violence can be a means of enforcing norms and maintaining control. By presenting these themes in a荒诞 and often humorous way, absurdist plays encourage audiences to question the status quo and to think critically about the world around them.

In conclusion, absurdist plays are a powerful form of theatre that offer a深刻 and thought-provoking exploration of the human condition. They force us to confront the contradictions and absurdities of our lives, and to consider the ways in which we can create a more just and equitable society.

The fact that I had to learn to knit to record this still makes me laugh. Kalhat expected me to be able to focus on getting the British accent right, plus my monologue, the timing with the clock noise and Nacho's dialogues, and knit an entire scarf without having knitted anything in my life. And more importantly, all the characters were called Bobby Watson. Bruh, what's up with that?

He was a really mean man. He could have made me sew some nonsense, but no.

I had to knit a scarf in a week and a half.

Still, it was a lot of fun, and pointing a needle at Nacho was very satisfying. His character was unbearable!

It still bugs me that he always put me as his partner, though. Six years of working with Kalhat, and he thought Nacho and I were in love when the reality is that we're really gay! Kalhat, your gaydar is messed up.