Double working manuscripts of Breton fervently presenting Eugène Ionesco's new show at the Théâtre de la Huchette. This text will appear under the title Toupie ronflante in Les Cahiers des saisons at the end of 1955.
1.500€
André Breton (1896.1966)
Signed autograph manuscripts.
Two ½ in-4° pages.
St Cirq. September 23, 1955.
Double working manuscripts of Breton fervently presenting Eugène Ionesco's new show at the Théâtre de la Huchette. This text will appear under the title Toupie ronflante in Les Cahiers des saisons at the end of 1955.
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Once again, the Théâtre de la Huchette plants its whirring top in the heart of old Paris, absorbing all the other sounds of the city: a new show by Ionesco! This top, as in the best days of our childhood, let us prepare to see it take its great leaning turns and leap rumbling on itself, defenselessly carrying our own hearts with it. We all eyes for its marvelous tinsel dress, which calls upon all the resources of verbal misunderstanding, in full exuberance these days and whose supreme adornment is no sense, enamored of its profound meaning. And here is yet another room of our modest apartment transformed into a palace of mirages. In the whirl of the top, let us know how to grasp the area of great drift that unfolds around all serious matters, private or public, let us watch, if we are in a vein of antecedents, for Kierkegaard's distant tip of the hat to Hegel and the haughty sign that responds to him, or let us be content to hear - but as if we were truly taking part in it - the mass of fools while inserting ourselves into the round of prisoners.
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Once again, the Théâtre de la Huchette plants its whirring top in the heart of old Paris, absorbing all the other sounds of the city: a new show by Ionesco! This top, as in the finest days of our childhood, let us prepare to see it take its great leaning turns and leap upon itself, as when it defenselessly submitted to the movements of our own hearts. Anyone who remains fresh enough for this will uncover all eyes for its marvelous tinsel dress, which exhausts all the resources of verbal misunderstanding, in full exuberance of our days and whose supreme adornment is nonsense, enamored of its over-significance. And here are another room or two of our modest apartment which "break down" the palace of mirages! In the whirl of the top, let us know how to grasp the area of great drift that unfolds around all serious matters, private or public, let us watch, if we are in a vein of antecedents, for Kierkegaard's distant tip of the hat to Hegel and the haughty sign that responds to him, but above all let us savor, as masterfully Ionesco disposes us to do, on the borders of spasmodic laughter and anguish, the bitter pleasure of seeing our privileged-subaltern condition stripped bare, as if in a state of trance, such that it makes us participate at once in the mass of fools and the round of prisoners. André Breton.