Arthur Adamov


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Adamov, Arthur

 

Born Aug. 23, 1908, in Kislovodsk. French dramatist. Left Russia with his family in 1914; settled in Paris in 1924. Wrote surrealist verses in his youth.

When Adamov opposed the pro-Hitler Vichy government in 1942, he was put in a concentration camp. His novella Recognition (1946) is permeated with a sense of futility. His dramas Parody (published 1950) and Incursion (1950), which were written for the avant-garde theater, were extremely pessimistic, as were his plays A Major and Minor Maneuver (1953) and Everyone Against Everyone (1953). Social criticism can be detected in his comedy Ping Pong (1955); the bourgeois way of life is ridiculed in the farce Paolo Paoli (1957) and the sketch Intimacy (1958). His optimistic tragedy The Spring of’71 (1961, Russian translation 1968) re-created the heroic characters of the Paris Communards. Contemporary racism is the object of criticism in his grotesque play The Politics of the Outcast (1962). Through his treatment of medieval obscurantism in the tragicomedy Holy Europe (1966), he satirizes imperialism. Bitter humor characterizes the burlesque piece The Moderate (1968), whereas in the drama Off Limits, which Adamov wrote the same year, his humor acquires menacing overtones, reflecting the tragic atmosphere of the American way of life. The movement of Adamov’s aesthetic thought toward realism and his reactions to the innovations of A. P. Chekhov, B. Brecht, and S. O’Casey are reflected in the anthology Here and Now (1964). His life and spiritual development are treated in a volume of reminiscences entitled Man and Child (1968). Adamov is a member of the National Committee of French Writers.

WORKS

Théâtre, vols. 1–4. Paris, 1953–68.
Lesâmes mortes: D’après le poème de N. Gogol. Paris, [I960]. In Russian translation:
“Paolo Paoli.” In P’esy sovremennoi Frantsii. Moscow, 1960.

REFERENCES

Balashov, V. “Pobeda Artiura Adamova.” Inostrannaia literatura, 1962, no. 7.
Proskurnikova, T. Frantsuzskaia antidrama (50–60–e gg.). Moscow, 1968.

V. P. BALASHOV

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Cuenta Nathalie Sorrault en su Historia del "nouveau-theatre", publicada en Mexico por Siglo XXI, que esa noche, mientras la mayoria del publico abandonaba el sitio antes de la caida del telon, los que se quedaron al final abucheaban perplejos una obra que los engano porque en ella no salia jamas la cantante (ni calva ni con cabello); salvo un entusiasta de larguisima barba, vestido de tunica y sandalias, que aplaudia frenetico subido en su butaca: el dramaturgo Arthur Adamov.
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