Critical Essay by Carlos Lynes, Jr.
In an age in which the theatre remains primarily literary, psychological, or philosophical, Arthur Adamov stands almost alone in France—along with Samuel Be...
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Critical Essay by Leonard Cabell Pronko
Arthur Adamov has recently turned his back upon the avant-garde and upon his early plays that embodied more than those of any other dramatist the revolutionary...
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Critical Essay by Jacques Guicharnaud
Early in the 1950s any discussion of the current French stage was concentrated on three names uttered in the same breath—Ionesco-Adamov-Beckett—and...
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Critical Essay by Richard E. Sherrell
To show in a theatrical event, as largely and visibly as possible, human solitude and the absence of communication—this became Adamov's goal in tur...
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Critical Essay by D. M. Church
With his last play, published posthumously, Adamov has come full circle, Si l'été revenait is primarily an exposition of a psychological nature, no...
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Critical Essay by Margaret Dietemann
In Le Ping-Pong an electric pinball machine holds the diverse strands of the action together. Arthur and Victor, the play's protagonists, waste their lives...
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Critical Essay by John Fletcher
Nearly all [Adamov's] plays are political in one way or another, being derived from his experience as a rootless intellectual who, in a very human way, was subj...
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Critical Essay by John H. Reilly
Adamov's writing is a desperate attempt to relate to the world around him, to find a way of adjusting to the nightmare of living. The dramatist himself is the ...
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Critical Essay by John J. Mccann
The common denominator of Adamov's last five plays [La Politique des Restes, Sainte Europe, M. le Modéré, Off Limits, and Si l'ét&#...
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Critical Essay by Carlos Lynes, Jr.
