The Killer (1957) by Eugène Ionesco (Type of Work)

 

The Killer (1957)

by Eugène Ionesco

(Type of Work) 

Type of Work

The Killer (1957) is a full-length dramatic play that belongs to the Theatre of the Absurd. Written by Eugène Ionesco, one of the most prominent dramatists of the twentieth century, the work reflects the post–World War II climate of existential uncertainty and philosophical questioning. Rather than presenting a conventional plot driven by logical progression and clear resolution, the play emphasizes the irrationality of human existence and the inadequacy of reason in confronting evil.

As a dramatic work, The Killer is structured in three acts and centers on the character Bérenger, who appears in several of Ionesco’s plays. The play combines elements of tragic drama with absurdist comedy, creating a tragicomic tone. Although it addresses serious themes such as death, moral responsibility, and the presence of evil, it does so through exaggerated dialogue, illogical situations, and characters who often speak in repetitive or circular patterns. This blending of humor and despair is characteristic of the Theatre of the Absurd movement.

The play can also be classified as philosophical drama. It explores existential concerns similar to those raised by thinkers like Albert Camus and Jean-Paul Sartre, particularly the idea that life may lack inherent meaning and that individuals must confront an indifferent universe. However, unlike traditional existentialist works that suggest human choice as a solution, The Killer portrays the ultimate failure of reason and moral argument. Bérenger’s attempts to persuade the silent killer reflect the breakdown of communication and the limits of rational thought.

In addition, the play functions as a social satire. Through the portrayal of bureaucratic officials and the so-called “Radiant City,” Ionesco critiques modern urban planning, blind faith in progress, and the illusion that systems or institutions can create a perfect society. The utopian setting contrasts sharply with the senseless murders, emphasizing the instability beneath surface order.

Stylistically, the play rejects realistic drama. Dialogue often lacks logical development, characters sometimes behave mechanically, and the ending offers no clear resolution. This structural openness reinforces the absurdist theme that life itself may not provide satisfying answers.

In conclusion, The Killer is best understood as an absurdist tragicomedy and philosophical drama. It challenges traditional theatrical conventions while exploring the fundamental human struggle against meaningless violence and existential uncertainty. Through its form and content, the play exemplifies the core principles of the Theatre of the Absurd and secures its place among the significant dramatic works of the twentieth century.