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TIME Magazine, May 23, 1960:
Rhinoceros, Avant-Gardist Eugene Ionesco's new play, opened [in Paris] with Sir Laurence Olivier triumphing over the din-and-delirium direction of Orson Welles. Ionesco's famed earlier one-acters dealt opaquely with such subjects as a girl with three noses and a man and wife who share their apartment with a growing corpse. This time the playwright almost approaches realism: everyone but the hero merely turns into a rhinoceros.
Rhinoceritis, implies Ionesco, is the most communicable disease of the 20th century: under the pressures of mass-think, man loses his individuality and is driven to to joining the bestial herd. Many characters protest the change, but relentlessly their skins thicken and wrinkle, their voices become grunts, and great ski-jump tusks appear on their faces. "We must resist rhinocerization at any cost," cry the seemingly unafflicted, but already they start, rhino-like, to munch odd bits of paper, ivy leaves, potted plants.
Soon the only human left is Olivier... who does not agree with the new rhinos... When even the woman in his life becomes a snorting rhinoceros, his own defeat seems close at hand. But he finds the courage to resist rhinocerization. In the most "committed" line of Ionesco's career, Olivier shouts past the descending curtain: "I'm not giving up!"
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Julius Caesar
by William Shakespeare,
Act 2, Scene 3:
Caesar, beware of Brutus; take heed of Cassius; come not near Casca; have an eye to Cinna; trust not Trebonius; mark well Metellus Cimber; Decius Brutus loves thee not; thou hast wronged Caius Ligarius. There is but one mind in all these men, and it is bent against Caesar. If thou beest not immortal, look about you: security gives way to conspiricy...
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