Ştefana POP-CURŞEU Abstract: As shown by most of the artistic tendencies of the second half of the XXth century, the woman, as a character or as a represented image, reveals a deep and often painful transformation which took place in the way couple relations were conceived, may they be social, sentimental or simply sexual. The theatre of the absurd, covering the after-war period till the seventies, as well as the European and American Pop Art, New Realism included, which was born at the end of the fifties, crossed the century and led to a contemporary kitsch neo-pop, are two marvelous witnesses of these transformations. These changes betray a mixture of fright and fascination, of machismo and a falling back into childhood, a mixture of games of domination and masochism, generated essentially by the sexual liberation of modern women. This article aims at pointing out and discussing these elements, trying to explain the crisis and traumas of modern man, character of the adamovian theatre, when facing the ambiguity of his pair, the woman, as a being who does not correspond anymore to traditional frames. Keywords: Arthur Adamov, Pop Art, eroticism, women as objects, women as menkillers, exhibition, lost intimacy |
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