While discussions concerning failure in performance tend to assume a disruption and unpicking of form and representation, I suggest that, paradoxically, The Chairs exemplifies an aesthetics of failure while in many ways inhabiting a more conventional dramatic paradigm. In bringing together notions of stage deixis and failure in performance, this article offers its own perspective on the discourse of failure in performance. It is argued that The Chairs illustrates wider operations of failure in performance, and in particular the specific ways in which an aesthetics of failure connects to a disruption of theatrical deixis. This article examines the emergent concept of ‘failure’ in performance with respect to Eugene Ionesco's play The Chairs.
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