Abstract
ARTHUR ADAMOV'S CRITICS are in general agreement that his early plays (those included in Theatre, Vols. 1 and 2) are in many ways the direct result of his effort at what Leonard C. Pronko calls "an exorcism of private terrors:” In his self-revelatory work, L'Aveu, a portion of which is translated into English, Adamov admits that by expressing his neurosis he exorcises himself. As a result of L'Aveu the dimensions and motifs of Adamov's "disease" are well known and we see these contents gaining expression in his plays. Martin Esslin in his book, The Theatre of the Abs'u.rd,• has given a lengthy review of L'Aveu together with helpful insights as to some of the relationships between Adamov's neurosis and his activity as a playwright. I do not propose to recapitulate this review. Rather, I want to point up what are for me some interesting expressions of Adamov's neurosis and insight which I find in his second play, L'Invasion.
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