Abstract
FERNANDO ARRABAL" IN DESCRIBING HIS more recent theater as a ceremonie “panique" provides a valuable clue for understanding his earlier works. For this young Spanish playwright, who is better known in France than in his own country, theater is a rigorously ordered ceremony wherein it is indispensable that, beneath an apparent disorder, the presentation be a model of precision, in order that the chaotic confusion of life may be reflected with mathematical clarity. Such concern for precision, though achieving its purest expression in the “Thedtre panique,” is manifestly evident in a 1958 work, not included in the «panique" and largely ignored by critics, La Bicyclette du Condamne. In this one-act piece, the playwright achieves order within chaos by virtue of a circular structure which encompasses even the stage properties and goes far beyond the paradoxical juxtaposition of love-cruelty, goodness-evil, child-man usually mentioned as basic characteristics of Arrabal's work.
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