The author of such modern classics as The Bald Soprano, Exit the King, Rhinoceros, and The Chairs, EugĂ¨ne Ionesco is Â“one of the most important and influential figures in the modern theaterâ€ť (Library Journal). This crucial collection combines The New Tenant with AmĂ©dĂ©e and Victims of DutyÂ—the plays Richard Gilman has called, along with The Killer, Ionescoâ€™s Â“greatest plays, works of the same solidity, fulness, and permanence as [those of] his predecessors in the dramatic revolution that began with Ibsen and is still going on.â€ťIn AmĂ©dĂ©e, the title character and his wife have a problemÂ—not so much the corpse in their bedroom as the fact that itâ€™s been there for fifteen years and is now growing, slowly but surely crowding them out of their apartment.In The New Tenant a similar crowding is caused by an excess of furnitureÂ—as Harold Hobson said in the London Times, Â“there is not dramatist . . . who can make furniture speak as eloquently as Ionesco, and here he makes it the perfect, the terrifying symbol of the deranged mind.â€ťIn Victims of Duty, Ionesco parodies the conformity of modern life by plunging his characters into an obscure search for Â“Mallot with a t.â€ť In these as in all his plays, Ionesco poses and solves his tragicomic dilemmas with the brilliant blend of gravity and hilarity that is the hallmark of the absurdist theater.