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Taking as a starting point the mere observation of the fact that Arthur Adamov, beyond the “absurd” or the “political” aspects of his theatre, had an intuition of the evolution of his contemporary world similar to that of the Popular artistic movements of the ’50-‘70, the present article proposes an investigation of this inter-artistic relation, centered around the idea of testimony. One of the questions tried to be answered concerns the nature of common testimony of these artists and the way the image of living in the XXth century modernity surfaces behind the show case of the work of art, be it projected for an exhibition or for the scene of a Theatre. Obsessed with the same ideas of the commerce of men and objects, of the seriality, of the spectacular and the parody, of the socio-economical mechanism of consummation and of exhibited eroticism, Arthur Adamov uses artistic forms claimed by Pop artist and New Realists denouncing at the same time the rigidity and the alienation which they generated, and of which they were nothing more than a visual travesty.

Keywords : Pop Art, theatre of the absurd, modernity, art as a witness, consummation, alienation.