Studia Universitatis Babeș-Bolyai - Dramatica
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Baudelaire fait son cinéma
Full text linkThis paper proposes a cross-interpretation of Baudelaire’s links with the world of theater. On the one hand, it is about the writer’s fascination with the world of the stage, the actors and actresses he knew or whose acting he commented in his literary reviews, or his attempts to write plays. On the other hand, things are also looked at from the other side of the coin, providing valuable insights into how Baudelaire was regarded by the theater professionals he encountered throughout his career. The article argues that Baudelaire did not complete any play projects due to both procrastination and the infusion of theatrical elements into other dimensions of his writing. In fact, Baudelaire was dreaming of a theatre too modern to be materialized on stage in the conventions of the nineteenth century, but at the same time he was shifting the boundaries of artistic representation towards a new art, which was to be the seventh: cinematography.This paper proposes a cross-interpretation of Baudelaire’s links with the world of theater. On the one hand, it is about the writer’s fascination with the world of the stage, the actors and actresses he knew or whose acting he commented in his literary reviews, or his attempts to write plays. On the other hand, things are also looked at from the other side of the coin, providing valuable insights into how Baudelaire was regarded by the theater professionals he encountered throughout his career. The article argues that Baudelaire did not complete any play projects due to both procrastination and the infusion of theatrical elements into other dimensions of his writing. In fact, Baudelaire was dreaming of a theatre too modern to be materialized on stage in the conventions of the nineteenth century, but at the same time he was shifting the boundaries of artistic representation towards a new art, which was to be the seventh: cinematography
Sudden Flashes and Bombarding Images: Post-Traumatic Flashbacks in Cinema
Full text linkThis paper investigates how some fiction films from the late 1950s and the 1960s (Alain Resnais’s Hiroshima mon amour and Sidney Lumet’s The Pawnbroker) attempt to share with their viewers what is known in psychiatry as post-traumatic flashbacks. These films seek to make them experience the effects of post-traumatic flashbacks, by making them viscerally endure, though partially, the shock suffered by the victims of these reliving episodes. How do Resnais and Lumet manage to convey the violence of the assault undergone by victims of post-traumatic flashbacks, through discontinuous editing, sudden flashes and bombarding images? I will address this issue in the wake of the so-called “affective turn” taken by humanities in recent decades, notably under the impetus of the groundbreaking work of Patrizia Lombardo
Independent Dance in Cluj-Napoca: Organizational Strategies and Audience Dynamics
Full text linkWith two primary research questions in mind, this study investigates Cluj-Napoca’s independent dance culture: “How do available resources (human, financial, and logistical) influence the organization and operational strategies of dance studios?” and “How aware, interested, and involved is Cluj’s audience, and what influences their behaviour as public or students?” The study reveals a varied but vulnerable sector through a questionnaire with 85 respondents and four interviews with cultural dance space managers. Sustainability is impacted by several factors, including a lack of consistent resources, difficulties with promoting the opportunities, lack of support from the local administration, and the strain of operating in uncertain and unpredictable circumstances. Every studio operates using its own flexible structure, and there is no set organisational model. Even though there is public interest, low visibility and restricted information available continue to be major obstacles to wider involvement. The results highlight the necessity of better coordination among cultural actors and more support from local authorities. The dance scene in Cluj-Napoca may have a more sustainable future if these ties are strengthened
A Journal Entry about Developing a Street Theatre Play for Amnesty Luxembourg Related to the Subject of the Intersection between Human Rights and Climate Change
Full text linkThe Bovaryc Anti-Heroine on the Hero’s Journey. Melancholic Maturing in Ingmar Bergman’s Summer with Monika
Full text linkThis paper explores the emotions of one of Ingmar Bergman’s most iconic feminine characters, from his 1953 film, Summer with Monika. While describing the protagonist’s arc, the analytic approach focuses on Monika’s maturing from a narrative perspective, following the stages of the hero’s journey and exploring her descent into melancholy. Starting from the premise that Monika possesses some of the traits of Bovaryc psychology, as developed by Flaubert and Jules de Gaultier, the character’s change from heroine to antiheroine is followed, putting an emphasis on the way her melancholy affects her fate
Baudelaire, les émotions et la Nouvelle Vague cinématographique : correspondances « lombardiennes »
Full text linkIntegrating various insights from Patrizia Lombardo’s writings, this paper aims to explore how the filmmakers of the French New Wave related to Baudelaire’s work. Indeed, a close look at the films of Truffaut, Godard, Kast, Chabrol, Rohmer, Rivette, Rouch, Varda, Vadim, Schroeder, Mocky, Pollet shows that these filmmakers often referred to Baudelaire in their works, and even sometimes constructed a profoundly Baudelairean aesthetic thinking. There are several elements that explain the Baudelairian passions of the members of the New Wave, in particular the fascination with Parisian inspiration of some authors who no longer work in studios, but also the way in which the poet of The Flowers of Evil treated emotions. The problematization of love in the films of the French New Wave often has Baudelairian overtones, as these filmmakers were marked by the figure of the dandy, but other emotions depicted by them also have a quite obvious poetic ascendancy. In this article, image fragments of films and poems, historical testimonies, as well as writings by these filmmakers who were first film critics are analyzed in a comparative perspective
The Paradox of the Self. Beyond Identity
Full text linkIn 2023, the invasion of the stage during a performance by the transwoman Keyla Brasil at a theatre venue in Lisbon, as part of a protest that claimed for the visibility of transgender performers, spawned numerous reactions. One of the most common was that such action meant an offense to the principle of theatrical representation and the ‘art of acting’. This idea of theatre as a place of illusion, where the self presents itself as the non-self, is commonly accepted as an interpretation of Diderot’s The Paradox of the Actor, but we are convinced that describing Diderot’s idea of the actor as someone who never seems to be himself is not an accurate interpretation. We will therefore read Diderot’s paradox following two postmodern interpretations by Lacoue-Labarthe and Eyal Peretz and adding the contributions of biologists who have been working with recent microbiological knowledge that challenges notions of One and the Individual. Our goal is to describe the action of Keyla Brasil not as an ‘interruption’ of a performance but as a complex intersection of (re)presentations that think with each other, destabilizing epistemic boundaries between one and the other, actor and character or performer and audience. We are convinced that the descriptions and vocabulary that emerge from this discussion will allow us to cast a new light not only on Diderot’s idea of the actor but also on Keyla Brasil’s action, taking us a step further in Lacoue-Labarthe’s and Peretz’s considerations on the self and the actor
