Studia Universitatis Babeș-Bolyai - Dramatica
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Absorption and Theatricality in the Staging of Contempt: Flaubert, Baudelaire, Huysmans
Full text linkDrawing on two categories suggested by art historian Michael Fried – absorption and theatricality –, this article suggest a specification relative to how we feel and express a particular emotion: contempt. To better understand the distinction between absorbed and distanced contempt, and all the emotional consequences that ensue, three specific and contrasting examples taken from Flaubert, Baudelaire and Huysmans are analysed here
« Le travail de l’historien constitue en somme un défi, d’autant plus difficile que les objets d’étude sont évanescents. » : Ștefana POP-CURȘEU* en dialogue avec Prof. Renzo GUARDENTI
Full text linkRenzo Guardenti is Professor of Theatre History at the University of Florence. He has taught as a visiting professor at the Institute of Theatre Studies at the University of Paris 3 Sorbonne Nouvelle and at the University of Caen-Normandy. A specialist in theatrical iconography, his research has focused on the Commedia dell'Arte in France and the Fairground Theatre, as well as on actor iconography between the 17th and 19th centuries. He directs the Dionysos digital archive of theatrical iconography (SAGAS Department, University of Florence), the Quaderni di Dionysos collection (Bulzoni editore), and the journal "Drammaturgia." His publications include *Gli italiani a Parigi. La Comédie Italienne (1660-1697). Storia, pratica scenica, iconografia*, Rome, Bulzoni, 1990; and *Le fiere del teatro*. Percorsi del theater fairground del primo Settecento. With a wonderful comedy about the Fairs of Saint-Germain and Saint-Laurent (1711-1715), Roma, Bulzoni, 1995; Attori di carta. Motivi iconografici dall’antichità all’Ottocento, Roma, Bulzoni, 2005; Sguardi at the theater. Saggi di iconografia theater, Roma, Bulzoni, 2008; In quadro form. Note di iconografia theater, Imola, Cue Press, 2020; Atlante iconography. La Commedia dell’Arte, Corazzano (Pisa), Titivillus, 2023.Renzo Guardenti est professeur d’Histoire du théâtre à l’Université de Florence. Il a enseigné comme professeur invité à l’Institut d’Études Théâtrale de l’Université de Paris 3Sorbonne Nouvelle, à l’Université de Caen-Basse Normandie. Spécialiste d’iconographie théâtrale, ses recherches se sont concentrées sur la Commedia dell’Arte en France et le Théâtre de la Foire, sur l’iconographie d’acteur entre XVIIe et XIXe siècle. Il dirige l’archive numérique d’iconographie théâtrale Dionysos (Département SAGAS, Université de Florence), la collection Quaderni di Dionysos (Bulzoni editore) et la revue « Drammaturgia ». Parmi ses écrits on peut signaler les volumes Gli italiani a Parigi. La Comédie Italienne (1660-1697). Storia, pratica scenica, iconografia, Roma Bulzoni, 1990; Le fiere del teatro. Percorsi del teatro forain del primo Settecento. Con una scelta di commedie rappresentate alle Foires Saint-Germain e Saint-Laurent (1711-1715), Roma, Bulzoni, 1995; Attori di carta. Motivi iconografici dall’antichità all’Ottocento, Roma, Bulzoni, 2005; Sguardi sul teatro. Saggi di iconografia teatrale, Roma, Bulzoni, 2008; In forma di quadro. Note di iconografia teatrale, Imola, Cue Press, 2020; Atlante iconografico. La Commedia dell’Arte, Corazzano (Pisa), Titivillus, 2023. 
The Inflated, Absurd World of a Liberating Dream: PERFORMANCE REVIEW: Eugène Ionesco, Pietonul aerului (The Air Walker), by Gábor Tompa, “Lucian Blaga” National Theatre, Cluj-Napoca, premiere: May 30, 2024
Full text linkThe Formal Import and Theoretical Metabolization of the Postdramatic in the Romanian Context
Full text linkThe article examines the importation and assimilation of the concept of postdramatic theatre into the Romanian theatrical landscape. The postdramatic, which emerged primarily in Lehmann’s seminal book, was delayed in Romania due to the country’s historical isolation during the communist era. The study traces the evolution of Romanian dramaturgy from pre-1989 influences to the 1990s and beyond, identifying a shift toward more socially and politically engaged playwrighting. The 2000s generation of playwrights embraced fragmented, collage-based texts and diverse theatrical forms, including documentary and political theatre. The article discusses the critical reception of the postdramatic paradigm in Romania, highlighting diverging views on its implications for narrative, character, and the role of the playwright. While some critics see postdramatic theatre as subversive, rejecting traditional story structures, others emphasize its continuity with past theatrical traditions. Ultimately, the article investigates how Romanian theorists and practitioners engage with postdramatic theory and its nuanced applications, questioning the legitimacy and utility of the term in the Romanian context, as well as its future
Découverte de l’esprit européen à travers les émotions du management d’une équipe artistique
Full text linkNow that the idea of the European unity is more and more questioned, artistic and educational projects such as Eurofabrique 2 show that there are still common myths to be recycled, common path to be discovered, pedagogical methods to be shared and consistent European spirit to be artistically and humanly enjoyed. We propose to follow through the lens of emotional engagement and exploration the encounter of 30 students and their teachers who worked together, in Romania as well as in France, from the very first idea to the final results of their theatrical laboratory, exploring dramaturgy, spaces, costumes and masks, dance, film and performance, and searching the feelings, thoughts, beliefs and cultural memories that unite young generations beyond borders, integrating individual choices and understandings of European culture, in its past and future unfolding
Joseph Danan (éd.), Le Présent au cœur du théâtre (Paris : Presses Sorbonne-Nouvelle, coll. « Registres », 2024)
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Action, Space and Emotion in Film: Reality and Speech Acts in Bresson and Scorsese
Full text linkThis paper refers to the issue of reality in film and includes some remarks on the emotions expressed by the character or the situation in the chosen filmic examples as well as on the emotions provoked in the spectator. The awareness of speech acts can pave the way to our critical work today, and renew the study of literature or art: it can offer unexpected interpretations, “mistreating” – as Barthes would have said – a text. The perspective of performativity can help me in refining my interpretation of some well-known films and filmmakers. I will concentrate on two examples: Bresson and Scorsese