Studia Universitatis Babeș-Bolyai - Dramatica
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Acteurs roumains en France: Book review: Anca Costa-Foru. Actori români – societari la Comedia Franceză [Romanian Actors – members of the Comédie Française’s Company]. Bucharest: Fundaţia Culturală “Camil Petrescu”, 2006.
Get PDFZaharia Bârsan and The Establishment of the National Theatre in Cluj
Get PDFThe article tackles the circumstances in which the National Theatre in Cluj came into being and its relevance to the Romanian cultural scene. It was inaugurated on the 1st of December 1919 after the Unification of Transylvania and Romania on the 1st of December 1918. To have professional theatre performed in the mother tongue of the majority was the embodiment of an age-old yearning of the Romanians living in this region, and was supported by the entirety of the theatre movement. In this respect, the most important aspects are mentioned. Before the Unification, Transylvania was part of the Austro-Hungarian Empire, and Romanians, despite forming the largest segment of the population, were completely stripped of rights. Therefore, the new-born National Theatre in Cluj was invested with a plurality of missions, the main one being to stand as an expression and a stimulus of Romanian creativity in all Transylvania, which was materialized through tours and series of performances in the region. The paper also attempts to capture the complexity of Zaharia Bârsan’s personality, a reputable theatrical animator, actor, director, teacher, dramatist, poet, prose writer, who was the first to be invested as director and founder of the institution. The difficulties he had to overcome, which revolved around founding a troupe of talented actors, finding a repertoire and bestowing the theatre with an aura of prestige are analysed. Initially, the repertoire included classical pieces, which were thought to carry a clearer, more accessible message, but he introduced modern and Romanian pieces as well. Zaharia Bârsan managed to produce extraordinary performances right from the first theatrical seasons: Vlaicu Vodă by Al. Davila, Oedipus Rex by Sophocles, Shakespeare’s Hamlet and Macbeth
La théâtralité du tableau vivant dans le théâtre de Samuel Beckett : une perspective néo-avant-gardiste
Get PDFSamuel Beckett’s theatrical work has been quite often compared, especially in the recent literature, to the abstract directions in modern painting and sculpture, but there was no attempt to analyse its relationship to its contemporary artistic movements taking their roots in the historical Avant-guards. The present article proposes to revisit Samuel Beckett’s theatre through a new perspective, mainly that of the theatricality of the living pictures (tableaux vivants) present in his stage conception, through the bias of European and American Pop Art, Assemblagism, New Realism and other Neo-Avant-guard artistic movements. Reconsidering thus an essential moment of theatre history, with the instruments of theatre iconography, we try to open new doors in the understanding of his work as a playwright and as a stage director, by replacing it in the right context of visual and performing arts.Samuel Beckett’s theatrical work has been quite often compared, especially in the recent literature, to the abstract directions in modern painting and sculpture, but there was no attempt to analyse its relationship to its contemporary artistic movements taking their roots in the historical Avant-guards. The present article proposes to revisit Samuel Beckett’s theatre through a new perspective, mainly that of the theatricality of the living pictures (tableaux vivants) present in his stage conception, through the bias of European and American Pop Art, Assemblagism, New Realism and other Neo-Avant-guard artistic movements. Reconsidering thus an essential moment of theatre history, with the instruments of theatre iconography, we try to open new doors in the understanding of his work as a playwright and as a stage director, by replacing it in the right context of visual and performing arts
The Evolution of the Milicier Film Genre in Communist Romania
Get PDFIn order to observe the manner in which the image of the Romanian militiaman is perpetuated throughout the movies produced during Nicolae Ceauşescu’s regime (1965-1989) we will analyze the most important detective films of that period. This will allow us to recognize a series of characterological and professional attributes present in the protagonists of these narratives which claimed to have come from reality. All of these heroes are shrewd, tenacious and well-intentioned because the official propaganda wanted to deliver a certain beautified image of the Romanian agent, about whom these films suggested having the mental and physical capabilities to be successful against any kind of villain and therefore being able to protect his country with a great sense of duty and commitment
An Approach to Teaching Digital Interactive Performance
Get PDFBy its complexity, performance art remains one of the most expressive art forms, although difficult to define, as some would argue. The use of media technologies in performance brought a significant enrichment to the artistic expression ever since the first experiments with video art, and broke the barriers between visual arts, cinema, and performing arts. New media and the revolution in communication brought by the Internet increased the complexity of the artistic productions that incorporate digital interactive technologies, making it very difficult to assess the artistic artefacts that tend to fall between art and science. The paper is presenting an approach to teaching digital interactive performance theory and practice, by providing a framework necessary for the development of definitions and taxonomies as well as an understanding of the interdisciplinary aspect of the practice of this emerging artistic genre. The analysis of the narrative discourse that pertains to certain forms of digital performance and the discussion about the esthetic, philosophical or technological aspects is significantly improved by the identification of the main critical paradigms that subscribe them. The paradigms discussed – subscribed to performance studies, digital culture, performing arts and human computer interaction – were developed considering the Romanian context of academic performing arts studies, that focuses almost exclusively on theatre and lacks a tradition in performance studies. The synthesis research about the digital interactive performance opens the discussion about cultivating an educational context appropriate for training artists capable to develop artistic productions relevant in the context of the new arts. The current pedagogical approach needs to be replaced by a heutagogical one, where practical and collaborative projects can be tackled in an innovative, inter-disciplinary framework. Such an approach is not formally possible in the current academic settings, but can be hosted by the university in interdisciplinary research centers and other artistic production contexts
Imagination and Empathy: Coalescence, Transfer and Embodiment
Get PDFEmpathy calls for the ability to transform another’s attitudes by a perceptive, cognitive and affective transposition. By its extraordinary capacity of generating images, of vitalizing performances and of turning them into certainties and beliefs, by its distorting quality (ensuring and enabling both the selection and joining of images that belong to the subject’s previous experience and the generation of new images that are not matched in actual reality), the actor’s imagination creates and projects in front of the spectator fictional, fantastic realities, which go beyond the perceptible reality, which provide alternatives to reality, by defying the borders of verisimilitude and by exploring not only the possible, but also the impossible
Mikhail Bulgakov’s Stalin: Book review: Mihail Bulgakov, Batum, A play in 4 acts, Translation, notes and introductory study by Nicolae Bosbiciu, Cluj-Napoca, Eikon Publishing House, 2015
Get PDFThe Collective Gaze - Notes from the Land of the Independents: A mash-up conversation between Răzvan Anton and Mihai Iepure-Górski
Get PDFThe Collective Gaze - Notes from the Land of the Independents is the result of a dialogue between Mihai Iepure-Górski and Răzvan Anton, who have been working as curators on the visual arts programme at Fabrica de Pensule between 2019 and 2021. Their comments and notes are based on a series of interviews with notable cultural managers from the Romanian independent sector, conducted in 2019, just before Fabrica’s 10 year anniversary. These testimonies offer a relevant image of the state of independent cultural organisations of the country, ranging from financial difficulties to content and programme development. 
Agatha Bârsescu – A World Class Tragedian
Get PDFFollowing closely the lifetime theatrical vocation of the Romanian actress Agatha Bârsescu, the present article sheds light upon her love for theatre and her international carrier. After spending her childhood in Bucharest and after studying at the Conservatory of Dramatic Art, Agatha was encouraged to try her chance abroad, which she did when, at the age of twenty‐two, she passed her admission exam at the Vienna Conservatory School of Drama. Years of brilliant roles and extraordinary meetings followed with an enthusiastic audience in Austria, Germany, and later on, in the United States of America. She was loved, highly appreciated, as an artist and as a teacher, when she came back to Romania, at the Conservatory of Iassy where she instructed young actresses. A model of elegance and professionalism, she left behind a volume of beautiful Memoirs, an important correspondence (at the Vienna Museum of Art) and a large number of precious photographs and articles that critics consecrated to her work and lif
Theatre Is the People Who Make It. The Romanian Theatre-work Experience by an Italian Director
Get PDFThe present paper presents the journey of an Italian director in Romanian theatre, from the first encounter with Romanian great performances abroad, in Festivals, to the work on stage with Romanian actors, and for a Romanian audience, in Cluj-Napoca. The National Theatre in Cluj-Napoca offered the place of this encounter of different energies, ways of living, making and approaching theatre, and the space for an artistic challenge: to work not only in the experimental way the director was used to at the Laboratory in Pontedera, but to find the right path in the more strict system of a Repertory Theatre and for a much larger audience in a shorter laps of time. This journey is not only about theatrical places but also and mainly about people met there, about exchanges, work, challenges, wishes, artistic results in the past and the present and projections in the future