Studia Universitatis Babeș-Bolyai - Dramatica
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Perpetuation or Decline? The German Theatre in Sibiu at the Turning Point 1918
Get PDFThe present paper focuses on the German theatre in Sibiu at the turning point of the year 1918. It first examins the context of the theatre within the Habsburg monarchy, its settings and the networking with other German-speaking theatres. Then it presents Leo Bauer as the long-standing director of the German theatre in Sibiu, switching to the overthrow of the theatre and its chances of survival within the new boundaries after the proclamation of the union of Transylvania with Romania
Notes on the Theatrical Offer in Contemporary Romania
Get PDFThis paper is a note on the theatrical offer in Romania and it seeks to lay emphasis on some of the elements that are essential to the understanding of theatrical marketing in this geographic area. The focus is on the understanding and the definition of the theatrical product and on repertory construction. Furthermore, the article includes a series of economic analyses conducted in order to complete the theoretical examination, as well as case studies material to our research topic
Celebrating the Art of Theatre in Heidelberg: Festival review: International Hot Shorts – Short Play Festival, organized by the Schauspielgruppe des Anglistischen Seminars, e.V. in partnership with the UNESCO City of Literature Heidelberg, 2-9 July 2016
Get PDF“It was all that I could think of.” : Migration, youth, and folkloric entertainment in rural Romania
Get PDFA hybrid that originated in the traditional peasant music, Romanian popular music (muzică populară), as it is known from radio broadcasts, TV shows or live performances from all around the country, was developed by mixing the village music of the twentieth century with techniques and principles borrowed from the classical repertoire and other light genres. Muzica populară emerged in the interwar years, but was perfected and regulated by the communist regime, becoming one of the favorite genres of the rural and urban working class. After the fall of communism, it continues to have a great appeal among all age categories. Considering its popularity, our aim was to discover the motivations that lead the village youth of Romania to involve themselves in activities dealing with muzica populară, in particular, or with folklore and traditions, in general. To accomplish this, we conducted several interviews with young people from Sălaj county (Valcăul de Jos, Chieșd, Măeriște and Marin), from which a few patterns emerged: 1. the appearance of television channels dedicated exclusively to muzică populară created the context for their rapid familiarization with the genre; 2. because of the massive migration of the 2000s, many of them spent their childhood with their grandparents, who initiated their nephews into the consumption of muzică populară; 3. the youth motivate their involvement in activities dealing with folklore and rural traditions with arguments about their devotion to the local culture and their willingness and duty to preserve and promote it.
If we want to look beyond the explanations provided by our informers, we can explain the success of muzică populară among young people by structural factors that are at work in the whole society, namely the lack of interest of post-communist authorities in building and/or maintaining a cultural and educational infrastructure in the rural areas. Without an established framework able to introduce them to various artistic and intellectual activities, in which they could further their interests and abilities, the rural youth are left with limited options, one of the most convenient being that of muzică populară and/or folk traditions. Thus, this paper aims to explore contemporary rural pop culture by considering the connection between the deterioration of the cultural infrastructure in rural areas, transnational migration and the exponential development of an industry devoted to the recent muzică populară
Actor training as a method of directors: Training in context of the Odin Teatret’s creative work and higher education
Get PDFMy paper examines the connection between actor training, the creative process, and institutional education using the findings of my PhD research. Using the theories of Watson, Féral, and Camilleri, I address conceptual clarifications of the term "training" in the first section of my study. I make a distinction between the definitions of the term training. Following that, I refer to training as constant practice. Through the history of Odin Teatret, one of the theater companies with the longest histories, I illustrate the connection between their training and performances and explore the degree to which one has defined the other throughout the company's history. I refer to writings by Barba, the Odin actors, and theorists who have talked about the company. As a working method, I examine the director's position in the training framework to address the issue of control over the actor training process. I'll discuss institutional education for actor training in my final paragraph. I'll make the argument that subject-level structured teaching of actor training should be just as crucial to the education of directors in Eastern Europe as it is to the training of actors
“I Simply Find Joy in Speaking, Writing and Working.” An interview with Alexa VISARION
Get PDFThe prolific activity of Mr. Alexa Visarion may be inspiring and disarming at the same time; his path in the creative world stands as a reminder that barriers of any kind are to be overcome by hard work and by allowing oneself to develop as freely as possible. As theatre and film director he’s known especially for Ahead of the Silence (1978), Luna verde (2010) and Năpasta (1982), but has directed seven films and written a number of scripts. During his lifelong career he directed over 100 plays in Romanian theatres and abroad. In 1985, he directed Stark Young’s translation of Anton Chekhov’s play, Uncle Vanya, at the Actors Theatre of Louisville (Mainstage) in Louisville, Kentucky. Here follows the brief presentation of a complete artist, whose discourse, as he allows to be shown, is a mix of incisive thought, candor and a certain type of guilelessness, something that is to be bore in mind while reading this interview about his rich international experience
The coronation of “the accompanying comrade” Sică Alexandrescu – A case study
Get PDFHave “People’s Artists” been famous artists, plain “nomenklatura” representatives in the artistic milieu or just “accompanying comrades”? What were the characteristics of the mechanism producing these “people’s artists” in the first years after the concept had been imported from the USSR? What are, in this context, the specificities of the Romanian theatre environment? Who are the people selected to become “distinguished artists”, “State Prize Laureate”, Emeritus Masters of art” or “People’s artists” – and what justifies this hierarchy? Clearly, some of the members of the first generation of communist “theatre heroes” were truly artists who had earned a certain fame even before the Second World War. Others, however, had not – or they had earned an entirely different kind of status and fame in the artistic milieu. We shall try to uncover at least a part of the mechanism for selecting/producing “state artists”, by means of a case study focusing on possibly the most illustrative character for the stated theme: theatre director Sică Alexandrescu. With this in view, we used previous files of personal research concerning the political, ideologic and aesthetic debates in the first decades of the communist regime, we revisited archives, journal and cultural magazines collections and, of course, we revisited the articles and books written by the famous theatre director himself
First Impression in Theatrical Casting
Get PDFIn theatre, casting is a complex process that is less frequently approached by specialized analyses, in comparison with film casting. This article seeks to emphasize the mechanisms involved in the shaping of the first impression, which matches the first chronological stage in the casting process. I will define the first impression, in the context of theatrical casting, as the manner of establishing the actor’s image following the analysis of his/her appearance and attitude – shown more or less knowingly – by a stage director, within several seconds of their first meeting. Usually, the directors’ trust in their own intuition, in the “reading” of the face, of the behavior and skills of those who appear in front of them, is absolute. But there have been quite a few cases where appearance has been contradicted by reality. On the other hand, of course, impressions cannot be shaped by the strict rules of logic, since the director is not a machine, but a human being who does not act only on rational factors, but also on affective and emotional ones. In the shaping of the first impression – a process that occurs in a limited timeframe, having a spontaneous and almost unconscious nature – an important role is played by perception, attention, observation, during which various errors of assignment may occur. All these elements turn casting into a unique event that focuses on a living, condensed and dramatic relation between the projections of two protagonists, the actor and the director, observers and observed alike
