Studia Universitatis Babeș-Bolyai - Dramatica
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Paradigms of education in the art of acting
Get PDF Embedded in interculturality and transculturality, this paper focuses on the actor’s training, on facing, understanding and assimilating the theater lessons of the Far East, especially those of the Nō theater, based on the constructive encounters with them by practicing the Tadashi Suzuki (b. 1939) method, Japanese martial arts, researching Zen philosophy and the writings of Zeami Motokiyo (1363-1443). This article points out the similarity between certain paradigms of the Western theatricality with those of the Far Eastern one (holism, body-mind, now and here, flow, imaginary) as well as their fusion with other paradigms due to the interdisciplinary transfer existing between martial arts (aikidō and iaidō), Japanese culture, and the art of acting (shin-waza-tai, shoshin, ichigo ichie). The way in which fixed forms relate to imagination (kata), specific to both Far Eastern theater and martial arts (aikidō and iaidō), is also very important. This research highlights the essential nature of the fixed form for the impulses of imagination and creative freedom
The Dialogue Table: A Hybrid Method of ActiveArt and Citizenship
No full textIn the absence of a methodology or of an inherited practice, be it directly – from the local artistic environment, or indirectly – through written sources and scholarly literature (Artificial Hells by Claire Bishop was released around 2012) – the experience and practice of social art were the results of the encounter of a more or less fragmentary familiarity with art history with lived experience, at the moment of the start in 2006 within the Rahova-Uranus community art project[1]. The attitude which had not yet become common currency in the local cultural context of those years was one opposed to the art institution(s), which occupied a too markedly elitist and exclusive zone and were insulated from society. It was our desire to identify with various vulnerable social categories which were subjected to a policy of exclusion, rather than to one based on communication, that would bring communities into dialogue. We had to create our own method of working together, the community, the artists, and the local authority, in a space of learning from each other skills and experiences which will inform a local practice for a cultural public policy and its servants. The theoretical landmarks originating in the history of art were, alongside direct experience, points of reference and support which could suggest a new practice of embracing cultural competency, professional training, and development in public service for the common good focused on this paradox of mediation at the center of modern political life.
In 2006, under the Generosity Offensive Initiative, four artists landed in the Rahova-Uranus neighborhood of Bucharest hoping to create a documentary about the people living there. The artists were “appropriated” by the so-called marginal people of the neighborhood and they continued to exist and work together for more than 7 years. The Initiative aimed to actively involve every citizen of the Rahova-Uranus community to register, expose and debate on their social issues. They had been left the worse for wear by the twentieth century and they only rarely fitted in with the lofty plans of the authorities. Neither did the present-day inhabitants conform to the ideal of wealthy citizens that the local authorities projected those days. As a result, the threat of mass evictions loomed over them. Only by talking, debating, and reaching these means of expression within the public debates can people actively take part in the process of self-representation and in the reforming of administrative and legal systems according to their everyday needs. As a grassroots model, together with the artists involved, Rahova-Uranus brought to conceive a future Romanian pattern of an active civil society. The idea behind it was that jointly determining the course of something ‘larger than oneself’ helped boost morale and helped the community to develop strategies to avoid being left empty-handed in confrontations with the local authority.
Gigi Căciuleanu: To dance, or not to be… Je suis quelqu’un qui danse! Book review: Ludmila Patlanjoglu. Gigi Căciuleanu – Omul Dans [Gigi Căciuleanu – Dance Man]. Editura Institutului Cultural Român în colaborare cu Editura Nemira, editat cu sprijinul JTI şi al Fundaţiei Art Production, 2017
Get PDFArguments for a Historical Examination of the Discourse of Theatre and Film Criticism
Get PDFParadoxically, historical studies of performing arts seem to have seldom approached the manner of development of critical discourses; and this, despite the fact that the basic subject matter that comes to the aid of historiographers interested in arts (fewer and fewer of them can be seen in the academic environment of my activity) is given by critical discourses: leading articles, essays, reviews, investigative pieces, feature reports and interviews from this or that time. Very few researchers seem to have raised valid questions about the relationship between (artistic, theatrical…) creation and the critical discourses meant to represent and assess it. A simple web search including the keywords “theatre”, “history”, “theatre criticism”, “rhetoric” will expose the austerity of this field: such austerity may seem unfathomable, since, both from the viewpoint of the history of performing arts and from the viewpoint of the history of aesthetic, social, philosophical or political ideas, interactions are essential and their dynamics is almost impossible to ignore. This is why this article seeks to emphasize a number of primary themes, each of them potentially representing individual research stages that deserve subsequent systematic development
New Dramatic Structures, Negotiable Imaginary Spaces. On Assuming the Experimental Condition: Theatre review of M.I.S.A. PĂRUT, by Alexa Bacanu, a production of Reactor, Cluj, directed by Dragoș Alexandru Muşoiu and Reacting Chernobyl, based on texts by Svetlana Aleksievici and Wladimir Tchertkoff, a production of Varoterem Project, dramaturgy by Raluca Sas-Marinescu, directed by Cosmin Matei
Get PDFThe Actor in the Storytelling Schoo
Get PDFThis essay was born from a formative and revealing experience of the author's incidental encounter with storytelling. Seduced by the unsuspected valences of this phenomenon, the author has integrated the “tools of the trade” in his work as an acting teacher. The article’s premise is that storytelling is an exceptional way of uniting the actor and the spectator in common action, leading to a more complex understanding of the world surrounding them
La Scène au temps de l’Intelligence Artificelle
Get PDFThe study makes a theoretical-predictive analysis of the transformations that the use of Artificial Intelligence and new media will generate in a medium timehorizon in the theatre arts. Analysing some examples of contemporary creations in performing arts from Romania and other countries, it highlights different types of creativity through specific scenographic choices, dramaturgical compositions and spectator’s involvement, which break the tradition and draw a new horizon of scenic and performative experiences thanks to the intelligent use of new technologies and virtual realities. The directions targeted are aesthetic, professional and following the evolution of the act of reception.The study makes a theoretical-predictive analysis of the transformations that the use of Artificial Intelligence and new media will generate in a medium timehorizon in the theatre arts. Analysing some examples of contemporary creations in performing arts from Romania and other countries, it highlights different types of creativity through specific scenographic choices, dramaturgical compositions and spectator’s involvement, which break the tradition and draw a new horizon of scenic and performative experiences thanks to the intelligent use of new technologies and virtual realities. The directions targeted are aesthetic, professional and following the evolution of the act of reception
Balkan Dreams/Western Nightmares – An exploration of the American Dream/Nightmare in Plays by Romanian Women Playwrights
Get PDFThis article is an exploration of the aesthetics of exile in works by three Romanian women theater artists: Aglaja Veteranyi, Saviana Stanescu and Domnica Radulescu. I focus on the closely‐knit relation between the experience of exile and the theatrical aesthetics that emerges in the construction of differentversions of the American dream often turned nightmare. The arc of the study stretches over the intersections between gender, ethnicity, nationality asembodied in the practice of theater from the vantage point of displacement and fractured identities.This article is an exploration of the aesthetics of exile in works by three Romanian women theater artists: Aglaja Veteranyi, Saviana Stanescu and Domnica Radulescu. I focus on the closely‐knit relation between the experience of exile and the theatrical aesthetics that emerges in the construction of differentversions of the American dream often turned nightmare. The arc of the study stretches over the intersections between gender, ethnicity, nationality asembodied in the practice of theater from the vantage point of displacement and fractured identities
The Courage to Avoid “Safety Nets” in Theatre Costume Design An Interview with LUCIAN BROSCĂŢEAN
Get PDFThrough the years, Lucian has participated, with his fashion/art projects, at various national and international events: Romanian Fashion Week, Mercedes-Benz Berlin Fashion Week, International Fashion Showcase at London Fashion Week, MQ Vienna Fashion Week… He won several awards including: ‘Special Mention’ at the International Fashion Showcase London Fashion Week, Arts of Fashion ‘Wendy Jim and YKK’ Awards at MOMA San Francisco, Beau Monde Magazine’s ‘Crystal Globe’ for Best Romanian Designer, 3 times nominee for ‘ELLE Style Awards Romania’ Best Designer Category, 3rd place in the Fashion Design category and 42nd place in the general ‘Top 100 Cool Brands’ made by Forbes Romania
Anniversary of Romanian Theatre. Brief Retrospect
Get PDFThe paper presents the history of Romanian theatre, beginning with the creation of the first Romanian itinerant theatre company, at the middle of the 18th century, to the present. It is intended as a foreword and a chronological framework to this special issue of Studia UBB Dramatica