Studia Universitatis Babeș-Bolyai - Dramatica
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Lucian Blaga as Visionary but Unfortunate Playwright: Book review: Doina Modola, Lucian Blaga și teatrul. Jocurile dramei. Tulburarea apelor, Fapta, Daria, Înviere [Lucian Blaga and the Theatre. Drama Games. Whirling Waters, The Deed, Daria, Resurrection], Bucharest: Editura Anima, 2017; Lucian Blaga și teatrul. Riscurile avangardei [Lucian Blaga and the Theatre. The Risks of the Avant-garde], Bucharest: Editura Anima, 2003; Lucian Blaga și teatrul. Insurgentul. Memorii. Publicistică. Eseuri [Lucian Blaga and the Theatre. The Insurgent. Memoirs. Journalism. Essays], Bucharest: Editura Anima, 1999
Get PDFA Theatre for the Workers, Protest as Performance, and the Political Police as (Art) Historian. A Plea for the Rediscovering of Interwar Peripheries
Get PDFThe article argues the importance of a renewed approach of the proletarian and Agit-prop theatre in interwar Romania, as well as forms of political proto- performances, as sociological and political phenomena, more than as aesthetical ones, based especially on the research of primary sources. Due to the specific political context of the period and the harsh censorship, these primary sources are mainly to be represented by the files of the political police of the time, Siguranţa. Taken over by its communist successor, these files were manipulated and reinterpreted according to occasional political needs: any research of the original documents is an archaeological process dealing with both the analyzed activity per se and the politicization of archives during the 1948-1989 period
La création contemporaine, entre héritage du postdramatique et narration scénique
Get PDFAlthough plays used to be organized by narrative structures since the antiquity, the calling into question of those structures in the mid-20th century made more and more difficult the logical construction of the narrative. In addition, the evolution of the producer’s functions and role, the common made creations development, the use of intermediality have deeply altered the way of considering the narrative modes. The present-day theatre which is more diverse within its aesthetics and ways of performing evicts the text and the fable. The performances benefit from this eviction and propose split or various processed based narratives. By studying three hybrid representative plays from the contemporary theatre – Blockbuster by Le Collectif Mensuel, Le Vivier des noms by Valère Novarina, and Donnez-moi donc un corps! by Sarah Oppenheim –, it is intended to first understand the role that the text still has, to identify the “vestiges” of a classical narrative structure, even if it is disarticulated and only works by juxtaposition and interlocking. As the contemporary plays minimize the text influence compared with other scenic media expressions, whether it is by the use of intermidiality or visual, sensible theatre, the postdramatic aesthetic legacy and the functioning of the new narrative techniques used will then be studied. These statements will lead us to evaluate the impact of these shows on the audience and to wonder how it can be invested in the play.Although plays used to be organized by narrative structures since the antiquity, the calling into question of those structures in the mid-20th century made more and more difficult the logical construction of the narrative. In addition, the evolution of the producer’s functions and role, the common made creations development, the use of intermediality have deeply altered the way of considering the narrative modes. The present-day theatre which is more diverse within its aesthetics and ways of performing evicts the text and the fable. The performances benefit from this eviction and propose split or various processed based narratives. By studying three hybrid representative plays from the contemporary theatre – Blockbuster by Le Collectif Mensuel, Le Vivier des noms by Valère Novarina, and Donnez-moi donc un corps! by Sarah Oppenheim –, it is intended to first understand the role that the text still has, to identify the “vestiges” of a classical narrative structure, even if it is disarticulated and only works by juxtaposition and interlocking. As the contemporary plays minimize the text influence compared with other scenic media expressions, whether it is by the use of intermidiality or visual, sensible theatre, the postdramatic aesthetic legacy and the functioning of the new narrative techniques used will then be studied. These statements will lead us to evaluate the impact of these shows on the audience and to wonder how it can be invested in the play
D’une dramaturgie circulaire à l’image de la conception orientale du Temps : Cas d’un drame historique persan
Get PDFThe present study invites us to discover a new narrative strategy in the way a Persian dramatist chooses to recount his historical drama. By creating holes or narrative obstacles over the moments of traditional topoi, he explodes the linear narrative and chooses a cyclical, even helical form to complete the fault of the initial narrative. The narrative form adopted broadly resembles a temporal and philosophical vision of history in its oriental approach, which is similarly considered cyclical.The present study invites us to discover a new narrative strategy in the way a Persian dramatist chooses to recount his historical drama. By creating holes or narrative obstacles over the moments of traditional topoi, he explodes the linear narrative and chooses a cyclical, even helical form to complete the fault of the initial narrative. The narrative form adopted broadly resembles a temporal and philosophical vision of history in its oriental approach, which is similarly considered cyclical
Independent… from whom? Independent... from what? About independence as procedure: Book review: Iulia Popovici, Elefantul din cameră. Ghid despre teatrul independent din România, Cluj, Idea Design and Print, 2016
Get PDFThe Challenge of the Commons in the Post-Socialist Era
Get PDFSince the neo-liberal turn of the 1970s and the consequent failure of the state socialist experiment, the functioning of the Eastern European states has increasingly been governed by the rationality of markets. This logic has led to an erosion of the concept of the commons and, by extension, universality. The notion of then alternative but now mainstream culture creates and serves particular class interests under the banner of ’independence’ and ’freedom’, which aims not to transcend the status quo but to preserve it and the property relations on which it is based. My thesis is written as a first step to reclaim the idea of the commons, pointing to the capitalist genesis of the forms in our contemporary culture
Le théâtre roumain, années soixante (1963‐65). Regards de France et de Russie sur le travail de David Esrig
Get PDFThis research tries to present a brief period of the Romanian theatre, the sixties, from the point of view of its international echoes, mainly in France and Russia. Stage directors such as David Esrig and Lucian Pintilie, among many others, were very admired by theatre critics who had the opportunity to know their work. Denis Bablet, for example, wrote in 1967 a laudatory article in Les Lettres françaies, on Esrig and Pintilie, and it is entirely transcribed here, as an important document for Romanian theatre history. Bablet’s article is the starting point for this research, where the focus is put on Esrig’s work that is situated in the great meyerholdian tradition.This research tries to present a brief period of the Romanian theatre, the sixties, from the point of view of its international echoes, mainly in France and Russia. Stage directors such as David Esrig and Lucian Pintilie, among many others, were very admired by theatre critics who had the opportunity to know their work. Denis Bablet, for example, wrote in 1967 a laudatory article in Les Lettres françaies, on Esrig and Pintilie, and it is entirely transcribed here, as an important document for Romanian theatre history. Bablet’s article is the starting point for this research, where the focus is put on Esrig’s work that is situated in the great meyerholdian tradition
A Dialogue on the Romanian Contribution to the Project of Total Theatre: Ion Sava and The Round Theatre (1944)
Get PDFLecturer PhD Cristian Rusu (1972) is a stage designer at the Cluj‐Napoca National Theatre and a visual artist. He teaches art history and stage design at the Faculty of Theatre and Film at Babeș‐Bolyai University, Cluj‐ Napoca. He holds a PhD from Babeș‐Bolyai University with a thesis on The Project of Total Theatre 1919‐1970 (2015). As a stage designer, he is the co‐author of several highly acclaimed, awardwinning theatre productions in national and international theater festivals. As a visual artist, he is represented by Galeria Plan B Berlin
Implementing Devised Theatre with Teenagers: Methodology and Design
Get PDFThe paper presents our pedagogic approach for implementing device theatre principles in working with teenagers. These principles converge to our research of the innovative concepts in the pedagogy field that emphasizes the role of the spontaneity and improvisation in the teaching process. This way of exploring the Drama Art allows to the subject-students to discover and to became aware of their most intimate thoughts and to integrate them into an artistic message. The defining principle of our pedagogic approach is the construction from the perspective of a finite artistic product which should be the transmitter of a message born from a personal stake, intimate, emulated in the consensus of the member of the group. In this way it is provided an adequate motivation of participants having a well-defined common goal. Also following this approach there are created pertinent occasions for accessing the training specific to the actors
Let us look at people without passing judgment: Book Review: Independent Theater Hungary, Michael Collins, Franciska Farkas, Dijana Pavlović, Richard R. O'Neill, Mihaela Drăgan, Roma Heroes: Five European Monodramas, Publisher: Women for the Future Association/ Independent Theater Hungary, May 29, 2020
Get PDFThe book Roma heroes is an exceptional collection of dramas and a special cultural history volume. The drama collection was compiled with great care and a lot of work. In the collection we can read five different dramas written by five European authors