Studia Universitatis Babeș-Bolyai - Dramatica
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Psychanalyse et sorcellerie – la psychologisation de l’anthropologique: Book Review : Ioan Pop-Curșeu, Études comparatives sur la sorcellerie. Anthropologie, cinéma, littérature, arts visuels (Școala Ardeleană Publishing House, Cluj-Napoca, 2021)
Get PDFRégisseur-Topeur dans Le Roi Lion : Entretien avec Sébastien Fèvre
Get PDFInterview with French director Sébastien Fèvre.Interview with French director Sébastien Fèvre
The After-Pandemic International Meetings in Cluj
Get PDFFestival and performance review of the 11th edition of the International Meetings in Cluj, at the The National Theatre in Cluj (September 28th - October 2nd 2022)
"We Do Not Export a Product with the Stamp ‘Romania’” An interview with Mihai MĂNIUȚIU
Get PDFMihai Măniuţiu is a Romanian theatre director, academic and writer. He is Professor of Drama at „Babes-Bolyai” University of Cluj, Romania, and Distinguished Professor of Drama at University of California, Irvine, USA. Currently, he is Artistic & Executive Director of the Cluj National Theatre, Romania. Since 1978, he has staged over one hundred theatre, dance, and opera productions in Romania and abroad. His productions toured in the UK, Belgium, France, Italy, Croatia, Turkey, Canada, Egypt, Austria, Hungary, Finland, Serbia, Brazil, and South Coreea. His directorial accolades include: Best Director Award and Best Dramaturgy Award (Ancient Theatre Festival of Merida, Spain, 2008); Best Theatre Production of the Year (UNITER Gala Awards, 1993, 2005, 2018); Best Director of the Year (UNITER Gala Awards,1998, 2002, 2003); Best Director of the Year (International Association of Theatre Critics, Romanian Branch,1991, 2005). He has published several volumes of fiction and poems, two volumes of theatre theory and a collection of essays on Shakespeare, The Golden Round, in which he explores the theme of power in Shakespeare’s plays. To date, four monographic studies have been dedicated to his work as a director: The Trilogy of the Double (Bucharest: Unitext, 1997), MĂNIUŢIU. Theatre Images by Cipriana Petre-Mateescu(Cluj: Idea Design & Print, 2002), Dancing on Ruins by Dan C. Mihăilescu (Cluj: Idea Design & Print, 2006), and Măniuţiu. The Ever Changing Space by Cristina Modreanu (Cluj: bybliotek, 2010), and a volume of critical essays by Mircea Morariu: Mihai Măniuţiu. Essential Visions (Cluj: Casa Cărţii de Ştiinţă, 2008)
Aesthetic Perspectives in Romanian Theatre at the End of the First World War
Get PDFThe years 1919-1921 were years of nostalgia and imperative claims for the Romanian stage, years of useful comparisons with the achievements of the theatrical movements from other countries, of explorations in search for the best solutions, of enthusiastic impetuses and efforts to reach lucidity. This paper looks at the main issues and aesthetic ideas that were manifest during the controversies provoked by the premieres of several important theatrical productions within the above mentioned length of time. It also looks at the initiatives of certain cultural associations and at the discussions concerning the modern expressiveness of theatre and the creative role of the theatre director. Special consideration is given to the program and achievements of the National Theatre from Bucharest during the short period when it was led by the writer Victor Eftimiu
Romanian Theatre as Public Service. A Critical Perspective of the Last Decades
Get PDFThis paper aims at synthetizing, from a critical perspective, the trajectory of the Romanian subsidy scheme of performance - mainly theatre - institutions, over the last century. Our basic argument is that, despite all the major political changes which took place after the First and the Second World War, despite the succession of dominant ideologies, the subsidy scheme has mainly remained the same, although the amounts invested by the authorities have varied from a time to another. The below analysis focuses on the relation between the political project, the state apparatus (both central, and local), the legislative system, the economy, and mentalities, in an attempt to prove the strange conservatism of a unique administrative model, as well as the lack of vision of the various political regimes with regard to the public service dimension of theatre art
Theatre Inauguration Ceremony and Symbolic Representation
Get PDFThe inauguration of the theatre building in Farkas street can be considered as a landmark of the Hungarian theatre history of Transylvania. The ceremony from 1821 has become a canonical event of Hungarian acting. The study analyzes first how the National Hungarian Theatre was constituted in the frame of the inauguration ceremony referring also to the symbolics of it as a visual and event-like frame of theatre historical remembrance. Then, will focus on two anniversary celebrations (from 1871 and 1892), in order to analyze how various elements of the anniversary celebrations relate to each other in the context of the institutionalization process
Gianina Cărbunariu's theatre, a form of memory in recent history
Get PDFMy paper highlights the way in which, by documenting some Romanian histories from our recent past, Gianina Cărbunariu’ theatre fuels our colective memory. Cărbunariu picks topics avoided by authorities, not enough or not at all analyzed by historians or sociologists, themes that are aesthetically treated focusing on small histories, real facts forgotten by researchers, facts that are pointed out through theatrical expressiveness. My study is build around the methodology developed by Paul Ricoeur in his book, Memory, history, forgetting, which I use as frame of my analyze. As content I have chosen a few of the most succesfull shows created by Gianina Cărbunariu and the most relevant in this analitic context
The Future of Memory Project
Get PDFDue to the specific theme of this issue of Studia Dramatica dedicated to new perspectives in the critical and historical approaches in theatre and film, we invited Olga Ștefan, the curator of one of the most interesting and complex projects of performing archives ever built in Eastern Europe, The Future of Memory (coordinated by Quantic Association), to write for our Journal a detailed descriptive presentation. The project had an impressive number of local partners in Romania and the Republic of Moldavia and was awarded a grant by the National Administration of Cultural Fund of Romania (AFCN). We thank Olga Stefan for her consistent contribution
