Studia Universitatis Babeș-Bolyai - Dramatica
Not a member yet
283 research outputs found
Sort by
The Cultural Afterlives of DADA
Get PDFWith his Dadaists friends, Tzara constructed in Dada an art based, like religion, on an interior play of conflicting emotions, soulful contradictions, and haunting echoes moving in auditory progression toward today’s approximate culture. Beyond reinforced origins that incorporate such diverse influences as his native village or the fin-de-siècle Dandies, Tzara’s approximate aesthetic conjures the self-separation of artistic sensibility that once consolidated the community of the early saints. The play Tzara arde şi Dada se piaptănă: Fantoma de la Elsinore (Every Tzara Has His Dada: The Ghost of Elsinore) by Ion Pop, Ștefana and Ioan Pop-Curșeu is an illustrative example of the cultural afterlives of Dada
Do Roma communities only get to deal with suffering?
Get PDFBook Review: Roma Heroes II. Five European Dramas Kindle Edition by Independent Theater Hungary Rodrigó Balogh (Author), M. Drăgan-Z. Moldovan-L. Ceterchi-M. Lukács (Authors), Richard R. O’Neill (Author), J. Nikolić-R. R. Seidović (Authors), Igor Krikunov (Author), Rodrigó Balogh (Author) Format: Kindle Edition. September 28, 2021
Whether we like it or not: Book review: MCKINNE, Michael – Theatre in Market Economies, Cambridge, Cambridge University Press, 2021.
No full textHappening, a Controversial Hybrid Way of Cultural Expression
Get PDFThe aim of this article is to reveal an experimental acting exercise that took place in 2015 during a survival workshop, guided by the Romanian-Canadian stage director Alexander Hausvater. The name of the workshop was “The total actor – The survival” and took place in Colibița, a mountain resort in Bistrița-Năsăud county involving 25 young actors.
Happening as a performance art, a controversial way of expressing ourselves, is the acting exercise that will be discussedin the following pages. The need of culture in human life is undoubtedly vital. There was a group of 25 actors that embodied different human typologies for almost 12 hours in the town of Bistrița. The exercise was conducted in different areas of thetown and each actor was supposed to remain in the “skin” of the character no matter the circumstances. Even though they interacted with civilians from the urban environment, they had to continue to exhibit the traits and features assigned to thecharacter as if they were on stage. Many of the citizens were taken in by the deceitful appeareances and believed that the actors they interacted with were real people with real issues. The closeness between reality and pretence was so tight that some of the spectators insisted on helping the needy,underprivileged typologies some of them were interpreting. Consequently, the difficulty in going on with the acting part became even harder for the participants in the workshopsbecause of this interference
Génica Athanasiou. Une comédienne roumaine dans l’avant‐garde parisienne de l’entre‐deux‐guerres
Get PDFAfter the armistice in 1919, a young girl of Bucharest, a student of Nicolae Soreanu at the Conservatory of Music and Declamation, decided to leave to study in Paris despite the opposition of her parents. So began the career of Génica Athanasiou (1897‐1966), dedicated to the so‐called “Theater of Artˮ. On the Parisian stage, which was in full renewal, her choice of training goes towards a high stadard, as she takes part at the foundation of l’Atelier, with Charles Dullin (former collaborator of Jacques Copeau). Afterwards, her career demonstrated the same rigor: her work was supervised by directors such as Georges Pitoëff, Antonin Artaud or Jean Cocteau on stage; Germaine Dulac, Jean Grémillon or Georg Wilhelm Pabst behind the camera. A thorough investigation shows that she takes part in all battles of the theatrical avant‐garde, interpreting the first creations of Antonin Artaud, the Théâtre Alfred‐Jarry, Jean‐Louis Barrault and the Compagnie des Quinze (some of Copiaus). Fallen into oblivion after the Second World War, it was still thanks to the network of the avant‐garde that she managed to work, for the new generation of directors: Sacha Pitoëff or Guy Suarès. Her route without compromise illustrates the ethical, almost monastic ideal, defended by the Théâtre du Vieux‐Colombier and the Cartel’s members: the spirit of the company searches for a collective transcendence without the temptation of ego, or even stardom, in favor of a collective work raised to a high level of creativity.After the armistice in 1919, a young girl of Bucharest, a student of Nicolae Soreanu at the Conservatory of Music and Declamation, decided to leave to study in Paris despite the opposition of her parents. So began the career of Génica Athanasiou (1897‐1966), dedicated to the so‐called “Theater of Artˮ. On the Parisian stage, which was in full renewal, her choice of training goes towards a high stadard, as she takes part at the foundation of l’Atelier, with Charles Dullin (former collaborator of Jacques Copeau). Afterwards, her career demonstrated the same rigor: her work was supervised by directors such as Georges Pitoëff, Antonin Artaud or Jean Cocteau on stage; Germaine Dulac, Jean Grémillon or Georg Wilhelm Pabst behind the camera. A thorough investigation shows that she takes part in all battles of the theatrical avant‐garde, interpreting the first creations of Antonin Artaud, the Théâtre Alfred‐Jarry, Jean‐Louis Barrault and the Compagnie des Quinze (some of Copiaus). Fallen into oblivion after the Second World War, it was still thanks to the network of the avant‐garde that she managed to work, for the new generation of directors: Sacha Pitoëff or Guy Suarès. Her route without compromise illustrates the ethical, almost monastic ideal, defended by the Théâtre du Vieux‐Colombier and the Cartel’s members: the spirit of the company searches for a collective transcendence without the temptation of ego, or even stardom, in favor of a collective work raised to a high level of creativity
Un archipel des solitudes – perspective à vol d’oiseau –
Get PDFThis paper traces a map and a brief history of the presence of Romanian theatre outside the borders of Romania. It is shown here that Romanian theatre artists (actors, stage directors, stage designers) left Romania for many different reasons: a need for affirmation and of international celebrity, political and cultural persecutions etc. The emphasis is put here on the communist period, when the censorship imposed by political power determined many people to exile themselves: Silviu Purcărete, Lucian Pintilie, Andrei Şerban, Liviu Ciulei, as well as the author of this text and many others. What one can see is thatRomanian theatre artists worked individually, without building complex networks, even if they sometimes collaborated: that’s the archipelago of loneliness the title mentions. That doesn’t mean they hadn’t any influence on the theatrical life in the countries where they lived: they had a great impact, mainly through the theatre schools they founded.This paper traces a map and a brief history of the presence of Romanian theatre outside the borders of Romania. It is shown here that Romanian theatre artists (actors, stage directors, stage designers) left Romania for many different reasons: a need for affirmation and of international celebrity, political and cultural persecutions etc. The emphasis is put here on the communist period, when the censorship imposed by political power determined many people to exile themselves: Silviu Purcărete, Lucian Pintilie, Andrei Şerban, Liviu Ciulei, as well as the author of this text and many others. What one can see is thatRomanian theatre artists worked individually, without building complex networks, even if they sometimes collaborated: that’s the archipelago of loneliness the title mentions. That doesn’t mean they hadn’t any influence on the theatrical life in the countries where they lived: they had a great impact, mainly through the theatre schools they founded
The Theatrical Christening of Romania
Get PDFThe present paper focuses on the first theatrical representation of Romania by the actor and playwright Costache Caragiali (1815-1877), examining the portrayal of the female protagonist of the prologue written by the said author on the occasion of the grand opening of Teatrul cel Mare (the future National Theatre) from Bucharest, in 1852. The paper also traces the history of the allegorical representation of the nation in the Romanian theatre from the beginning to the end of World War I, by such authors like Gheorghe Asachi (one of Caragiali’s precursors), actor Mihail Pascaly, Frédéric Damé (a writer and journalist of French origin), Ion Luca Caragiale (Costache Caragiali’s nephew and one of Romania’s greatest writers of all times) and actor and playwright Zaharia Bârsan
The story of a story: the Grigoriu Theatre Company
Get PDFAt the beginning of the past century, tenor Constantin Grigoriu began gathering the outstanding members of the Romanian Lyrical Company, historically re-labelled „The Grigoriu Company” as an homage to its founder. Even if all its years of assiduous activity seem few when compared to the grand scale of time’s passing, the Grigoriu Company’s two decades of existence have left a mark upon the history of artistic life in Romania. This was due, in part, to its self-assumed status of „competitor” of the National Theatre, aiming to offer its regionally diverse public an alternative form of entertainment. Grigoriu also discovered and promoted grandiose performers the likes of Nicolae Leonard, Velimir Maximilian, Ciucurette, Carussy, Florica Florescu. The company contributed to the formation of an extraordinary generation of vaudeville singers too: Florica Cristoforeanu, Elena Drăgulinescu-Stinghe and Virginia Miciora were some of the most talented Romanian lyrical performers
Marietta Anca. A Portrait of a Lady
Get PDFMarietta Anca was not the only artist to catch the eye of a number of personalities who wrote about theater. Alice Voinescu, Camil Petrescu, Mihail Sebastian, N. Carandino, Lucia Demetrius, Ioan Massoff, Petre Comarnescu have left testimonies about the artists who were at the heart of Bucharest’s theatrical life. Their opinions, read with maximum possible objectivity, make up the portrait of an artist with a vigorous personality, over whom a veil had settled, seemingly inexplicably, since the last years of her career. She was in demand and she excelled in historical evocation tragedy and in the modern psychological analysis drama
”I only became a playwright when I started to direct“ - Interview with Alina Nelega
Get PDFThe present interview with Alina Nelega is centred on the contemporary Romanian dramaturgy. Our discussion focuses on the existing initiatives to encourage emerging playwrights, as well as on topics like the evolution of theatre in Romania after the fall of communism, the director-playwright relationship, the transition of the playwright to the status of dramatic author but also on the image of the country in the Romanian dramaturgy