Studia Universitatis Babeș-Bolyai - Dramatica
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The Public Consciousness of the Transition
Get PDFThe decade following the Romanian Revolution, generally known as “the transition”, saw radical changes in the economic and social fabric of the country, with one apparent exception: the public theatre system. At the same time, the monopoly the winners of post-communism developed on the discourse about the transition and the traditional practices of cultural production delayed any artistic representation of that period for at least another decade.
The article tackles the issue of this delayed public reflection on the long-term effects of the transition, how the theatre managed to preserve its own oblivion to these effects, and how the independent theatre of a new generation of artists engaged, after the financial crisis of 2008-2011, in a public reckoning of the ongoing legacy of the transition
Changing the State’s Discourse about Public Theatre Institutions by Redefining the Language of Law
Get PDFIn this study we take a closer look at how the state refers to performing arts venues and their roles and attributions in Romanian society, through its official channel of expression - the law. The two chosen laws, OG 21/2007 and OUG 189/2008, define the purpose, structure and organisation of public performing arts institutions, the criteria for becoming their manager and the duties that must be performed in this position. Our research first reflects on the terminology of these laws, comparing it with the general vocabulary of the texts. Then, for each of the two sets of regulations, we illustrate their shortcomings from the point of view of theatre management, grouping them in six and four topics. We believe that it is necessary to sensitise the professional and civil community to what the word of law actually means, since we consider it important to take back our public spaces through language as well, and start democratising public institutions also through discourse
Les Inquiétudes du destin dans le monde de Caragiale : pour une poétique de la mise en scène
Get PDFThis paper approaches the work of the great Romanian playwright and prose writer I. L. Caragiale from a personal perspective. The author focuses on the concept of destiny and the ambiguities of this concept in Caragiale’s thought. The ambiguity of destiny, always defined between the comic and the tragic, between the sublime and the grotesque, is investigated here, showing that Caragiale had an extraordinary philosophical openness, which he translated into situations and characters. Some emblematic human figures, situations and lines from Caragiale’s work are briefly analysed and the modernity and prophetic nature of his political thought are also treated. All these aspects were elements that stimulated the author’s practical interest in staging or making films inspired by Caragiale’s work. Caragiale profoundly shaped the author’s conception of the actor’s art and the role of theatre direction: this is the conclusion of the present paper.This paper approaches the work of the great Romanian playwright and prose writer I. L. Caragiale from a personal perspective. The author focuses on the concept of destiny and the ambiguities of this concept in Caragiale’s thought. The ambiguity of destiny, always defined between the comic and the tragic, between the sublime and the grotesque, is investigated here, showing that Caragiale had an extraordinary philosophical openness, which he translated into situations and characters. Some emblematic human figures, situations and lines from Caragiale’s work are briefly analysed and the modernity and prophetic nature of his political thought are also treated. All these aspects were elements that stimulated the author’s practical interest in staging or making films inspired by Caragiale’s work. Caragiale profoundly shaped the author’s conception of the actor’s art and the role of theatre direction: this is the conclusion of the present paper
Morning of the Actresses: Book review
Get PDFBook Review: Anca Hațiegan, Dimineața Actrițelor [Morning of the Actresses] (Iași: Polirom, 2019
Milk, Blood and Gall: Witches’ Bodily Fluids from the Treatise to the English Stage
Get PDFThe relationship between humoralism and literature has been broached by many critics, often in the lovesickness or in the melancholic‐as‐genius aspect. Yet, barring a few individual cases, there has been no general study linking witches with humours in the seventeenth century English dramatical corpus. The present study attempts to fill this gap by identifying the medical or demonological treatises that influenced playwrights’ representations of witches. Witches bodies are better understood by taking into account Thomas Laqueur’s theory of the one‐sex body, following the transformation of fluids into one another which is characteristic of their fundamental imbalance. Firstly, milk turns into gall inside witches‐mothers rejecting their motherhood, then into blood inside witches feeding familiars in a distorted image of motherhood. The absence of blood in amenorrhoeic witches is shown as a reccurent cause for their melancholy which has physiological and psychological consequences, in particular a licentiousness that makes witches seek blood in its semen form. Black bile is thought to be the devil’s humour, yet in the Weyer‐Bodin controversy theoreticians do not agree on whether witches are melancholic women suffering from hallucinations or real agents of the devil. On the other hand, plays ascribe either physical or emotional causes as well as symptoms coherent with a melancholy disease to witches, and playwrights use symbolical representations of melancholy on stage. In conclusion, it is difficult to establish a typology of such representations, given that each witch is uniquely composed with a particular playwright’s understanding of humoralism, often conflating several distinct ideas
« Les sorcières de Smyrne » sur la scène contemporaine
Get PDFThe novel The Witches of Smyrna by Mara Meimaridi (2001) is adapted for the stage and directed by Stamatis Fassoulis in 2018. The play transports spectators back to Smyrna, its clubs and celebrated fin‐de‐siècle cafés, for a story of magic, spells and cosmetics. The historical context remembers to the audience the lost homelands. Magical knowledge and practice were not widely accepted among individuals and communities in Minor Asia. But Katina, a smart young woman with magical abilities, ignore the reactions and impose herself across Smyrna’s society. The Greek witch at the beginning of 20th century is a woman next door, modern and independent, without Halloween’s witch hat or other accessories.The novel The Witches of Smyrna by Mara Meimaridi (2001) is adapted for the stage and directed by Stamatis Fassoulis in 2018. The play transports spectators back to Smyrna, its clubs and celebrated fin‐de‐siècle cafés, for a story of magic, spells and cosmetics. The historical context remembers to the audience the lost homelands. Magical knowledge and practice were not widely accepted among individuals and communities in Minor Asia. But Katina, a smart young woman with magical abilities, ignore the reactions and impose herself across Smyrna’s society. The Greek witch at the beginning of 20th century is a woman next door, modern and independent, without Halloween’s witch hat or other accessories
Le théâtre et la pandémie, nouvelles contraintes, nouvelles habitudes, nouvelles pièces: Magazine Review : Last issue of Plays International & Europe, Autumn 2020, vol. 33, no. 7-9. Theatre and the Pandemic, New Constraints, New Habits, New Texts
Get PDFRencountering Oneself. Reshaping the Body‐Mind Unity in the Acting Classroom
Get PDFThe following article treats the subject of first year pedagogy in the acting classroom: body-mind concept, the use of space-time in a theatrical approach, the understanding of the performer-student’s own body. In the borders of the classroom a profound research on the body and its performative actions is required alongside a personal tackle in the physical patterns of the performer-student and the constructive use of the creative process. The article is a short graphical inside of how an acting technique like Viewpoints can provide a large range of possibilities from which a student can begin to understand the relationship between one own’s body and space-time cuantum, body-mind-presence
Film comme non-film – Samuel Beckett et le spectacle vivant de l’angoisse
Get PDFThis paper aims to offer a psychoanalytic reading of the living suffering of Samuel Beckett concerning the trauma of birth doubled by the sin of being born with particular reference to his theatrical work Film from 1965. In Film the real nothing is converted into the image of multiple eyes (“I”s) which, beyond the idea of tragedy, translates the multiple division of the subject into Eye and Object, an acting out of the self-consciousness through the concentric circles of the anxiety. In this sense, the theatrical play between in-between and out-between grasps anxiety as the symptom of every event of the real. With his (not)film, Beckett represents I and Eye, Not I and Not Eye at the same time.This paper aims to offer a psychoanalytic reading of the living suffering of Samuel Beckett concerning the trauma of birth doubled by the sin of being born with particular reference to his theatrical work Film from 1965. In Film the real nothing is converted into the image of multiple eyes (“I”s) which, beyond the idea of tragedy, translates the multiple division of the subject into Eye and Object, an acting out of the self-consciousness through the concentric circles of the anxiety. In this sense, the theatrical play between in-between and out-between grasps anxiety as the symptom of every event of the real. With his (not)film, Beckett represents I and Eye, Not I and Not Eye at the same time
What Can Be Said: The Jenő Janovics Archive in Cluj
Get PDFThis paper focuses on the documents kept in archive of Jenő Janovics, an artistic director in Hungary and Romania for 30 years. The rich archival materials, kept in Cluj, of this important public figure reflect the turbulent times of history of Hungarian Theater in Cluj in the first half of the 20th century. The study presents a possible approach to this material, also introducing Janovics’s diary’s hermeneutical problems