Studia Universitatis Babeș-Bolyai - Dramatica
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L’ambivalence d’un chef-d’oeuvre : Une lettre perdue de I.L. Caragiale
Get PDFA Lost Letter by I.L. Caragiale, a landmark in the history of Romanian theatre, has enjoyed throughout time numerous critical interpretations, without losingits dramatic potential. We intend to study the comic mechanism through a variety of dramatic strategies: the diversity of the scenes, the circular actions,the baffling succession of situations, starting with the loss of the compromising love letter. This play features the actors of a political electoral farce overflowing with a vaudeville-like comic, that in conjunction with parody, is targeting the ideological clichés and verbal stereotypes. A logically inconceivable humour that borders the absurd. The purpose of this kind of humour, unleashed during comical situations, is not hiding the immorality, the demagogy of a socio-political reality put under the critical scope of the author. The joyful, bitter or cruel laughter are being in a continuous competition here. The humour is thus the element that subverts the values of political commitment.A Lost Letter by I.L. Caragiale, a landmark in the history of Romanian theatre, has enjoyed throughout time numerous critical interpretations, without losingits dramatic potential. We intend to study the comic mechanism through a variety of dramatic strategies: the diversity of the scenes, the circular actions,the baffling succession of situations, starting with the loss of the compromising love letter. This play features the actors of a political electoral farce overflowing with a vaudeville-like comic, that in conjunction with parody, is targeting the ideological clichés and verbal stereotypes. A logically inconceivable humour that borders the absurd. The purpose of this kind of humour, unleashed during comical situations, is not hiding the immorality, the demagogy of a socio-political reality put under the critical scope of the author. The joyful, bitter or cruel laughter are being in a continuous competition here. The humour is thus the element that subverts the values of political commitment
Dynamique des rapports de places et des images identitaires dans Les parents terribles de Jean Cocteau
Get PDFThe article aims to study the dynamics of the place relationships between mother and son in scene IV of the first act of the abovementioned play. This relationship, which represents the central theme of the play, is based on authority and domination and the son will try to ward off by resorting to a strategy. We will try to see first of all what this strategy consists of and what effect it will have on the evolution of the relationships between the two characters. Then, the study of the successive phases through which verbal interaction goes through (conversation, discussion, argument) will allow us to show how the plurality of interlocutive roles influences the dynamics of place relationships and identity images.The article aims to study the dynamics of the place relationships between mother and son in scene IV of the first act of the abovementioned play. This relationship, which represents the central theme of the play, is based on authority and domination and the son will try to ward off by resorting to a strategy. We will try to see first of all what this strategy consists of and what effect it will have on the evolution of the relationships between the two characters. Then, the study of the successive phases through which verbal interaction goes through (conversation, discussion, argument) will allow us to show how the plurality of interlocutive roles influences the dynamics of place relationships and identity images
Marcel Proust : la Berma, figure de l’artiste, figure maternelle
Get PDFLa Berma is an actress in Proust’s novel À la recherche du temps perdu. Her main model is Sarah Bernhardt and she has the same beautiful voice, a golden voice. Both of them are famous for their role of Phèdre in Racine’s drama. Theatre represents firstly a family matter and a social challenge. The child discovers theatre outside theatre where he is not allowed to go, that is on posters from the Morris column. And the first approach is semiotic. Theatre is included in narration, through two performances that the hero attends. With them, we have an image of theatre in the 19th century, from a sociological and artistic point of view. In the first one, theatre is considered as a low art and actresses are immoral women. Theatre is a cruel world which leads from glory to death, brings rivalry between actresses. In the latter, theatre is above all a text; Proust is interested in gesture and costume. He is focused on the quality of interpretation in comparison with the role. He shows that interpretation is a real art, which can be compared to painting and music.La Berma is an actress in Proust’s novel À la recherche du temps perdu. Her main model is Sarah Bernhardt and she has the same beautiful voice, a golden voice. Both of them are famous for their role of Phèdre in Racine’s drama. Theatre represents firstly a family matter and a social challenge. The child discovers theatre outside theatre where he is not allowed to go, that is on posters from the Morris column. And the first approach is semiotic. Theatre is included in narration, through two performances that the hero attends. With them, we have an image of theatre in the 19th century, from a sociological and artistic point of view. In the first one, theatre is considered as a low art and actresses are immoral women. Theatre is a cruel world which leads from glory to death, brings rivalry between actresses. In the latter, theatre is above all a text; Proust is interested in gesture and costume. He is focused on the quality of interpretation in comparison with the role. He shows that interpretation is a real art, which can be compared to painting and music
What’s Hecuba to him or he to Hecuba?
Get PDFStarting from the article by Leslie Forster Stevenson, professor at the Department of Philosophy and Anthropology at the University of St Andrewsin the UK, entitled Twelve Conception of Imagination2, which lists (without pretending to be exhaustive) twelve of the most used and influential conceptionson imagination, we have succeeded in identifying some of the most important characteristics of scenic talent. The actor or theatre pedagogue can thus use and work with the concept of talent, create creative strategies, develop different stratagems of practice and development, depending on the skills that will be trained
The Experiential Turn: Ways of Exploring the Past Through Enhanced Senses in Digital Performance Arts
Get PDFDigital technology research and artistic practice influence each other regarding user sensory experience. On the one hand, research on new technology brings a different dimension to performing and cinematic arts offering the user the possibility of exploring the past through enhanced senses. On the other, in the field of human‐computer interaction, there is an increased interest in the aestheticization of experience, a special attention being given to performance and theatricality, considered to be the basis for new paradigms in design and operating systems. I refer to the cross‐disciplinary encounters as being “experiential turns”, a series of innovations that could be the basis of new paradigms of design and operating systems, with applicability in both technology and creative industry. The paper will explore some art works that are representative for the experiential dimension of technologically mediated performance art
L’unification improbable, l’amour impossible: (Book review: Nektarios-Georgios Konstantinidis, La Réunification des deux Corées de Joël Pommerat: Entre le paradoxe et le conflit, Athènes : Liberal Books, 2018)
Get PDFA Field Defining Study: Book review
Get PDFBook Review: Cătălina Gheorghiu Iliescu, Un model polisistemic de analiză comparativă a textului dramatic din perspectiva traductologiei descriptive [A Polysistemic Model of Comparative Analysis of the Dramatic Text from the Perspective of Descriptive Translation Studies] (București: Editura Universității din București, 2018
Notre Petite Antarctique: Performance review
Get PDFPerformance Review: Ma petite antarctique, création documentaire et mise en scène, Tatiana Frolova, Téâtre KnAm, Russia, Festival Sens Interdits, Lyon, 201
“Bewitched:” Between Housewifery and Emancipation
Get PDFIt is not inconsequential that the first broadcast of Bewitched coincides almost perfectly with the publication of Betty Friedan’s preeminent work The Feminine Mystique, often considered the starting point of Second-wave feminism. The book and the series have a common goal: enabling housewives to become aware of their alienation and gradually bring them towards emancipation. It is therefore by using the portrait of the American housewife of the 1950s discussed by Betty Friedan as a framework for analysis that we propose to show how Bewitched, through Samantha’s character as a housewife, renews the portrait of the typical housewife, but by being a witch, allows a whole generation of women to become aware of the bonds which imprison them and thus to tend towards a release
L’impromptu en question : de Molière à Giraudoux et à Ionesco
Get PDFThe starting point of this research is a line from Eugène Ionesco’s play The Alma Impromptu: “theatre, of course, changes, for the theatre is life. It’s changing like life”. The author of this article aims to verify the viability of this assertion by analysing the following plays: Molière’s The Versailles Impromptu, Giraudoux’s The Paris Impromptu, and Ionesco’s The Alma Impromptu. This constitutes an investigation on some grounding points of the topic. The critical meta-text is focused on aspects such as the status of the playwright, the purpose of theatre, the fabrication of the dramatic text, the relation author/text/comedian/public and the status of theatre as a social phenomenon rooted in the lifeline of collective existence. However, the meta-text is constantly scrambled by a certain form of auto-referential writing unveiling its own mechanisms, the creative process being the play on its own. Molière puts himself on stage while writing his play, as author, director and comedian, Giraudoux shows himself through his character Jouvet, Ionesco places himself on stage while writing his play, being disrupted by three characters, “Ph.Ds in theatrology” who write a play themselves, encasings present in Molière and Giraudoux’s works as well. Consequently, the reflection on dramatic arts shows, in its essence, the same poetics and/or poïetics, the mirroring games favouring structural and thematic duplications, and depicts the evolution of technical devices and creative specificity shared with an audience more and more discerning.The starting point of this research is a line from Eugène Ionesco’s play The Alma Impromptu: “theatre, of course, changes, for the theatre is life. It’s changing like life”. The author of this article aims to verify the viability of this assertion by analysing the following plays: Molière’s The Versailles Impromptu, Giraudoux’s The Paris Impromptu, and Ionesco’s The Alma Impromptu. This constitutes an investigation on some grounding points of the topic. The critical meta-text is focused on aspects such as the status of the playwright, the purpose of theatre, the fabrication of the dramatic text, the relation author/text/comedian/public and the status of theatre as a social phenomenon rooted in the lifeline of collective existence. However, the meta-text is constantly scrambled by a certain form of auto-referential writing unveiling its own mechanisms, the creative process being the play on its own. Molière puts himself on stage while writing his play, as author, director and comedian, Giraudoux shows himself through his character Jouvet, Ionesco places himself on stage while writing his play, being disrupted by three characters, “Ph.Ds in theatrology” who write a play themselves, encasings present in Molière and Giraudoux’s works as well. Consequently, the reflection on dramatic arts shows, in its essence, the same poetics and/or poïetics, the mirroring games favouring structural and thematic duplications, and depicts the evolution of technical devices and creative specificity shared with an audience more and more discerning