Studia Universitatis Babeș-Bolyai - Dramatica
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Frei Luís de Sousa d’Almeida Garrett. Pour une approche pragmatique du texte dramatique
Get PDFIn this article, we analyse, from a pragmatic point of view, the dialogue of the play Frei Luís de Sousa by Almeida Garrett and its translation made by Maxime Formont at the beginning of the 20th century and published in Livourne. We focus on the strategies used by the participants in the theatre discourse in order to consolidate and sometimes even to renegotiate their interpersonal relationship. Our main interest concerns the use of nouns and pronouns in the 1st Act. For a better understanding of the socio-historical context of this play, we propose a short introduction to the 19th century, in Portugal. We also present and analyse some important para-textual pieces of information that accompany the translation made by Maxime Formont.In this article, we analyse, from a pragmatic point of view, the dialogue of the play Frei Luís de Sousa by Almeida Garrett and its translation made by Maxime Formont at the beginning of the 20th century and published in Livourne. We focus on the strategies used by the participants in the theatre discourse in order to consolidate and sometimes even to renegotiate their interpersonal relationship. Our main interest concerns the use of nouns and pronouns in the 1st Act. For a better understanding of the socio-historical context of this play, we propose a short introduction to the 19th century, in Portugal. We also present and analyse some important para-textual pieces of information that accompany the translation made by Maxime Formont
Trois scènes de bal dans le roman français (« La Princesse de Clèves », « Madame Bovary », « Le Ravissement de Lol V Stein »)
Get PDFThis article aims to analyze – in a comparative manner – three ball scenes from novels belonging to leading authors of French literature (Madame de Lafayette, Gustave Flaubert and Marguerite Duras), highlighting a series of dramatic mechanisms used by novelists in the construction of such a diegetic plot. If La Princesse de Clèves describes a ball that takes place in the royal court, with all the typical scenes of the time (embodied in a real mixture of intrigue and gallantry specific to the living environment of the actors, which make the topos of the novel itself become a collective character), Madame Bovary describes, instead, a ball animated by the high society of the nineteenth century, with all the specifics of the realistic episteme (the ball becomes here an opportunity to evoke the painful contrast between different living environments, which the heroine cannot access and which causes her, consequently, to take refuge in an imaginary universe). Much closer to the spirit of contemporaneity, Le Ravissement de Lol V Stein, the famous “nouveau roman”, relies on an image of the harmful and destructive ball, paying particular attention to the psyche of the characters. These novels lean – starting from this narrative pretext of the ball – on some love stories built through specific strategies of the theatre, which is, in essence, the central object of our analysis.This article aims to analyze – in a comparative manner – three ball scenes from novels belonging to leading authors of French literature (Madame de Lafayette, Gustave Flaubert and Marguerite Duras), highlighting a series of dramatic mechanisms used by novelists in the construction of such a diegetic plot. If La Princesse de Clèves describes a ball that takes place in the royal court, with all the typical scenes of the time (embodied in a real mixture of intrigue and gallantry specific to the living environment of the actors, which make the topos of the novel itself become a collective character), Madame Bovary describes, instead, a ball animated by the high society of the nineteenth century, with all the specifics of the realistic episteme (the ball becomes here an opportunity to evoke the painful contrast between different living environments, which the heroine cannot access and which causes her, consequently, to take refuge in an imaginary universe). Much closer to the spirit of contemporaneity, Le Ravissement de Lol V Stein, the famous “nouveau roman”, relies on an image of the harmful and destructive ball, paying particular attention to the psyche of the characters. These novels lean – starting from this narrative pretext of the ball – on some love stories built through specific strategies of the theatre, which is, in essence, the central object of our analysis
Triple Personality: Creating, Performing and Appreciating Physical Theatre
Get PDFThis article represents a closer examination of the triadic perspective of creating, performing and appreciating a performative event. This type ofanalysis is directly linked to choreological studies, a domain which is not yet part of the Romanian academic field, but, in essence, it does exist throughother forms of theatrical studies and practices. I localize every scholarly aspect in current performative practices, more precisely, in that of physical anddance theatre. Through this article I would like to bring more attention to the way these forms of performing arts are created, performed and spectated byindividuals who are able to deal with all three processes. Therefore, this analysis will have a more personal mark, thanks to the interviews integrated,with two internationally known artists in physical theatre: Hannes Langolf and Rob Hayden. It is a closer unveiling of how processes of transactionfunction within a piece of work. It is a way of constant questioning every participant in an artistic event should confront him/herself with
La Photographie de scène en France. Art, document, média. Des Années folles à nos jours. Capter l’invisible: Magazine Review : Issue 284 of the Revue d’histoire du théâtre, issue editor Arnaud Rykner, Trimester 3, 2019. Stage Photography in France. Art, Document, Media. From the Années folles to Our Times. How to Catch the Invisible.
Get PDFCultural Managers on Cultural Management Practices in Romania
Get PDFThis article proposes a synthetic analysis of the cultural management practices in Romanian theaters, as mentioned in interviews by managers of state or independent theaters. The focus is on main topics of interviews and on the managers’ acknowledged concerns: space management, management of human resources and “success” management. The managers’ discourse analysis points to important aspects of the cultural management practices in Romania and it supports a better understanding of the Romanian theater landscape
Les Femmes, le silence et le réel chez Ingmar Bergman
Get PDFThe main aim of this paper is to provide a psychoanalytic interpretation of the scream in the films of Ingmar Bergman, starting from Jacques Lacan’s consideration that the scream constitutes the abyss from which the silence emerges. After the outline of the difference between Silet and Taceo, the paper approaches three important aspects in the films of Bergman: the space of silence enveloping the silence of the film characters, the silence beyond the phallic, masculine order, and the silence as an empty void impossible to fill in the scream of Agnes (from Cries and Whispers).The main aim of this paper is to provide a psychoanalytic interpretation of the scream in the films of Ingmar Bergman, starting from Jacques Lacan’s consideration that the scream constitutes the abyss from which the silence emerges. After the outline of the difference between Silet and Taceo, the paper approaches three important aspects in the films of Bergman: the space of silence enveloping the silence of the film characters, the silence beyond the phallic, masculine order, and the silence as an empty void impossible to fill in the scream of Agnes (from Cries and Whispers)
Andres Neumann’s Theatrical Archive. Sources for the history of contemporary performing arts
Get PDFThe paper, at the conclusion of the work conducted during the first year of the PhD course in Storia delle Arti e dello Spettacolo (History of Cinema, Music, Fine and Performing Arts) at the University of Florence, briefly describes the structure and content of the theatrical archive of Andres Neumann, preserved at the il Funaro Centro Culturale of Pistoia. The fund is a precious instrument of historiography, because it contains documents relating to the main plays of the international theatre of the last thirty years of the twentieth century. After having presented and discussed some examples of documentary types contained in the archive, in particular regarding Tadeusz Kantor and Anatoly Vasiliev, the paper illustrates the prospects for development of this research project
Journey and Immersion: About a Poetics of Sensory in Contemporary Theatre
Get PDFIn the contemporary theatrical practice we find very frequently different formulas where the role of the audience is explored and its relation with the performer is renegotiated. This paper investigates some of the practices that aim to abolish the traditional boundary between the stage and the audience, counting on its affective participation, on the interaction with the performer or the acting space. In many situations the productions are labeled as immersive, although the term remains ambiguous and generic, the diversity of the spectacular formulas not allowing the establishment of a consensus. Such productions seek a higher degree of the participation of the audience, so that it becomes an active part of the performance, more than a spectator, having the freedom to move in space, to explore freely or guided, to make choices, even to influence in a certain degree the course of the story. The inner world of the characters materializes rather in corporeal expressiveness, in objects, scenographic or sound elements, so that the textual poetry, with its content of meanings and verbal images, is transposed into a sensorial poetics, being favored the gestural, vocal, kinesthetic dimensions. Often the dramatic construction is episodic, fragmented and generates networks of meanings, which are detached from the narrative and the logic of the original textual support, in order to be later individually assembled by each participant
The Weird Sisters. Historical-Religious Genealogies
Get PDFThe present paper offers a historical‐religious analysis of Shakespeare’s Weird Sisters and their multifaceted and equivocal nature. Their ancient origins are examined, starting from the Norns and the Anglo‐Saxon force of fate, wyrd, then proceeding into Greek and Roman mythology and beliefs, coming to the conclusion that the Weird Sisters are part of a destiny complex in which they play the role of agents in delivering Macbeth’s fate. In the second part of the paper, the figure of the witch is analyzed both off stage, in popular belief and the Protestant faith, and on stage, as the Weird Sisters are moulded from fair fairies into foul witches, so as to reflect the interests of the early modern English audience. It is argued that the Sisters reflect the historical and religious changes occuring in English society as paganism is repressed and Christian elite ideas demonize all forms of magical practice and supernatural entities
Artistes visuelles et sorcellerie : de la magie comme instrument créatif de lutte politique
Get PDFMany contemporary artists call upon the iconography of witchcraft, rewriting its past stories, exploring current ones, or actualizing practices and gestures (Camille Ducellier, Tatiana Karl Pez, Myriam Mihindou). Beyond folklore and esotericism, the witch is for these artists a figure of female emancipation with powerful subversive potential. Since the creation of the W.I.T.C.H. and the birth of anti‐nuclear movements in the United States in the 1970s, women have emerged as producers of rituals capable of generating collective power from different perspectives of struggle (feminist, ecologist, anti‐capitalist). This militant projection is now resurfacing with force, particularly through the first gatherings of Witch Bloc Paris. Artists are also reviving the tradition of ritual, designing actions whose objective is to bring politics and magic together. In this paper, we will question how artists reinvest ritual practices associated with the imagination of witchcraft, while proposing new forms of creative resistance.Many contemporary artists call upon the iconography of witchcraft, rewriting its past stories, exploring current ones, or actualizing practices and gestures (Camille Ducellier, Tatiana Karl Pez, Myriam Mihindou). Beyond folklore and esotericism, the witch is for these artists a figure of female emancipation with powerful subversive potential. Since the creation of the W.I.T.C.H. and the birth of anti‐nuclear movements in the United States in the 1970s, women have emerged as producers of rituals capable of generating collective power from different perspectives of struggle (feminist, ecologist, anti‐capitalist). This militant projection is now resurfacing with force, particularly through the first gatherings of Witch Bloc Paris. Artists are also reviving the tradition of ritual, designing actions whose objective is to bring politics and magic together. In this paper, we will question how artists reinvest ritual practices associated with the imagination of witchcraft, while proposing new forms of creative resistance