Studia Universitatis Babeș-Bolyai - Dramatica
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283 research outputs found
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Le masque comme sujet : la matérialité du masque, entre forme, usage et savoir-faire
Full text linkThe paper The Mask as Subject: the Materiality of the Mask, between Form, Use, and Craftsmanship examines the object mask as a subject, utilised in both live performance and traditional European festivals. The analysis focuses on the ergonomics of masks and their relationship to the body, distinguishing between different types of wear and their expressive implications. The article explores the treatment of eye and mouth openings, revealing the technical choices that determine the character’s expression. An analysis of materials and manufacturing methods reveals a dichotomy between the preservation of traditional skills and the pursuit of technical innovation. This material approach to the mask, which extends beyond the conventional symbolic analyses, facilitates an understanding of how communities engage in the negotiation of their relationship with tradition. In this regard, the mask assumes the role of a mediator between permanence and change, between the physical body and its representation.The paper The Mask as Subject: the Materiality of the Mask, between Form, Use, and Craftsmanship examines the object mask as a subject, utilised in both live performance and traditional European festivals. The analysis focuses on the ergonomics of masks and their relationship to the body, distinguishing between different types of wear and their expressive implications. The article explores the treatment of eye and mouth openings, revealing the technical choices that determine the character’s expression. An analysis of materials and manufacturing methods reveals a dichotomy between the preservation of traditional skills and the pursuit of technical innovation. This material approach to the mask, which extends beyond the conventional symbolic analyses, facilitates an understanding of how communities engage in the negotiation of their relationship with tradition. In this regard, the mask assumes the role of a mediator between permanence and change, between the physical body and its representation
Une écologie de l’illusion : technologies et scénographie dans la redéfinition des relations entre humains et non-humains
Full text linkThis article develops a research I presented at the Technologies symposium of the Prague Quadrennial 2024, an international event dedicated to exploring the relationship between technologies and scenography in live performance and exhibition. My presentation, entitled An Ecology of Illusion, examined how contemporary scenographic practices are redefining the interactions between humans and non-humans. This text extends that exploration by combining theoretical perspectives with concrete case studies, and by highlighting the ways in which scenography can function as a site of ecological awareness, illusion, and transformation
The Avatars of Trauma in Art : BOOK REVIEW: Anca Hațiegan, Ciulei și spectrul tatălui. O psihobiografie, București, Editura Litera, 2024
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Employing Theatrical Techniques in Documentary Film
Full text linkThis paper examines the intersection between documentary filmmaking and theatre, arguing that this fusion transcends traditional objective representations of reality. By incorporating elements of theatre, such as narrative structure, performance, and audience interaction, documentaries can offer deeper, more artistic explorations of complex realities and the human condition. Through the analysis of several films that exemplify this approach, the study demonstrates how theatrical techniques in documentary not only broaden the genre’s artistic possibilities but also provide unique insights into historical, social, and personal contexts. This approach transforms documentaries into powerful tools for emotional and intellectual engagement, capturing the transformative journey of performers and their impact on both the film’s subject and the audience, ultimately expanding the scope of documentary filmmaking
Le rôle de l’émotion dans les séries médicales coréennes
Full text linkNowadays, viewers are deserting cinemas in favor of television platforms, whose production and viewing conditions are significantly different, particularly when it comes to the reception of series and the emotions they generate. The emotions produced by images vary according to the device through which they are viewed, and the television format itself can become an emotional trigger, as shown by research on reality TV or game shows, which play on empathy and the spectacular. In Korean medical series, one can distinguish three types: emotions towards and aroused by the doctor’s character, emotions felt for the patients, and finally attempts to give these emotions a theoretical framework, as can be seen in The Good Doctor and Brain Works, which use various devices to express or arouse them
Navigating the Middle Ground: The Necessity of Middle Films for Audience Engagement in Romania
Full text linkIn the contemporary digital landscape, audiovisual consumption patterns and film marketing strategies have undergone significant transformations, strongly influenced by the proliferation of social media and streaming platforms. Audiences now engage intensively with personalized and interactive content across diverse digital channels, prompting distributors to rethink traditional marketing approaches. Particularly in territories like Romania – categorized by the EU as low-capacity in film production – the lack of middlebrow cinema that effectively bridges artistic and commercial appeal poses substantial challenges. Historically dominated by internationally acclaimed auteur films, the Romanian industry now confronts a critical disconnect with local audiences, who perceive these films as inaccessible and overly intellectual. Conversely, influencer-driven commercial films have surged in popularity but frequently compromise artistic quality, highlighting the urgent need for balanced “middle” productions. Drawing on expert insights from leading Romanian film professionals and case studies of recent local successes such as Două lozuri (Two Lottery Tickets) and Anul Nou care n-a fost (The New Year That Never Came), this paper analyses innovative marketing campaigns leveraging targeted social media strategies, influencer engagement, and community-driven promotional efforts. It argues that developing middlebrow cinema accompanied by sophisticated digital marketing can enhance audience diversity, support sustainable growth of the Romanian film industry, and reconnect domestic viewers with locally-produced content, bridging the persistent gap between international critical acclaim and genuine public interest
The Beginnings of Stage Directing in the Romanian Theatre. A Historical View
Full text linkLacking a consolidated tradition in the art of stage acting and directing, the Romanian national theatres, which had only existed for a few decades, faced a series of legislative, administrative and aesthetic reforms at the beginning of the 20th century. These reforms aimed to acclimatize the most important novelties of modern performance, just emerging on Western stages. Such changes strongly impacted the conservative world of declamation and rhetoric, still indebted to the Romanticist school of theatrical interpretation. This paper aims to provide a cultural-historical perspective on the generational and artistic conflict that led to the modernization of the Romanian mise-enscène and to the consolidation of the director’s status, in the “century of directing”, focusing on Alexandru Davila’s contribution to the process
Short Thoughts at Length on The Actor’s Paradox
Full text linkWhy the actor’s paradox? I would not even bother with this question if I didn’t see so many acting students desperate to do well what they are given as “course material” and so much outdated, dusty, outmoded, mannered acting on stages in their home countries. And even the latter would not interest me – since they are largely kept alive by public taste and public satisfaction (of very dubious value for me) – if they were not based on the same criteria on which I base my ideas about acting. So, under the pretext of the apparent contradiction in Diderot’s words, I will examine where I might have started in a different direction. At which fork in the motorway did I drive wrongly onto the motorway and go against the traffic? Because it is obvious to me: I am in the minority. Perhaps the paradox is not in the acting, but in the way we think about it