Studia Universitatis Babeș-Bolyai - Dramatica
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Madame de Staël ou le plaidoyer pour une vie seconde : le théâtre
Get PDFOur contribution proposes an incursion into literary history at the time of the First Wave of French Romanticism. The subject of the investigation is Madame de Staël’s experimental theatre and the dramatic seasons that she organized between 1804 and 1811 in Coppet and Geneva. Our conclusions are twofold:on the aesthetic side, Coppet’s dramatic representations had the role of changing the aesthetic and literary canons of the early 19th century; on the historical side, the Coppet Group is one of the first romantic cenacles whose resounding literary activity was the theatre.Our contribution proposes an incursion into literary history at the time of the First Wave of French Romanticism. The subject of the investigation is Madame de Staël’s experimental theatre and the dramatic seasons that she organized between 1804 and 1811 in Coppet and Geneva. Our conclusions are twofold:on the aesthetic side, Coppet’s dramatic representations had the role of changing the aesthetic and literary canons of the early 19th century; on the historical side, the Coppet Group is one of the first romantic cenacles whose resounding literary activity was the theatre
About the Actor’s Reality and the Things We See: Can an Actor Create Reality Through Fiction, or Does He Merely Imitate It?
Get PDFIn this article, award‐winning stage and film actor András Hatházi challenges, from the viewpoint of his prestigious career as an artist and pedagogue, the relationship between actor, role, reality, and fiction. Can the actor create reality through fiction? In order to answer this question, the author turns towards the way children are playing, finding therein both truth, and inspiration
Layers behind the moment: Book review: Nele Wynants, ed., Media Archaeology and Intermedial Performance (London: Palgrave Macmillan, 2019)
Get PDFLe dilemme du texte en scène: Book Review: Joseph Danan, Absence et Présence du texte théâtral, (Arles: Actes Sud‐Papiers, 2018)
Get PDFOn the Character of Time: At the Crease of Theology and Drama in Cheek by Jowl’s 2016 Bam Harvey Theater Production of The Winter’s Tale: Theater review of William Shakespeare’s The Winter Tale. Directed by Declan Donnellan, performance by Orlando James, Edward Sayer, Natalie Radmall‐Quirke, Eleanor McCloughlin, Joy Richardson, Grace Andrews, David Carr, Ryan Donaldson, Sam Woolf, Peter Moreton, Sam McArdle, Joseph Black, Guy Hughes, and Tom Cawte, BAM Harvey Theater, Brooklyn, New York, 10 Dec. 2016.
Get PDFAll About Eve – Les Miroirs d’Eve et au‐delà
Get PDFTaking as a starting point the play of identifications in All About Eve, this paper focuses on theatre as a function in the constitution of the feminine subject. Something emerges in the relation between the characters, but also something is produced beyond this relation. The theatre-function is complemented by the scansion introduced by the mirror; the mirror is a place of disjunction on the journey of the subject. Further on, we look at how this theatre-function has a correspondent in the cinematic succession of repeating, enacting and creating in Mohsen Makhmalbaf’s movie Nunvagoldoon, which allows its characters to exit the series of identifications.Taking as a starting point the play of identifications in All About Eve, this paper focuses on theatre as a function in the constitution of the feminine subject. Something emerges in the relation between the characters, but also something is produced beyond this relation. The theatre-function is complemented by the scansion introduced by the mirror; the mirror is a place of disjunction on the journey of the subject. Further on, we look at how this theatre-function has a correspondent in the cinematic succession of repeating, enacting and creating in Mohsen Makhmalbaf’s movie Nunvagoldoon, which allows its characters to exit the series of identifications
Using Archive Work in Live Stage-Directing
Get PDFThis paper will present in a narrative form the documentary and the creative process followed by four young theatre directors while studying at the University of Arts from Tirgu-Mures as part of their master class program in Theatre Directing. Firstly, the reader will be familiarized with one of this master class curriculum’s assignments designed by Theodor-Cristian Popescu: to deliver a performative essay using as a starting point one famous Romanian theatre performance. Secondly, this presentation will record, for each of these students, the path from documents and archives to their exam/performance.The purpose will not be to evaluate or investigate the artistic value of these products. The focus will be guided towards the students’ approach while accessing archive documents and the transformations of all these materials in an artistic concept
The Body’s Memory Archives in the Process of Generating an Aesthetic Movement and `Flow Experiences` for the Audience in the Production of the Performance tXc -TOXIC (after F. Richter’s play Rausch)
Get PDFThe present enquiry is particularly interested in the performer’s body archiving memory while generating poetic movement on stage. The main site of investigation is a theatre-dance performance and the work engaged by the performers of tXc-TOXIC (after the Falk Richter’s play Rausch, an Insula Creative Hub production, directed by Cristian Grosu, choreographed and co-directed by me). The focal point of my argument is that, with proper and sustained body training, performers can easily incite and produce aesthetic movement after engaging the CI (contact improvisation) means of accessing movement and body memory
100 de ani (100 Years) by I.L. Caragiale: Recycling the Image of the Nation
Get PDFoai:ojs2.dramatica.ro:article/5On February 1, 1899, the National Theatre of Bucharest hosted the premiere of the play 100 de ani. Revistă istorică națională a secolului XIX, în 10 ilustrațiuni [100 Years. National Historical Revue of the 19th Century, in 10 Illustrations], arranged by I.L. Caragiale. Caragiale's controversial work is a montage of verses, prose and short plays written by several Romanian authors from the past (in other words, the play consists of old literary or dramatic works, appropriated, copied and pasted to fit into a new scenario). As a matter of fact, Caragiale wrote only the stage directions and a few lines and connecting scenes. But the overall, dramaturgical-directorial vision of the script belongs to him. Considering the way Caragiale treats the works of his literary colleagues in 100 Years, one could say that, in this particular case, he does not behave as a writer, but as a true author-director (or “auteur”). The ten “illustrations” arranged by him consist of a series of more or less allegorical or symbolic representations of the century about to end, with its emblematic moments, culminating in an “apotheosis” celebrating King Carol I. In my paper, I will try to argue that Caragiale's “revue” is more than a minor piece of homage art: it is an exercise of historical re-evaluation underpinned by a philosophy of history. I will also analyse the way the author recycles the image of Romania, departing from the traditional theatrical (allegorical) representations of the nation