Studia Universitatis Babeș-Bolyai - Dramatica
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Changing Faces of Witches in Contemporary Photography
Get PDFIn photography, the image of witchcraft has always been associated with the quality of being different, due to the necessity of representing theinexplicable or the strange. Very rarely in the history of images the owners of paranormal powers have been presented as being immerged in banality.However, nowadays, photographers treat as well this aspect, but the image of witches is, by excellence, associated with an extravagant physical aspect. Themeans to do this are very different: the body, the outfit, the expression, the scenography of the environment where the witch is being represented shalltake the attributes of an extravagance which underlines her/his qualities as out of the common, which also imply the idea of isolation and the glamour ofa varied display of explicit powers. The new witches that some photographers depict nowadays seem born out of a desire for an anticapitalistic life, out ofthe system, as in the Wicca movement, for instance. In this paper, a focus is put on the aesthetic ways of presenting the image of the witch in photography,depending on the specific period of time artists refer to in their works
Réflexions sur l’espace comique. L’exemple du Mariage de Figaro
Get PDFThis study shows from the example of the Marriage of Figaro how the space defined by the dramatic text within fiction has a creative energy and arange of meaning which can be compared to that of the speech or the acting of the characters. Suzanne’s armchair is the centre of a long play of scenes inthe 1st act: this inert object then constitutes the crux of the action and embodies the force of chance fighting against the Figaro industry, a bit like fate in thetragedy fights against the active will of the heroes. The corner of the park under the chestnut trees in the last act plays the same role by precipitating allthe intrigue and all the characters, in favour of the night, in a game of masks, misunderstandings and deceptions which summarize the issues of the intrigue and untie it. Figaro’s monologue located at the entrance to this dramatic space gives the key to its functioning: human life is governed by Chance, which is the god of comedy. Consequently, the question of Being becomes that of being there. This awareness by Figaro opens at the heart of comic space a subjectivation by spatialization, the secret of which is that we are spatial beings, that is to say social beings, defined in everything and for everything by our relationships and by the successive situations in which we form, act and live: lucid and disillusioned awareness of our constitutive “spatiality”.This study shows from the example of the Marriage of Figaro how the space defined by the dramatic text within fiction has a creative energy and arange of meaning which can be compared to that of the speech or the acting of the characters. Suzanne’s armchair is the centre of a long play of scenes inthe 1st act: this inert object then constitutes the crux of the action and embodies the force of chance fighting against the Figaro industry, a bit like fate in thetragedy fights against the active will of the heroes. The corner of the park under the chestnut trees in the last act plays the same role by precipitating allthe intrigue and all the characters, in favour of the night, in a game of masks, misunderstandings and deceptions which summarize the issues of the intrigue and untie it. Figaro’s monologue located at the entrance to this dramatic space gives the key to its functioning: human life is governed by Chance, which is the god of comedy. Consequently, the question of Being becomes that of being there. This awareness by Figaro opens at the heart of comic space a subjectivation by spatialization, the secret of which is that we are spatial beings, that is to say social beings, defined in everything and for everything by our relationships and by the successive situations in which we form, act and live: lucid and disillusioned awareness of our constitutive “spatiality”
Du texte à la mise en scène : négociation, fidélité, mémoire. Interview avec Patrice Pavis
Get PDFThis interview with Patrice Pavis has been taken after the three day workshop in Târgu Mureș (13-15 Nov. 2019) by the local Institute of Theatre and Multimedia Research of the University of Arts. The general theme being the new forms of performing arts, we continued the dialogue, insisting on some of the main points concerning the often problematic relationship of the stage director to the source text – be it dramatic or not. The discussion focuses on the possible negotiation with this textual source of inspiration, on the question of fidelity, on the different layers of the artistic and historical memory that have to be taken into account when analysing a new stage adaptation.This interview with Patrice Pavis has been taken after the three day workshop in Târgu Mureș (13-15 Nov. 2019) by the local Institute of Theatre and Multimedia Research of the University of Arts. The general theme being the new forms of performing arts, we continued the dialogue, insisting on some of the main points concerning the often problematic relationship of the stage director to the source text – be it dramatic or not. The discussion focuses on the possible negotiation with this textual source of inspiration, on the question of fidelity, on the different layers of the artistic and historical memory that have to be taken into account when analysing a new stage adaptation
Structure and Methodologies of Research in the Arnoldo Foà Archive
Get PDFThe focus of this paper is the presentation and description of the Arnoldo Foà archive and its importance as the main documentary source for studying the contemporary actor: through the analysis of the sources contained therein, in fact, it was possible to conduct an in-depth study of theatrical career of Arnoldo Foà. The work is part of the Phd in Storia delle Arti e dello Spettacolo (History of Cinema, Music, Fine and Performing Arts) in Florence, a context in which I carry out a research dedicated to the artistic profile of Arnoldo Foà, protagonist of the theater from the second half of the twentieth century. Starting from the description of the archive in which the research was conducted, some significant examples are examined that can demonstrate how archival sources have managed to reveal unpublished and fundamental information for the study. Furthermore, the value and the high potential that the archive assumes as the main study tool for the performing arts are highlighted
Anti-Establishment Documentary Theatre: Performance review: Capete înfierbântate 2020 by Mihaela Michailov & David Schwartz, directed by David Schwartz, with: Alexandru Potocean, Oana Rusu, Teodora Retegan, Maria Sgârcitu. (A production of Centrul Educațional de Teatru Replika, October 2020)
Get PDFMnemonic Cartography of Violence
Get PDFImportant historical events such as revolutions sometimes lead to changes in the relationships that individuals have with places. The citadel of Shahr-e No, the largest brothel of Iran was burnt a little time after the end of the 1979 Iranian Revolution. Streets and buildings are one of the most stable social frameworks, they are the one that lasted through wars, riots, and revolutions. They play a key role in the process of recollecting memories. A social group can leave its print in a place, as a place can leave its print on a social group. In the case of the citadel, everything that constituted the memory of the place and of the life that people lived there disappeared. I have done a forensic cartography in order to bring back the memory of this erased place. Indeed, in the absence of oral as well as visual testimony about the citadel, I resorted to the object, that is the map. My practical work in connection with my research work is based on maps dating from before and after the destruction of the citadel and they report on the violence of the erasure of a public space and of its memory. I try to restore a critical relationship between memory, time, place, and political violence
Mainstream Satanic Cinema in the Seventies: A Generational Crisis of Assimilation
Get PDFA particularly fertile period for satanic presence can be found in mainstream Hollywood during the early to mid 1970s. Encouraged by the success of Rosemary’s Baby, major studios produced The Exorcist and The Omen series, not to mention a flurry of independent productions across the decade. Neither before nor since this decade has satanic content in cinema achieved such widespread popularity, and so this particular moment ought to warrant deeper consideration. In general, these narratives appealed to countercultural notions of conspiracy, especially with respect to authority figures and/or the government. But at an even more subconscious level, these satanic films spoke to a pervading fear, at this particular time, of relinquishing a former sense of control over one’s destiny. This article explores and elucidates the cultural conditions attributable for the emergence and popular embrace of these films in this particularly modernist cultural moment
“Sabrina, you’re not yourself.” The Borrowings of Sabrina Spellman
Get PDFThis article examines the contradiction between shallowness and silliness in the television series Chilling Adventures of Sabrina from the perspective of creative piracy. I argue that the show adopted the superficiality of the 1960s comics. Despite substantial hijacking of elements from series like Buffy the Vampire Slayer or a movie Something Wicked This Way Comes the writers failed to lift this new Sabrina to a better quality. The borrowed elements simply made it more chaotic
Images de la sorcellerie dans le théâtre roumain contemporain: Performance review: Sânziana și Pepelea, by Vasile Alecsandri (director A. Dabija, National Theatre in Cluj – 2013) ; Țiganiada by Ion Budai-Deleanu (director A. Dabija, National Theatre in Cluj – 2018) ; Romacen – Vremea vrăjitoarei (director Tina Turnheim, Andrei Mureșanu Theatre, Sfântu-Gheorghe – 2019) ; Macbeth by Giuseppe Verdi (director Rareș Trifan, National Opera in Cluj – 2019)
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