Studia Universitatis Babeș-Bolyai - Dramatica
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The Vision of the American History in Paul Thomas Anderson’s Filmography
Get PDFThis paper presents the reinterpretation of the history of the 20th century United States as shown in the chosen films by Paul Thomas Anderson [There Will Be Blood (2007); The Master (2012), Inherent Vice (2014)]. His filmography is presented as a valid historical narrative, which encompasses the American 20th century in its entirety. The notion of historical narrative is presented with reference to the writings of Hayden White. The modern American society is characterized by its atomization and impossibility of forming interpersonal relationships. Anderson’s historical movies are treated as an attempt of finding the rationale for these societal conditions. The analysis refers to the traditionally American values of individualism and Emersonian self-reliance. Anderson’s films show the modern reinterpretation of these values which degenerated into egoistic self-centeredness. This process is seen in the emergence of the hardline capitalism (There Will Be Blood) and is strengthened by the post-war shattering of human relations (The Master). This deterioration of values cannot be stopped, what is shown through the failed hippie revolution (Inherent Vice). Throughout the analysis the films are constantly contrasted with the narrative of Howard Zinn’s A People’s History of the United States. This work is chosen as a point of reference because it was a significant reinterpretation of dominant historical narrative in itself, while still remaining scientific in its nature. The aim of this paper is to further the interdisciplinary research by showing that both historical and artistic narratives reinterpret the American history and have their tangent points
Theater Criticism in Search of Lost Identity. Stories of Professionalization: Book review
Get PDFBook review: Miruna Runcan, Teatrul în diorame. Discursul criticii teatrale în comunism. Fluctuantul dezgheț 1956-1964 [Theater in dioramas. The discourse of theater criticism in the communist era. The fluctuant thaw 1956-1964] (București: Tracus Arte, 2019
Unwritten Truths: Performance review
Get PDFPerformance review: Surpriza vieții [The Surprises of Life], presented within the 1st edition of the “Ziua Grănicerului” [The Border Guard’s Day] event, 11.09.2019, Năsăud, Romania. Cast: Sofia Ceciuleac, Dorel Timiș, Andrei Carafa, Macedon Marte, Ionela Timiș, Ancuța Filipo
Le théâtre, image de l’esthétique proustienne
Get PDFIn In Search of Lost Time, theatre holds an important place, especially in the first three volumes. Being part of the frequent activities of society, it gives many occasions to the narrator to express his thoughts about theatre shows. Our aim will be to demonstrate that those thoughts are one of the ways used by Proust to bring out his complex theory about novelistic creation – a theory which shows to what extent art’s aim is to access the essence of things through sensitive experience.In In Search of Lost Time, theatre holds an important place, especially in the first three volumes. Being part of the frequent activities of society, it gives many occasions to the narrator to express his thoughts about theatre shows. Our aim will be to demonstrate that those thoughts are one of the ways used by Proust to bring out his complex theory about novelistic creation – a theory which shows to what extent art’s aim is to access the essence of things through sensitive experience
Maria Vodă Căpuşan, analyste de Camil Petrescu : une approche sémiotique
Get PDFThis paper is a critical review of one of the most important books written by M. Vodă-Căpușan, dedicated to the Romanian playwright and novelist CamilPetrescu. It high-lightens the critic’s originality in her hermeneutical options, the way she becomes a sort of theorist of the writer’s style and creates a pertinent discourse on the theatrical writing method still valid today, although the book was published in 1988.This paper is a critical review of one of the most important books written by M. Vodă-Căpușan, dedicated to the Romanian playwright and novelist CamilPetrescu. It high-lightens the critic’s originality in her hermeneutical options, the way she becomes a sort of theorist of the writer’s style and creates a pertinent discourse on the theatrical writing method still valid today, although the book was published in 1988
How to „Read” a Dance Theatre Performance?
Get PDFThe following article treats the subject of a dance theatre performance, by giving an inside and an outside perspective of the creative process. It also attempts to define the concept of dance dramaturgy and to explain the dramaturg’s function in the rehearsal room. On a level of perception, the audience’s function is a very important one, because the spectator becomes a co‐author of the performer’s message. Therefore, the relationship between the stage and hall is a communication on different levels
English
No full textThe paper approaches acting from a phenomenological and psychoanalytic point of view. It sheds light on the intrinsic (i.e., invisible) resorts involved when someone is playing a role – or, better yet, assumes a role. In order to make these mechanisms visible, the paper relies on the premise that acting always involves an act. Using the Lacanian theory of acts, I demonstrate that there is a real process taking place when assuming a role, namely when the subject needs to objectify himself. This process can be traced back as far as the “time” of a pre-existent gaze. The aim of the paper is to substantiate the idea that it is necessary for the gaze to enter a dialectics in order for the subject to find its objective place. For illustration, two works of art are used: the performance The Artist is Present by Marina Abramovićand the movie A Woman Under the Influence by John Cassavetes.The paper approaches acting from a phenomenological and psychoanalytic point of view. It sheds light on the intrinsic (i.e., invisible) resorts involved when someone is playing a role – or, better yet, assumes a role. In order to make these mechanisms visible, the paper relies on the premise that acting always involves an act. Using the Lacanian theory of acts, I demonstrate that there is a real process taking place when assuming a role, namely when the subject needs to objectify himself. This process can be traced back as far as the “time” of a pre-existent gaze. The aim of the paper is to substantiate the idea that it is necessary for the gaze to enter a dialectics in order for the subject to find its objective place. For illustration, two works of art are used: the performance The Artist is Present by Marina Abramovićand the movie A Woman Under the Influence by John Cassavetes
La Coupure et la paranoïa de l’acte meurtrier.Entre Altman et Buñuel
Get PDFThis paper aims to explore the psychoanalytic roots and affinities in Robert Altman and Luis Buñuel with respect to the mechanisms of the constitution of the subject. More specifically, I approach the function of the cut as both a mark of the subject and within a so called paranoid act. Thus, in a Lacanian interpretation, the cut involves topology, the relation with the object, separation and alienation and, ultimately, the pure loss.This paper aims to explore the psychoanalytic roots and affinities in Robert Altman and Luis Buñuel with respect to the mechanisms of the constitution of the subject. More specifically, I approach the function of the cut as both a mark of the subject and within a so called paranoid act. Thus, in a Lacanian interpretation, the cut involves topology, the relation with the object, separation and alienation and, ultimately, the pure loss
Human Nature through Freudian Lenses. A Reading of Ordinary People (Robert Redford, 1980)
Get PDFThe article highlights the Freudian approach applied in depicting the events ensuing in a family after a tragic accident – and the related psychoanalysis case, determined by a case of traumatic neurosis – as illustrated in Robert Redford’s movie Ordinary People. The elder son in the family dies in a boat accident, while his brother survives, unable to save him. Ridden with unconscious guilt, the brother tries to commit suicide. Later, he eventually starts an analysis that will bring to the surface his interpretation of the accident, unknown to himself, as the actual traumatic event. The emphasis is placed on a suggestion-free direction of the cure, as promoted by both Freud and Lacan, where the analyzand finds his own words and brings the trauma to memory, moving from a traumatic and compulsory reliving in the present to a remembering of something in the past which liberates the present