Studia Universitatis Babeș-Bolyai - Dramatica
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New Media - A Discourse of Expression, A Mirror of Reality: Book Review: Cristina Rusiecki, Un click și...1000 de realități - New Media în Teatrul Românesc / 1 click and… 1000 realities - New Media in Romanian Theatre (București: Asociația ENTHEOS, 2020)
Get PDFCiulei. A Director’s Point of View: Book review: Eugen Gyemant, Universul regizoral Liviu Ciulei/ Liviu Ciulei’s Stage-directing Universe (București, Editura Liternet, 2020)
Get PDFTraces of Old Visual Patterns in the Romanian Modern Painting
Get PDFThe contribution intents to stretch out the way certain visual sequences of old Romanian or Byzantine art are brought back to life in the Romanian modern age. Some study cases reveal specific ways of using and understanding the cultural tradition. In the first two decades of the 20th century the artistic research regarding the past is connected to the concept of national identity. One of the pioneers in this field was the theorist artist Apcar Baltazar, well-known for his attempts to construct a “national style” on the basis of Romanian folk elements and the post-Byzantine style. His viewpoint on a modern national style established upon past decorative patterns, indebted to Symbolism and the international style Art Nouveau, represents a start in developing spiritualized forms inspired from archaic arts. The discourse on history, in the manner of eclectic quotations from the painting of Baltazar, was exceeded by history itself. The First World War changed life and art, increasing the dramatism of image, the harsh simplicity of line, the flattening of color present in the entire production of the generation of artists grouped in 1920 around the association Arta Română (Romanian Art). Artists like Tonitza, Dimitrescu, Sion, Șirato reinterpreted and adapted the aesthetics of Romanian old mural painting and rustic elements to the modern artistic language. The Byzantine tradition, a long-lasting paradigm (in the situation in which artists accepted commands of the Christian Orthodox Church as a way of living), was lightly assimilated by strong personalities, but tangible in the propaganda discourse of the Neo-Orthodox movement
For a Revaluation of Genre Theory in Contemporary Drama
Get PDFDespite their singularities and divergences, the major dramatic theories of the twentieth century keep the classical tripartition of genres untouched. Our recent research on rhapsodic criticism has evidenced the increasingly appropriation by playwrights of elements traditionally reserved for a fourth genre, as important as epic, lyric and dramatic genres, but left aside by critical reflection because of its traditional association with “non-artistic” practices: the essayistic genre. A new theory of genres that incorporates this fourth genre into the classical triad may not only illuminate some of the main features of modern and contemporary drama, but it also allows a more accurate understanding of some of the fundamental works of Western drama
The Clash between the Utopian World of the Witches and the Dystopian Society of Humankind in “The Witch” and “Macbeth”
Get PDFWitchcraft has been present in cultural and intellectual history of various societies, and inescapably the representation of witchcraft and a witch figure have been one of the shared interests in numerous literary works. Particularly, witchcraft as a theme was very popular among the famous dramatists of the Renaissance period in England. For instance, both The Witch by Thomas Middleton and Macbeth by William Shakespeare have thick layer of witchcraft in their corpora. Accordingly, the present research is an attempt to highlight that, in contrast to the contemporary firm beliefs in and accusations against “witches,” these plays present the closed witch community as an almost a utopia through providing a stark contrast between the enigmatic yet egalitarian and free society of the witches and the hypocritical norms of the plays’ societies specifically related to sexuality and freedom of an individual
One Conscience or more: Is the Actor more than one at a time?
Get PDFThis paper approaches an important theme in the study of actors work: the multiplication of the consciousness, from the perspective of the actor’s training correlated to psychology and neuroscience. We will refer to some of the best known works used in the training of the actor or which have as object of study the art of the actor, namely K. Stanislavsky − An Actor Prepares; Michael Chekhov − To the Actor: On the technique of acting, Lee Strasberg − Strasberg at the Actors Studio, Jerzy Grotowski − Towards a Poor Theatre, Bertolt Brecht − Brecht on Theatre, Denis Diderot − Paradox of the Actor. Conversations on The Natural Son on one hand, and Antonio Damasio’s studies on the self, on the other hand, noting that theories about the cognitive functions of the human brain provide a valuable perspective on the art of the actor, especially by how it applies to the conscious and subconscious of the actor on stage. What happens to the actor while performing? How does the actor process different stimuli to build a character, and then an entire artistic act? What are theroles of the mind and body in the creative process? These are just a few questions that I will try to find answers to, while examining the actor’smultiplication of consciousness
Theatre as a Form of Greatness
Get PDFIn her attempt of proving the theatricality of the theatre, Maria Vodă Căpuşan cultivates a solidly assimilated bibliography, as well as last minute analytical instruments. Her essays have a predominantly theoretical nature, referring less to a certain play or performance, and more to the theatrical phenomena, with its fundamental dimensions and conceptualizations. The author believes that the mythical scripts of the 20th century drama conserve their modelling and integrative functions regardless of the denying passion of different literary, avant-garde or simply modernist movements. Within her books, Maria Vodă Căpușan offers theoretical syntheses worthy of interest from the perspective of new methodological and epistemological approaches applied with a critical discernment and inconspicuous erudition
The Socio‐Political Implications of the 20th Century Narratives on Indian Dances
Get PDFFrom mentions of dance in treatises as old as 2nd century to regional variations around 13th century to the 20th century ‐ dance has travelled, traversedand evolved. When the agenda of Nationalism was in vogue during pre and post‐independence periods, there was a necessity to produce somethingunique to the nation and make a point about its rich heritage. Dance was one effective medium that served as a cultural symbol. This very notion modifiedthe course of dance, its form and structure. The ancient practices were modified and tailor‐made to suit agendas of the time and popular choices. This paper attempts to understand this phenomenon of how the socio‐political ideologies have affected the Indian classical dances. The focus would be on the political affiliations specific to the Kūcipūḍi form of dance
Cinéma, théâtre et psychanalyse : la question de l’acte et sa représentation
Get PDFAt the intersection of the performing arts and psychoanalysis emerges the notion of act. This polysemic term has various meanings: missed act, agieren, psychoanalytic act, acting out, act of creation. If Freud and Lacan have theorized the notion of act, cinema and theater strive to represent its many facets. Today, Freud’s method of analyzing dream images has paved the way for figural analysis for the 7th art, focusing on exploring the incomplete dimension of some of his images. From La marquise d’O to the Mystères de Lisbonne, the altered quotation from the same painting, The nightmare of Füssli, which reveals the emergence of desire, comes to symbolize the representation of the Other Scene by cinema. Généalogies d’un crime, by Raoul Ruiz, shows how the interpretation and manipulation of missed acts leads, ironically, to the Act. The influence of the psychodrama exerted there is found in other films, where the scene becomes the place where the abreaction becomes visible. Repetition of a formula in the obscure and forgotten sense (8 and ½), a crisis orchestrated by Sade as a playmaker (Marat-Sade), or a collective explosion (La vie est un roman) show the complex and multiple faces of the Act in cinema.At the intersection of the performing arts and psychoanalysis emerges the notion of act. This polysemic term has various meanings: missed act, agieren, psychoanalytic act, acting out, act of creation. If Freud and Lacan have theorized the notion of act, cinema and theater strive to represent its many facets. Today, Freud’s method of analyzing dream images has paved the way for figural analysis for the 7th art, focusing on exploring the incomplete dimension of some of his images. From La marquise d’O to the Mystères de Lisbonne, the altered quotation from the same painting, The nightmare of Füssli, which reveals the emergence of desire, comes to symbolize the representation of the Other Scene by cinema. Généalogies d’un crime, by Raoul Ruiz, shows how the interpretation and manipulation of missed acts leads, ironically, to the Act. The influence of the psychodrama exerted there is found in other films, where the scene becomes the place where the abreaction becomes visible. Repetition of a formula in the obscure and forgotten sense (8 and ½), a crisis orchestrated by Sade as a playmaker (Marat Sade), or a collective explosion (La vie est un roman) show the complex and multiple faces of the Act in cinema
Cognitive Schemata and Meaningful Strategies in Adapting Ian McEwan’s Novel, Atonement
Get PDFAdapting literary works for cinematography has not been of much interest until two-three decades ago, mainly because of numerous aporias and biases having to face across time. This paper is considering looking into this subject through the dynamics of the workflow of creation and receiving the product deriving from it with whatever mental activity it involves in order to be meaningful. “Atonement“ based on Ian McEwan’s novel and directed by Joe Wright, offers a good example concerning the filmmaker’s double orientation in the process of artistic production: on the one hand, towards the literary text, attempting to respond to the indications offered by it, on the other hand focused on the audience, attempting to create a similar impact, to guide his way of perceiving the story, to anticipate the viewer’s emotions and the cognitive ways through which he could access a meaning. Throughout its entire unfolding, the film is playing with the spectator, activating a series of cognitive schemata which will subsequently be subject to correction, guiding the activity of imagination in a manner that is analogous with the one operated by the strategies of the literary text