Studia Universitatis Babeș-Bolyai - Dramatica
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« Le Diable » de Rita Renoir (1972). Ethnoscénologie d’un mimodrame porno‐sataniste
Get PDFLe Diable (The Devil) was staged by Rita Renoir at the Théâtre de Plaisance in Paris in 1972. It is a mime drama devoid of text and music; her body only is present, her breathing, screaming, the forbidden aspects of life and its violence. Alone on the stage, Rita Renoir becomes the witch who evokes the devil and subsequently traps him with her charms. With her back to the public, she bends down exposing her buttocks and her sex, giving the public the role of the devil. The witch engages in copulation with the devil, and this violent lovemaking evokes visions of diabolic, grotesque and libidinous creatures. The male bourgeois audience was offended by the performance and there was even an attempt to rape Rita Renoir on stage, but she received the support of feminist journalists and art critics. This child of Satan and the Women’s Lib pushes the provocation to the extreme and reverses the roles, and it is the public that finds itself exposed to her glaring at them, stripping them and violating them. What is the meaning of Rita Renoir’s staging body and of her porno‐Satanist ritual? Our Ethnoscenographic approach of Rita Renoir’s Le Diable consists of a descriptive analysis of a private collection archives of photographs and articles of the printed press.Le Diable (The Devil) was staged by Rita Renoir at the Théâtre de Plaisance in Paris in 1972. It is a mime drama devoid of text and music; her body only is present, her breathing, screaming, the forbidden aspects of life and its violence. Alone on the stage, Rita Renoir becomes the witch who evokes the devil and subsequently traps him with her charms. With her back to the public, she bends down exposing her buttocks and her sex, giving the public the role of the devil. The witch engages in copulation with the devil, and this violent lovemaking evokes visions of diabolic, grotesque and libidinous creatures. The male bourgeois audience was offended by the performance and there was even an attempt to rape Rita Renoir on stage, but she received the support of feminist journalists and art critics. This child of Satan and the Women’s Lib pushes the provocation to the extreme and reverses the roles, and it is the public that finds itself exposed to her glaring at them, stripping them and violating them. What is the meaning of Rita Renoir’s staging body and of her porno‐Satanist ritual? Our Ethnoscenographic approach of Rita Renoir’s Le Diable consists of a descriptive analysis of a private collection archives of photographs and articles of the printed press
Un voyage historique dans le monde fascinant des images de la sorcellerie: Book review: The Oxford Illustrated History of Witchcraft and Magic, Edited by Owen Davies. Oxford: Oxford University Press, 2017.
Get PDFÉcran et roman sur la scène Réflexion croisée sur trois spectacles de Krystian Lupa
Get PDFThrough the analysis of three shows – City of dream based on The Other Side by Alfred Kubin, Gargoyles and Cutting Timber based on Thomas Bernhard’s novels – this article aims at highlighting the specificity of on-stage video in Krystian Lupa’s work. Best known for his adaptations of long novels focusing on conscience and interiority, Lupa supersedes a basic use of video and uses it as a real means for the exploration of the characters’ psyche. More than a mere visual element facilitating the transition from novel to stage, video is for Krystian Lupa a way to interrogate the relationship between all the elements of theatre: indeed, it questions the actor’s relationship to the character he embodies, as well as the relationship between the spectator and what happens on stag
The Rhetorical and Stylistic Evolution of Theatre Reviews at the End of the 50s. The Disobedient – Case Study
Get PDFThis paper aims at analysing the way in which the structure and stylistics of theatre review influenced the evolution of critical thinking during the short thaw that took place in all Socialist countries after Nikita Khrushchev’s February 1956 speech in which the Soviet leader exposed the crimes of Stalin’s rule. We therefore analysed the reviews and essays of some of the most dynamic and most professional young critics who published in the Teatrul Journal: I. D. Sîrbu, Șt. Aug. Doinaș, Ecaterina Oproiu and Florian Potra. Symptomatically, all the four critics subsequently moved away from this profession, for dramatic reasons related to the political circumstances, and during the following decade, they became famous writers of poetry, literary criticism, dramaturgy or film criticism
Finding Words for Dance from a Choreological Perspective
Get PDFWhat is the difference between dance theatre and physical theatre? What kind of vocabulary best describes this theatrical field which is so difficult to define in words? As a doctoral student, the necessity of explaining the creative layers ‐ those abstract elements an artist works with ‐ encouraged taking the decision to talk about movement through the vocabulary of choreological studies. First, this scholarly study of dance offers a valuable terminology for every researcher or practitioner in the performative arts area. Secondly, it separates the perspectives from which movement and ideas can be referred to: the creatorʹs initial intention, the performerʹs embodiment of the material and the spectatorʹs interpretation of the work. Finally, the best way to discuss about movement is to see it. Therefore, making references to different dance works is an essential perspective which gives an efficient tool for understanding the ways in which movement communicates
The Fetish of the Ephemeral, the Praxis of Repetition, and the Logic of the Archive
Get PDFAbstract: When the very special nature of performance’s evanescence gets emphasized, it is the logic of the archive that lurks beneath the argument, the logic which opposes the residue with the lost and vanished. For a good part of theater scholars, it is the lost and vanished that is valuable; for the archivist it is always the remainder, haunted forever by what’s lost. This paper shall not offer a theoretical overview of the scholarship on repetition or its philosophical interpretations; instead, it will use the concept exclusively in relation with theater plays, theater art, and more broadly the so-called performance arts, in order to reaffirm the bodily dimension of preservation and archiving the theatrical experience
(IN)CORRECT: Performance review: (IN)CORECT, Play and directing by Leta Popescu, stage design by Lucia Mărneanu, with Alexandra Caras, Cătălin Filip, Oana Mardare, Alina Mișoc, Emőke Pál, Paul Sebastian Popa, Lucian Teodor Rus, Doru Taloș. A production of Reactor de Creație și Experiment, Cluj-Napoca, România, 2020.
Get PDFThe Actor in Search of Musical Forms. Case Studies
Get PDFThis article looks at the major differences in the reception of the sounds of a musical fragment, depending on the personal experience of each individual and his profession. The musicians relate to the sound universe guided by the constituent elements of the scores, and the actors look for connections between sounds, gestures, words, characters, and stage situations. They can approach music in other ways than musicians and remember the melodic lines or create accompaniments by making connections with the context in which they find themselves. In some examples that the article offers, the studied actors demonstrate that sound can become music even in the absence of the vocal or rhythmic qualities of the performers. Other examples refer to the way in which the personality and creativity of artists have a significant role in creating songs or the sound support they need
Du théâtre en(tre) exil et questionnements: Performance review
Get PDFPerformance Review: Per Gynt from Kosovo, de Jeton Nezirai, mise en scène Agon Myftari and Chronique d’une ville qu’on croit connaître de Wael Kadour, mise en scène Mohamed Al Rashi et Wael Kadour, Syria, Festival Sens Interdits, Lyon, 2019