Studia Universitatis Babeș-Bolyai - Dramatica
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La relation mère-enfant dans la dramaturgie staëlienne
Get PDFThe article aims to analyse the plays of Germaine de Staël Agar dans le désert, Geneviève de Brabant and La Sunamite, considered as serious dramas, brought together in the perspective of the maternal relationship. The maternal archetype follows the form of the mater dolorosa capable of the greatest sacrifices. The child is seen as being inseparable from the mother and is often an innocent victim of human sins. Passionate love as the essential coordinate of romanticism is replaced by maternal love and by the love of God. The plays have a clear moralizing value, but the pathos of declamation and the introspection, characteristic of romanticism, are well visible.The article aims to analyse the plays of Germaine de Staël Agar dans le désert, Geneviève de Brabant and La Sunamite, considered as serious dramas, brought together in the perspective of the maternal relationship. The maternal archetype follows the form of the mater dolorosa capable of the greatest sacrifices. The child is seen as being inseparable from the mother and is often an innocent victim of human sins. Passionate love as the essential coordinate of romanticism is replaced by maternal love and by the love of God. The plays have a clear moralizing value, but the pathos of declamation and the introspection, characteristic of romanticism, are well visible
Caligula, tyran dérisoire dans le Caligula d’Alexandre Dumas
Get PDFThis paper studies the character of Caligula in Alexandre Dumas’ Caligula (1837) in comparison with the image left by the Roman emperor in ancient literarysources. Dumas highlights a tyrannical regime based on denial and flattery, shows the emperor as a tyrannical lover and mocks aspirations to the divinityof the one who takes himself for Jupiter, but is afraid of thunder, who wants to be the master of the destiny of all, but doesn’t master his own, falling underMessalina’s machinations.This paper studies the character of Caligula in Alexandre Dumas’ Caligula (1837) in comparison with the image left by the Roman emperor in ancient literarysources. Dumas highlights a tyrannical regime based on denial and flattery, shows the emperor as a tyrannical lover and mocks aspirations to the divinityof the one who takes himself for Jupiter, but is afraid of thunder, who wants to be the master of the destiny of all, but doesn’t master his own, falling underMessalina’s machinations
“Ours is not to be a Producer’s Theatre, nor an Actor’s Theatre; it is to be a Writer’s Theatre”
Get PDFRoyal Court has forged its reputation of being one of the most influencial companies that discovers, produces and promotes new writing. The history of this company is practically the history of contemporary British theatre. This article follows the start‐up period, the `50s and the `60s, when the company built a longstanding identity as a “writers’ theatre”, through innovative and provoking plays and performances, that often reflect the political, social and cultural climate of the era. The pattern designed by George Devine, the first artistic director of Royal Court, proved to be one of the most outstanding and successful, despite the financial difficulties or the obstructions of the official censorship
Research in Film and Video: Artists Using Their Bodies in Cinematic Experiments
Get PDFThe aim of this article is to study the relationship between author and camera, the different aspects of this subtle relationship with technology. From the whole cinema history, many artists and film directors played different roles in front of the camera. Whether they interpret a scenario character, in case of fiction films, or use their body in search of cinematic effects, for video art, they choose to be in both parts of the camcorder at the same time. Why does this “video eye” sometimes turns towards the artist? Is it only meant to explore the outside world of the artist? Or is it a mirror which is sometimes inviting you to take a glance at yourself? The term used was first introduced by Gene Youngblood “The video eye” as it is a subtle metaphor for the main function of the camera. Why do so many artists use the camera with the purpose of showing themselves or their bodies into video experiments? Is it an expression ofnarcissism or is it a self‐exploring tool? To find the answers for all these questions, the research looks into the playful role that the “video eye” has inexperimental films and videos. This role was revealed by examining different kinds of esthetic results in comparison with the artist’s intention. For example, the body mirrored or reflected, seen in its choreography or as a performer in non‐narrative films, are aspects which could draw a conclusion about the self‐representation aesthetics
Actes sexuels, horreur et sorcellerie au cinéma. La copulation avec le Diable : une perspective psychanalytique
Get PDFThis paper tries to approach, taking as a starting point a Romanian painting from the 18th century, a scene with a strong phantasmatic load: the sexual act of a woman, who is considered a witch, with the devil. Several films are analyzed: Häxan by Benjamin Christensen (1922), Rosemary’s Baby by Roman Polanski (1968), L’Anticristo by Alberto de Martino (1974), Angel above, Devil below by Dominic Bolla (1975). These films share some common features, important for the analytical process: the copulation with the devil, the presence of traumatized characters who are submitted to a psychological cure, the recycling of psychoanalytical vocabulary, especially “hysteria”, the problems with parental instances. In order to interpret these films, there is a coming back to Freud’s ideas on the Devil, as expressed in the letters to Wilhelm Fliess or in the study A Seventeenth-Century Demonological Neurosis (1923). The devil as an image of unconscious impulsions or as a substitute of the father are the main Freudian intuitions used here for an optimal interpretation of the chosen films.This paper tries to approach, taking as a starting point a Romanian painting from the 18th century, a scene with a strong phantasmatic load: the sexual act of a woman, who is considered a witch, with the devil. Several films are analyzed: Häxan by Benjamin Christensen (1922), Rosemary’s Baby by Roman Polanski (1968), L’Anticristo by Alberto de Martino (1974), Angel above, Devil below by Dominic Bolla (1975). These films share some common features, important for the analytical process: the copulation with the devil, the presence of traumatized characters who are submitted to a psychological cure, the recycling of psychoanalytical vocabulary, especially “hysteria”, the problems with parental instances. In order to interpret these films, there is a coming back to Freud’s ideas on the Devil, as expressed in the letters to Wilhelm Fliess or in the study A Seventeenth-Century Demonological Neurosis (1923). The devil as an image of unconscious impulsions or as a substitute of the father are the main Freudian intuitions used here for an optimal interpretation of the chosen films
Matheme of Phantasy and Object of Desire in Hamlet
Get PDF“What is a father?” That is the question. This paper discusses Hamlet emphasizing the concept of desire and its formation for any human being. From a Lacanian psychoanalytical point of view, a difference between need, demand, and desire will be considered, in order to better understand how desire appears from the fabric of a topological surface and takes its place in the reality of the subject. Then the matheme of phantasy and the various objects that present themselves in Hamlet, namely Ophelia and others, as well as the stages of the relationship between Hamlet and his object will be analyzed. The analysis of the obsessional structure allows a better understanding of the movement of desire and action in Hamlet, without stating an obsessional structure in the character itself because what is interesting in the end is that Hamlet actually illustrates the place of desire for any human being. Following Lacan’s seminars, the paper will approach the relationship between faith and death, as well as the Borromean place of the Symbolic, with the consequences that emerge when the Symbolic crashes. This way, one could get closer to the fundamental question, pertaining to the function of the father and the unfortunate lifting of the veil that places Hamlet in an impossible position from which he cannot act to fulfill his destiny because the existence of desire is conditioned by the faith in death. The answer to the question would be that a father is seen in the context of actioning as a function, like a mathematical function, to orient the desire of the mother. Instead, in Hamlet, there is only legacy of a sin
Le Sous-Psychodrame : une nouvelle forme dramatique de Jean-Luc Lagarce
Get PDFIt is exactly by a neologism of a “sub-psychodrama” that the playwright and French director Jean-Luc Lagarce (1957-1995) defined one of his plays. The similarities between psychodramatic practices and Lagarce’s dramatic works are obvious. As in the context of psychodramatic practice, Lagarce’s characters take on roles and identify with them from a carnal as well as linguistic point of view. The situation in which Lagarce’s characters meet is very close to that which is, among others, treated by psychodramatists: the dialogue is not initialized, the individuals are stuck in their reproaches and focus only on their own points of view. Lagarce’s characters use the theatricalization, the putting in voice of a dramatic text of one of them in order to launch the speech that awaited this moment of expression. The sub-psychodrama, while being a poetic and dramatic concept of Lagarce, reveals the dialogical malaise in the contemporary society that the sub-psychodrama quotes while highlighting the complex mechanisms of the intersubjective perception as well as the mechanisms of our individual and collective memory. Both reflective self-perception, which goes from oneself to oneself, and transitive perception, which goes from oneself to the other or from the other to oneself – in the context of a speech act. The subpsychodrama presents itself, therefore, as a dialogical and perceptive field of battle where the spoken word is in search of its answer. The sub-psychodrama invented and developed by Lagarce puts the concept of paper beings – linguistic puppets – at the same level, while promoting the coalition of puppet theater and word drama.It is exactly by a neologism of a “sub-psychodrama” that the playwright and French director Jean-Luc Lagarce (1957-1995) defined one of his plays. The similarities between psychodramatic practices and Lagarce’s dramatic works are obvious. As in the context of psychodramatic practice, Lagarce’s characters take on roles and identify with them from a carnal as well as linguistic point of view. The situation in which Lagarce’s characters meet is very close to that which is, among others, treated by psychodramatists: the dialogue is not initialized, the individuals are stuck in their reproaches and focus only on their own points of view. Lagarce’s characters use the theatricalization, the putting in voice of a dramatic text of one of them in order to launch the speech that awaited this moment of expression. The sub-psychodrama, while being a poetic and dramatic concept of Lagarce, reveals the dialogical malaise in the contemporary society that the sub-psychodrama quotes while highlighting the complex mechanisms of the intersubjective perception as well as the mechanisms of our individual and collective memory. Both reflective self-perception, which goes from oneself to oneself, and transitive perception, which goes from oneself to the other or from the other to oneself – in the context of a speech act. The subpsychodrama presents itself, therefore, as a dialogical and perceptive field of battle where the spoken word is in search of its answer. The sub-psychodrama invented and developed by Lagarce puts the concept of paper beings – linguistic puppets – at the same level, while promoting the coalition of puppet theater and word drama
Mère – Fils : reflets psychanalytiques dans la pièce de Joël Pommerat Cet Enfant
Get PDFThis article proposes an analysis of the sixth scene of Joël Pommerat’s work, This Child, from the perspective of some theorems of psychoanalysis. The French writer introduces the reader/ viewer/ listener to a world of fast-paced plot with the help of autonomous characteristic snapshots that make up his works. In the sixth scene, Pommerat negotiates the unhealthy relationship between a young mother and her underage son where compulsion, possessiveness and latent Oedipal references reign supreme. On the verge of a creeping threat, the mother exerts psychological violence on the young student whom she prevents from leaving for school and pressures her to keep close to home creating a suffocating circle, a space-time that tends to assimilate people and things. Silence is inevitable…This article proposes an analysis of the sixth scene of Joël Pommerat’s work, This Child, from the perspective of some theorems of psychoanalysis. The French writer introduces the reader/ viewer/ listener to a world of fast-paced plot with the help of autonomous characteristic snapshots that make up his works. In the sixth scene, Pommerat negotiates the unhealthy relationship between a young mother and her underage son where compulsion, possessiveness and latent Oedipal references reign supreme. On the verge of a creeping threat, the mother exerts psychological violence on the young student whom she prevents from leaving for school and pressures her to keep close to home creating a suffocating circle, a space-time that tends to assimilate people and things. Silence is inevitable
Reviving the Archives. The Researcher as Artist and the Artist as Researcher
Get PDFAbstract: How to make the archives live again for a contemporary audience? Based on the writings of a famous historian, Arlette Farge, and on my ownexperience in working with archives I am arguing in this article that the archive researcher should take inspiration from artistic creativity and artistsshould pay more attention to the scholar dimension of their research, while both need to understand they are accountable to the next generations forwhich they need to re-write the historical narrative in a responsible way, as close to the truth as possible