Studia Universitatis Babeș-Bolyai - Dramatica
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Nafplion Blues: Prison Stories. The Prisons of Nafplion as Brutal Scenographies
Full text linkThe prison sites and their timeless presence in the city of Nafplion were the starting point for two workshops for students of the University of the Peloponnese. The result of these workshops titled Nafplion Blues: Prison Stories, was presented in the Prague Quadrennial of Performance Design and Space 2023 as part of the Greek student exhibition. Students of the module “Performance and space” created the site-specific performance Listen-Watch- Βe Silent in which performers and spectators participated in a pilgrimage procession to former prison sites in Nafplion. The module “Social Theatre” was held at the Agricultural Prison of Tiryns. After a series of theatre workshops, the inmates and the students presented the devised performance The Journeys of the Potato, from Andes to Tiryns: Legends and Truths to only two spectators and the prison guards. In the present paper, the authors focus on the use of the prison – in the present and in the past – as performance space. Prisons function as the absolute dystopian places that oscillate between private and public space: from the Agricultural Prison of Tiryns’ hermetically sealed, private space to the open, public space of the historic city of Nafplion, where the buildings that once housed prisons are scattered throughout the city. In this type of found spaces, the spectators and the performers are moved both emotionally and physically. Through the brutality emitted by the real substance of the sites, the “scenographic city” reveals stories and traumas, while inviting spectators and creators to assume social and political responsibility
A Textbook by Ioana Visalon, Dedicated to the Organic Approach of Acting: Book review: Ioana Visalon, Antrenamentul vorbirii scenice (The Voice & Speech Training), Braşov: Transylvania University Publishing House, 2023
Full text linkHoria Lovinescu, Between the “Terror of History” and Psychoanalytical Dreams
Full text linkThis paper focuses on Horia Lovinescu (1917-1983), a member of one of the most important dynasties of modern Romanian culture. Six of Horia Lovinescu’s dramas are interpreted in a close reading system, by psychoanalytical tools and by focusing on the family constellations the author imagines. These plays are related to the historical context (“the terror of history”), in order to understand how works of art are the reverberation of biographicalcreative data of the greatest importance and how they echo in a paradoxical way social-political transformations. This double reading, psychological and historical, is justified by the playwright himself, through the construction of his plays and through his many allusions to psychoanalysis in his writings
The Challenge of Being Greek in Today’s European Theatre: A roundtable with Ioli Andreadi and Aris Asproulis, Alexandra K*, Yannis Kalavrianos, Stathis Livathinos, Yiannis Panagopoulos, Elli Papakonstantinou, Thanos Papakonstantinou, Savas Patsalidis, Takis Tzamargias, Sofia Vgenopoulou
No full textGreece, a border of both East and West, is constantly in a delicate balance trying to explore issues of identity, historicity, and orientation. Greece has the privilege – but also the great responsibility – of bearing the heritage of the ancient tragic and comic drama as the birthplace of theatre and this is at the same time an obstacle for contemporary Greek theatre as any comparison with its glorious past is always painful.
During my research, I met eleven influential Greek theatre people and we shared our thoughts and worries on the main questions regarding the present and the future of Greek theatre and its relation with the rest of Europ
Eventually, theater will regain its position as a great… rassembleur: Raluca RĂDULESCU in dialogue with Robert LEPAGE
Full text linkRobert Lepage is one of most renowned stage and film directors today and a leading figure in the Canadian avant-garde, writer, designer and actor. His artistic work attracts particular attention for his challenging cultural interferences and multimedia-rich theatrical performances, as well as for his innovative approach to the Shakespearian plays
Liviu Ciulei and The Last Ones: Between Personal Trauma, Psychodrama, and Collective Drama
Full text linkThis paper focuses on an early role in the theatrical career of the actor, director, and scenographer Liviu Ciulei (1923-2011), created on the stage of the theatre gifted to him by his father, the civil engineer Liviu Ciulley, in 1946. The role in question is Pyotr from the play The Last Ones by Russian playwright Maxim Gorky, which premiered at the Odeon Theatre in Bucharest on the 16th of March 1948. My point is that Liviu Ciulei was drawn to this play by a psychodramatic impulse, finding in it issues related to his father who, like the protagonist in Gorky’s play, had embroiled his family in a major scandal when his son was only thirteen years old. The season in which the play premiered was marked by the increasing interference of communist authorities in art, so the intense psychodramatic process through which Liviu Ciulei consciously or unconsciously worked through his early adolescent trauma intertwined with the collective drama represented by the imposition of the Soviet-enforced communist regime in Romania at the end of World War II
Un courant d’Est venu à l’Ouest via l’adaptateur scénique Virgil Tănase
Full text linkAbstract: The article An Eastern current coming to the West, through Virgil Tănase’s stage adaptations addresses the influences of two literary and theatrical cultures from the East (Romania and Russia) on the work of Virgil Tănase as a stage adapter in France. By scrutinizing the way in which the great Russian authors from the 19th century to the present day through the Soviet era establish themselves as a frame of reference for Tănase’s work as a stage adapter and by addressing the way in which this comes to fruition, within the stage adaptations created in France by the Franco-Romanian writer (often performed abroad too), a dreamlike aesthetic born in Romania in the 1960s, the study will show that Virgil Tănase, also known as a translator, managed to create a scenic poetics in which the words are at the service of the melody just as the scenography is at the service of the theatrical metaphor. By highlighting the ontological scope of the character and especially the actor, the stage adaptations developed by Tănase from canonical works of Eastern and Western literature finally converge towards a common goal, representative of his writer’s gesture: all aim to awaken in spectators their freedom to think and create, to revive each person’s faith in the fulfilment of their vocation, like the Proustian narrator of the novel In Search of Lost Time.The article An Eastern current coming to the West, through Virgil Tănase’s stage adaptations addresses the influences of two literary and theatrical cultures from the East (Romania and Russia) on the work of Virgil Tănase as a stage adapter in France. By scrutinizing the way in which the great Russian authors from the 19th century to the present day through the Soviet era establish themselves as a frame of reference for Tănase’s work as a stage adapter and by addressing the way in which this comes to fruition, within the stage adaptations created in France by the Franco-Romanian writer (often performed abroad too), a dreamlike aesthetic born in Romania in the 1960s, the study will show that Virgil Tănase, also known as a translator, managed to create a scenic poetics in which the words are at the service of the melody just as the scenography is at the service of the theatrical metaphor. By highlighting the ontological scope of the character and especially the actor, the stage adaptations developed by Tănase from canonical works of Eastern and Western literature finally converge towards a common goal, representative of his writer’s gesture: all aim to awaken in spectators their freedom to think and create, to revive each person’s faith in the fulfilment of their vocation, like the Proustian narrator of the novel In Search of Lost Time
The Silences of Collective Memory: Performance Review: Hamlet by William Shakespeare, artistic direction and stage adaptation by Declan Donnellan, a production of “Marin Sorescu” National Theatre, Craiova, 2023
Full text linkFilms Inspired by Actuality from the Communist Period as Historical Documents: Book Review: Ion Indolean, Opinie, prudenţă şi cenzură: Filmul de actualitate în România comunistă (1965-1989) [Opinion, Prudence and Censorship: Actuality Cinema in Communist Romania (1965-1989)], Cluj-Napoca, Mega Publishing House, 2023
Full text link“If you want to see the light you should bring it into the darkness”: Ștefana POP-CURSEU in dialogue with Ҫağlar YIĞITOĞULLARI
Full text linkÇağlar Yiğitoğulları was born in Ankara, Turkey, in 1977. He graduated in Theatre – Acting from the Bilkent University in Ankara, the Faculty of Music and Performing Arts. After graduation, during 2001-2003, he lived in Australia and studied contemporary dance. Returning to Turkey in 2003, he started working for the Istanbul City Theatre, as an actor with a permanent contract. In parallel with his work at the Istanbul City Theatre, he began producing his own performances, bold pieces exploring the limits of corporeality, and presenting them in the country, as well as abroad. Diss (2008) and Luvstory (2009) are two of his most celebrated works. In 2017, disheartened by the limited freedom of expression in Turkey, he moved to Germany, where he currently lives and creates. Çağlar Yiğitoğulları has been awarded several important prizes, including the International Association of Theatre Critics (IATC)’ “Actor of The Year” in 2010. He has worked with influential theatres across Europe, such as Abattoir Fermé in Belgium, Attis Theatre in Greece, Münchner Kammerspiele and Maxim Gorki Theatre in Germany