Studia Universitatis Babeș-Bolyai - Dramatica
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Staging Molière in Communist Romania. A Quantitative Diorama
Full text linkThis paper accompanies a dataset containing information regarding the stagings of Molière’s plays during the 42 years of the communist regime inRomania, from 1948 to 1989. It offers a quantitative overlook of 120 productions, through statistics and visualizations, in an attempt to make sense of the data and find trends and directions otherwise difficult to detect. The data was collected from a public repertory database, supplemented by information from the theaters’ archives and reviews from period magazines and newspapers. We have strived to let the data ‘speak,’ minimizing speculative commentary to where we felt it was needed to add colour or emphasize certain possible patterns. For network graphing and analysis, we used Gephi 0.9 software, and for the analysis and visualization of geospatial data, QGIS 3. Data processing and graph generation were carried out using Microsoft Excel
The Witch’s Body as a Narrative and Symbolic Tool
Full text linkThis paper aims to propose an exploration of the corporeality of witches insofar as it has been used as a medium or nexus for narratives, or as a symbolic sign in various artistic forms and arrangements. The starting point is the highlighting of an antithesis, which is permanently nuanced and overcome in the long evolution of culture, namely between the beauty of young witches and the ugliness of old ones. A first section of the article focuses on painting, looking at works by Baldung Grien, Salvator Rosa, Frans Francken, Luis Ricardo Falero. A second section looks at the corporeal duality that characterizes witchcraft and its resolution in synthesis in Vasile Voiculescu’s short story Magical Love. The last section is devoted to cinematographic works and how they have incorporated in their complex visual and textual narratives an ancient representational and iconographic tradition with roots in Renaissance and Baroque painting and in the literature of Greco-Latin Antiquity
The Rhinoceros and The Regime: Posthuman Bodies on Stage and Screen
Full text linkEver since its first representation on stage, Ionesco's play Rhinoceros became a mirror to the anxieties haunting the societies that it was held up to. Back in the 1960s, it would symbolize (Neo-)Fascism and Far-Right dangers in the Western countries, while subversively pointing at Communism and Far-Left ideologies in the Central-East European cultures. The text's versatility was highly praised by the literary and theatrical criticism, and allowed for its re-enactment in shows and films produced over the globe, in the most diverse social-political contexts. This study aims to revisit some of the first play stagings from the current perspective of post-theatre, pointing out how the early post-War productions are contributing to rewriting of the performative code in the language of posthumanism and post-drama
Retrouver le théâtre japonais dans l’expérience artistique et l’enseignement théâtral contemporain en Roumanie: Le Festival International de Théâtre de Sibiu, 29e édition 2022
Full text linkRedefining Biological Horror: The Aesthetic Evolution of an Infected Body in HBO’s The Last of Us
Full text linkThe post-apocalyptic genre has seen a resurgence in 2023 due to HBO’s The Last of Us, a television adaptation based on Naughty Dog’s video game of the same name, where the society has collapsed due to an infection that causes human bodies to gradually mutate and become violent. There have been debates on whether the infected humans should be called “zombies”, as the word was banned on the production set and the creative director of the video game has refused numerous times to use the word when labeling the infected bodies. In this article, I am taking a closer look at the infection presented in the series, its impact on the human body, the mutation and transformation that precedes it, and the question of zombification in relation to an existing and real-world infection, as in the case Cordyceps fungus. Moreso, I will discuss the validity of considering analyzing The Last of Us through the body horror filter, due to the exploration of an infection that happens in stages, and the different anatomical and aesthetical changes it provokes to the human body
The Biggest Challenge is the Heaviness of Existence as a Human Being Living in and Feeling Responsible for Today’s World: Interview with Artist Performer Çağlar Yiğitoğulları
No full textÇağlar 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.
THE QUEST, a Shaman-Punk performance inspired by Farid ud-Din Attar’s famous poem The Conference of the Birds, is the first production he directs at the National Theatre in Cluj-Napoca
Du théâtre au cinéma : Molière dans la campagne vaudoise
Full text linkRediscovered on the occasion of a retrospective on Molière in films at the Cinémathèque suisse (Lausanne) in 2022, the movie Monsieur Molière aux champs looks at the theatrical practices of a farming community in the canton of Vaud countryside. Directed by Swiss photographer and journalist Yvan Dalain in 1988-1989, the movie depicts the real lives of the inhabitants of Orzens, Gossens and Opens, drawing links with Le Bourgeois gentilhomme, a comedy-ballet by Molière and Lully, almost 320 years after its creation. This paper looks back at the origins of this ambitious project, analyzing the format and adaptation processes used on stage and screen.Rediscovered on the occasion of a retrospective on Molière in films at the Cinémathèque suisse (Lausanne) in 2022, the movie Monsieur Molière aux champs looks at the theatrical practices of a farming community in the canton of Vaud countryside. Directed by Swiss photographer and journalist Yvan Dalain in 1988-1989, the movie depicts the real lives of the inhabitants of Orzens, Gossens and Opens, drawing links with Le Bourgeois gentilhomme, a comedy-ballet by Molière and Lully, almost 320 years after its creation. This paper looks back at the origins of this ambitious project, analyzing the format and adaptation processes used on stage and screen
Vocal Composition in Creating the Commedia dell’Arte Characters
Full text linkThe paper presents a possible approach to the construction of a comic character from both a vocal and a verbal point of view, by using various language disorders. For the scenic procedure of language composition, voice and pronunciation as well as rhythm and influence disorders can be important tools for students in their creating a comic character, since these techniques have a significant potential also outside the Commedia dell’Arte. Hence, conscious training and practice of speech/language disorders, such as dyslalia, as well as of rhythm and fluency disorders, develops and improves both the students’ voice usage abilities and their vocal creativity, so that they can manifest themselves artistically in a more expressive way
Jean-Jacques Lemêtre, or the Man in a State of Flow
Full text linkThe following article describes the author’s experience during the collaboration (March-July 2023) with the music director of Le Théâtre du Soleil, Jean-Jacques Lemêtre. His activities at the Faculty of Theatre and Film in Cluj, a concert-conference, the workshops with the students and the construction of an “audience course” prepared for the International Theater Festival in Sibiu are presented. Excerpts from students’ opinions about working with J.-J. Lemêtre are also provided
Deux visages du Bourgeois Gentilhomme à Cluj: Dialogue avec Mihai Măniuțiu et Anca Măniuțiu autour de Molière
Full text linkMihai and Anca Măniuțiu are theater professionals, artists, educators, and researchers who have collaborated on numerous stage projects for over 40 years. Mihai Măniuțiu is a renowned director in Romanian theater, with productions like Electra, based on Sophocles and Euripides, performed with the Iza musical group from Maramureș, having toured worldwide. As the author of books of poetry and prose, essays on the art of the actor, and Shakespearean theater, he has directed over 120 performances in major theaters in Romania and abroad. Throughout his theatrical career, many of his productions have received prestigious national awards in categories such as Best Show of the Year, Best Direction, Critic's Award for Originality in Creation, etc. He is currently the director of the National Theatre of Cluj and a distinguished professor at the Department of Theatre at the University of California, Irvine (U.C.I).
Anca Măniuțiu was a professor at the Faculty of Theatre and Film at Babeș-Bolyai University in Cluj, where she taught the history of modern stage direction. She has written numerous articles and several books dedicated to Michel de Ghelderode, Antonin Artaud, and key figures in 20th-century theater theory. As a translator of works by Samuel Beckett and Michel de Ghelderode into Romanian, among others, she has also worked as a dramaturge for numerous productions. In 2016, she received the UNITER Award for her entire career in the categories of Theater Criticism and Theater History.Mihai et Anca Măniuțiu sont des gens de théâtre, artistes, enseignants et chercheurs qui ont collaboré sur de nombreux projets scéniques depuis plus de 40 ans. Mihai Măniuțiu est un metteur en scène réputé dans le théâtre roumain dont des mises en scène comme Electra, d’après Sophocle et Euripide, avec le groupe musical Iza du Maramures a fait le tour du monde. Auteur de livres de poèmes et de prose, d’essais sur l’art du comédien et le théâtre de Shakespeare, il a signé la mise en scène de plus de 120 spectacles dans les théâtres les plus importants de Roumanie et à l’étranger. Au cours de son parcours théâtral, bon nombre de ses spectacles ont été récompensés avec de prestigieux prix nationaux pour les catégories Le meilleur spectacle del’année, La meilleure mise en scène, Prix de la critique pour l’originalité de la création, etc. Il est actuellement directeur du Théâtre National de Cluj et distinguished professor au département de théâtre de l’Université de Californie à Irvine (U.C.I).Anca Măniuțiu a été professeur à la Faculté de Théâtre et Cinéma de l’Université Babeș-Bolyai de Cluj, où elle a enseigné l’histoire de la mise en scène moderne. Elle a écrit de nombreux articles et plusieurs livres dédiés à Michel de Ghelderode, Antonin Artaud et aux grandes figures de théorie du théâtre au XXe siècle. Traductrice entre autres de pièces de Samuel Beckett et Michel de Ghelderode en roumain, elle a travaillé aussi comme dramaturge pour de nombreux spectacles. En 2016, elle a reçu le Prix UNITER pour l’ensemble de sa carrière, à la catégorie Critique Théâtrale et Histoire du Théâtre