Studia Universitatis Babeș-Bolyai - Dramatica
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Amphitryon – A Story About Desires And Individuality: Performance review, Amphitryon, directed by Silviu Purcărete, Cluj-Napoca National Theatre, May 2023
Get PDFDeveloping Street Theater on Human Rights in a Multilingual Country: An introspective article
Get PDFThis article looks at different approaches to staging Street Theater about Human Rights in a multilingual environment. Theater on the streets intended to convince passers-by to stop and watch a short skit needs to attract with visual and theatrical techniques, but since Human Rights are conceptual, the actors need to get their message across using words audience members can mull over. How can a maximum number of passers-by be reached in an urban environment where there are three, even four, national languages? Research is ongoing
De Molière à nos jours : l’enseignement du théâtre par la mélodie, le rythme et l’harmonie: Interview avec Jean-Jacques Lemêtre
Get PDFJean-Jacques Lemêtre is the most well-known theater music composer in France. He collaborated for nearly 40 years with the renowned director Ariane Mnouchkine for the legendary stage productions of Théâtre du Soleil and continues to explore music through theater and film. He has given hundreds of lectures and conducted workshops worldwide, composed film scores, and recently won the Best Original Score award at Cannes for the film "ICI LE MISTRAL SOUFFLE FORT" directed by Sabine Jean. Jean-Jacques Lemêtre is also a passionate collector of musical instruments from around the world, amassing a collection of over 2000 instruments. Additionally, he is a luthier, artist-artisan, and the creator and inventor of dozens of new instruments. He has collaborated with numerous dancers, circus performers, therapists, educators, and musicians from both the Western and Eastern traditions. Having visited Romania multiple times, particularly at the Faculty of Theatre and Film at Babes-Bolyai University in Cluj, Jean-Jacques Lemêtre enjoys working with students, helping them discover their inner rhythm and the importance of being aware of their musical presence on stage. Teaching and sharing knowledge are among his current priorities, as reflected in the following dialogue.Jean-Jacques Lemêtre est le compositeur de musique de théâtre le plus connu de France. Il a collaboré près de 40 ans avec la célèbre metteuse en scène Ariane Mnouchkine pour les créations scéniques légendaires du Théâtre du Soleil et continue de vivre la musique à travers le théâtre et le film. Il a donné des centaines de conférences et a dirigé des centaines d'ateliers dans le monde entier, a composé des musiques de film et a remporté cette année le prix de la meilleure bande originale à Cannes pour le film ICI LE MISTRAL SOUFFLE FORT réalisé par Sabine Jean. Jean-Jacques Lemêtre est aussi un grand passionné, collectionneur d'instruments de musique du monde entier, avec une collection de plus de 2000 instruments, mais aussi luthier, artiste-artisan, créateur et inventeur de dizaines d'instruments nouveaux. Il a collaboré avec de nombreux danseurs, circassiens, thérapeutes, pédagogues et musiciens de toutes sortes d'Occident et d'Orient. Venu plusieurs fois en Roumanie, à la Faculté de Théâtre et Film de l’Université Babes-Bolyai de Cluj, Jean-Jacques Lemêtre aime travailler avec les étudiants, leur faire découvrir leur rythme intérieur et l’importance de la prise de conscience de leur présence musicale scénique. L’enseignement et la transmission font partie de ses préoccupations actuelles, comme le montre le dialogue suivant
Synonym for youth: Festival Review: Fast Forward European Festival for Young Stage Directors, Dresden, 2-5 Nov. 2023
Get PDFBody, Voice and Noise: Acting for Sound Films as Debated in the Interwar Romanian Press
Get PDFSound cinema arrived on Romanian screens in 1929 to a moderate response. Critics and artists alike pondered over their status as an altered version of silent cinema, filmed theatre or a new art form. All three alternatives were further confronted to the status of the actor, as delineated by theatre, in an attempt to clarify the uncertain future of the film actor who used both his body and voice. This paper conducts a survey of articles on these issues published by Romanian interwar newspapers. Their authors reached various conclusions, from predicting the imminent failure of sound cinema and, thus, the disappearance of the spoken film actor, temporarily subjected to enacting on celluloid a shadow of his defining stage performance, to examining solutions that conciliated spoken dialogue with the sound dimension of film
Intimate Tragedies: Body Politics and Narrative Interruptions in Contemporary Rewritings of Shakespeare’s Richard III
Get PDFWhen they set Shakespeare’s Richard III into one night and eliminate most of the male characters, Italian actor and playwright Carmelo Bene’s Richard III or the Terrible Night of a Man of War (1977) and Flemish dramatist Peter Verhelst’s Richard III (2004) turn Richard’s story into an intimate, private tragedy. This article argues that, influenced by ideas and concepts developed by the theorists of the historical avant-gardes, both practitioners condense, fragment, atomise the story they borrow from Shakespeare, shifting the focus from the events themselves to the characters’ perception of the events, and foregrounding the image of the suffering or disabled body
The Decline of Significance in Today’s Digital Media Formats
Get PDFDoes modern digital media reconfigure the film’s message? The ubiquity of interactive screens alters the social and emotional human interactions. Through the advent of digital media within the film workflow, the ontological referentiality of the analog support becomes obsolete. The medium digital support can influence the meaning and structure of the message, which gradually starts losing its primary meanings due to the shallow, inattentive film viewing. Starting with the aesthetic approaches and visual codes, the movie’s distribution begins to replace some disputable values which the film as an art has preserved within its DNA, emotion and empathy. How much of the iconic stage of a sign is still embedded within a support without an ontic representativity, expressed today through mathematic algorithms and digital codes
The Actor's Body as an Instrument: Expression, Mind, Hope. A Dialogue with Actress Maia Morgenstern
Get PDFA conversation with Maia Morgenstern prompted interesting reflections about what it means to be an actor. In it, subjects such as fear, motivation, desire, and even the differences between stage and film acting are touched upon. We explore both surface matters as well as profound and extremely sensitive aspects about the actor in general and his instrument. Maia Morgenstern is a celebrated theatre and film actress, known for theatre productions such as An Antique Trilogy (Andrei Șerban, 1990) and films such as The Oak (Lucian Pintilie, 1992) and The Passion of the Christ (Mel Gibson, 2003)
“I Want to Become a Better Person, Not Only a Better Artist” An interview with Andrei ŞERBAN
Get PDFAndrei Șerban was born in Bucharest in 1943. In 1969, after graduating (in Radu Penciulescu’s directing class), he received a scholarship at La MaMa Theatre in New York, followed by an astonishing international career in theater and opera. He worked in more than forty countries. In the USA, he was associated with Robert Brustein’s American Repertory Theatre Company and worked in many famous theatres and Operas in New York, Seattle and Los Angeles. Back to Romania after 1989, he was the artistic and executive director of the National Theatre in Bucharest between 1990 and 1993, but his international career continued. His Fragments of a Greek Trilogy – Medea, at „La MaMa”, 1972; Electra, at the Sainte-Chapelle, in Paris, 1973; The Trojan Women, at „La MaMa”, 1974, reunited in a trilogy at „La MaMa” (1974) and, then, in 1990 at the National Theatre in Bucharest, are considered the most original staging of the Greek tragedy at the end of the 20th century. Between 1992 and 2018 he was Professor at Columbia University, New York. Many volumes were dedicated to his work as a stage director. He published the autobiographical volume O biografie (2007, Polirom)
