Studia Universitatis Babeș-Bolyai - Dramatica
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Ancient choreia in neurocognitive context
Get PDFThis paper addresses the problem of difficulties in the detailed reflection of the ancient aesthetic terms, in this case choreia - triune of dance, music and singing. The paper hypothesis is that an important contribution to understanding of choreia can be brought from contemporary cognitive sciences and neurosciences. Firstly, an outline of the key historical and anthropological research on the ancient term is presented, attained from classical sources as well as the recent analysis. The issues that need clarification are then listed. In the context of choreia it is primarily the type or level of experience, in which the unity of music, singing and dancing would emerge. Analysis of the neural correlates of predominantly motion, but also music and language perception entails to recognize in them the potential basis for a unity of artistic elements particularly in the cognitive experience of both the performer and spectator. Further analysis within the cognitive theories regarding movement control and the origins of the language contrives to see choreia as a specific cognitive quality. The conclusions from these considerations are then applied to the analysis of the performances of CHOREA Theatre Association, which refers to ancient patterns. It leads to a further refinement of the choreia’s analysis and indicate possible directions for further research
Reclaiming Public Culture as a Common Terrain of Action in the Public Interest: A Dialogue with Raluca Iacob
Get PDFThe interview with Raluca Iacob, an expert in cultural policy, offers a reasoned perspective on the relation between the concepts of public culture and public interest that emphasises the societal value of culture and its struggles in the current paradigm change which focusses on the economic impact of culture as a measure of its value.
Performing the self & staging agency
Get PDFWhen I feel like crying it’s political[1] is a performance created through devised techniques, combining director-driven dramaturgy with content generated by the actresses-performers, in a process shifting the role of the director into one of a curator. Centered on self-representation, the work proposes a frame for empowerment while approaching sensible themes, such as the hierarchy of power in theatrical contexts (vocational schools and professional theatres) and the objectification of female performers. This paper contextualizes the concept and artistic process of the work, while proposing a work model based on care and owning differences.
[1] When I feel like crying it’s political
concept: Olivia Greceaby / with: Raluca Mara, Oana Mardare, Alina Mișocwith the audio participation of Mariana Mihuț
produced by Reactor de Creație și Experiment in the frame of “Feminine perspectives in Romanian theatre”, cultural project funded by the Ministry of Cultur
Alexandru Davila – The Project as Work of Art. The Father Complex
Get PDFTaking as a central focus the complex figure of the famous Romanian playwright Alexandru Davila, this paper follows the line of his life and career, from his aristocratic origins to his family relations and from his revolutionary activity as an intransigent theatre director to the plays and literature he wrote. A special accent is put on his best text, Vlaicu Vodă [Prince Vlaicu] a historical play, classical in its construction but very modern due to the psychological refinement manifested by the protagonist, as well as from his doubly meaningful physiognomy – he was a voivode in times of dark adversity, but also, from an archetypal perspective, a tragic hero of certain historic immutabilities. Forced to act prudently under the threat of a catastrophic failure, Vlaicu capitalized, in a refined manner, the experience of the Romanian people itself, which had become accustomed, due to the hardships of history, to keep silent and endure in expectation of an occasion appropriate for action
The Image of History in Matei Vișniec’s Dramaturgy
Get PDFThis paper aims at analyzing the dramaturgical tools in Matei Vișniec’s dramaturgy, which shed light upon the relation between art and history, between art under the cover of fiction and what takes place outside the walls of the theatre. These two are never completely split, they intertwine and they empower one another. A key point in Matei Vișniec’s work is the way in which history is presented like a mechanism dwelling phenomena always ready to repeat themselves, as for instance totalitarianism. The content of the paper is based on theoretical approaches, also on the opinions of the dramaturge in relation with his own creation and on practical assumption following a personal point of view of the actor integrated within two productions based on plays written by Matei Vișniec: The Spectator Sentenced to Death and Richard III Will Not Take Place or Scenes of the Life of Meyerhold
Theatre for Young Audience. A Romanian Cultural Landscape
Get PDFOffering an overview of the Romanian theatre for children and teenagers, the present paper is mapping the existing public or private institutions and theatre companies that function in Romania. The main points of interest presented and discussed are: the question of the audience (age, social milieu, the means this young audience comes or is brought to the theatre, the marketing strategies elaborated by the companies); the theatre men and women (stage directors, set designers, puppeteers and playwrights or dramaturges) specialized in performances for youngsters, as well as the tendency of well-known artists to try their hand in this specific direction; the important number of festivals and theatrical encounters that appeared after the communist period and in the last years, revealing an increasing interest for this kind of theatre, coming from the professional artistic field as well as from the young and adult Romanian audience
To curate a part of one’s soul. Transplanting a performance in three (radically) different spaces
Get PDFThe curating process of a performance like 4.48 Psychosis by Sarah Kane constitutes a reflection of a round, back and forward act of doubt and belief. A suitable or a malicious managerial decision in chancing a given data in the performance can determine the path and the course of the show. Every act or management action can alter the channels of communicating with the audience and its perception and reception of the performance
“I’ve always believed that a critical spirit comes with creative features”: Interview with Cristina Modreanu, theatre critic, curator, editor in chief of Scena.ro magazine
Get PDFThe present interview with Cristina Modreanu focuses on her project Comedia Remix, a project meant to revive the Bucharest Comedy Theatre’s archives and present them in new formats to the contemporary audiences. The project consists of an exhibition, the publishing of a bi-lingual catalogue of the exhibition, a documentary and a series of conferences based on themes inspired by the research. The project places the evolution of the art of theatre in the larger context of ‘60,’70 and ‘80 decades from a cultural, sociological and anthropological perspective. The curator discusses the evolution of the project, the methodologies employed and the relationship between critics and curators in the current context of cultural journalism
L’art du Halqa entre réalité et fiction chez Tahar Ben Jelloun
Get PDFThe tale occupies a place of choice in the stories of Tahar Ben Jelloun. It embraces the form of the narrative and takes its place. Thus it reinforces the fact a narrative can be narrated in a thousand ways. A polymorphic narrative that denies the linearity of classical narration. So, the use of the tale as a garant of the narrative at Ben Jelloun appeals to the Halqa as an art of the spectacle often practiced in public places, which belongs to orality and ancestral tradition: the storytellers of the public square Jamaà El Fna strive to tell the story of Ahmed-Zahra and often enter into dialogue and interaction with the audience. Thus, how is the staging of the narrative act and the communicative dimension of the narrative thanks to the convocation of the figure of the storyteller and the art of the Halqa? How is the emphasis on the dialectic of the real and of the imaginary, of the oral and written to criticize and unveil the social simulacrum?The tale occupies a place of choice in the stories of Tahar Ben Jelloun. It embraces the form of the narrative and takes its place. Thus it reinforces the fact a narrative can be narrated in a thousand ways. A polymorphic narrative that denies the linearity of classical narration. So, the use of the tale as a garant of the narrative at Ben Jelloun appeals to the Halqa as an art of the spectacle often practiced in public places, which belongs to orality and ancestral tradition: the storytellers of the public square Jamaà El Fna strive to tell the story of Ahmed-Zahra and often enter into dialogue and interaction with the audience. Thus, how is the staging of the narrative act and the communicative dimension of the narrative thanks to the convocation of the figure of the storyteller and the art of the Halqa? How is the emphasis on the dialectic of the real and of the imaginary, of the oral and written to criticize and unveil the social simulacrum
The Reconfiguration of Homme Fatal in The Third Millennium Joker Adaptions
Get PDFThe relevance of the Joker as a prominent character in popular culture and the film industry merited tremendous scholarly attention. It has been analyzed through the lenses of various critical theories, inter alia the Bakhtinian “carnival”, the Freudian psychoanalysis, and several others. Still, nearly there is no critical development of the Joker as a homme fatal. It is thus the novelty of my paper to do so; on the one hand, I aim to reconfigure the conceptualization of the homme fatal beyond its classical seductive and inveigling power within women’s world. Here, I endeavor to redefine the fatality of homme fatal from the perspective of the Joker, which is centralized more on an outlawed destructive personality far from being a sexually desirable man. I focus on the “fatal men” and “fatal rebel” by Mario Praz in his Romantic Agony (1933). My study focuses on the reconfiguration of homme fatal in two Joker adaptations: The Dark Knight (2008) and Suicide Squad (2016) thereby, I contend that the two jokers share common features with the classical homme fatal, most of which contribute to the comic-ization of their ‘fatality’