Studia Universitatis Babeș-Bolyai - Dramatica
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A Dialogue about Romanian Theatre and Directing from an International Perspective
Get PDFThis public dialogue between Dana Rufolo and Anca Măniuțiu took place on October the 11th 2018 within the 8th edition of the International Meetings in Cluj, organized by the National Theatre in Cluj
Waiting for... Rambuku: Performance review: National Theatre ,,Mihai Eminescu” – Timișoara: Rambuku by Jon Fosse, translation: Daria Ioan, adaptation: Anca Măniuțiu, stage and artistic director: Mihai Măniuțiu, set design: Adrian Damian, choreography: Andrea Gavriliu, original music: Mihai Dobre, light design: Lucian Moga, photo credits: Teatrul Național ,,Mihai Eminescu” – Timișoara
Get PDFUn jeu théâtral traditionnel roumain au carrefour des cultures (est-) européennes: IROZII – les HÉRODES
Get PDFThe kind of theatrical performance upon which we focus our attention in the present study brings together sacred and profane masks, characters coming from the Christian tradition (present in the canonical texts of the Bible as well as in the apocryphal ones), characters who represent an image of a certain social order on the one hand (the priest, the shepherds, the sacred family) and of a possible disorder on the other hand (the lunatic of the village, the devils, the personification of Death). Taking into consideration the fact that the orthodox communities had difficulties in accepting religious theatre and that there are interesting similarities between these performances and the catholic medieval mysteries, a few questions will guide us through the matter: Where are these performances, mixing the archaic and the modern, coming from? Which are the links we can retrace back to the medieval religious theatre? And how did the neighbouring communities, Ukrainians, Hungarians, Germans, Serbs influence the evolution of the Romanian Herods plays?The kind of theatrical performance upon which we focus our attention in the present study brings together sacred and profane masks, characters coming from the Christian tradition (present in the canonical texts of the Bible as well as in the apocryphal ones), characters who represent an image of a certain social order on the one hand (the priest, the shepherds, the sacred family) and of a possible disorder on the other hand (the lunatic of the village, the devils, the personification of Death). Taking into consideration the fact that the orthodox communities had difficulties in accepting religious theatre and that there are interesting similarities between these performances and the catholic medieval mysteries, a few questions will guide us through the matter: Where are these performances, mixing the archaic and the modern, coming from? Which are the links we can retrace back to the medieval religious theatre? And how did the neighbouring communities, Ukrainians, Hungarians, Germans, Serbs influence the evolution of the Romanian Herods plays
“Us and Them” – A Transylvanian Story in Three Chapters: Performance review: 20/20, written and directed by Gianina Cărbunariu, a production of Yorick Studio, Tîrgu-Mureş; Double Bind, a performance by Alina Nelega and Kincses Réka, a production of The National Theatre, Tîrgu-Mureș, and MaRó by Székely Csaba, directed by Andi Gherghe, a production of Yorick Studio, Tîrgu-Mureş
Get PDFLiviu Ciulei – WANTED At Home and Abroad: Book review: Florica Ichim, Anca Mocanu (eds.), Liviu Ciulei acasă și-n lume [Liviu Ciulei Home and Abroad], vol. I-III, Bucharest: Fundația Culturală “Camil Petrescu”, Revista “Teatrul azi”, 2016
Get PDF“You have to give talented young people a chance to prove themselves”: Interview with the soprano Anita Hartig
Get PDFThe interview with Anita Hartig aims to reveal the personality of the lyrical artist through a form of sharing the sensible, through the simple benchmarks of the world, art and life and the manner in which they are capitalized on the stage. Remembering the years growing up in Bistrita, the years spent as a student in Cluj and the leap to the big world of international lyrical stage has not changed her perception of her own personal values, but rather they build her character and lead to her artistic self. The meeting with Anita Hartig was occasioned by the premiere of Puccini’s La Bohème in Cluj, where the soprano played Mimi. The fragmented dialogue took place in unconventional places and situations (at the airport, in the car on the way to the hotel, in the backstage before the general rehearsal). The material formed the basis of a portrait documentary about Anita, broadcast by TVR
The The Theatrical System’s Reform as the Aim of the Theatre Director’s Education in Romania
Get PDFThis article emphasizes the profound interdependence between the theatre directing educational system and the cultural system, taking into account the specifics of the situation in Romania. Identifying the theater director as a pillar who defines the status quo in the cultural system and that oversees the implementation of a given global vision in theaters, the article argues that the director's educational process naturally results in defining tomorrow's theatre practices. In this context, the article identifies the key skills that the young director should have when entering the cultural system and argues in favour of their importance starting from practical situations in the institutional theater system in Romania. These basic skills are: a deep understanding of all the compartments of a theater and how each compartment functions, being able to further educate actors about the basic concepts of theatrical art, the ability to conduct a profound text analysis and, lastly, a commitment to use a directing notebook as starting point for their shows. The article concludes that the main reasons why the education system currently fails to develop these skills are the lack of time allocated to theatrical practice, but also the prevalence of the desire to train a small number of exceptional directors to the detriment of training al student directors to become capable of operating in the cultural market
Waiting for... the Debutant Director
Get PDFThe present study aims to discuss a series of problems identified over time in Romanian directing education, with an emphasis on the Theatre Faculty of Iași where the author has been teaching for many years. In the second part of the paper, I publish the results of a questionnaire that I did, on the occasion of this research, among the best graduates of the last five years of the Department of Directing at the Faculty of Theatre Iasi
Saving the Mask
Get PDFThe Article defends the actor's mask training from the reformist trends that consider the mask study to be no longer necessary or topical. The author identifies one of the causes of this attitude in the purpose of higher education in Europe that has changed in the recent years. The study continues with a brief exposition of the principles, themes and benefits of mask training. In the final part, the author presents the results of a mini-survey among graduates of the Cluj theatre school, questioned about the role of mask studies in their professional careers
« La France est, depuis deux siècles, la principale fenêtre vers l’universalité pour les artistes nés en Roumanie » Entretien avec Matei VIŞNIEC
Get PDFMatei Vișniec studied philosophy in Bucharest, he was a founding member of the Monday Poetry Reading, and asserted himself as a powerful writer even when his plays were prohibited during the communist regime. After 1989, he became one of the most admired Romanian contemporary playwrights. His plays were translated in more than twentyfive languages and are still performed on stages all over the world. He lives in Paris since 1987, and belongs to both Romanian and French literature.Matei Vișniec studied philosophy in Bucharest, he was a founding member of the Monday Poetry Reading, and asserted himself as a powerful writer even when his plays were prohibited during the communist regime. After 1989, he became one of the most admired Romanian contemporary playwrights. His plays were translated in more than twentyfive languages and are still performed on stages all over the world. He lives in Paris since 1987, and belongs to both Romanian and French literature