1,720,976 research outputs found
Sociology and Theatre, A Too Short Beginning. Pavel Câmpeanu’s Studies
Get PDFIn Romania, sociological investigations on theatre are mere illusions that drift further and further away into the sky. In the last 30 years, a few theatres commissioned surveys to measure, as best as they could, the structure and the preferences of their own audience, over shorter (in the case of the 2003 first survey draft at Odeon Theatre, the research lasted no more than one weekend) or longer spans of time (in 2015, at Nottara Theatre, IMAS conducted a survey during a month; the survey applied at the Bucharest National Theatre in 2013 remained a legend, or a rumour rather, as the management treated it with mysterious silence). This paper tries to follow the intentions and the destiny of the researches and surveys dedicated to the theatre sociology by Pavel Câmpeanu and his small team between 1968-1974
“Teatrul” Journal, between Norms and Emancipation. The Years of the “Thaw” and Those of the New “Freeze”
Get PDFTeatrul Journal, dedicated to both professionals, and devoted spectators, appeared in 1956 following the so-called “thaw”, which took place in the part of Europe controlled by the Soviet regime after Nikita Khrushchev’s secret report at the 20th Congress of the Communist Party of the Soviet Union. As we know, this “secret report” highlighted the horrors which took place during the decades dominated by Stalin, incriminated his “cult of personality”, and promised a certain openness in the fields of science, culture and arts towards communicating with the West, as well as loosening the chains of censorship. This phenomenon was felt, in a more or less discrete way, at all levels of the Romanian society; and for the theatre domain, the sign of this change of politics was the launch of the Teatrul journal, under the patronage of the writer, playwright and aesthetician Camil Petrescu[1]. This paper (which is part of a wider research dedicated to theatre criticism discourses in the communist period) looks at the relation between party orders and the editorial policy taken on by or imposed on the journal from its birth (April 1956) to the new „freeze” wave (1958-1960).
[1]. Camil Petrescu (1894-1957) was a novelist, literary theory author and playwright. He was the Manager of the National Theatre of Bucharest between 1938-1939 and a member of Romanian Academy form 1947
The coronation of “the accompanying comrade” Sică Alexandrescu – A case study
Get PDFHave “People’s Artists” been famous artists, plain “nomenklatura” representatives in the artistic milieu or just “accompanying comrades”? What were the characteristics of the mechanism producing these “people’s artists” in the first years after the concept had been imported from the USSR? What are, in this context, the specificities of the Romanian theatre environment? Who are the people selected to become “distinguished artists”, “State Prize Laureate”, “Emeritus Masters of art” or “People’s artists” – and what justifies this hierarchy? Clearly, some of the members of the first generation of communist “theatre heroes” were truly artists who had earned a certain fame even before the Second World War. Others, however, had not – or they had earned an entirely different kind of status and fame in the artistic milieu. We shall try to uncover at least a part of the mechanism for selecting/producing “state artists”, by means of a case study focusing on possibly the most illustrative character for the stated theme: theatre director Sică Alexandrescu. With this in view, we used previous files of personal research concerning the political, ideologic and aesthetic debates in the first decades of the communist regime, we revisited archives, journal and cultural magazines collections and, of course, we revisited the articles and books written by the famous theatre director himself
New Dramatic Structures, Negotiable Imaginary Spaces. On Assuming the Experimental Condition Theatre review of “M.I.S.A. PĂRUT”, by Alexa Bacanu, a production of Reactor, Cluj, directed by Dragoș Alexandru Muşoiu and Reacting Chernobyl, based on texts b
Get PDFI believe that, nowadays, too little is written about assuming the experimental condition of a performance, in a self-standing niche of Romanian theatre, whether subsidised or independent. Because, we must admit, the last two or three seasons have shown a healthy (though still fragile) interconnection, both from the viewpoint of aesthetics and of the programme, between the two types of theatrical productions, as much as independent directors and even entire teams were invited to develop their personal projects on state theatres’ (mostly studio, but not only) stages, without cutting back on their own long-term programmes. For understandable economic reasons, a reverse movement is more difficult, at least for now, but I’m sure that the osmosis process will continue..
Independent… from whom? Independent... from what? About independence as procedure: Book review: Iulia Popovici, Elefantul din cameră. Ghid despre teatrul independent din România, Cluj, Idea Design and Print, 2016
Get PDFThe Active Archive: Interview with Film Critic Andrei Rus
Get PDFThe interview with dr. Andrei Rus, associate professor at UNATC Bucharest, tried to cover both the motivations and the developing process of the Active Archive projects, a work in progress activity of research, selection, digitalization, and dissemination of several old documentaries from the Sahia Studio Archives, on one hand, and several experimental movies made by students of the UNATC in the Sixties and Seventies on the other hand
New Dramatic Structures, Negotiable Imaginary Spaces. On Assuming the Experimental Condition: Theatre review of M.I.S.A. PĂRUT, by Alexa Bacanu, a production of Reactor, Cluj, directed by Dragoș Alexandru Muşoiu and Reacting Chernobyl, based on texts by Svetlana Aleksievici and Wladimir Tchertkoff, a production of Varoterem Project, dramaturgy by Raluca Sas-Marinescu, directed by Cosmin Matei
Get PDF“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
Romanian Theatre as Public Service. A Critical Perspective of the Last Decades
Get PDFThis paper aims at synthetizing, from a critical perspective, the trajectory of the Romanian subsidy scheme of performance - mainly theatre - institutions, over the last century. Our basic argument is that, despite all the major political changes which took place after the First and the Second World War, despite the succession of dominant ideologies, the subsidy scheme has mainly remained the same, although the amounts invested by the authorities have varied from a time to another. The below analysis focuses on the relation between the political project, the state apparatus (both central, and local), the legislative system, the economy, and mentalities, in an attempt to prove the strange conservatism of a unique administrative model, as well as the lack of vision of the various political regimes with regard to the public service dimension of theatre art
The Rhetorical and Stylistic Evolution of Theatre Reviews at the End of the 50s. The Disobedient – Case Study
Get PDFThis paper aims at analysing the way in which the structure and stylistics of theatre review influenced the evolution of critical thinking during the short thaw that took place in all Socialist countries after Nikita Khrushchev’s February 1956 speech in which the Soviet leader exposed the crimes of Stalin’s rule. We therefore analysed the reviews and essays of some of the most dynamic and most professional young critics who published in the Teatrul Journal: I. D. Sîrbu, Șt. Aug. Doinaș, Ecaterina Oproiu and Florian Potra. Symptomatically, all the four critics subsequently moved away from this profession, for dramatic reasons related to the political circumstances, and during the following decade, they became famous writers of poetry, literary criticism, dramaturgy or film criticism
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