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The Dread of Wrong: Working on Role Playing Main Mistake

Spaima de greşeală: principala greşeală în lucrul la rol

Author(s): Doru Aftanasiu / Language(s): English / Issue: 16/2013

Keywords: the actor’s art; theatrical pedagogy; William Shakespeare

Abstract: An acute problem which can be observed on many acting school students, as in many actors with little experience, is the fear of error, it being the main source of contraction on the stage. In the process of elaboration of a role, or when it comes to even a simple fragment of a text, often appears the insecurity and fear of own senses.There is a risk that this openness, this fear of mistake to persist even after graduation. Of course, the things are very much depending on the pedagogical tact, not excluded that the fear of a mistake to have being born of an exaggerated authority of the teacher. When the student is inoculated with the idea that its execution is, in one way or another, lower net requirements, he will inevitably get to lose confidence on its own forces. All this will happen even and if it is suggested that there is no room for mistake (here we refer to cases in which impromptu exams are held in the form of the show, acquiring the character preset from rehearsals much too strong, sometimes even up to forgetting a basic purpose of improvisation: the acquisition of scenic spontaneity. But, needing even here a specific work unity, we will refer to fragments from the work of a single author, which, for reasons which will be explained below, we consider ideal for exercises of adaptability and scenic character of the compositing: William Shakespeare.

Family Values in Crisis – Arthur Miller’s Perspective

Criza valorilor familiale – o perspectivă milleriană

Author(s): Elena Ciortescu / Language(s): English / Issue: 16/2013

Keywords: family; society; betrayal; depression

In 1991, Miller wrote two plays which dealt with what appeared to be an issue related to the private sphere of the individual. However, not only that The Ride down Mt. Morgan as well as The Last Yankee turned out to be more than two plays based on private failure but they managed to survive time and stir emotion in the audience even today, more than twenty years later, due to the powerful issues they stage. Family rupture is an issue today as much as in the 1990s; its deepest causes are to be found at the socio-economic level to the same extent as its consequences determine the structure of our society. The topic had haunted Miller for most of his career and formed the focus of some of his most famous plays: All My Sons (1947), Death of a Salesman (1949), The Price (1967), The American Clock (1980). Arthur Miller’s work has proven timeless and this is also due to the topics he addressed in his 1991 plays – The Ride down Mt. Morgan and The Last Yankee.

From the late Neorealism in the theatre of Giovanni Testori to the theatre based on the daily observations in the creation

De la neorealismul târziu în teatrul lui Giovanni Testori la teatrul bazat pe observaţii cotidiene în creaţia lui Giuseppe Patroni Griffi

Author(s): Svetlana Târtău / Language(s): English / Issue: 16/2013

Keywords: Giovanni Testori; neorealism; metaphoric language; Giuseppe Patroni Griffi; specific Neapolitan

Giovanni Testori was one of the most important protagonists of the Italian stage in the second half of the twentieth century. An inconvenient author, isolated from the so-called literary society, he was deeply interested in the allegorical culture of Gaudenzio Ferrari la Tanzio da Varallo. Giovanni Testori was captivated by the reflection of themes such as lucidity and madness, piety and revolt, using an imaginative and experimental language. The interest of Giuseppe Griffi oscillates between theater and cinema. He finds in chronic themes to transpose unto the stage, turning them into explosive parables. The Neapolitan author and stage director uses in his works a tough language, being always much more interested in chronic and less in history. The reminiscences from Edwardian Theater can be recognized in his dramas, designed with the "ruzzante-parents" naturalness. They highlight the conflicting feelings, and the city of Naples is chosen as the symbol of evil in a modern society.

In search for creative individuality

În căutarea individualităţii creatoare

Author(s): Anca Ciofu / Language(s): English / Issue: 16/2013

Keywords: recital show; puppeteer; total actor

We are living in an age when, craving for spectacular effects, the public has an increasing desire to see what an artist can do on the stage all by himself. In such circumstances, attributes like multilateral capacities, mastery of several talents and skills, “total actor” cannot be overlooked by anybody who is trained in becoming such an artist. I think that, in puppetry, the equivalent of that ideal actor, called by some „total actor”, is the recital show puppeteer. It would not be an easy task to try a thorough classification of this sort of histrionic art as newer and more specific ways of expression are constantly emerging. This art is hard to define. And yet, there is one particular trait of all puppeteers: the need to stand out, to be innovative. Soloist puppeteers use a variety of means to get to the heart of their audience and to impress them. The above lines reinforce the idea that the soloist puppeteer aims at being boundary free in his shows.

The speech of maestro Alexa Visarion at the ceremony where he was awarded the title of Doctor Honorius Causa of the University of Arts "George Enescu"

Alocutiunea rostita de maestrul Alexa Visarion la ceremonia prin care i s-a acordat titlul de Doctor Honoris Causa al UAGE Iasi

Author(s): Visarion Alexa / Language(s): English / Issue: 16/2013

Keywords: Alexa Visarion; Doctor Honoris Causa; "George Enescu" University of Arts

Master Alexa Vissarion spoke a few excited words when when he received the Doctor Honoris Causa title from the "George Enescu" University of Arts of Iaşi.

Is Ibsen Still Contemporaneous with Us?

Mai este Ibsen contemporanul nostru?

Author(s): Ioana Petcu / Language(s): English / Issue: 16/2013

Keywords: classic versus modern; political theatre; feminism; polemic

Our article is born by a notice that turned into a real convulsion, namely that Ibsen’s theatre, in Romania and, especially for the new generations, has arrived into a shadow zone. Enjoying a propagandistic interpretation before the 90s, his texts were translated, published, commented, the television adapted them for the T.V. screen, and the theatrical scene promoted them, too. Today, the phenomenon seems to be reversed. On the one hand, due to the lack of attention from the publishing houses, that have not re-released the texts and neither released new translations, but also from an aridity that defines the Ibsenian dramatic work, an aridity which is hardly exceeded even by the directors themselves, our present scene, with little exceptions, does not succeed to revive the name of the most famous Norwegian dramatist. Therefore we have considered as absolutely necessary to see if Ibsen is so obsolete as it seems to be treated now by our theatre and if we do not remain, in this respect, more deficient next to the European phenomenon which has not give up and, moreover, has found the latent energy from the Ibsenian texts, to speculate upon and to build up bridges across the times and geographical areas.

Actor – the integrant element in theatre act. Scenic transcription: empathy, sensibility, imagination

Actorul-element indispensabil în faptul teatral. Transpunerea scenică: empatie, afectivitate, imaginaţie

Author(s): Dana Lemnaru / Language(s): English / Issue: 16/2013

Keywords: actor; here-now-present; empathy; sensibility; imagination

Theatre is a collective art, within which we must admit the primary role of the actor. The actor’s live presence, the character, actually constitutes the specific element of theatre; this element has an indestructible vitality; the lack of actor annihilates the basic function of the art of theatre. The scenic transcription is one of the main characteristics of the creation process that an actor operates with – the empathy, the sensibility and imagination become the necessary conditions of his scenic construction.

LAUDATIO

LAUDATIO

Author(s): Bogdan Ulmu / Language(s): English / Issue: 16/2013

Keywords: Alexa Visarion; theatre; doctor honoris causa

G. Enescu" University of Arts is privileged to receive the master teacher Alexa Visarion among its circle of professors. The honor to deliver this Laudatio is today ours. But also the fear of the tribute will be considered, in sections, a Déjà vu: name, depth and valuable achievements as well as the profusion of the realization made by the famous director are already known for some of the audience. Because Alexa Visarion is a complex theatre person: theater and film director, writer, teacher, journalist, designer, and his “walks” through the Romanian art world - and beyond – for more than four decades.

Ştefan Oprea – Portraits For A Portrait

Ştefan Oprea – portrete pentru un portret

Author(s): Ioana Petcu / Language(s): English / Issue: 14/2012

Keywords: Ştefan Oprea; book review

Pas la pas prin festivaluri – Step By Step Through Festivals (Opera Magna Publishing House, 2011) is a plentiful journey through the most important artistic events of relevant magnitude dedicated to the theatre.

Kantor: “fantômes ressuscités” et “temps retrouvé”

Kantor: „Fantomele reînviate” i „timpul regasit”

Author(s): Georges Banu / Language(s): Romanian / Issue: 20/2015

Keywords: Tadeusz Kantor; Théâtre Nô; Marcel Proust.

This year is Tadeusz Kantor’s 100th anniversary, whose works have marked the European stage. From Warsaw to Paris, from Florence to Sibiu, he was unanimously saluted. George Banu, along with famous Polish theoretician Leszek Kolankiewicz, has organized at Sorbonne the colloquium “Kantor at the Crossroads of Art and History”, opened by Jack Lang. Many international personalities have analysed Kantor’s work and its present echoes. The text published here unabridged was the introduction to the colloquium in Paris.

Andrei Oetea - A Model of Cultural Resistance

Andrei Oetea – un model de rezistena culturala

Author(s): Ioana Bujoreanu / Language(s): Romanian / Issue: 20/2015

Keywords: history; theater; professor; National Theater

Only a truly strong person could resist to the incoherence of the times, the hardship of surviving, and, most of all the strains of having to save The Theatre as a cultural and institutional entity. Thus, one can firmly state that Andrei Oetea was a providential manager, his figure bearing connections to that of a saviour.

The Presentation of Couples’ Relationships through Performance Art and Short Films

Relaia de cuplu prin intermediul performance-ului i scurtmetrajelor

Author(s): Alexandra Ivaşcu / Language(s): Romanian / Issue: 20/2015

Keywords: philosophy of love; falling in love; couple; love stories

Hearing and learning about different love stories, we can understand our relationships better, and we can empathize with those people by creating stronger connections between us. These videos rely on exposing the reality as it is, removing the preconceptions of a Hollywood romance. It's about capturing feelings that people do not normally want to externalize or they even try to hide due to the fact of deeply-rooted social prejudices and taboos that we have.

“But if today someone would tell me to stop, turn back time and choose a path, I would choose theatre again”

„Dar daca azi cineva mi-ar spune sa ma opresc, sa dau timpul înapoi i sa aleg un drum, tot teatru a alege”

Author(s): Doina Deleanu,Ioana Petcu / Language(s): Romanian / Issue: 20/2015

Keywords: acting;Doina Deleanu; acting school from Iaisi

This year we celebrate 155 years of artistic education at the University of Arts in Iaşi and, on this occasion, my thoughts went up to our former graduates. After being disbanded in the years of communism, the Theatre Faculty was reopened in 1990, and the first class graduated from the academic desks in 1994.

Pseudo Kino-teatralis. Interview with Andrei Cozlac at Fix. Fix Theatre

Pseudo kino-teatralis. Interviu la Fix cu Andrei Cozlac. La Teatru Fix

Author(s): Carmen Antochi,Andrei Cozlac / Language(s): Romanian / Issue: 20/2015

Keywords: theater; new media; installation art; videoprojection; video mapping.

The explosion of technical means and technology have not led to the disappearance of the theatre as expected by many, but proving his syncretism, he knew to assimilate all this news and adapt them, giving new meaning to stage design. All this has not only improved the stage and to facilitate the work of those who stand behind the performances, the artists themselves are seeking not just to adapt to the latest trends, but also needed to "properties" virtual space. So the answer appeared in each display, the video portion having a dissimilar substance, any purpose: animation, decoration, light.

Young Theatre – a New Dimension of the Dramatic

Teatrul tânăr – o nouă dimensiune a dramaticului

Author(s): Diana Nechit / Language(s): Romanian / Issue: 21/2016

Keywords: young theatre; education theatre; social theatre; child; family; violence; Sibiu;

Notions like education through theatre, theatre for the young public, the moralist role of theatre, theatre as social action are concepts the popularity of which has increased in the Romanian dramatic and performative areas, a little bit slower than their occidental and North American models. The reality is way too stringent, aggressive and exigent to be ignored by the performative area, and the public, especially the young one, has a strong need of identification with this reality in which they live. The public doesn’t want anymore to pass by this reality, the public doesn’t want anymore a refuted, cosmeticized reality, but a brutal, invasive one. The chosen theatrical forms respect the theatrical conventions formally, but not textually. This article wants to determine a radioscopy of the actual status of the theatre, discussing the first consistent attempts in the young theatre direction in Sibiu, on an age category considered problematic in the theory of reception of the artistic act, the 14+ years public.

De la mimul corporal la dans, artă vizuală şi formă abstractă

De la mimul corporal la dans, artă vizuală şi formă abstractă

Author(s): Alba Simina Stanciu / Language(s): Romanian / Issue: 21/2016

Keywords: corporeal mime; performance; training; form; improvisation; contemporary dance;

The infinite combinations, diversity and performative tendencies of the 20th century - which have as main objective the ability of the performer's body - have as “starting points” a phenomenon developed in the French artistic environment. The corporeal mime and its “key” figures - Jacques Copeau, Étienne Decroux and Jacques Lecoq - emphasize the importance of physical training in the process of building the acting technique and the expresiveness of the body, which “puts the body in a form”1. The continuators of these schools extend the corporeal mime technique towards dance, sculptural compositions, new approaches of theatrical image, but above all towards efficient formulas which concern the performer's training.

Instanciations of Systemic Coercion in Theatre and Contemporary Dance

Imaginări spectaculare de coerciţie sistemică

Author(s): Emanuel-Alexandru Vasiliu / Language(s): Romanian / Issue: 21/2016

Keywords: documentary theatre; contact improvisation; dedramatisation; investigative theatre;

This article examines the generation of dramaturgical texts in two recent performances belonging to the genres of theatre and contemporary dance (Tipografic, majuscul – 2011, Teatrul Odeon, directed by Gianina Cărbunariu and Dedublarea – 2007, UNATC/CNDB, choreography by Mădălina Dan). The use of audio-visual technology in the play and of improvisation techniques in contemporary dance are analysed with respect to the suggested aesthetic and philosophical categories, as well as the element of newness brought to their respective genres. The particular aspects of the pieces under analysis are compared to similar traits found elsewhere in Europe. Examples supporting the communication between performing arts are provided from the field of cinema, with a final focus on production values determining the particular form of theatricality.

Dürrenmatt and The Visit Of The Absurd

Dürrenmatt and The Visit Of The Absurd

Author(s): Alexandra Bandac / Language(s): Romanian / Issue: 21/2016

Keywords: Friedrich Dürrenmatt; Samuel Beckett; The Visit; Waiting For Godot;

The Visit, perhaps the most famous text written by Friedrich Dürrenmatt, certainly the most played one, is, from my point of view, a theatrical barometer for the mid-XXth-century. Without aiming to quarter the author in a specific theatre tendency or drama school, I cannot help but remark certain similarities of this particular text and other plays written by Dürrenmatt’s contemporaries, and if one may spot the apparent trite of this statement it is, nevertheless, an exciting research path. Inspired by Gogol’s The Government Inspector, preoccupied to reflect the socio-political struggles of his time, faithful to dramatic tradition and yet a vanguardist when it came to the means of expressions, Dürrenmatt juggles with subtle nuances of comedy and tragedy in his works, especially in this particular text (written in 1956), where the combination between the two opposite concepts creates a certain sense of grotesque. From this perspective, the Swiss playwright is thought in mind with Samuel Beckett who, in a similar way, with just three years before (in 1953), presented the public his En attendent Godot, a performance based on a text which was about to blow up the entire theatre perspective of the XXth century. One of Beckett’s favorite ways of creating rhythm within the text is this continuous oscillation between laughter and tears, between comedy and tragedy, the grotesque being one of his recurrent themes. Starting from this point, I shall try to exploit the interference and connections between the texts of Dürrenmatt and Beckett, focusing on their mile-stone creations, which are The Visit and Waiting For Godot.

Stage Reviews

Pagini din stagiune

Author(s): Anca Doina Ciobotaru,Dumitriana Condurache / Language(s): Romanian / Issue: 21/2016

Jurnal de Festival Un „clovn” de elită. Mihai Curagău Însemnări pe marginea spectacolului Angajare de clovnde la Teatrul Satiricus - Chișinău

CHEAP-ISH LINES

CHEAP-KASTI STIHOVI

Author(s): Tamara Šuškic / Language(s): Serbian / Issue: 440/2006