Keywords: Eugen Lovinescu; Perpessicius; Serban Cioculescu; Vladimir Streinu; George Calinescu; Mihail Dragomirescu;
The literary history of the inter-war period, the post Maiorescu generation, and the Romanian critic Pompiliu Constantinescu
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Keywords: interview; Laura Bilic; Dumitru Georgescu; Bianca Ioan
Interviu realizat vineri, 11 octombrie, dupa spectacolul HOP la Iași din cadrul Festivalului Internațional de Teatru Pentru Publicul Tânăr, ediția a VI-a de la Teatrul Luceafărul
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Keywords: interview; Dumitru Georgescu
Dumitru Georgescu s-a născut în ziua de 1 octombrie 1987, în comuna Vicovul de Sus, din județul Suceava. Este absolvent al Universității de Arte „George Enescu” din Iași, secția Arta mânuitorului de păpuși și marionete, iar din anul 2008, pe vremea cînd încă era student, a început colaborarea cu Teatrul „Luceafărul” din Iași. A obținut pentru întâia oară premiul pentru cel mai bun tânăr actor al Galei Hop de la Costinești în 2010, la secțiunea grup, pentru ca anul acesta, în luna septembrie să fie recompensat cu aceeași distincție, la individual.
More...Keywords: Puppet Theater; Lempen- UK; Trittbrettl Theatre; Pressbaum; Austria; Poppentheatre Frans Hakkermars; Uithorn; Netherlands
A festival can be a good opportunity for debates and theatrical reflections. That is what happened at FITPT Iaşi (the 5th edition): the diverse and generous programme called for a discussion about SHOW PRODUCTION and its RECEPTION.
More...Keywords: arts of the actor; director; theater laws
What is Dramalog, clever name that advance? A series of commandments, laws, raised requirements, as some challenges, as some baits designed to stir the imagination, to awaken the energies and creativity to excite those who now occupies social drama and theater in particular. And yet who can talk about the law when it comes to art? It's about some tools available to reach creators and observers of the phenomenon, instruments that they can feel, smell, diagnose some of the diseases of our time and of theater in general. I do not claim to solve the problem and do not want to give lessons. It would be ridiculous, since this theater. I speak from the position of practitioner, director, playwright, actor, man-about phenomenon closely.
More...Keywords: animation theater; Bunraku; reception
Black and White show directed by Ciprian Huţanu emerges, this time in an exchange of words between a viewer and creator. Transparency sensitivity, intelligence and art mânuitorului puppeteer.
More...Keywords: Henrik Ibsen; Frank Wedekind; feminine characters; comparative essay
In this essay, I tried to analyse, in a comparative way, two of the most important feminine characters of modern theatre history: Lulu, the main character in two plays written by Frank Wedekind (Pandora`s Box and The Earth Spirit) and Hedda, the main character in the Ibsen`s play Hedda Gabler. The analysis was organized in conexion with few essentials relations between characters and the ideas of Beauty, Origine, Culture, Marriage, Love, Life, Freedom, Death. The conclusion of this essay: both Lulu and Hedda are two different faces of Eve, through Eve understanding, of course, the concept of feminity. The distances between the two feminine characters are huge and, paradoxical, in the same time, almost irrelevant.
More...Keywords: Andrei Serban; artistic career; tribute
„George Enescu” Univerity of Arts is privileged to receive among the teachers a master like Andrei Serban. It is an honor for us to speak today, a laudatio: with-more so as his hero was consecrated in time as one of the most interesting artists and educators in the world.
More...Keywords: theatre; theatre-dance; movement; training
Invited to the first edition of the Students’ Festival of Contemporary Theatre in Iasi, the master Nikolay Kazmin of the Music, Theatre and Fine Arts Academy in Chişinău lectures within a series of workshops on movement, acrobatics and scene fights to the students of the Department of Theatre at the „G. Enescu” University of Fine Arts, Iaşi. On this occasion, I asked him a few questions and I present you his answers below.
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Keywords: theatre of the absurd; Eugen Ionescu; Samuel Beckett; analysis
There are thousands of pages that have been written about Eugen Ionescu, Samuel Beckett and the theatre of the absurd; libraries worldwide stand as witnesses. Any new attempt is a sort of balancing act on the razor’s edge; and yet, Tamara Constantinescu takes this risk and takes advantage of her double training (theatre and journalism) to allure us into a new journey inside the world of the female (and not only) characters from the theatre of the absurd.The author withdraws in the background in order to give us the chance of approaching the cryptic bridges of the relation between the theatre of the absurd and our (non)dramatic daily lives, marked by “...disappointments, desperation or pieces of memories heavy with the regret of unfulfillment, of lost illusions, of bitter failure.” A world caught between oneiric and reality, inside which drama receives the reverberations of farce, and innocence the degree of logic. Time diluted in memories, spaces narrowed through immobility, frailty hidden in extreme gestures – all these are analysed and given meanings that can draw the reader closer to the core of the characters/couples in the study.
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Keywords: Contemporary world; values; greed; violence
Although both written more than a decade ago, in 1998 and 2002, respectively, Arthur Miller’s plays, Mr. Peters’ Connections and Resurrection Blues, prove timeless in a conflict-dominated world, where traditional values seem dissipated and human interaction is dictated by greed and violence. While Mr. Peters’ is a play on the individual search for meaning in an increasingly exhausting and depressing world, “in Resurrection Blues lifestyle has replaced life. (…) Money, drugs, ambition, pragmatism prevail. Religion is either compromised or appropriated to serve other causes than the spirit.” Miller’s theatre thus becomes both a reflection of the tormented contemporary spirit and a means to investigate the causes which have brought humanity to this point. Once more, theatre proves able to identify and transmit quintessential aspects of humanity and, at the same time, provide clues on how reconciliation can be reached.
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Keywords: Radu Ghilaş; biography;“În container” (“In the container”)
Interview made by Vasilica Bălăiţă with Radu Ghilaş, actor at the Vasile Alecsandri National Theatre, on the occasion of his debut as a stage director in 2009, at Tătăraşi Athenaeum, with the show entitled În container (In the Container), by Constantin Cheianu. Biographic confessions revealing the actor’s interest in the social dimension of theatre.
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Keywords: theatrical utopias; stage design; directing; light design;
If we question utopia in the theater, we will notice multiple semantic levels on which we have to discuss it: utopian spaces, utopian times, performative utopias which include idealistic messages. But certainly, the great theater visionaries aimed for shaping their ideal worlds, some of them resuming on projects and theories, others, increasingly more numerous, beneficiaries of advanced technologies, building for real their beautiful and disturbing dreams. We focused on those directors, stage mesmerizers themselves, who, together with gifted set designers, made possible for the public to see most incredible worlds (and ideas). In this context, we analyzed theater works of Fank Castorf and Tomaž Pandur. Although apparently different, in message and style of expressing, too, both of them belong to the courageous, provocative and oneiric artists’ gallery. Beyond the fascination of gigantesque, easily noticed due to the spectacular visual mark, they “fight” for a miraculous theater and for a future that will never drain creativity from the human brain.
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Keywords: (auto)fiction; pragmatism; family relations; play/film; contemporary American drama;
August Osage County by Tracy Letts, contemporary playwright, one time Pulitzer prize and five times Tony-prize winning author can be interpreted pragmatically from the perspective of family relations and the generation gap. Consequently, after an overview of the author’s work which is less familiar to most and the assessment of his place in contemporary American drama, we aim at applying precepts such as pragmatic maxim and consequences or contingency of starting points to the text that has been both staged and screened. However, we will not insist on the differences between drama and film as we find them irrelevant to our purposes. Certainly, we will not ignore the rapport between philosophical and critical-literary pragmatism with applications to drama on which our methods draw.
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ARTES Publishing House’s Books Awarded at EuroInvent Saloon Mihaela Mîrţu, L’Acteur dans les rets de la fiction, Alexandru Ioan Cuza University Publishing House, 2014 Invitation to Reading Călătorii pe firul Thaliei (Travellers on Thalia’s Trace) author: Tamara Constantinescu Muzici și muze (Musics and Muses) Autoare: Maria Zărnescu Toca se povestește (Self-Narrating Toca) edited and presented by Florica Ichim Măria sa Teofil Vâlcu (His Majesty, Teofil Vîlcu) Ștefan Oprea Editorial Signal
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Keywords: the Feldenkrais method; Nicolas Gousseff; puppeteer training; handheld puppets
Although the Feldenkrais method is quite well-known and used in relation to dance, music, and acting, it is rather uncommon to associate it with animation theatre. The puppeteer’s art is a profession that requires motor skills and sustained physical effort, which demands that the animating actor has an extended consciousness of oneself and of the space. Therefore, the Feldenkrais method can be a useful instrument in the puppeteer’s education and training, as the placing of the body in a relaxed stance, one which helps in the management of pain and effort, facilitates the conscious and creative learning of animation techniques, with an emphasis on the coordination and fluidity of movement. These are learning principles of the art of animation that are successfully used by Nicolas Gousseff, an artist that was formed at ESNAM (École Supérieure Nationale des Arts de la Marionnette de la Charleville-Mézières), and who has specialized in handheld puppets and using the actor’s body as a performative space for this type of animation.
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Keywords: Paul Sterian; movement “Burning Bush”; bio-ibliographical portrait;
This text draws the spiritual and bio-bibliographical portrait of writer Paul Sterian, member of the movement “Burning Bush”, an intellectual characterized by his friend Alexandru Mironescu, as “an unmistakable poet, famous journalist, an exceptional economist with a doctorate in Paris, sociologist, valued by Dimitrie Gusti’s teams, painter and engraver, playwright and librettist, who knew all the secrets of theatrical art, violinist, who used to sing Kreisler studies and César Franck sonata even at old age, and who, ironically, was even a dancer whose feet knew the rhythmic steps of modern dances “.
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Keywords: Zamfira Mihail; Bibliography; Romanian culture; Bessarabia;
Papers about Romanian culture from Bessarabia by Zamfira Mihail.
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Keywords: volunteering; prosocial behaviour; research; young adults; altruism;
Volunteering as a sustained prosocial activity is considered a noble act that one can achieve in order for the prosocial behaviour to improve. It is at the base of a good character a person can form. It also emphasises altruism, empathy, sympathy, pride, altruistic values. Prosocial moral reasoning leads to a constant attachment to the act of volunteerism the society is in such a dire need of. The history of volunteering focuses on YMCA organisations in the USA and other European countries that led to a continuous growth of this prosocial behaviour so much needed in the current turbulent society. Although always present, the volunteering act simply calls more and more people to get involved in the altruistic approach to societal problems. When dealing with volunteering work, people witness a sense of accomplishment rendered by the constant interaction with other people. In the present paper, a sense of awareness is provided on the communication methods (nonverbal, metacommunication, language) one would need to be aware of the interactions with people. Our research is based on using qualitative method, focusing on volunteering perceptions of their roles, responsibilities, the drivers for becoming a volunteer and the skills achieved. We focus solely on the qualitative data and observation. The results led to identifying 3 thematic main categories with regards to the volunteering act. Our eighteen interviews provide an insight on the drive they have when practicing volunteerism, personal, social and professional benefits as well.
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