Stage Combat – Informative Resources of the Dramatic Text

Lupta scenică – Resurse informative ale textului dramatic

Author(s): Bogdan Lupeică / Language(s): Romanian / Issue: 21/2016

Keywords: violence; aggression; teaching strategies;

Stage combat - informative text resources dramatic issues that arouse aggressive manifestations, especially the antisocial nature, have always existed and are very topical, daily media highlighting the presence of violence in our society in terms of its highly and impressive: murders, robberies, rapes, attacks hand armed attacks etc. That is why abuse is a social problem for which a solution is expected. In this context, in a world characterized by an increase in aggressiveness both in the interpersonal relationships and the level of international scientific study of the causes of violence and the means to reduce their prevalence gains importance majeure. This prompted us to take into account both the structuring stage battles and the composition teaching strategies.

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.

Fascination of the Enormous. Utopian Constructions on the XXIst Century’s Stage

Fascinația gigantescului. Construcții utopice pe scena secolului XXI

Author(s): Ioana Petcu / Language(s): Romanian / Issue: 21/2016

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.

Acting Recital through Doctoral Research

Recitalul actoricesc via cercetarea doctorală

Author(s): Anca Maria Rusu / Language(s): Romanian / Issue: 21/2016

Keywords: recital; multimedia techniques; postmodern theatrical language; video images; Light-Art;

A living body, therefore adaptable, theater has been experiencing both the virtual space and also the extension of boundaries of theatricality, always reconsidering its ways of expression, a rich field of investigation that has been explored in this research. Turning his attention to actor’s performance in a recital, Adrian Buliga in his doctoral research that took several years of hard work clearly defined this area of research, namely, specific features of actor's art shaped by the use of multimedia theater techniques and working methods; without hesitating to bring back into discussion the notion of “acting recital”. This has been the first research investigating this topic in a doctoral program.

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.

Michael Smith, a Pioneer of the Off-Off Broadway Movement

Michael Smith - un fondator al mişcării Off-off Broadway

Author(s): Michael Townsend Smith,Nic Ularu / Language(s): Romanian / Issue: 21/2016

Keywords: Michael Smith; Off-Off Broadway; interview;

The following article is based on the unpublished memoirs Mr. Smith graciously allowed me to use, and on the two interviews we had in December 2015 and January 2016.

“Being an artist means, first of all, being free”

„A fi artist înseamnă în primul rând a fi liber”

Author(s): Tamara Constantinescu,Cristian Pepino / Language(s): Romanian / Issue: 21/2016

Keywords: Cristian Pepino; directing; animation theatre;

Director and Professor Cristian Pepino, PhD, shares with the magazine “Theatrical Colloquia” some of his thoughts on directing and set design, stories and their mystery, puppets and puppeteers, and great figures of the Romanian animation theatre.

Maitreyi & It Does Not Die as a New Stage Approach

Maitreyi & Dragostea nu moare într-o nouă formulă scenică

Author(s): Cristina Scarlat,Adrian Roman / Language(s): Romanian / Issue: 21/2016

Keywords: Eliade; Maitreyi Devi; The Bengali Night; It Does Not Die; theatre; Adrian Roman; Baia Mare;

A theatre director born in Romania and living now in New York, Adrian Roman has studied Indian philosophy at Delhi University, India, in Master of Philosophy Program and he holds a Master of Fine Arts degree in Theatre Directing from Columbia University, School of the Arts, USA. He has taught at the Theatre and Television Faculty in Cluj-Napoca. In Romania, he has also staged plays by authors such as Yasmina Reza (Art), Chekhov (The Wedding), Mircea Eliade (Maitreyi), Shakespeare (Richard II) working with the National Theatre in Cluj, Teatrul de Nord in Satu Mare and Teatrul in Baia Mare. In New York and U.K., he staged The Lesson by Eugen Ionescu (Riverside Theatre), He/She by Nanna Mwaluko (Nuyorican Poets Café), The Redevelopment by Vaclav Havel (Columbia University), Hurt by Saviana Stănescu (Manhattan Repertory Theatre), Soundwaves: The passion of Noor Inayat Khan by Joe Martin (New York Fringe Festival - Official Selection), and My Stubborn Tongue by Anna Fishbeyn (SOHO Theatre in London, UK).

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.

(Re)Visiting American Pragmatism in Tracy Letts’s August Osage County, Its American Screening and Romanian Staging

Pragmatismul american (re)vizitat la Tracy Letts: Acasă în miezul verii pe ecran/ scena teatrului național ieșean

Author(s): Ana-Magdalena Petraru / Language(s): Romanian / Issue: 21/2016

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.

The Paris of Matei Vișniec

Parisul lui Matei Vișniec

Author(s): Cristina Scarlat / Language(s): Romanian / Issue: 21/2016

Keywords: Paris; Matei Vișniec; show; daily;

The Paris of Matei Vișniec is one of nostalgia, of the daily street show, of the joy to live in a horizon where past and present, story and history go together, in a harmonious, lively, coloured manner. The documentary made by the Romanian Television (TVR) Iași, in 2015, represents another touching page, signed by another great Romanian who settled down in Paris. Cioran, Ionesco, Eliade, Tzara, Brâncuși breathed there and looked there for their calm, their freedom, their fulfilment. They stood out in a quite significant way and fulfilled themselves, becoming voices who made themselves heard beyond France’s borders. And Romania’s as well! They signed pages of glorious artistic revelations, which seemed as natural as possible, parts of the universal cultural life, turning thus into undeniable trademarks and symbols. Matei Vișniec, together with George Banu, come to join this list of illustrious ones, in a natural, but also abundant, full and bright way. To the applauses after the shows we add the applauses of thoughts and those of words. Just like the TVR documentary does.

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

Book Reviews

Recenzii

Author(s): Odette Blumenfeld,Anca Doina Ciobotaru / Language(s): Romanian / Issue: 21/2016

Cărțile Editurii ARTES premiate la Salonul EuroInvent Mihaela Mîrţu, L’Acteur dans les rets de la fiction, Editura Universităţii „Alexandru Ioan Cuza” Iaşi, 2014, pp.317. Invitație la lectură Călătorie pe firul Thaliei autoare: Tamara Constantinescu Muzici și muze Autoare: Maria Zărnescu Toca se povestește volum îngrijit și prezentat de Florica Ichim Măria sa Teofil Vâlcu Ștefan Oprea Semnal editorial

Stage Combat – Informative Resources of the Dramatic Text

Stage Combat – Informative Resources of the Dramatic Text

Author(s): Bogdan Lupeică / Language(s): English / Issue: 21/2016

Keywords: violence; aggression; teaching strategies;

Stage combat - informative text resources dramatic issues that arouse aggressive manifestations, especially the antisocial nature, have always existed and are very topical, daily media highlighting the presence of violence in our society in terms of its highly and impressive: murders, robberies, rapes, attacks hand armed attacks etc. That is why abuse is a social problem for which a solution is expected. In this context, in a world characterized by an increase in aggressiveness both in the interpersonal relationships and the level of international scientific study of the causes of violence and the means to reduce their prevalence gains importance majeure. This prompted us to take into account both the structuring stage battles and the composition teaching strategies.

Young Theatre – a New Dimension of the Dramatic

Young Theatre – a New Dimension of the Dramatic

Author(s): Diana Nechit / Language(s): English / 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.

Fascination of the Enormous. Utopian Constructions on the XXIst Century’s Stage

Fascination of the Enormous. Utopian Constructions on the XXIst Century’s Stage

Author(s): Ioana Petcu / Language(s): English / Issue: 21/2016

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.

Acting Recital through Doctoral Research

Acting Recital through Doctoral Research

Author(s): Anca Maria Rusu / Language(s): English / Issue: 21/2016

Keywords: recital; multimedia techniques; postmodern theatrical language; video images; Light-Art;

A living body, therefore adaptable, theater has been experiencing both the virtual space and also the extension of boundaries of theatricality, always reconsidering its ways of expression, a rich field of investigation that has been explored in this research. Turning his attention to actor’s performance in a recital, Adrian Buliga in his doctoral research that took several years of hard work clearly defined this area of research, namely, specific features of actor's art shaped by the use of multimedia theater techniques and working methods; without hesitating to bring back into discussion the notion of “acting recital”. This has been the first research investigating this topic in a doctoral program.

From Corporeal Mime to Dance, Visual Art and Abstract Form

From Corporeal Mime to Dance, Visual Art and Abstract Form

Author(s): Alba Simina Stanciu / Language(s): English / 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

Instanciations of Systemic Coercion in Theatre and Contemporary Dance

Author(s): Emanuel-Alexandru Vasiliu / Language(s): English / 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.