Eine „Botschaft symptomatischer Bedeutung“. Die Saisoneröffnung des Burgtheaters 1914

Author(s): Elisabeth Grossegger / Language(s): German Issue: 3/2014

After the assassination of the successor to the Austrian-Hungarian throne and his wife on June 28th 1914, a mourning period was not imposed. The court theatres were instructed, however, to remain closed until the beginning of the holiday season. While after the declaration of war to Serbia (on 25th July), the court theatres were told to open regularly at the beginning of September. Emperor Franz Josef argued against the opening of the stage when in August the Allies entered war. Due to the “Kriegsparagraph” actors had to work for reduced fees, otherwise they would be dismissed and the theatres would remain closed. This produced a discourse concerning the value of theatres during times of crisis. – Finally both court theatres were reopened on October 18th which is a multiple date of remembrance: the Battle of the Nations near Leipzig and the birthday of Prince Eugene. Three persons of the cultural memory – Radetzky, Wallenstein and Prince Eugene – acted on the stage as a measure of confidence-building. The premier that the director had planned for the Burgtheater re-opening, Kleist’s Hermannsschlacht, was finally placed in the programme in December 1914. At a time when the general euphoria about war had already decreased the audience reacted in a differentiated manner. Next to patriotic enthusiasm the reviews already show doubts and concerns. In the following years the programme of the Burgtheater avoided any reference to the world events and offered besides classics a sort of escapism to the audience.

Russia in Translation. Zur Identitätskonstruktion in der Republik Moldau

Author(s): Carola Heinrich / Language(s): German Issue: 3/2014

The territory of today’s Republic of Moldova was claimed for centuries by both, Russia and Romania. Despite its independence in 1991 the country is caught in a position ‘in-between’, in a net of tensions between constructions of the ‘East’ and the ‘West’. Applying translational theory, the impact of the Soviet Union and its successor state Russia on identity construction as the former hegemonic power and its expression in contemporary Moldavian theatre will be analyzed and interpreted. Exemplified in Fuck You, Eu.ro.Pa! by Nicoleta Esinencu (2005) and DRUJBA by Ion Borş (2012) the depiction of ‘the Russian’ is studied. The alternating power dynamic and its corresponding staging are analyzed, and a resulting contemporary identity concept will be deduced.

Otrava egalitarismului – singularitatea creatoare a celor puţini

Author(s): Violeta Zonte / Language(s): Romanian Issue: 3/2014

The study focuses on some parallels between moral and ethics concepts/visions of the playwright Ibsen and the philosopher Nietzsche, both of them denying the “poison” of egalitarianism, the grading lie upon equality among mass and the superior human being. Concerning the concept of moral, a certain special fluidity can be remarked, a mysterious link, crucial for the absolute Self. Then the dominance of fanatic due to ethic nature, associated with a major effort of constructing and deconstructing the norms and moral values is present in the structure of both personalities. This ethic “fanatic” determines unpredictable links between the philosophy of Kant and Ibsen’s dramatic “system”.

Posibilul „după Cehov”

Author(s): Mirela Puia / Language(s): Romanian Issue: 3/2014

The Chekhov Machine is a play in which the contemporary playwright Matei Vişniec imagines a great encounter between Chekhov – the character, who is on his deathbed and his characters who have experienced death in his plays. It is an encounter in which these characters come to teach Chekhov, the doctor, a sick person and a writer, both as one should die and, above all, the way one should live.Matei Vişniec, a playwright who practices the theatre of the absurd, considers Chekhov the real predecessor of the genre. His heroes, who are in a perpetual state of non-evolution, fumble about in a world without meaning, go nowhere, live feebly, feeling alienated and anguished, in closed spaces where the impossibility to communicate drags them in a terrible, endless state where they wait for no one and nothing. In this unbearable universe, where their own existence lacks sense, time, which seems impossible to measure, is also stuck into nothingness. The heroes, who do not know what they live for, still have wishes and disappointments, but, all of a sudden, something happens and ends their peace of mind, but only for a short while. Time passes. The heroes return to the ordinary and to boredom and they continue to drag their life “like an endless routine”.

Moral über All Studie zu Arthur Schnitzlers dramatischem Text Reigen

Author(s): Andrea Wolfer / Language(s): German Issue: 3/2014

The paper describes in form of a diary the preparation stages of the performance of the play Reigen (La Ronde) written by Arthur Schnitzler, performed at the graduation exam by the students from the performing Arts Department in German language, West-University of Timisoara.

Dramatismul adolescenţei în Deşteptarea primăverii de Frank Wedekind

Author(s): Flavius Retea / Language(s): Romanian Issue: 3/2014

The paper “The Drama of Adolescence in Frank Wedekind’s Play Spring Awakening” follows the journey of an actor, from person to the character of Moritz Stiefel. The road proposed by this paper is traveled from two perspectives, that of an actor with the struggles of learning how to walk, finding the right path, choosing the best company, understanding the importance of the journey once completed. The second perspective is that of the theoretician trying to place the character in a universal time-line and hoping to find an explainable mechanism for all the theatrical processes that took place during the birth of the play.

Robert Wilsons Figurenästhetik in der Leonce und Lena-Inszenierung

Author(s): Eleonora Ringler-Pascu / Language(s): German Issue: 2/2013

Büchner’s drama Leonce and Lena becomes in the vision of Robert Wilson something in between a theatrical performance and a musical production, where two main aesthetic components occur: sound and visual component on the one side, composition of the dramatic figure on the other side. The dramatic figures move during the performance like “automates” resembling the Über-Marionette concept of Craig, the bodies revealing the specific Wilsonian slow motion rhythm, generating a kind of human-pictures, always present in his so called “theatre of images”.

Der Dramatiker und die Bühne. Der Schauspieler als wesentlicher Faktor der Dürrenmattschen Theaterarbeit

Author(s): Dragoş Carasevici / Language(s): German Issue: 2/2013

The syntagm „mit der Bühne dichten“ ("to write with the stage" – therefore more than "for the stage"), which is emblematic for Friedrich Dürrenmatt‘s theatre theory, reflects his conviction that, while working on the text, the playwright must constantly take into consideration the concrete possibilities of the stage as an acting space. This conviction leads implicitly to a special attention paid to the actor as an essential factor of the theatre. In this respect Dürrenmatt almost rules the intermediary figure of the director out of the relationship playwright-actor.

Ioana D'Arc a abatoarelor de Bertolt Brecht în viziunea lui Giorgio Strehler: o lecţie despre teatrul epic

Author(s): Dragoş Carasevici / Language(s): Romanian Issue: 1/2012

The dialectical relation between the metatext of the staging and the author’s original, as discussed by Patrice Pavis, raises the issue of the production’s faithfulness to the source text. Though this issue is completely justified with regard to any mise-en-scène, there are particular cases where one would feel the need to redefine the term ‘faithfulness’. One such case is Giorgio Strehler’s production of Brecht’s Die Heilige Johanna der Schlachthöfe from 1970. The staging had not been conceived in terms of ‘poor theatre’, on the contrary: Strehler brings on stage a colourful mixture of circus, music-hall and cinema elements. The analysis of a key-scene (as based on Strehler’s prompt book which was published by Arturo Lazzari) shows to which extent and especially in which manner Strehler made use of the instruments of Brecht’s epic theatre and simultaneously points out the original aspects of his staging. Strehler’s Santa Giovanna dei macelli is not only an excellent example of how a director can be highly innovative and at the same time faithful to the intentions of the author (at least on the level of theatre aesthetics), but also an interesting questioning of the term ‘faithfulness’.

H. C. ARTMANNs poetisches Theater

Author(s): Eleonora Ringler-Pascu / Language(s): German Issue: 1/2012

The Austrian author H. C. Artmann is wellknown for his exotic texts and especially for his puns of words. The present study explores the dramatic texts, the so called “poetic theatre” that had been analysed very seldom. Artmann's theatre is due to its structure and items very close to the baroque literature, but has also similarities with surrealism and dadaism. The grotesque situations, present in his plays, can be identified as fantasy-plays, placed in exotic locations, with protagonists coming from the traditional theatre as Columbina or Pierrot, real persons as Lincoln or Jules Vernes, or fiction as Donald Duck or Dracula. The „poetic theatre“ is characterized by the mingling of different traditional poetic techniques with new elements, created by the author with the aim to find new ways of artistic expression.

Teatrul poetic al lui H. C. Artmann

Author(s): Eleonora Ringler-Pascu / Language(s): Romanian Issue: 1/2012

The Austrian author H. C. Artmann is wellknown for his exotic texts and especially for his puns of words. The present study explores the dramatic texts, the so called “poetic theatre” that had been analysed very seldom. Artmann's theatre is due to its structure and items very close to the baroque literature, but has also similarities with surrealism and dadaism. The grotesque situations, present in his plays, can be identified as fantasy-plays, placed in exotic locations, with protagonists coming from the traditional theatre as Columbina or Pierrot, real persons as Lincoln or Jules Vernes, or fiction as Donald Duck or Dracula. The „poetic theatre“ is characterized by the mingling of different traditional poetic techniques with new elements, created by the author with the aim to find new ways of artistic expression.

Un nume nou în dramaturgia româneascǎ

Author(s): Claudia Dimiu / Language(s): Romanian Issue: 1/2012

This study centers on what a man, who was unknown by his contemporaries as writer, wrote for the stage. I. D. Vulcănescu was a mathematician, yoga practioner, philosopher and anticommunist. Not only his intellectual training, but also experiencing life and detention in the socialist society, brought him towards theatre.Known since ΄38 as a young promissing intellectual meant for a brilliant career, doctor in mathematics, professor, clerk in the Finance Department, partizan, yoghin, Ion D. Vulcănescu witnesses the abrupt changes 1944 meant. He was amog those who oposed the recently installed power, risking their career, freedom and life.All three presented plays are written by someone who knew the worse in the communist society: jail, material shortcoming, outcasting. The official state ideology, whose essence is the hypocrite care towards people, is ridiculed and attacked. The author shows a good knowledge of both the man that suddenly finds himself under new, unnatural laws, and of the one who persecutes as well. Characters are subtile, yet vividly portrayed. Their way of talking is colourful and particular. I. D. Vulcănescu proves to know how to built a scene, to essentialise, to show the wrongness of logic, to characterise, to bring the confrontation of ideas into life.

Despre cultura râsului bine drămuit

Author(s): Daniela Magiaru / Language(s): Romanian Issue: 1/2012

Communism is a topic well represented in the Matei Visniec’s writings. The victims of the regime, the depriving of liberty, the absurd reality are always topics to be dealt with in an attempt to preserve the memories. The hereby study focuses on De la sensation d'élasticité lorsqu'on marche sur des cadavres (On the Feeling of Elasticity while We’re Walking on Death Bodies), analysing the context, the construction, its rapports with other Visniec’s works.

Livres censurés: le cas de l’hagiographie byzantine

Author(s): Marina Detoraki / Language(s): French Issue: 1/2012

Die Heiligen und ihre Bücher

Author(s): Martin Hinterberger / Language(s): German Issue: 1/2012

Le livre et l’empereur sous les premiers macédoniens

Author(s): Bernard Flusin / Language(s): French Issue: 1/2012

Records of Bulgarian folk dances and rituals in Byzantine documents from the beginning of the 13th century

Author(s): Iliya Georgiev Iliev / Language(s): English Issue: 1/2012

Principes et canons pour le choix des livres et la lecture dans la littérature spirituelle byzantine (XIIIe–XVe siècles)

Author(s): Antonio Rigo / Language(s): French Issue: 1/2012

Quelques observations sur les traductions bulgares de textes grecs consacrés à Saint Démétrius

Author(s): Vasilka Tapkova-Zaimova / Language(s): French Issue: 1/2012

Unknown Byzantine document from the archives of the Archbishopric of Ochrid

Author(s): Cyril Pavlikyanov / Language(s): English Issue: 1/2012