Arta excesului și a compromisului

Investigation of codependent relationship between the work-author-commanditaire and its implications circumscribed to the „new order“, imposed by the grid of values established by the political-cultural context during the communist totalitarian regime.

Reinterpretations of the Shakespearean Universe In Terms of the Commedia Dell’Arte

Through our study we will try to cast light on two distinct theatre laboratories, each with its own dominants, with its alchemy and, obviously, with its own alchemist (the director, the guide, the spiritual master). We will take a journey into two parallel stage universes: Carlo Boso’s lab, which I call the French Artistic Legion, and Muriel Manea’s workshop, which draws a dynamic relationship between the beauty and ugliness of the Balkan space. The two approaches are put in a ritual context, highlighted in the analysis of the stage process. Two different productions of the same text, A Midsummer Night’s Dream, by W. Shakespeare, with similar types of training and the requirement of an artistic discipline, while having the ability to give up dogma. Carlo Boso brings the masks of the commedia dell’arte in a stylistic and energetic agreement with Shakespeare›s universe, while Muriel Manea, using the aesthetics of beauty, but also of ugliness, builds an authentic world, preserving the essence of that created by Shakespeare.

Geografii teatrale pe firul istoriei și al râului (II): Sena la Paris

The Antique settlement of „Lutèce“ (Lutetia Parisio- rum, lat.) became, under the name of Paris, a center of medieval civilization which will be later named “The City of Light“ under the Sun King. This nickname has two reasons. The practical one consisted in the fact that in 1667 Louis XIV ordered the city of Paris to be lighted by gas street lamps (the first city in the world ); the intellectual one came from its statute of a cultural classicist hub and later, that of the city of enlightenment. An important aspect of these developments was the local theatrical civilization. Our study is interested in determining the evolution and the geography of the theaters like Bourgogne, Marais, Guénégaud (…) on the two banks of the Seine river in the times of Corneille, Racine and, especially, Molière.

Cuvântul rostit de actor. De la cuvântul scris la cuvântul celuilalt

Exceeding the level of everyday speech, the word spoken by the actor on stage aims to become a superior form of expression. Thus, we will follow a double approach of the word starting from the original word found in the dramatic text. On the one hand, we will look for that word which, taken from the written plan, is uttered following an act of creation, and the other hand, by inner assumption, we will follow the word that exceeds the level of auditory pleasure and is uttered under the imprint of a internal content.

Geografii teatrale pe firul istoriei și al râului (I): Tamisa la Londra

The Antique settlement of Londinium became, under the name of London, a center of medieval civilization which later came to know an original way to cultivate the continental Renaissance. An item of this assimilation process was the evolution of the local primary spectacology towards the Elizabethan theatre and next, to the king Jacob I’s époque. The liaison between these was ensured by the sons of two artisans (a carpenter and a glover, formerly a mayor!) from Stratford-on-Avon: John Burbage and William Shakespeare, who also determine the geography of the theaters on the two banks of the River Thames at London.

Începuturile teatrului românesc în Transilvania

Through our conference, we will try to sketch a social, political and cultural context in which the first forms of Romanian theater made their presence felt. These are "The Bishop’s Judgment", "Comedia ambulatoria alumnorum" and "A școlasticilor de la Blaj facere", the first Romanian plays, written to be staged by students from schools in Transylvania. At the same time, we will show that these 'theatrical attempts', even if they cannot be called fully dramatic, show some features of the classical theater.