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Peter Michalovič

Abstract

Shortly before his death Hungarian writer and essayist Péter Esterházy (1950 – 2016) wrote the dramatic text of Mercedes Benz – Historical Revue in two parts for the Slovak National Theatre. In particular, it focuses on the famous noble family Esterházy’s influence in Slovakia. The author of the play had a very strong association with this matter. In his writing Péter Esterházy used a wide range of intertextualities: his literary texts are like the fabric spun from fibres of the autobiography of his own family history, but also fragments of Hungarian and Slovak history, legends, tales, as well as hearsay and myths. The interpreted dramatic text is remarkable because Esterházy, in addition to intertextual recycling of his own texts, also exploits the texts of the Hungarian classic author Imre Madách The Tragedy of Man. The author of the study has focused on clarifying the function, specification and effects of Esterházy’s intertextual writing.

Open access

Inga Pērkone

Abstract

This article is devoted to the theme of women and war in the films of Jānis Streičs, possibly the most influential Latvian film director. In the course of his career, which spanned nearly 50 years, Streičs made films that were popular in Latvia, as well as throughout the Soviet Union. He is one of the few Latvian film directors who managed to continue a comparatively stable career in the newly reindependent Republic of Latvia. Streičs skilfully used the canonised means of expression of classical cinema and superficially fulfilled the demands of socialist realism to provide appealing and life-asserting narratives for the audiences. Being a full-time film director at Riga Film Studio, and gradually becoming a master of the studio system, Jānis Streičs managed to subordinate the system to his own needs, outgrowing it and becoming an auteur with an idiosyncratic style and consistently developed topics.1 The most expressive elements of his visual style can be found in his war films, which are presented as women’s reflections on war.

In this article, Streičs’ oeuvre in its entirety provides the background for an analysis of two of his innovative war films. Meetings on the Milky Way (Tikšanās uz Piena ceļa, Latvia, 1985) rejects the classical narrative structure, instead offering fragmentary war episodes that were united by two elements – the road and women. In Carmen Horrendum (Latvia, 1989) Streičs uses an even more complicated structure that combines reality, visions and dreams. After watching this film, the only conclusion we can come to with certainty is that war does not have a woman’s face and, in general, war has no traces of humanity.

The aim of this article is to demonstrate how World War II, a theme stringently controlled by Soviet ideology, provided the impetus for a search for an innovative film language.

Open access

Wainting for...

Interview with Professor Ciprian Huțanu, PhD – the Director of Godot, Staged at George Enescu National University of Arts Iași

Alexandra Bandac

Abstract

I have known Professor Huțanu since the first year of college and, although he wasn’t my professor, I have always admired the glimpse in the eyes of his students when they talked about rehearsing with him for exams or shows. Recently, when I found out that he was staging a show after a text by Samuel Beckett, I dared to approach him in order to “question” him about my favourite author, who is also the subject of my PhD research, as to say, a serious matter.

This is how I came to discover a passionate man, director, teacher and actor, who mingles these three hypostases naturally, with diffidence. A generous man, who has permitted me to lift up (with shyness from me, of course) the frail curtain of the creation laboratory behind a difficult show, as to the nature of the animation theatre, implying technical rigors, and also to the aesthetic of the approach. I was permitted to attend rehearsals, to ask questions, to discuss, debate, to have doubts and, more importantly, to receive answers from the man behind the curtain, the one who thought and felt the Godot. Below there is a fragment of an interview – part of my PhD study – and, maybe a subjective mirror of the rustle reflected between the spectator and the creator.

Open access

Ivona Tătar-Vîstraş

Abstract

We are witnessing a paradigm shift regarding the theatrologist’s position in the Romanian theatre environment. While, until recently, theatrology meant cultural journalism, this definition is no longer sufficient or attractive for secondary school graduates. Romania’s higher education offer has changed increasingly in the last years, in the attempt to keep up with the requirements of the labour market; the solution was provided by the area of cultural management. Every last faculty in this sector covers the new direction of study and research. This article seeks to investigate the existing educational offers, which should allow an understanding and a new complete image of the theatrologist in Romania; in our opinion, this image will have an increasing impact on the national theatre community, shaped, of course, by the new directions of study.

Open access

Dagmar Podmaková

Abstract

The production of the play by Bulgarian playwright Yordan Radichkov An Attempt at Flying (premiered on 22 March 1980 at the Pavol Orzságh Hviezdoslav Theatre) is one of the most successful plays in the history of Slovak National Theatre Drama. The text-metaphor of the old age longing of mankind to fly and to recognize the unrecognizable, even for just a moment, offers on the axis of “magical realism” or grotesque realism”, in the words of the author, a humanistic picture of life and ideas in which the characters live their everyday life, they start a magical fantasy game and express many truths of the life. This article draws attention to the production of director Pavel Haspra through analysis of the play’s text, the production script and the TV recording of one of the last stage performances. Altogether over six years (from March 1980 to June 1987), 148 performances took place, both domestic and Czech critics writing about the extraordinary acting of all the participants. One cannot omit the significance and theatrical contribution of Vladimir Suchánek’s scenography vision with several symbolic and metaphorical dimensions (a hay cart hanging in the air, through which the villagers, who longed for just a moment of freedom, fulfilled their dreams).

Open access

Cristi Avram

Abstract

This article surprises some thoughts and ideas about the volume Teatru pentru publicul tânăr – 3 texte (Theatre for Young Audiences – 3 Texts), published by Editura Timpul, in October 2018. This book contains texts signed by three young playwrights, Mihai Ignat, Selma Dragoş and Andrei Ursu, who wrote plays for youths “of all ages”, as Oltiţa Cîntec warns us in the Preface. The plays are part of a residence program, a partnership between three institutions in Iaşi, and are extremely different as genre and yet contemporary. My review follows exactly these aspects and a personal interpretation of the messages, situations and characters.

Open access

Călin Ciobotari

Abstract

Any celebration is, or it should be, an opportunity to meditate on what is being celebrated. Otherwise, the celebration remains merely formal and inconsistent. What is the meaning of one hundred years of Romanian theatre? A sum of fulfillment and unfulfillment, of satisfactions and dissatisfactions, a whole set of faces which can describe a history in a pleasant way throughout time. In the next lines we are trying to place ourselves at today’s end of history in a troubled present which must be questioned. What has become of us, those who are applauding the centenary of our theatre? What is missing and what are our dissatisfactions? We shall let other people make the bows while we assume the discomfort of the discourse on unfulfillment.

Open access

Diana Nechit

Abstract

The present article aims to demonstrate, starting from a textual and spectacular sample of four texts and performances on the stage of Sibiu, the extent and development that the theatre for young audiences has had in the Romanian theatrical field in recent years. Starting from some general features of this theatrical subgenre, we aim to highlight the close connection between the theme, the character’s construction and a certain type of awareness, of therapy through theatre, operated through this artistic formula. At the same time, our attention focuses on two performances based on the texts of Elise Wilk (Paper Airplanes and Green Cat), an adaptation for the stage of Eleanor Estes’ book, The Hundred Dresses, and a performance created by Yann Verburgh, The Rules of the Game.

Open access

Carmen Antochi

Abstract

During the first world war, the city of Iasi played the role of the ‘wartime capital’ of Romania. Besides the political-economic structures, The National Theatres of Bucharest and Craiova moved temporarily to Iasi, leading to Iasi being a cultural capital as well, a reputation which it has kept even to this day. In the interwar period, Romania blossomed culturally unlike ever before, a true intellectual, cultural and artistic revival under the influence of the currents travelling through European stages.

In spite of the laurels earned, the name of Sorana Topa is too little known. Formed by the Iasi theatre school, noticed and hired by the national theather of iasi by Marin Sadoveanu, promoted by the previous directors of Iasi theatre, she is offered the chance to study in Paris along with her stage colleagues Aurel and Maria Ghițescu.

Open access

Anca-Maria Rusu

Abstract

There has been a constant interest in Shakespeare in the last twenty years among playwrights, critics, directors and actors. The revival of Shakespeare studies, the multitude of interpretations, theatre productions, research studies of doctoral type have been not just a reconsideration of texts, but also an attempt to modernise them. These findings and many other reflections on Shakespearean theatre and an amazing diversity, on which it had been founded, are the result of the doctoral research done by Antonella Cornici on the Shakespearean soliloquy and its diverse Romanian stage versions appeared in performances between 1990-2015.