International Conference of Doctoral School for Theater and Performing Arts and the Research Center of The Faculty of Theater at the George Enescu National University of Arts
Interview with Professor Ciprian Huțanu, PhD – the Director of Godot, Staged at George Enescu National University of Arts Iași
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.
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.
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.
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.
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.
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.
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.
The present paper describes the process of going through a pilot research phase, intuitive and scientific, from the desire to know what do we express in our corporality when we feel, empathize or play with the imaginary, especially in vocational area of actor’s training. This was done by working with the actor and Professor PhD András Hatházi, within a theatrical laboratory attended by the actor-students of the Hungarian Department, 2016-2019 promotion from the Babes-Bolyai University, Faculty of Theatre and Film, Cluj-Napoca. The objective of this research was given by the axiology emotion/feelings of emotion; heart/emotional system and brain/mind. Because the social, political, anthropological, and sentimental dimension of the human body has increased, so have the demands on the actors. As practitioners, we felt it necessary for the contemporary actor’s training to benefit from recent scientific observations about the bio-psycho-neuro-physiological processes of the living body, that is why the research has also evolved towards developing exercises to add new information to potentiate acting skills, at an imaginarycorporal level, as well as to achieve balanced parameters in terms of mental, emotional and physical health and integrity, especially post-acting.
For a period of time he trained at Bouffe du Nord Theatre, under Peter Brook’s guidance. He worked at Odéon-Théâtre de l’Europe and at the National Theatre of Belgium. He has his own private company, named “Louis Brouillard”. The French Academy awarded him with a prize for his playwriting. Together with his works, those are the most important biographical highlights about the author Joël Pommerat, an undiscovered personality for the Romanian public.