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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

Călin Ciobotari

Abstract

Our study tries to answer questions such as: How is kitsch disguised in a contemporary theatre show? How does it manifest in the art of acting and staging? What does the kitsch look like in the audio and visual universe of the show? What do the kitsch-actor, the kitsch-stage director and the kitsch-spectator look like in the world of XXIst Century theatre? Can kitsch still be avoided or is this fight permanently lost?

Open access

Călin Ciobotari

Abstract

Focusing on the famous Lepage’s Hamlet, seen in the National Theatre Festival, Bucharest, 2017, I try to discuss a few things about what appears to be a new “mythology” in making theatre: the myth of technology.

Open access

Călin Ciobotari

Abstract

This study intends to check how much Romanian performances of the last two decades owe to tradition and what is, nonetheless, contemporary in the ‘contemporary performance’. The study takes into consideration the shows produced in the public theatres, the ones which provide the overwhelming majority of the Romanian theatrical production.