The dramaturgy and the essays of Maurice Maeterlinck are the starting point for essential changes in the art of theatre representation, marking the transition from realism, which had become naturalist, towards a theatre in which the essence and theatricality conduct to a revitalization of the theatre. The Russian directors V.E. Meyerhold and K.S. Stanislavsky are two of the most important theatre personalities who have searched for the new forms of theatre. Analyzing the first steps of Meyerhold’s directing, it is easy to see that the symbolist roots of theatre making can be found in the French theatre art, also inspired by Maeterlinck. Stanislavsky, the master from The Moscow Art Theatre, was also the first director to stage The Blue Bird, before the text was even published. We shall follow, in the next pages, fragments from the Russian theatre which refer to these episodes.
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.
The road from the theatre text towards the opera performance is an attempt to essentialize words which unravel in order to ease the communication between the characters and the playwrights’ message. This endeavor is very difficult, as the play which stands at the root of the libretto already operates with an essentialization. Anyhow, the libretto cannot have the length of a play, but appends a musical dimension to the production. These things apply to Pelléas And Mélisande by Claude Debussy, built on the same text written by Maurice Maeterlinck. This article, although oriented towards an operatic retrospective of the year 2018 of the great musical stages of the world, also follows this libretto’s journey on these stages. Furthermore, 2018 marks the centenary of Claude Dubussy’s death.
This article follows the concept of postmodernism through the eyes and work of a contemporary director – Romeo Castellucci. Owing to the fact that this artistic current is constantly developing, trying to define it would be rather useless, although some of its particularities are worth to be mentioned: eclecticism, fragmental, the syncretism of arts, destroying convention, the performance, the installation etc. The above mentioned Italian director is one of the best examples of postmodern directing. Among his great creations, one stands out: the trilogy which develops from Dante Alighieri’s Divine Comedy. By analyzing this production, one may unravel traces of postmodernism.