Miruna Runcan’s book fills a still empty space of the specialized literature and, at the same time, it is the fruit of the research of a mind constantly concerned with the status of criticism in Romania, the meanders of a long process with stagnation and with episodes of boost in the pre- and post-decembrist panorama. The complex study that appeared at Tracus Arte Publishing House, this year, sits on the shelf of the library between the author’s previous titles, completing (and probably to be continued) the poliform portrait, viewed from the inside and outside, of the critical commentary in our theatre areal.
The aim of this article is to identify the role and the identity of the young Romanian dramatist within the context of the collaborative theatre in our country. The main means of research have been the interview and the participatory assistance by actual involvement in the making of a performance. We started from the premise that the difficulties met throughout the work process begin as early as the study years at the faculty, as a result of the lack of communication between the departments from the Faculties of Theatre.
Carandino, N. 1973: Nicolae Carandino, Actorii de ieri și de azi , București, Editura Dacia.
Cehov, M. 2014: Michael Cehov, Către actori, despre tehnica artei dramatice , Caietele Bibliotecii UNATC - vol 16, nr 2.
Oprea, Șt.; Rusu, A. M. 2006: Ștefan Oprea, Anca Maria Rusu (coordonatori), Școala ieșeană de teatru , Iași: Editura Artes.
Paleologu, A. 1986: Alexandru Paleologu, Sorana Țopa , Romania Literară, nr.14, 13 nov.
Țopa, S. 1947: Sorana Țopa, Teatru, Omul ascuns. București: Fundația Regală pentru Literatură și
Theatre criticism deposits an important part of the memory of theatre, compacting the rhythm of the life of theatre. It represents a genuine collection of opinions/critical comments on acting, directing views, repertoires, set designs, costumes, and it manages to create an image of the world of theatre. It helps us become timeless viewers of still images portraying the profile of Romanian theatre in the second half of the 19th century. A mirror of its time, the theatre review allows us to understand the practices, opinions and values of that time, and to analyse the extent to which they might be functional nowadays.
, Mihai, Fundamentele psihologiei, Ed. Fundaţiei „România de Mâine”, Vol 2, Bucureşti, 2000.
Grotowski, Jerzy, Spre un teatru sărac , Trad. George Banu şi Mirella Nedelcu-Patureanu, Ed. Unitext, Bucureşti, 1998.
Marcus, Stroe, Empatie și personalitate . București, Editura Atos, 1997.
Neacșu, Gheorghe, Transpunere și expresivitate scenică, Ed. Academiei Republicii Socialiste România, București, 1971.
Popescu-Neveanu, Paul, Curs de psihologie generală , Vol.II, Tipografia Universităţii, Bucureşti,1977.
Popescu-Neveanu, Paul, Dicționar
, Teatrul de păpuşi în România , Bucureşti, Editura Meridiane, 1965.
Heidegger, Martin, Originea operei de artă , trad. şi note Thomas Kleininger, Gabriel Liiceanu, Editura Univers, Bucureşti, 1982.
Huizinga, Johan, Homo ludens, trad. H.R. Radian, Editura Humanitas, Bucureşti, 2002.
Jurkowski, Henryk, Métamorphoses – La marionnette au XX siècle , Charleville-Mézières, Institut International de la Marionnette, 2000.
Mărgineanu, Ioana, Istoria teatrului de păpuşi , partea I, Bucureşti, Curs A.T.F., 1973-1974.
Cârneci, Magda, Arta anilor ‘80 . Texte despre postmodernism , Bucharest, Litera Publishing House, 1996.
Cosma, Lazăr Octavian, Universul Muzicii Românești , Bucharest, Musical Publishing House of the Union of Romanian Composers and Musicologists, 1985.
Călinescu, Matei, Cinci fețe ale modernității. Modernism, avangardă, decadență, kitsch, postmodernism , Iași, Polirom Publishing House, 2005.
Lyotard, Jean-François, Condiția postmodernă , Cluj, Ideea Design & Print Publishing House, 2003.
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.
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.