Along with literature, music, through the suggestiveness of the means of expression, manages to render in different compositional forms and genres the specific atmosphere and traits of the mythical universe. The Romanian musical creation has been dynamically asserted in an original manner over time, through the diversification of artistic means and a permanent adaptation of musical language to the aesthetic requirements of each compositional period. Skillfully wielding the processes of modern musical language, composers George Enescu, Aurel Stroe and Cornel Țăranu have given the contemporary public artistic masterpieces which impress by the personal manner of transposing into modernity the transcendent message of the myths of Oedipus and Orestes. The richness of the compositional means employed by the three composers creates bridges between antiquity and modernity, between the imaginary and the real universe.
A subject the phenomenological modernity of which imposes itself, regardless of the time of the debate and the critic-literary orientation of the messmate, which burned in profile magazines pages and specialist meetings, and the conclusions of which are still expected, is represented by the dilemma: Eugen Ionescu or Eugene Ionesco? The Romanian by birth (and formation, some say) or Frenchman by adoption?
As it was already used to, according to the formula that opposites are attracted to cancel each other, Ionescu refused widely known theories about the purpose of theatre, annihilated them and replaced them with his own ideal concept of what theatre means to the public and, especially, what is the purpose of its mission. Theatre has, like any other art, a mission of knoweledge. You don’t silly around to discover, but deepening, separating, purifying realities. (...) Theatre is a presence, Ionescu says.
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