DOI Number: 10.1515/tco-2017-0011
Theatre, in Ionescu’s Vision: “The Eternal Need for Miracle
Abstract: 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
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.
Influenced by the components of everyday life, contemporary theatre is undoubtedly subject to multiple transformations. Theatre needs a new lease on life, new subject matters. Without minimizing the importance of modern theatre, but out of sheer fondness of Commedia dell’arte, we have tried to outline certain characteristics, traits that impart colour to this provocative genre, regardless of space and time. Of course, only time will verify its future dual value as spectacle, as spectacle - performance and practice. Considering all these aspects from a musician’s perspective, it was only natural to emphasize the important position music occupies in Commedia dell’arte and its role as binding agent that in this way creates a balance between modernity and tradition.
Set in the postmodern culture cadres that Lyotard talked about twenty years ago, we are witnessing an accelerated mistrust of a conspicuous value. In fact, all this mistrust has occurred amid a radical overthrow of the way we were accustomed to perceiving the values of modernity. Having its starting point in philosophy, falling into disuse that postmodernity propose grows like a wave that appeared after a stone was thrown into the water. Theatre has not escaped from postmodern articulation, and its subjects have inevitably passed through the postmodern reconfiguration filter. In this article, we will talk about the subject of eroticism, trying to outline our thesis on the idea that the comprehensive synthesis of the receiver in relation to the postmodern performance is based on the construction of the subject folded on the identification of some indicators. Considered as a cultural construct, eroticism is eliminated through its discourse and requires scenarios to be fully understood and recognized. The question inevitably arises: to what extent can we talk about these scenarios in the postmodern performance?
Internal Critique of Modernity , in Postmodernism in a Global Perspective , edited by Samir Dasgupta and Peter Kivisto, New Deli: SAGE Publication Carl Gustav Jung, 1981, The Development of Personality , translated in English by R. F. C. Hull, New York: Princeton University Ptess / Bollingen Paperback Hans-Thies Lehmann, 2007, Postdramatic Theatre , translated in English by Karen Jürs-Munby, London: Routledge Jean-François Lyotard, 1984, The Postmodern Condition: A Report on Knowledge , translated in English by Geoff Bennington and Brian Massumi, Foreword by Frederic
classical theatrical plays that have to bear the
straps of a hyper-technologized modernity has been discussed many times.
Somehow, this trial of textual material malleability that overcomes the current
environment of the new dramaturgical trends seems to be both an extreme
endurance test for any theatre director who tries to defy the social and historical
coordinates that have privileged the textual creation itself, and a risk assumed
by the same theatre director in front of an audience whose attempts to escape
(sometimes, at any cost) from the fairly rigid
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