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.
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.
Theatre, in the notional complexity to be undertaken, updates and in this update it feels more pronounced the tendencies of increasing the performing spectrum. Writing about theatre inevitably leads you to set on something, on that attribute bringing the conviction that around its analysis the appreciative matters get interesting and reveal assumptions for future analysis.
The article we propose approaches theatre in the cardinal ambiguity of meanings, namely in what we call here interval. We assume an approximate delimitation of this range, balancing and improving the center-periphery relationship, and then establish ourselves to turn the performance itself into a phenomenon, with a double implication. Making a connection between the audience and the performance is not something new, but if the significance, the midpoint of this relationship is fractured in the process transmitter-receiver, can we not think of the possibility of the interval/range as a deconstruct refuge of meanings?
This paper asserts that if hiding the meaning becomes a phenomenon itself, it will be possible to read the performance by averaging this interval in which will be found, in the articulation of the public’s reception, the association of the cultural and theatrical codes.
The article combines both philosophical and psychological approaches to argue that art and theatre performance especially can be grasped as a revelation of the universal and basic human concern, which is existential anxiety. The author presents an opinion, that via performative acts on stage, spectators and performers/actors are interconnected in hermeneutic situation (Hans-Georg Gadamer), in which they play their existential experience. Therefore, the universal death anxiety (Irvin D. Yalom) can be understood as a possible platform for interpersonal and intercultural dialogue (Martin Buber). The article concludes, that archetypes (Carl Gustav Jung) are such a place for mutual understanding, representing both mental and physical answers to the basic existential experience of humankind.
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In modern days, new acting spaces have become popular through the artistic expression and diversity of means they offer to the actors so that they get closer to their audience, sometimes ignoring the dramatic text and using it more like a pretext in a given context. The act of creation is now motivated by the possibility it offers its creator to artistically acquire new knowledge and discover new forms of expression to render aspects of contemporary life. Art is not a product, it is a perpetually changing process in time and space. All the artistic research arises from unanswered questions, from an unrefrainable need to express oneself in the new context: cinema, artistic films, documentary films, modern and contemporary performances, visual culture and associated culture, body and space, public space, video editing/processing.
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*** Seduction et sociétés: Approches historiques , coord. Cécile Dauphin/Arlette Farge, Paris, Ėditions de Seuil, 2001
*** Performance: Critical Concepts in Literary and Cultural Studies . Volume IV, ed. Philip Auslander, London and New York, Routledge, 2003
In the second part of The Art of Theatre (the first presentation of the evolution of theatre aesthetics written by a Romanian author), George Banu highlights the dynamic essence of the performance, without excluding the existence of referential terms that structure its manifestations on the whole. The author calls them “means of communication that were imposed at the time”, means that start from a unitary significance given to the theatrical act. This significance is, according to George Banu, affiliated to a certain aesthetics, formulated with the help of historical determinations specific to theatre or emerged from each personality’s particularity.
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.
In this paper, I wanted to prove that humor, comic and appealing characters, like animals, or music, have to enchant the child, and that everything that is created for him must be on the highest possible artistic level. These are the attributes of a good performance for children.