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THEATRICAL COLLOQUIA 231 DOI Number: 10.1515/tco-2017-0021 Stage Direction in Romania. The Postdramatic Perspective Gelu BADEA MOTTO: “Shouldn’t we start to suspect that we haven’t actually found the delights, the fun specific to our own age?” Bertolt Brecht Abstract: The last fifty years of theatre have put us closer to one of the most spectacular facts of this art: every generation of theatre makers managed – we do not know if programmatically – to build its own repertoire based on its own reality. In other words, every new wave of

him into an endless depression. The plot follows the journey and the devastating consequences of a psychosis generated by post-traumatic shock caused by the war which the Spartan king survived… Without a doubt, the Italian’s writing method slightly touches the unconventional. Right after the list of characters, before the Prologue, the playwright himself carefully places a stage direction which can be seen as a statement, stating the fact that the acronyms and the temporal incongruities must be considered what they are...nothing! The concept of time does not

a conspiracy and a complicity that is difficult to control. The timid “ideological thaw” that began in 1954, after Stalin’s demise, brings with it the era of artistic rebellion. This is the period in which the pressure of censorship begins to diminish and when the newly-established magazine Teatrul and the weekly Contimporanul publish articles and debates which, in a certain polemic balance, debate the issues of stage direction, the relationship between tradition and innovation, cultural policies and viable theoretical postulates. The warring parties were

name of the person signing the stage direction, for another to be given permission. If a theatre went ahead in one location, the situation was different in another. Circumstances were relative, uncertain, and yet some gaps in avoiding censorship were discovered by bypassing the “persona non grata” 1Liviu Maliţa, Theatrical Life during and after Communism, Cluj-Napoca, EFES Publishing House, 2006, p. 3. 1918-2018: 100 Years of Theatre Research in Iași 57 (personalities, authors, directors, actors

Theatre - Tradition. Modernity. Kitsch, Iaşi, Ed. Artes. 1918-2018: 100 Years of Theatre Research in Iași 88 Nanu 2007: Adina Nanu, Art, Style, Costume, Bucharest, New Media Publishing House. Niculescu 1966: Margareta Niculescu, The Puppet Theatre in the World, Bucharest, Meridiane Publishing House. * Performances: White and Black and Godot * Stage Direction: Ciprian Huţanu, Scenography: Cosmin Iaţeşen, George Enescu National University of Arts, Iaşi, Faculty of Theatre. Copyright photos® George Enescu National University of Arts, Iaşi - Faculty of