Issues 7-8-9 (51-52-53), 2013-2015
ANA TRACI
Pictori scenografi în secolul al XIX-lea la Teatrul cel Mare
din București
CONSTANTINA GEORGIADI
Oscar Wilde’s Social Comedies
in Modern Greek Theatre (1908-1945)
Abstract
The reception of Oscar Wilde in Greece has occasionally been
studied, although modern theoretical
works around aestheticism devote a significant part to his influence on Greek
artists at the beginning of twentieth century. Some of his plays - mostly Salomé and A Florentine Tragedy
(1908) as well as an adaptation of The
Portrait of Dorian Gray (1916)- appeared in translation and on theatre stage
just after the release of his postmortem apologetic De Profundis. His comedy The
Importance of Being Earnest, was introduced to the Greek audience
simultaneously with his tragedies in 1908, and one more melodrama, An Ideal Husband was staged in 1917.
After that year, only his tragedies were repeated whereas his melodramas
disappeared in the interwar years, to reappear again in a sudden and noticeable
frequency in the late 1930s and early 1940s. The aim of this paper is to
identify the reasons of the constant absence of Oscar Wilde’s melodramas from
the Greek stage but also to explain their sudden adoption in the late thirties
through a new perspective: the interaction between theatre and the newly
growing art of cinema. During the controversial 30s, a considerable number of
film versions of Wilde's social melodramas were made in Europe, most of them in
Germany; these movies were
projected in Greece,
restoring thereby the Irish writer and his work. The seventh art, which was
anyway supplied by writers, actors and theatre directors, became the channel
for the Greek public to get acquainted with Wilde’ s social comedies as a
whole. Additionally, it affected the repertoire of Greek theatre groups,
including the National Theatre of Greece. The paper will focus on cinema and
theatre investigation of the 1930s and 1940s (mainly until WWII) in Greece,
exploring the interchangeable relationship between those two arts, as far as
Wilde’s social melodramas are concerned, in the broader historical, social and
cultural spectrum of the era. The essay will also provide a short resume of
Wilde’s reception in Greece.
Keywords: Oscar Wilde, Greece,
social comedies, modern Greek theatre
DANIELA GHEORGHE
Din istoria scenelor bucureștene. Sala din Sărindar (I)
Abstract
This paper traces back the 50 years’ history of The Small Theatre
(Teatrul Mic) in Bucharest, as well as the centennial history of its house. Opened
in 1913 in a fine French-style building on Sarindar Street, the theatre has undergone a few name changes starting out as
Alhambra; over time, it was home to many acting companies and to a wide
variety of shows, from revues and operettas to comedies and dramas. Under the
management of great actress Maria Filotti (1939-1949) and with her private
company, the theatre enjoyed a period of steady success. From 1964 until today,
the building fosters The Small Theatre, a company renowned – especially during
the communist regime – for its gifted actors and the innovative work of stage
directors such as Radu Penciulescu, Valeriu Moisescu, Andrei Șerban, Dinu
Cernescu, Mircea Daneliuc, Cătălina Buzoianu, Silviu Purcărete, Cristian Hadji‑Culea,
Alexandru Darie.
This is the first part of our essay.
Keywords: theatre
scene in Bucharest, Sărindar, Alhambra, Fantasio, Dida Solomon,
N. Leonard
LUCIAN SINIGAGLIA
Universul teatral bucureștean și politicile culturale după 23
august 1944. Amurgul teatrului burghez (I)
Résumé
La vie théâtrale bucarestoise entre le 23 août 1944 et le 31 décembre 1947
se situe dans un contexte politique complexe, marqué par le passage de la
dictature d’extrême droite à l’ascension de l’idéologie imposé par l’Union Soviétique.
La première partie de cette étude est dédiée aux créations d’artistes consacrés
tels que Victor Bumbești, Aurel Ion Maican, Ion Sava, Ion Șahighian, Sică
Alexandrescu, Traian Cornescu, Theodor Kiriacoff-Suruceanu, W. Siegfried. Les
caractéristiques de cette période sont le répertoire extrêmement varié, les
nombreuses premières, une continuité des parcours créateurs par rapport aux
réalisations de l’époque antérieure. Un moment artistique novateur se manifeste
dans Macbeth de Shakespeare, mis en
scène par Ion Sava, spectacle dont la particularité est l’étonnante utilisation
des masques.
Mots-clés : l'après-guerre en Roumanie, import
de l’idéologie soviétique, vie théâtrale, continuités et ruptures
ISABELLA DRĂGHICI
Repere ale sacrului în istoria teatrului. Nāṭyaśāstra
Abstract
Nāṭyaśāstra is one of the most challenging writing in the history of theatre. Not
only because its age and complexity, but because the uniqueness of its vision in
which the sacred underlies the art of
theatre and interferes with it. This research is based on textual criticism to
emphasise the role of the sacred and its avatars (deities, ceremonies of
consecration, symbols with religious and performing functions...) in the
economy of theatre art as it is seen by the ancient Indian treatise on drama. In
a history of the sacred circumscribed to the theatre space, Nāṭyaśāstra represents maybe the most relevant creation.
Keywords: Nāṭyaśāstra, sacred theatre, origin
of the theatre, rituals, deities, symbols
NICOLAE GHEORGHIŢĂ
De la neumă la
interpretare sau despre procesul componistic în muzica bizantină
Abstract
The paper discusses compositional techniques of the Byzantine
sacred chant in the medieval and post-medieval periods. A pioneering research
in local and international medieval musicology, the article relies on
contemporary musical codices, theoretical treatises and liturgical books to
chart the relationship between the musical notation and the actual sounds
produced, as well as the liturgical, theological and cultural context in which
a particular composition was created.
Keywords: Neumes, Byzantine musical
manuscripts, composition techniques, Psalm chants, mimesis, orality
DANIEL SUCEAVA
INANES ET INFICETI. Vechimea
octoihului și stihurile celor opt glasuri
Abstract
The topic of the
grassroots of octaechia (η οκταηχια) as a taxonomical principle concerning the eight modes of
the Byzantine music, as well as the octoechos in terms of liturgical book to
which this principle has been applied (or has originated from), has undergone
several periods of time while being object to research study. Since the
legendary paternity of Saint John Damascene, the pioneer of the semiography and
Byzantine hymnography in church tradition, passing through the reevaluation
from the first decade of the last century, resulting in considering the
octoechos of Severus, the Monophysit Patriarch of Antioch (V-VI c.), as being
the first certification of the hymnographical octaechia, the recent studies in
which, refuting the afore-mentioned hypothesis, written proofs had been revealed,
including fragments on papyrus, prior to Damascenian epoch (Greek, Georgian,
Armenian, Syrian, Arabic manuscripts, some recently discovered), try to prove
that the origin of the cult book, structured on the eight-week continuous
sequence of the Christian liturgical calendar, is hagiopolitan (Palestinian),
therefore reflecting the liturgical service of the cathedral in Jerusalem.
The equivalence of
the eight echoi (modes) of the psaltic theory with the harmoniai (ηαρμονιαι) of the Hellenic
ancestry has been regarded from the beginning of more rigorous investigations
on the phenomenology of the Byzantine musical art, as an artificial
construction. But even those short dodecasyllabic poems, devoted to each echos
that can be encountered within the Greek octoechoi in which the old
ethos-doctrine of the Hellenic harmoniai
late reflexion has been seen, have been considered, by the scolars who
scientifically managed to publish and decipher the Byzantine musical monuments,
factical poetical improvisations lacking any real ground. They appear in
manuscripts starting with the XII century, in different variants, among which
one later on (XVth century), published only in the midst of the last century.
The most common variant that can be found in the printed books, seems to have
an author, the Bishop Theodore of Cyzicus, a correspondent, among others, of
emperor Constantine VII Porphyrogenitus. Although these rhymes, that pretend to portray in a naïve and obsolete
metaphor, the character of each echos, have been considered, in the first
scientific printed anthology, as „barren and dull (uninspired)” (illos [...] inanes et inficetos), they
are still able to transmit the echo of the theological conception in connection
with music’s role of spiritual loftiness of music within the Christian cult,
the way it is encountered in the first writings of the Fathers of Church, as
well as other authors close to our days, such as Saint Nicodemus the Hagiorite.
Keywords: octoechos, octaechia, the eight modes of the Byzantine music, Saint John Damascene, Severus (Patriarch of Antioch), fragments on papyrus, harmoniai, Theodore of Cyzicus, Nicodemus the Hagiorite
OZANA ALEXANDRESCU
Tipuri de gramatici
în manuscrise muzicale de tradiţie bizantină (ms. III-88 Iaşi)
Abstract
The present paper continues the research we have embarked upon
concerning the Propaideia section
extant in some of the notated manuscripts, published in SCIA.TMC 5-6 (49-50), 2011-2012
(Tipuri de gramatici în manuscrise muzicale de tradiţie bizantină). We focus now on the treatise compiled by Lavrentios
the hierodeacon from Simonpetra, in 1710, which is preserved in Romania in a
single copy. We will present the original Greek text, our Romanian translation
together with an introductory commentary.
Keywords: e3nallagh` a2plh1, ktu1poj, Pseudo-Damaskenos, Lavrentios the hierodeacon from Simonpetra
FRANZ METZ
Die Musik Richard Wagners im Banat und in Rumänien. Eine Rezeptionsgeschichte
Abstract
Richard Wagner
– an ihm schieden sich die Geister schon während seines Lebens. Dies geschah
nicht nur in seinen deutschen Wirkungsorten, sondern auch im Südosten Europas.
Schon früh fanden seine Werke auch im Banat und in Bukarest eine weite
Verbreitung und das musikliebende Publikum mischte sich damals bereits in Pro-
oder Kontra-Wagner-Diskussionen ein. In einem multikulturellen Raum wie das
Banat, mit jahrhundertalten multiethnischen Erfahrungen und Traditionen, stieß
der Wagnerkultus zuerst auf Ablehnung, später, ab 1930, wurden seine antisemitischen
Anschauungen von den faschistischen Kreisen Rumäniens demagogisch missbraucht –
ähnlich wie im restlichen Europa. Doch diese besondere Seite der
Richard-Wagner-Rezeption hat auch eine faszinierende Auswirkung auf das
allgemeine Musikleben in Rumänien und im Banat hinterlassen.
Keywords: Wagner, Liszt,
Rumänien, Banat, Gräfin Nako,
Temeswar/Timisoara, Arad, Steierdorf/Anina, Schwefelberg, Karl Huber,
Temeswarer Philharmonischer Verein, Desiderius Jarosy, Zigeunerkapelle, Graf
Zichy, Bayreuth, Karl Rudolf Karrász, Fritz Pauck, Stalin, Josef Brandeisz,
Emanoil Ciomac, König Karl II. von Rumänien, George Enescu, König Michael von
Rumänien, Hitler
RADU PETRESCU
Preotul Gheorghe I. Cotenescu (1886-1965), protopsalt, profesor,
compozitor, dirijor, publicist şi om politic
Abstract
The intellectual
portrait of Father Gheorghe I. Cotenescu sketched out in this essay performs a
dual function. While paying tribute to the work and fate of a neglected, but
fascinating inter-war scholar, it serves as a tool which allows us to focus on the reasons leading to his rather minor
contribution to the proper music composition process. He used most of his
remarkable energy in his generation’s
fight for the nation-state building (Greater Romania), and later on in the benefit of the church, seminary schools, politics, adult
education lecturing, and local
community, thus practically wasting his considerable gifts for music composing.
For many years, he was one of the leading teachers, conductors
and musicologists, preparing lots of talented students for careers in their
chosen fields. When finally forced out to
abandon his music teaching career by the far-right militarist regime and the impending second world war, there
was nothing left for him, and the coming to power of the totalitarian communist
regime completed his downfall. As a prisoner of conscience, treated as a pariah
and avoided even by his closest friends, Cotenescu simply disappeared from the
memory of the music specialists. However, his many-sided and time-consuming activities
are strong valid reasons for re-valuation of how we measure his “successful”
musical career.
Keywords: Romania, Gheorghe I. Cotenescu, I. Popescu-Pasărea,
“Precantors’ Association”, “Culture” magazine, teacher, musicologist
MARIAN ŢUŢUI
Westernul românesc – între modelul american şi corectitudinea politică
naţională
Abstract
As early as 1957 Romanian critics recognized a "local" Western
movie in At the Lucky Mill while
director Victor Iliu admitted that he was influenced by American Westerns.
Since 1968 Romanian cinema has participated in several co-productions with
Western character. The three Romanian westerns: The Prophet, the Gold and the Transylvanians (directed by Dan Pița
and Mircea Veroiu), The Actress, the
Dollars and the Transylvanians (directed by Mircea Veroiu) and The Oil, the Baby and the Transylvanians
(directed by Dan Pița) were made between 1979 and 1981. They were preceded by a
cartoon with a Western plot, The Far West
Girl (1970, directed by Olimp Vărăşteanu), the documentary If I were a Cowboy (1972, directed by
Ion Moscu), as well by Western short stories and novels written by Petru
Popescu in 1972, respectively by Nicolae Nicolae Frânculescu in 1975 and 1980.
The advent of the Western as a genre in Romanian cinema is partly due to the
influence of American genuine Western movies, as well as of spaghetti westerns,
but mostly to the policy of the Romanian communist government. In this respect
we have to consider the ideological "thaw" and a period of liberalism
inaugurated by Gheorghe Gheorghiu-Dej, a distancing from Moscow and an opening
to the West after 1968, the visits of two American presidents in Bucharest (in
1969, respectively in 1975), as well as Ceausescu's visits to USA (in 1971 and
1978) and even promoting national-communism after 1971.
Keywords: spoof, co-production, ostern, spaghetti western, goulash western, the
American West, surrogate, ideological war, ideological "thaw", the American Civil War, immigrant
LEJLA PANJETA
Series, Telenovelas and Soaps: Tragedy in the Living Room
Abstract
The focus of
this work is to establish the inherent features of the serial genres in
television that emerged from literature and discuss their importance and impact
on the spectatorship. The rise and development of the serial genres will be
discussed along with the growing influence on the society and individuals. How
much do the genres of telenovelas and series differ in the context of cultural
nuances and what is the genesis of the human urgency in retelling the
melodramatic and tragic narratives? Enormous popularity deriving from these
stories is reflected in the prime time broadcasting by Croatian, Serbian and
Bosnian TV stations since 2002. The essay will explain the ontogenesis of the
popularity, reflections and influences on societies and cultures, and features
of this hybrid and changing genre of telenovelas and the most recent
infatuation with Turkish serials in the TV region of West Balkans.
Keywords: serial literature and
television, telenovela, soap opera, Turkish series, Bosnian, Croatian and
Serbian series broadcast, Greek classical narrative and tragedy
NOTE [NOTES]
SESIUNEA OMAGIALĂ
„JEAN GEORGESCU – PIONIER ȘI SENIOR AL FILMULUI ROMÂNESCˮ
MANUELA CERNAT
Glorie și marginalizare. Un destin emblematic pentru România
secolului XX
Full text
RADU GABREA
Un francez la București
Full text
ION CAZABAN
Jean Georgescu şi spectacologia caragialiană
Full text
OLTEEA VASILESCU
Lanterna cu amintiri
Full text
VIOREL DOMENICO
Capodopera ca rezultat al unui cumul de condiţionări istorice
Full text
NICOLAE CABEL
Jean Georgescu – criptogramele absurdului
Full text
ADRIAN-SILVAN IONESCU
Amintiri despre Jean Georgescu
RECENZII [BOOK REVIEWS]
Iolanda Berzuc
CĂLIN CIOBOTARI,
Cornelia Gheorghiu, între Ciocârlia şi
Sarah Bernhardt, Editura Junimea, Iaşi, 2010, 219 p., ilustrații
alb-negru, p. 247
Daniela Gheorghe
ION CAZABAN, Dan Nemţeanu şi viziunea sa scenografică, Fundaţia Culturală
„Camil Petrescu”, Editura Cheiron, Bucureşti,
2011, 180 p. cu il., p. 251
Corina Gugu
ION CAZABAN, Scena românească şi expresionismul, Fundaţia Culturală „Camil Petrescu” & Revista „Teatrul
azi”, Editura Cheiron, Bucureşti, 2012, 228 p. cu il., p. 254
Iolanda Berzuc
DOINA PAPP, O poveste cu Horaţiu, Editura Alfa, Bucureşti, 2012, 234 p., 91
ilustraţii alb-negru şi color, p.257
Corina Gugu
IULIAN BOLDEA, ŞTEFANA POP-CURŞEU (coordonatori),
Aproape de scenă, George Banu. Eseuri şi
mărturii, Curtea Veche, Bucureşti, 2013, 384 p., p. 261
Gheorghiță
Stroe-Vlad
VASILE VASILE, Tezaur muzical românesc din Muntele Athos, vol. I, Editura
Muzicală, Bucureşti, 2007, XLI + 399 p., planşe color nenumerotate, hors-texte;
indice de nume. Id., Tezaur muzical
românesc din Muntele Athos, vol. II, Editura Muzicală, Bucureşti, 2008, XXV
+ 455 p., planşe color nenumerotate, hors-texte; bibliografie şi indice de
nume. Id., Tezaur muzical
românesc din Muntele Athos, vol. III, Editura Muzicală, Bucureşti, 2013,
XLVI + 393 p., planşe color nenumerotate, în text; bibliografie şi indice de
nume, p. 262
Adrian-Silvan Ionescu
JOHN PHILLIP LANGELLIER,
Custer: The Man, the Myth, the Movies,
Stackpole Books, Mechanicsburg, 2000, 147 p. + il., p. 264
Adrian-Silvan Ionescu
EDWARD BUSCOMBE, 'Injuns!':
Native Americans in the Movies, Reaktion Books Ltd, Bodmin, 2006, 272 p + il., p. 269
Marian Țuțui
DOMINIQUE NASTA, Contemporary Romanian Cinema: The History of
an Unexpected Miracle, Columbia University Press, New York, 2013, 268 p. cu
55 ilustraţii alb-negru, p. 274
CRONICA VIEȚII ȘTIINȚIFICE [CONFERENCE REVIEWS]
Simpozionul Internaţional de Muzicologie Bizantină, ediţia a II-a: „300 de ani de românire (1713‑2013)ˮ, Universitatea Naţională de Muzică din Bucureşti, 12 decembrie 2013 (Costin Moisil), p. 277
Sesiunea omagială „Cineastul şi pictorul Jean Negulescu – 20 de ani de la dispariţieˮ, Institutul de Istoria Artei, 18 decembrie 2013 (Manuela Cernat), p. 277
„Divanul degustătorilor de film şi artă culinarăˮ, ediția a V-a, Portul Cultural Cetate, 26-31 august 2014 (Marian Țuțui), p. 278
Trei conferinţe internaţionale dedicate cinematografiei în toamna anului 2014 (Marian Țuțui), p. 281
Simpozionul „Muzicologul Mihai Rădulescu. Despre verticalitate în epoca realismului socialistˮ, Institutul de Istoria Artei, 19 mai 2015 (Lucian Sinigaglia), p. 283
Sesiunea de comunicări științifice „Pădurea spânzuraţilor – oglindă a Marelui Război: 50 de ani de la premieră, 100 de ani de la subiectˮ, Biblioteca Academiei Române, 26-27 octombrie 2015 (Daniela Gheorghe), p. 284
Dan Nasta (6 ianuarie 1919 – 15 septembrie 2015) (Isabella Drăghici)

Copyright © G.
Oprescu Institute of Art History, 2010
Calea Victoriei 196, sector 1, Bucharest, Romania
Phone and fax number:
+4021.3214070