Abstract
The paper presents the photographs of the well known 19th century Romanian actor Matei Millo playing in front of the camera of Carol Szathmári some of his most applauded roles on the stage of the National Theatre of Bucharest between 1853 and 1868. Wearing full costumes with props or woman outfits for his famous roles en travesti he embodied an entire gallery of human types from a period of great transformation of Romanian society.
Keywords: Romanian National Theatre, carte-de-visite format, celebrity portraits, acting, makeup, costumes, disguise.
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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 imposée par l’Union Soviétique. La deuxième partie de l’étude est dediée aux créations des artistes qui débutent pendant cette période en tant que metteurs en scène, tels que Moni Ghelerter, W. Siegfried, Alexandru Finți, Oleg Danovski, Dinu Negreanu, Mihai Raicu. Leur travail était très varié du point de vue stylistique, comme par exemple dans les représentations avec La dernière heure de M. Sebastian et Oncle Vania d’Anton Tchekhov (mise en scène par Moni Ghelerter), La machine à écrire de J. Cocteau (mise en scène par W. Siegfried), La jeune garde d’après Al. Fadeev, l’une des premières pièces soviétiques incluses dans le repertoire vers la fin des années 40 (mise en scène par Mihai Raicu). L’auteur analyse l’offensive de la propagande communiste et – en éclaircissant les circonstances dans lesquelles a été interdit en 1947 le spectacle Arsenic et vieilles dentelles de J. Kesselring – quelques apects de la censure qui commençait à s’installer.
Mots-clés : l’après-guerre en Roumanie, théâtres bucarestois, spectacles d’art et spectacles de propagande, influence de l’idéologie soviétique, censure
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Abstract
The famous Romanian historian of religions Mircea Eliade presents in the novel Nineteen Roses a vision about theatre less explored by his critics, in which we can find the seeds for a possible theory and practice of the sacred theatre. Integrating it in his theory about the sacred as an element in the structure of human consciousness, not in the history of consciousness, I will argue, applying a cross-disciplinary approach, that theatre could have, as Mircea Eliade claimed, the role of a “path” to transcendence. The experience of the sacred, in terms of Stanislav Grof’s transpersonal psychology, could be considered a “holotropic” experience. How can we understand Eliade’s vision about theatre using Grof’s theory? What is the role of anamnesis in Eliade’s theatre and in Grof’s theory and psychological experiments? What is the relationship between aesthetic and ecstatic in Mircea Eliade’s view on theatre? With reference to textual criticism and hermeneutics, involving psychology and philosophy of religion as the main disciplines underlying this research, I will propose an analysis about Eliade’s vision on theatre which can re-configure the expressions of the sacred on stage in his fictional writings.
Keywords: sacred theatre, anamnesis, theatre and transcendence, ritual theatre, Nineteen Roses
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Abstract
The present study stems from comparative research on four manuscripts housed in the library of the Romanian Academy in Bucharest, which contain secular music and come from the late 18th – or early 19th – century. It is well known that the notation for writing down secular music is that of the Byzantine tradition, but with markings pertaining to the makam and usul of the respective piece. The lyrics are adopted from the literary repertoire of wide-circulation throughout cosmopolitan society that characterized the Phanariot era, which casts this type of musical expression in the context of, to use a contemporary term, “entertainment music”. In particular, a large number of the song-lyrics come from Erotos Apotelesmata (1792) and the poetry of Athanasios Christopoulos (1811). In the present study, since no Romanian translation of Erotos Apotelesmata has been so far available, I offer the Romanian version of the third story, cross-referenced among the four manuscripts that contain the musical versions. Insofar as the documentary material is concerned, among the most important sources is the manuscript that belonged to Petros Peloponnesios who, very likely, was also the compiler (BAR gr. 927). For the purpose of musical documentation, I have also included the modern edition of one song, as well as a table of the makams and their corresponding modal signatures of the Byzantine neumatic system.
Keywords: secular music, Erotos Apotelesmata (1792), Athanasios Christopoulos, Petros Peloponnesios, Phanariotic poetry, makam, usul
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Abstract
The article “Musical manuscripts from the library of the Romanian Hermitage Prodromu” is the result of my research in the said library and an archive of old books inside the hermitage, carried out between December 2008 – December 2010. This work of catalogguing wants to highlight ten musical manuscripts that were not mentioned by the researchers S. Barbu-Bucur and V. Vasile, who developed and published each a catalog of musical manuscripts of the library hermitage.
Thus, ten manuscripts are cataloged, that were completed, restored and covered or re-covered. Also, 20 small dimension manuscripts were cataloggued, that initially were co-bound within printed books and literary manuscripts.
I also cataloggued six notebooks of monk Varahiil Taşcă, with no artistic significance, as I distinguished the musical preoccupation of the author; the catalog continues with a series of 12 fascicles and five leaflets, which could be part of future musical volumes, but unknown is the reason why they remained at this incipient stage. I also cataloged 15 fascicles (nos 45–58), containing complete chants, resulted from destroyed manuscripts.
At the end of the small catalog, four very recent manuscripts (nos 59–61) are brought to attention, with little artistic value, but showing the musical concern of the Prodromos monks after a flourishing period of high intensity in the field of church music.
Keywords: Romanian skete Prodromu (St John the Baptist) on Mount Athos, anthology, church hymns and chants, The Lamentations at the Tomb, The office of the saints of the Athos, Te Deums, brochure (φυλλάδα)
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Abstract
Iosif Chișinevschi’s (1905–1963) proclamation in Bucharest, in the autumn of 1947, of the Zhdanovist thesis according to which “great culture, worthy art cannot exist […] unless it is based on progressive ideology”, instituted socialist realism as the only method of artistic production and expression, one which also had to be adopted, without exception, by those dealing with art and culture in the Army. In the new political regime, perhaps more than ever, military music was called to – or, better yet, summoned to – assent to the Party’s desire that it join in the patriotic and civic education of the soldiers of the newly founded People’s Army. As such, orchestras and ensembles of all types were founded in the country’s defence institutions, based on the model of the famous Red Army Ensemble, Alexander Alexandrov; soviet repertoires were appropriated and adapted and the Army, either restructured and adapted, or simply founded new structures that were meant to create the official framework for the production and promotion of military songs and repertoires conforming to the aesthetic norms imposed by the Moscow regime.
The present study investigates the mechanisms by which the new repertoires promoted by the military brass bands of the People’s Army became instruments of manipulation and struggle in the service of state power, as well as the aesthetic and compositional norms that took shape with these musical works during the Stalinist period in Romania.
Keywords: Popular army, military bands, totalitarianism, musical repertory, bands
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Résumé
Une fois la Roumanie entrée dans la guerre, à côté des Alliés, vers la fin de l’été 1916, les salles des cinématographes furent fermées, aussi bien que tous les autres lieux de distractions. C’était un coup donné aux citadins habitués à passer leur temps libre dans les salles de spectacle. Cette situation n’a pas duré longtemps, car, le 11 septembre, les salles de cinéma sont à nouveau ouvertes, suivant un programme spécial, entre 3 heures et 6 heures de l’après-midi. Au début d’octobre, on commence la diffusion de pellicules au sujet patriotique et de propagande, par exemple, Le Martyre des Roumains d’Ardeal, tandis que pour la première décade du mois à venir s’annonçait le début du travail au « film Historique et Patriotique La Grande Guerre pour la Liberté du Peuple Roumain », dans lequel on voulait inclure des scènes prises sur le front pendant les récents combats. Le film allait être diffusé le 14 novembre au cinéma Zaharia. Mais la situation sur le front n’était pas du tout favorable aux armées roumaines et, bientôt, le sud du pays fut occupé par l’ennemi. L’administration militaire et civile allemande d’occupation a voulu que la Roumanie soit un exemple de bonne administration et judicieuse préoccupation pour le bon état et le bonheur des habitants – même s’il ne s’agissait que d’une simple propagande. Et pourtant, en matière de spectacles – soit de théâtre, d’opéra, de concerts ou de cinéma – on a fait des efforts pour réunir les meilleures troupes et productions du moment. A côté des films artistiques, on diffusait des journaux d’actualités où l’on mettait en évidence les victoires des armées des Puissances Centrales sur tous les fronts ou l’on présentait diverses cérémonies grandioses à l’occasion de l’anniversaire de 70 ans du feld-maréchal Hindenburg, des parades pour l’anniversaire du Kaiser Guillaume II ou sur sa visite en Roumanie.
Que ce soient des films sentimentaux ou héroïques, policiers ou d’aventures, ils avaient tous sur leur générique des noms importants de la filmographie allemande ou nordique du moment, de certaines étoiles incontestables qui conservent leur valeur jusqu’à présent, tels que Paul Wegener et Henny Porten, jusqu’aux autres, depuis longtemps oubliés, tels que Hella Moja, Maria Carmi, Leda Gys, Mia May, Sybil Smolowa, Rita Sacheto, Bernd Aldor, Fritz Odemar, etc.
Au printemps de 1918, après qu’on conclut la paix de Bucarest, dans la presse de la capitale apparaissent des informations sur les spectacles de Jassy et on reprend ainsi la communication entre les deux zones qui avaient été si brutalement séparées par la guerre.
Mots-clés : la Grande Guerre, Bucarest, l’occupation allemande, spectacles de cinéma, divertissement et propagande, August von Mackensen
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Abstract
The multicultural and multiethnic societies in the Balkans were seldom mirrored in Western literature and cinema. Most often their aristocrats and swindlers offered spectacular images from this region of the world. Writers like Byron, Saki, Saul Bellow, Alistair MacLean, Olivia Manning, Lawrence Durell and Agatha Christie spent some time in the Balkans, while others such as Voltaire, Bram Stoker, Karl May, G.B. Shaw and Sidney Sheldon have never set foot in these places. On the other hand, Jules Verne, Eric Ambler, Graham Greene, Marguerite Yourcenar, Umberto Eco and Julian Barnes tried to do a more thorough research into Balkan history and culture.
Apart from screening literary works on the Balkans there are mainly three reasons for making films about this region: to portray some local historical figures, to locate romances and to use their ill fame or simply to tell stories about venturesome voyages in exotic places. Therefore most often such images are conventional and full of stereotypes. However, a stereotype proves a certain fame and it is better than no image at all.
Keywords: the Balkans, romance, ill fame, screening literary works, stereotype, exoticism, escapism, imaginary countries
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Abstract
The intention of this discussion is to question of documentary form and selfie phenomenon in the cultural implications emerged as a consequence of widespread new technologies and social networking, touchscreen and video. What is the feature of documentary film form in the culture of selfism and technology friendly recording devices? Culture as the inherent feature of a group and individual both is defined by a given space and time and is in constant changing mode. In new media defined by the Wi-Fi technology and communication gadgets the new conducts and behaviors are introduced into the traditional cultures. Taking the fast lane of connectivity but in the same time remaining in the slow lane of anonymity is not just a fad of anonymous networking of international culture, but the main communicating feature today. Recording video and taking pictures have lost their importance and elitism, gaining superficiality and HD quality. What happens to the content, cultural context and creative approaches in this process?
What is the quality of new international culture in the virtual space and time defined by picture in motion language of visual communication (film grammar) and technology video devices? Does the culture based on this technology make the new stereotypes? What is the human language for communication in this international culture? Can English be the long lost Babylon dream fulfilled? Is documentarism benefiting from today’s culture – or is it dying?
Keywords: Documentarism, immediacy, culture, selfism, communication, virtuality
DANIEL SUCEAVA
Un fragment dintr-un antologhion putnean la Praga
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LEJLA PANJETA
Dark and Magic Kingdom of Disney
Abstract
The homecoming from exile, in 1990, of the Romanian famous theatre directors represents, now, a historical event with a particular importance in the subsequent evolution of the theatrical environment. The motivations of coming back are, of course, individual and profound; but, besides the post-revolutionary enthusiasm, besides the programmatic good will of Andrei Plesu, the Minister of Culture of the moment, who invited all the important Romanian artists to return, the effects of this process were different: they basically cover many levels, from management to repertoire specificity, from marketing to esthetics. One has to remember that the first years after 1989 witnessed an uncontrolled explosion of new media institutions that implied a quick adaptation of the PR and branding strategies for every theatre, opera or art organization. The homecoming of renowned theatre directors, now theatre managers, had also political implications in the hot political struggles of the new-born democracy.
One of the first consequences of inviting the famous directors from exile to reorganize theatres was the rejuvenation of the company’s artistic team. We have to remember that the Theatre Schools were permitted, in the last decade, a smaller and smaller number of acting students. On the other hand, theatres were not allowed to organize contests for new employment but once every two years, and the number of young actors joining Bucharest’s theatres, for example, was strongly limited.
The paper tries to recompose, from the journals and magazines of the time, the methods, the intentions and the medium and long term effects of the auditions for new actors, in three theatres from Bucharest, in the summer of 1990: The Giulesti (later Odeon) Theatre, The National Theatre and The Bulandra Theatre. Based on reviews, surveys and interviews, we’ll try to re-enact the ground, to sketch the similarities and differences, practical but also theoretic, of the three committees of selection conducted by Vlad Mugur, Andrei Serban and Liviu Ciulei.
Keywords: Theatre, Exile, Post-communism, Auditions for young actors
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Abstract
In the 1990s, Vlad Mugur's productions – along with Andrei Șerban’s Greek Trilogy (National Theatre Bucharest, 1990) or Richard III (Odeon Theatre, 1993), directed by Mihai Măniuţiu – were proposing a theatrical language where the presence of the mask is used consistently as a sign and as a means of expression which emphasizes the possibilities of theatre to raise a major issue, that of identity. A culture proves its maturity when it is able to bring up sensitive issues of the past and to approach them from a well-balanced perspective, thus increasing access to unbiased knowledge; the identity of a nation, of social groups and categories, of the individual, this is a subject that has stirred passions and controversies more than theoretical debates, starting with Romanian modernity.
Keywords: The Liar, The Servant of Two Masters, The Cherry Orchard
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Résumé
Après décembre 1989, le retour en Roumanie des metteurs en scène tels que Liviu Ciulei, Vlad Mugur, Lucian Giurchescu, Alexandru Tocilescu, Andrei Șerban, Adrian Lupu, Petre Bokor, Alexander Hausvater, Florin Fătulescu, Alexandru Colpacci, etc. a déclenché dans le monde théâtral autant d’effervescence que d’inquiétude ; on les observe également dans les spectacles et dans la vie artistique quotidienne. À cette époque-là sont nés des spectacles étonnants, comme, par exemple, Une trilogie antique d’après Euripide, Seneca et Sophocle (mise en scène : A. Șerban), L’Éveil du printemps de Fr. Wedekind et Le Songe d’une nuit d’été de W. Shakespeare (mise en scène : L. Ciulei), ... Et ils passèrent des menottes aux fleurs de F. Arrabal (mise en scène : Al. Hausvater), Antigone d’après Sophocle et Une lettre perdue de I.L. Caragiale (mise en scène : Al. Tocilescu), Hamlet (mise en scène : Vlad Mugur). L’écho de ces représentations résonne aujourd’hui encore.
Mots-clés : théâtre roumain, les années 1990 et 2000, le retour des exilés
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Résumé
En juin 2000, peu après que Ion Vartic avait pris la direction du Théâtre National de Cluj, j’ai été invitée dans son bureau pour prendre part à une brève entrevue avec Vlad Mugur. Connaissant Ion Vartic dès son premier retour en Roumanie, dans les années 90, celui-ci acceptait de revenir sur la scène du théâtre de Cluj. Pour commencer, avec deux mises en scène. Il a proposé plusieurs titres, mais c’était évident que son intérêt portait surtout sur Hamlet. Nous avons consulté ensemble la liste des acteurs embauchés, puis, je lui ai parlé de comédiens qu’il n’avait pas vus sur scène et je lui ai également montré certains autres dans les albums de spectacles. À mon départ, ils discutaient avec moult animation des collaborateurs, du répertoire, des souvenirs communs.
Je suis partie pleine d’espoir, mais saisie de crainte aussi. Vlad Mugur avait déjà été sur le point de monter pour le Théâtre National, mais nous l’avons perdu.
À la fin de l’automne 2000, Vlad Mugur a assisté au concours d’embauche de jeunes acteurs. Cette occasion m’a révélé son don de mettre en évidence les plus belles qualités des candidats, fussent-ils sous l’empire de l’émotion, et de découvrir sans faille les meilleurs parmi eux. Il y a eu même un moment amusant, lors de l’apparition d’Elena Ivanca. À la différence des autres, qui venaient se présenter à la rampe, Elena est venue du fond de la scène en incarnant déjà le personnage Ţuşca Vilmoş de la pièce Declaration de Tudor Muşatescu. J’attendais avec une vive impatience l’avis du Maître, sans penser une seconde à la réaction que peut susciter l’aspect du personnage. Vlad Mugur, le regard indigné, s’est tourné vers les personnes qui se trouvaient derrière lui et leur a dit : « Mettez-la dehors ! ». Je n’ai pas pu m’empêcher de sourire. Trop tard, elle avait déjà commencé à parler. Tout d’un coup, le visage de Maître fut éclairé par l’expression chaude et enfantine que je lui avais vue tant de fois pendant les répétitions pour Hamlet devant les réussites des comédiens. Je ne soupçonnais pas – et, d’ailleurs, personne ne le soupçonnais probablement – qu’Elena puisse être la Reine, mais j’étais persuadée qu’elle ferait partie de la troupe du Maître. Le concours, comme chaque rencontre avec Vlad Mugur, était important pour le théâtre, qui recevait ainsi une direction. La façon dont il posait ses questions aux candidats indiquait ce qu’il cherchait et comment il le cherchait : des personnages, des types, non pas pour un spectacle ou pour une distribution, mais pour l’équilibre d’une troupe capable de jouer presque toute pièce.
Mots-clés : Hamlet ; le Maître ; simplification ; effet ; nerf dramatique
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Abstract
In 2013, when I published Prințul minor, a book that was the result of my doctoral research on Radu Penciulescu’s theatrical activity, as director and as professor, the conclusions were supported only by the reviews published in the period when he had put plays on stage and by the meetings I had with the teacher-director. It may be argued that, in the short history of the theatrical play in Romania, there is no other period more interesting and happier than the one followed by the premiere of W. Shakespeare’s King Lear on 30 October 1970. In my opinion, that moment related to a potential renewal of Romanian theatre, and, perhaps, of the European one. With his proposal, Radu Penciulescu, who had left the management of The Small Theatre (Teatrul Mic) two years before, opened a working and debate platform based on the idea that human solidarity may grow in the preparation of the stage play and, most importantly, he paved the way to considering creation as performance matter.
Keywords: Radu Penciulescu, stage play, actor, pedagogy, mirror, route, Holbein, temptation
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Abstract
My study focuses on how the return home of the stage directors banned by the communist regime influenced the post-1990 Romanian theatre. They were the leaders in reconnecting our theatre to international tendencies after almost five decades of ideological censorship and political control. In this regard I was especially interested in institutional aspects, in Andrei Şerban’s management of the Bucharest “I.L. Caragiale” National Theatre, as well as in his aesthetic program and stage poetics. Another director that called my attention is Alexander Hausvater, the way his creative work influenced actors, managers, technicians, the audience, etc. There are also a few references to David Esrig and his acting method.
Keywords: Andrei Şerban, Alexander Hausvater, David Esrig, post-communist Romanian theatre
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Résumé
Le grand metteur en scène Liviu Ciulei, auto-exilé en Occident pendant le régime communiste, revient en Roumanie en 1990. Après dix années d’absence, il trouve ici un climat confus et troublé, pas seulement sur la scène politique, mais aussi dans la vie théâtrale. Améliorer les structures institutionnelles existantes ou initier des changements radicaux ? Revigorer les théâtres financés par l’État ou soutenir la fondation des théâtres indépendants ? Garder le système des troupes permanentes ou créer des « troupes-projet » temporaires ? Bref : conservation ou réforme ? Voilà les dilemmes, voilà les polémiques qui enflammaient le monde du théâtre à l’époque !
Liviu Ciulei fut peu sensible aux débats du jour. Il apportait avec soi le sens d’équilibre qui avait gouverné toute sa carrière, en Roumanie et ailleurs. Pour lui, la création scénique doit être un vrai oeuvre d’art, née d’une lecture rigoureuse et en même temps fraîche du texte, du jeu brillant des acteurs et d’un langage visuel riche en symboles : un oeuvre qui émeut et qui parle à tous. Avec les premiers spectacles qu’il met en scène après son retour, Le Songe d'une nuit d'été de W. Shakespeare et L'Éveil du printemps de Frank Wedekind (Théâtre Bulandra, 1991), Ciulei offre encore une fois au public la joie de découvrir qu’une pièce de théâtre est classique quand elle est moderne. C’était sa définition – mais aussi, permettons-nous de le dire, la devise de cet uomo universale : metteur en scène, scénographe, acteur, architecte, la plus complexe personnalité du théâtre roumain.
Mots-clés : la scène roumaine, les années 1990, le « canon » théâtral, Ciulei et la modernité classique
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Miruna Runcan, Odeon 70. Aventură istoric-omagială, București, Editura Oscar Print, 2016, 335 p. cu ilustrații (recenzie de Lucian Sinigaglia), p. 239
Oltița Cîntec (coord.), Regia românească de la act de interpretare lahh practici colaborative/ Romanian Theatre Directing, from Authorship to Collaborative Practices, Iași, Editura Timpul, 2016, 456 p. (recenzie de Alin Ciupală), p. 240
Mihai-Alexandru Canciovici, Sergiu Ștefanschi: un artist, un destin, o stea, București, Editura Semne, 2016, 292 p. cu il. (recenzie de Lucian Sinigaglia), p. 241
Sandra K. Sagala, Buffalo Bill on the Silver Screen: The Films of William F. Cody, Norman, University of Oklahoma Press, 2013, 218 p. cu il. (recenzie de Adrian-Silvan Ionescu), p. 242
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Daniel Meyer-Dinkgräfe: „Enhancing Knowledge about Theatre through Consciousness Studies” – conferință la Biblioteca Academiei Române, 17 martie 2016 (autor: Isabella Drăghici), p. 249
Conferința IFTR „Presenting the Theatrical Past. Interplays of Artefacts, Discourses and Practices”, Stockholm, 13–17 iunie 2016 (autor: Isabella Drăghici), p. 251
Conferința internațională „Centenarul cinematografiei militare românești”, Biblioteca Academiei Române, 27–28 octombrie 2016 (autor: Marian Țuțui), p. 253
Adrian-Silvan Ionescu – Doctor Honoris Causa al Academiei de Muzică, Teatru și Arte Plastice din Republica Moldova (Chișinău, 4 noiembrie 2016), p. 255
Congresul internațional al Societății de Studii Teatrale din Germania, ediția a 13-a: „Theater als Kritik”, Frankfurt Am Main și Gießen, 3–6 noiembrie 2016 (autor: Isabella Drăghici), p. 256
Expoziția „Film-Stills. Photographien Zwischen Werbung, Kunst & Kino”, Albertina, Viena, 4 noiembrie 2016 – 26 februarie 2017 (autor: Adrian-Silvan Ionescu), p. 259
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