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Tomul 17 (61), 2023


Din istoria scenelor bucureștene: sala din Sărindar (III)

The aim of this paper is to trace back the history of an old playhouse in Bucharest, still functional today as location of The Small Theatre (Teatrul Mic). As we showed in the first two chapters of our essay, this entertainment venue, inaugurated in 1913 in a French-style building, fostered through time several acting companies and a wide variety of shows, from revues and operettas to comedies and dramas. The third chapter of our study focuses on the beginnings of the theatre company led by Maria Filotti, a great actress and a gifted manager.
Keywords: theatre houses in Bucharest, the 1940s, Maria Filotti Theatre, T. Mușatescu, V. Maximilian, Radu Beligan, Nineta Gusti, Elvira Godeanu

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Universul teatral bucureștean și politicile culturale după 23 August 1944. Prin furtunile realismului socialist (III)

Dans ce chapitre, sont présentées les résultats de la recherche de performances basées sur le répertoire soviétique. La période étudiée s’étend du 23 août 1944 à la fin du 1955.
Mots-clés: répertoire, répertoire soviétique, idéologie, régisseurs, artistes dramatiques, scénographes

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Wie Donnerschlag und Sturmgebraus. Vor 100 Jahren wurde der Banater Deutsche Sȁngerbund gegrűndet

C’est en 1922 que l’Association des Choeurs Allemands de Banat fut fondée et, la même année, quelques mois plus tard seulement, l’Association des Choeurs et des Fanfares (roumains) de Banat. Les premiers choeurs allemands de Banat ont déjà résonné dès la première moitié du XVIIIe siècle dans les différentes églises romano-catholiques, mais le statut d’association chorale ne lui est accordé qu’après la révolution de 1848, lorsque les premiers choeurs allemands se font entendre. L’Association des Choeurs Allemands de Banat a participé aux grands événements musicaux organisés pendant l’entre-deux-guerres à Francfort, Vienne et Wrocław (Breslau). Son activité cesse après 1944.
Mots-clés: Société Chorale Allemande, période de l'entre-deux-guerres, Roumanie, Banat, Timișoara

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Memories of a Golden Youth: Cosmopolitanism in Piro and Eno Milkani’s The Sorrow of Mrs. Schneider

The Sorrow of Mrs. Schneider attests to the human toll of social transformation. Despite the official stances assumed by the plant director and the local police commissioner, the Czechoslovakia that the hero, Albanian student Lekë comes to know is replete with human warmth, a sense of hope, and a vision that transcends official doctrine. Rules exist, but can be bent, and one is free to dance to the rhythms of the world. Yet Lekë displays both maturity and a sense of priority. Indeed, he basks in the sexual freedom so alien to his homeland, but, nevertheless, he finds true love. He is free to critique the Albanian regime, yet in the end he knows that he must return there, if just for his family’s safety. Albania is textualized as a dictatorship in Lekë’s candid conversation with Count Šternberk and much more forcefully through the ominous words of the Albanian ambassador. The film, however, does not dwell on this. Rather, it shows a young man discovering a world with new possibilities, all the while knowing that the openness he has experienced will remain, for many years to come, a secret part of his life. For Piro Milkani, the film nostalgically evokes an apprenticeship, one that rendered him the cultural cosmopolitan that he is today.
: communism, cosmopolitanism, co-productions, nostalgia, isolationism

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Muzica rock în filmul românesc – istorie și tendințe

Soundtrack is an important element in cinematic creations, be they short films, documentaries or fiction films. Romanian cinema did not ignore this essential component either. The musical compositions are an integral part of the soundtrack which, together with the other sounds, helps to define the cinematic product. Although located behind the Iron Curtain, where it was assumed that information in our cultural case could penetrate with certain difficulty, Romanian cultural life was synchronized until December ’89, especially through the radio stations ‘Radio Free Europe’ or ‘The Voice of America’ with the cultural life of the Western Europe and the Anglo-Saxon world. Simultaneously with the explosion of the rock music phenomenon at the end of the 60s, combined with the emergence of the ‘flower power’ phenomenon in the USA, the Vietnam War, the emancipation movements of the African Americans, etc., made it so that in the soundtrack of the films produced at Hollywood as well as in Europe, rock songs, blues or other subgenres derived from it appear, some of them hits found on the music albums of popular performers and bands. In that period, along with classic musical films, film productions whose protagonists are these very pop rock stars appear, as for instance A Hard Day’s Night (1964), Yellow Submarine (1968), Help! (1965), How I Won the War (1967), Sympathy for the Devil (1968), More (1969), etc.
Keywords: soundtrack, rock music, film music, Romanian film directors

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Reconstrucția istorică în cinematografie cu ajutorul dioramelor

The miniature trompe l'oeil, a perspective effect that can be achieved as a special effect in cinema, constitutes an important catalyst, something that can trigger emotions in individuals, consistent with those of the set designer and model maker. Through this documentary, loaded with small-scale three-dimensional images, the set designer offers the audience a large dose of cinematic realism, and is capable of triggering emotions while simultaneously recording in the collective memory the terrible images of war in the hope that it will never happen again. A skilfully assembled diorama is intended to accurately reconstruct the historical episodes of war and to give the audience an optical illusion of those terrible events. Thus, a diorama combined with real scenery and filming of the actors, possesses a magical force that acts differently and more powerfully on the public’s imagination, compared to photographs and written testimonies alone. The world of miniatures can act on the real world and remain unaltered in individual and collective memory through its cinematic effect.
Keywords: trompe l’oeil, cinematography, set designer, model maker, war, diorama, optical illusion, magic force, miniatures, memory, historical episodes, filming, audience

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Expoziţia Tilla Durieux. Eine Jahrhundertzeugin und ihre Rollen, Leopold Museum, Wien, 14.10.2022–27.02.2023 (Adrian-Silvan Ionescu), p. 129

Participări ale cercetătorilor Institutului de Istoria Artei „G. Oprescu” la festivaluri internaţionale de film din 2023 (M. F.), p. 135

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ANDRONIKA MARTONOVA, Между миграция и уседланост: Екзотичният друг и новото българско кино. Към куклтурологичните полета на идентичността, различието и дискурса свой/ чужд [Between Migration and Settledness: The Exotic Other and the New Bulgarian Cinema. Towards Cultural Fields of Identity, Difference, and the Discourse Own/Alien], Institute of Art Studies, Sofia, 2021, 229 p., 17 ill. (Marian Țuțui), p. 139

PATRICK BRION, Encyclopédie du Western, Éditions Télémaque, Paris, 2019, 848 p. + il. (Adrian-Silvan Ionescu), p. 141

CLAUDE AZIZA, JEAN-MARIE TIXIER, Dictionnaire du western, Éditions Vandémiaire, Paris, 2017, 466 p. + il. (Adrian-Silvan Ionescu), p. 149

DANA DUMA, Gopo 100, UCIN Publishing House, Bucharest, 2023, 157 p., 35 color and black & white images, abstract in English and bio-filmography (Marian Țuțui), p. 155

Cunoaște România Centenară, coord. general: Iulian Văcărel, coord. ediție: Constantin Anghelache, Editura Economică, București, 2018, 654 p. (Mihai Fulger), p. 156

TEODORA STOYLOVA-DONCEVA, Bulgarian Post-Totalitarian Documentary Cinema. Concepts, Trends, Authors, Films, Analysis, Institute for Arts Research – BAS, Sofia, 2021, 264 pages (Marian Țuţui), p. 158

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Copyright © G. Oprescu Institute of Art History, 2010