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In Memoriam an MARIA-VODĂ CĂPUȘ STUDIA UNIVERSITATIS BABEȘ-220 BOLYAI /20 To be a Theatre Critic and Historian Nowadays / Être critique et historien du théâtre aujourd 'hui In memoriam MARIA-VODĂ CĂPUȘAN (1940 – 2017) STUDIA UNIVERSITATIS BABEŞ-BOLYAI DRAMATICA 2/2020 October EDITORIAL BOARD: MANAGING DIRECTOR: LIVIU MALIȚA, Babe ș-Bolyai University, Cluj-Napoca, Romania CHIEF-DIRECTOR: ȘTEFANA POP-CURȘEU, Babeș-Bolyai University, Cluj-Napoca, Romania ADVISORY BOARD: GEORGE BANU, Université Paris 3-Sorbonne Nouvelle, France ION VARTIC, Babeș-Bolyai University, Cluj-Napoca, Romania MICHAEL PAGE, Calvin College, SUA PATRICE PAVIS, University of Kent, UK JEAN-PIERRE SARRAZAC, Université Paris 3-Sorbonne Nouvelle, F rance ANCA MĂNIUȚIU, Babeș-Bolyai University, Cluj-Napoca, Romania DANA RUFOLO, Theatre Research Institute of Europe, Luxembourg TOM SELLAR, University of Yale, USA, Theatre Journal, Duke University Press VISKY ANDRAS, Babeș-Bolyai University, Cluj-Napoca, Romania EDITORIAL BOARD: SORIN ALEXANDRESCU, Center of Excellence in Image Studies, University of Bucharest, Romania LAURA CARETTI, University of Siena, Italy GILLES DECLERCQ, Université Paris 3-Sorbonne Nouvelle, France PETER P. MÜLLER, Univery ofsit Pécs, Hungary LAURA PAVEL-TEUTIȘAN, Babeș-Bolyai University, Cluj-Napoca, Romania IOAN POP-CURŞEU, Babeș-Bolyai University, Cluj-Napoca, Romania DOMNICA RĂDULESCU, Washington & Lee University, USA MIRUNA RUNCAN, Babeș-Bolyai University, Cluj-Napoca, Romania ELI SIMON, eIrvin University iCal fornia, USA ASSISTANT EDITORS: TOMPA ANDREA, Babeș-Bolyai University, Cluj-Napoca, Romania DELIA ENYEDI, Babeș-Bolyai University, Cluj-Napoca, Romania ANCA HAŢIEGAN, Babeș-Bolyai University, Cluj-Napoca, Romania RALUCA SAS-MARINESCU, Babeș-Bolyai University, Cluj-Napoca, Romania COPY EDITORS: MARIA CHIOREAN, ANCA ȘERBAN PROOF READERS: ANA ȚĂRANU, SALMA AL REFAEI ISSUE EDITORS (2/2020): LIVIA TITIENI, LIGIA STELA FLOREA, YVONNE GOGA, ȘTEFANA POP-CURȘEU (Babeş-Bolyai University, Cluj-Napoca, Romania) SECRETARY OF THE BOARD: MIHAI PEDESTRU, Babeş-Bolyai University, Cluj-Napoca, Romania EDITORIAL OFFICE: 4th Kogălniceanu Street, Cluj-Napoca, Romania, Phone: +40 264 590066, Web site: http://studia.ubbcluj.ro/serii/dramatica, Contact: [email protected] Photo Cover by Adrian Barbu STUDIA UBB EDITORIAL OFFICE: B.P. Hasdeu no. 51, 400371 Cluj-Napoca, Romania, Phone + 40 264 405352, [email protected] YEAR Volume 65 (LXV) 2020 MONTH OCTOBER ISSUE 2 PUBLISHED ONLINE: 2020-10-30 PUBLISHED PRINT: 2020-10-30 ISSUE DOI: 10.24193/subbdrama.2020.2 Thematic Issue: To be a Theatre Critic and Historian Nowadays / Être critique et historien du théâtre aujourd’hui In memoriam MARIA VODĂ CĂPUȘAN (1940 – 2017) ISSUE EDITORS: Livia Titieni, Ligia Stela Florea, Yvonne Goga, Ștefana Pop-Curșeu CONTENT / SOMMAIRE Livia TITIENI, Avant-propos / Foreword ............................................................................. 9 STUDIES AND ARTICLES RÉFLEXIONS PLURIELLES SUR LE TEXTE DRAMATIQUE Patrick DANDREY, Réflexions sur l’espace comique. L’exemple du Mariage de Figaro / Reflections on Comic Space. The Example of The Marriage of Figaro ....... 19 Ramona MALIȚA, Madame de Staël ou le plaidoyer pour une vie seconde : le théâtre / Madame de Staël or the Necessity of a Second Life: The Theatre ................................. 39 Simona JIȘA, La relation mère-enfant dans la dramaturgie staëlienne / The Relationship between Mother and Child in Staël’s Playwriting ....................................................... 57 CONTENTS OF STUDIA UBB DRAMATICA, LXV, 2, 2020 Rémy POIGNAULT, Caligula, tyran dérisoire dans le Caligula d’Alexandre Dumas / Tyranny and Derision in Alexandre Dumas’ Caligula .............................................. 73 Doina MODOLA, L’ambivalence d’un chef-d’œuvre : Une lettre perdue de I.L. Caragiale / The Ambivalence of a Masterpiece: A Lost Letter by I.L. Caragiale ........ 97 Livia TITIENI, L’impromptu en question : de Molière à Giraudoux et à Ionesco / The Impromptu in Question: From Molière to Giraudoux and Ionesco ....................... 123 Ligia Stela FLOREA, Dynamique des rapports de places et des images identitaires dans Les parents terribles de Jean Cocteau / Dynamics of Place Relationships and Identity Images in Les parents terribles by Jean Cocteau ................................ 155 Vlad DOBROIU, Frei Luís de Sousa d’Almeida Garrett. Pour une approche pragmatique du texte dramatique / Frei Luís de Sousa by Almeida Garrett: a Pragmatic Analysis of the Theatre Dialogue ........................................................... 173 INTERFÉRENCES THÉÂTRALES : ROMAN, DANSE, CINÉMA ET SCÈNE DE THÉÂTRE Yvonne GOGA, Le théâtre, image de l’esthétique proustienne / Theatre as an Image of Proust’s Aesthetic .................................................................................................. 189 Mireille NATUREL, Marcel Proust : la Berma, figure de l’artiste, figure maternelle / Marcel Proust: The Berma, Actress’ Figure, Motherhood’s Character ........................ 203 Marius POPA, Trois scènes de bal dans le roman français (« La Princesse de Clèves », « Madame Bovary », « Le Ravissement de Lol V Stein ») / Three Ball Scenes in the French Novel (“La Princesse de Clèves”, “Madame Bovary”, “Le Ravissement de Lol V Stein”) ........................................................................................................... 221 Tudor LUCANU, One Conscience or More: Is the Actor more than one at a Time? ...... 243 Andrea GAVRILIU, Triple Personality: Creating, Performing and Appreciating Physical Theatre ......................................................................................................... 261 Camille PROTAR, Écran et roman sur la scène. Réflexion croisée sur trois spectacles de Krystian Lupa / Screen and Novel on Stage: a Cross Reflection on three Krystian Lupa’s Shows ............................................................................................................. 281 Alina ALUAȘ, Le potentiel théâtral chez David Foenkinos. Analyse du roman, du scénario et du film La Délicatesse / The Theatrical Potential in David Foenkinos’ Work. Analysis of the Novel, the Scenario and the Film “La Délicatesse” ................ 297 6 CONTENTS OF STUDIA UBB DRAMATICA, LXV, 2, 2020 IN MEMORIAM Maria Vodă Căpușan: Vie et œuvre / Life and Work ........................................................ 321 Ligia Stela FLOREA, Maria Vodă Căpuşan, telle que je l’ai connue / Maria Vodă Căpuşan, the Way I Knew Her .................................................................................. 331 Iulian BOLDEA, Theatre as a Form of Greatness ............................................................ 335 Horia CĂPUȘAN, Maria Vodă Căpușan exégète de Mircea Eliade et du mythe théâtral / Maria Vodă Căpuşan, Interpreter of Mircea Eliade ................................................... 343 Marius POPA, Maria Vodă Căpuşan, analyste de Camil Petrescu : une approche sémiotique / Maria Vodă Căpușan, Analyst of Camil Petrescu : a Semiotic Approach ....... 349 Ștefana POP-CURȘEU, Du texte à la mise en scène : négociation, fidélité, mémoire. Interview avec Patrice Pavis / From Text to Staging : Negotiation, Fidelity, Memory. Interview With Patrice Pavis ................................................................................................ 355 Alexandrina MUSTĂȚEA, La déconstruction théâtrale chez Ionesco / Theatrical Deconstruction in Ionesco’s Works ................................................................................. 367 PERFORMANCE AND BOOK REVIEWS Marius POPA, La Photographie de scène en France. Art, document, média. Des Années folles à nos jours. Capter l’invisible [Stage Photography in France. Art, Document, Media. From the Années folles to Our Times. How to Catch the Invisible. Issue 284 of the Revue d’histoire du théâtre, issue editor Arnaud Rykner, Trimester 3, 2019] .......................................................................................................................... 383 Ștefana POP-CURȘEU, Le théâtre et la pandémie, nouvelles contraintes, nouvelles habitudes, nouvelles pièces [Theatre and the Pandemic, New Constraints, New Habits, New Texts. Last issue of Plays International & Europe, Autumn 2020, vol. 33, no. 7-9] .......................................................................................................... 389 Vlad DOBROIU, Porto, une ville culturellement dynamique [Porto, a Cultural Dynamic City. O teatro no Porto no período entre guerras. Os teatros Carlos Alberto e São João (1914-1945), by Joana Miguel Moreira. Casal de Cambra : Caleidoscópio – edição e artes gráficas, 2017] ...................................................................................... 395 7 STUDIA UBB DRAMATICA, LXV, 2, 2020, p. 9 - 16 (Recommended Citation) Avant-propos LIVIA TITIENI L’extraordinaire prestige de la scène, tous genres confondus a engendré une critique conséquente sur les productions dramatiques qui abordent les feux de la rampe. MARIA VODĂ CĂPUȘAN, à qui ce numéro spécial de la revue Studia UBB Dramatica est dédié, a fait de l’exégèse théâtrale sa préoccupation de choix. Preuve en sont ses livres, les nombreux articles publiés dans des revues, les colloques internationaux organisés pour célébrer Victor Hugo, Marguerite Yourcenar, Eugène Ionesco... Ses recherches témoignent d’un retour circulaire de tout une série de thèmes d’études sur le théâtre dont l’unité de conception atteste l’ambition d’un édifice organique qui tend vers la construction d’une poétique
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