DOCSLIB.ORG

Dramart Journal of Theatre Studies Journal of Zeitschrift Für Theaterstudien Zeitschrift Für

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Dramart Journal of Theatre Studies Journal of Zeitschrift Für Theaterstudien Zeitschrift Für 1 DramArt Journal of Theatre Studies Journal of Zeitschrift für Theaterstudien Zeitschrift für ▪ Revistă de ştiinţe teatrale ▪ Numărul 4 | 2015 Universitatea de Vest din Timişoara Facultatea de Muzică şi Teatru Departamentul: Muzică – Artele Spectacolului-Actorie (limba română şi germană) West-Universität Temeswar, Hochschule für Musik und Theater, Department: Musik – darstellende Kunst, Schauspiel (Rumänische und deutsche Sprache) West University of Timișoara, Faculty of Music and Theatre, Department: Music – Performing Arts, Acting (Romanian and German language) Coperta / cover: Diana Andreescu Editura Excelsior Art ISSN 2285-9969; ISSN-L 2285-9969 2 DramArt | Numărul 4 | 2015 3 DramArt Journal of Theatre Studies Journal of Zeitschrift für Theaterstudien Zeitschrift für ▪ Revistă de ştiinţe teatrale ▪ Numărul 4 | 2015 Editura Excelsior Art ISSN 2285-9969; ISSN-L 2285-9969 Timişoara Capitală Culturală Europeană în 2021 – oraş candidat Temeswar – Bewerberin um den Titel Europäische Kulturhauptstadt 2021 Timişoara European Capital of Culture in 2021 – candidate city 4 DramArt | Numărul 4 | 2015 Colegiul de redacţie / Redaktionskollegium / Editorial Board: Lector univ. dr. Daniela Șilindean (Universitatea de Medicină și Farmacie „Victor Babeș“ din Timişoara, Universitatea de Vest din Timişoara) Șef de lucrări dr. Alina Mazilu (Universitatea de Medicină și Farmacie „Victor Babeș“ din Timişoara) Drd. Simona Vintilă (Universitatea de Vest din Timişoara) Redactor şef / Redaktionsleiter / Editor-in-Chief: Prof. dr. Eleonora Ringler-Pascu (Universitatea de Vest din Timişoara) Colegiul ştiinţific / Wissenschaftlicher Beirat / Scientific Board: Prof. univ. dr. George Banu (Université Sorbonne Nouvelle, Paris) Prof. univ. Thomas Buts (Folkwang Universität der Künste Essen) Prof. univ. dr. Sorin Crişan (Universitatea de Arte din Târgu-Mureş) Prof. univ. Peter Ender (Zürcher Hochschule der Künste, Zürich) Prof. univ. dr. Karoline Exner (Konservatorium Wien Privatuniversität) Dr. Elisabeth Grossegger (Institut für Kulturwissenschaften und Theatergeschichte, Österreichische Akademie der Wissenschaften, Wien) Prof. univ. dr. Veronique Liard (Université de Bourgogne, Dijon) Prof. univ. dr. Kalina Stefanova (National Academy for Theatre and Film Arts in Sofia) Prof. univ. Mag. Eva Tacha-Breitling (Konservatorium Wien Privatuniversität) Prof. univ. dr. Cornel Ungureanu (Uniunea Scriitorilor din România, Filiala Timișoara) Prof. univ. dr. Bogdan Ulmu (Universitatea de Arte „George Enescu“ Iaşi) Prof. univ. Nikolaus Wolcz (Columbia University New York) Prof. univ. dr. Violeta Zonte (Universitatea de Vest din Timişoara) Contact / Kontakt / Contact: Universitatea de Vest din Timişoara, Facultatea de Muzică și Teatru Departamentul: Muzică – Artele Spectacolului – Actorie (limba română şi limba germană) Bd. Piața Libertății 1 RO-300077 Timişoara Tel./Fax.: 0040-256-592654 E-mail: [email protected] 5 Sumar / Inhaltsverzeichnis / Contents 1. Studii teoretice / Theoretische Studien / Theoretical Studies ....................9 Horst Fassel Vasile Alecsandri – ein Vergessener? Kann man Kleintheater von Anno 1843-1870 wieder auf die Bühne bringen? ...................................11 Vasile Alecsandri – un scriitor uitat? Poate fi readus teatrul scurt din anii 1843-1870 pe scenă? Vasile Alecsandri – A Forgotten Writer? Is It Possible to Bring Short Theatre from 1843-1870 on Stage? Robert Pfützner Nathan der Weise und die Aufklärung der Postmoderne. Bildungsphilosophische Überlegungen .........................................................33 Nathan Înțeleptul și iluminarea postmodernismului. Considerații filosofico-educative Nathan the Wise and the Enlightenment of Postmodernism. Some Philosophical-Pedagogical Considerations Carola Heinrich Die Repolitisierung des Theaters. Das Dokumentarische als Erinnerungsstrategie im rumänischen Theater .........................................47 Repolitizarea teatrului. Documentarul ca strategie de rememorare în teatrul românesc The Re-politization of Theatre. The Documentary as a Strategy of Remembrance in Romanian Theatre Oltița Cântec Scenography, Crossroads between Director´s Vision and Audience´s Emotional Commitment .................................................................................64 Scenografia, intersecția dintre viziunea regizorului și angajamentul emoțional al publicului Bühnenbild, Kreuzweg zwischen der Vision des Regisseurs und der Gefühlswelt des Publikums Eleonora Ringler-Pascu Peca Ștefans interaktives Theaterexperiment. Das Theater als Diskussionsforum globaler Fragen ......................................82 Peca Ștefan – experiment de teatru interactiv. Un forum pentru dialog asupra problemelor globale Peca Ștefan’s Interactive Theatrical Experiment. A Forum for Dialogue about Global Issues 6 DramArt | Numărul 4 | 2015 Mădălina Ghițescu “The Portable Theatre” in the European Context ..........................................91 „Teatrul Portabil“ în context european „Portables Theater“ im europäischen Kontext Simona Vintilă The Retheatralisation of the Romanian Theatre in the Contemporary European Environment: The Independent Theatre ...............96 Reteatralizarea teatrului românesc în spațiul european contemporan: teatrul independent Die Retheatralisierung des rumänischen Theaters im gegenwärtigen europäischen Raum: das unabhängige Theater 2. Din istoria teatrului / Zur Theatergeschichte / On Theatre History .....103 Horst Fassel Das Schlosstheater in Komlos .....................................................................105 Teatrul nobil din Comloș The Court Theatre from Comloș 3. Critică de teatru / Theaterkritik / Theatrical Review ............................111 Irina Wolf Junge rumänische Dramatikerinnen als Mitgestalterinnen des Programms der Saison 2015-2016 des Grazer Schauspielhauses ...................................113 Tinere scriitoare române și contribuția lor la realizarea programului din sezonul 2015-2016 la Schauspielhaus Graz Young Romanian Playwrights Contribute Shaping the Programme of the 2015-2016 Season at Schauspielhaus Graz Eleonora Ringler-Pascu Eindrücke vom Internationalen Theaterfestival Hermannstadt ...................120 Impresii despre Festivalul Internațional de Teatru de la Sibiu Impressions on the Sibiu International Theatre Festival Eleonora Ringler-Pascu Physical Theater in Essen ............................................................................126 Teatrul fizic la Essen Physical Theatre in Essen 4. Atelier / Werkstatt / Workshop ................................................................131 Ovidiu Mihăiță AUĂLEAU Theatre... About the Beginnings... ...........................................133 Teatrul AUĂLEAU... Despre început... AUĂLEAU Theater... Über den Anfang... DramArt | Numărul 4 | 2015 7 5. Recenzii / Rezensionen / Reviews ...........................................................141 Kalina Stefanova SHAKESPEARE With a Baltic Accent. Notes on the New Book by Guna Zeltina and the Baltic Theatre Phenomenon .........143 SHAKESPEARE cu accent baltic. Note asupra noii cărți de Guna Zeltina și fenomenul teatral baltic SHAKESPEARE mit baltischem Akzent. Bemerkungen zu dem neuen Buch von Guna Zeltina und das baltische Theaterphänomen Eleonora Ringler-Pascu Grenzüberschreitender Dialog über Theatralität in Literatur und Kultur ....148 Dialog transfrontalier despre teatralitate în literatură și cultură Crossborder Dialogue about Theatrality in Literature and Culture Eleonora Ringler-Pascu Junge Stimmen der rumänischen Dramaturgie ............................................151 Tinere voci ale dramaturgiei românești Young Voices of the Romanian Dramaturgy Eleonora Ringler-Pascu Theater als Vorwand für widersprüchliche Bekenntnisse ............................154 Teatru ca pretext pentru confesiuni contradictorii Theatre as Pretext for Contradictory Confessions 6. Dosar foto / Photo Dossier / Foto File: Mihaela Marin ........................157 Daniela Șilindean The Image of the Show ................................................................................159 Imaginea spectacolului Das Bild der Vorstellung Autorii / Autoren / Authors .......................................................................175 Notă: Autorii își asumă răspunderea integrală pentru conținutul științific al manuscrisului transmis și pentru acuratețea datelor. Anmerkung: Die Autoren übernehmen die gesamte Verantwortung für den wissenschaftlichen Inhalt ihrer Beiträge und für die Korrektheit der Daten. Note: The authors assume the whole responsability for the scientific content of their manuscripts and the accuracy of the data. 1. Studii teoretice Theoretische Studien Theoretical Studies Vasile Alecsandri – ein Vergessener? Kann man Kleintheater von Anno 1843-1870 wieder auf die Bühne bringen? Vasile Alecsandri – A Forgotten Writer? Is It Possible to Bring Short Theatre from 1843-1870 on Stage? Vasile Alecsandri – un scriitor uitat? Poate fi readus teatrul scurt din anii 1843-1870 pe scenă? HORST FASSEl (Wuppertal) Abstract Vasile Alecsandri (1821-1890) is an established personality in the Romanian literature. Unfortunately, a great part of his work has been forgotten by the large public. This holds true also for his comedies and vaudevilles, which were extremely popular in the 19th century. This presentation proves that these comedies are not mere occasions for entertainment, but also documents on the transformations which took place in the society and mentality of Moldavia in the 19th century, especially in the world of the village. In
Load more

Recommended publications
  • The Discourse on Humour in the Romanian Press Between 1948-1965
    SLOVO, VOL. 31, NO. 2 (SUMMER 2018), 17-47 DOI: 10.14324/111.0954-6839.081 The Discourse on Humour in the Romanian Press between 1948-1965 EUGEN CONSTANTIN IGNAT University of Bucharest INTRODUCTION Once the official proclamation of the Romanian People’s Republic takes place, on the 30th of December 1947, the process of imposing new cultural values on society gradually permeates all areas of Romanian social life. Humour also becomes part of this process of transforming the social and cultural life, often regarded as a powerful weapon with which to attack ‘old’ bourgeois mentalities. According to Hans Speier, the official type of humour promoted by an authoritarian regime is political humour, which contributes to maintain the existent social order, or plays its part in changing it – all depending on those holding the reins over mass- media.1 Taking the Soviet Union as a model, the Romanian new regime imposes an official kind of humour, created through mass-media: the press, the radio, literature, cinematography, and television. This paper analyses the Romanian discourse on humour, reflected in the press, between 1948-1965,2 in cultural magazines3 such as Contemporanul (1948-1965), Probleme de 1 Hans Speier, ‘Wit and politics. An essay on laughter and power,’ American Journal of Sociology, 103 (1998), p.1353. 2 This period represents the first phase in the history of the communist regime in Romania. After a transitional period (1944-1947), the year 1948 marks the establishment of the communist regime in Romania. Through a series of political, economic, social, and cultural measures, such as the adoption of a new Constitution, banning of opposition parties, nationalization of the means of production, radical transformation of the education system or ‘Sovietisation’ of culture, the new regime radically transforms Romanian society.
    [Show full text]
  • The Comic in the Works of Gogol and Caragiale
    The Comic in the Works of Gogol and Caragiale Inga MARCU-REMENTOV1 Abstract: To consider theater only as literature is a long-standing point of view, but also to regard theater as a spectacle is a false position towards the art of the theater, of her essence and means of expression, the theater being a synthetic art, with a specific language , with their own autonomy. Why Gogol and Caragiale? It seems to me a natural attachment, I strongly believe that the two authors have changed, each in their own way, the gender literature of their countries, that they link a century full of social, political, effervescent phenomena, that the edifice of works is a fundamental one nationally, that they wrote with pathos, with almost fervor, about everything that needed to be addressed in everything around them. The study is a review of the main elements, strategies and models of dramatic construction in the comic work of the two. Key-words: Caragiale; Gogol; comic; theatre; dramatic literature. 1. Introduction The great creators of literature, especially the dramatic literature, have always aspired to create an art as close to life as possible, to be its clerks and their work, the huge mirror in which the world could reflect itself and recognize itself as it is. The acting profession brings me closer to the dramatic literature, it allows me a vision and a way of analysis specific to the profession, but this does not mean that we will deal mainly with it, we must not place the equal sign between dramatic literature and theater.
    [Show full text]
  • Research About Bucovina Region
    Proiect finanţat de UNIUNEA EUROPEANA RESEARCH ABOUT BUCOVINA AREA (SUCEAVA COUNTY) Summary of Research Findings 2009 NAP turism - Bucovina - Parcuri de turism activ in natura in Bucovina RO 2006/018-449.01.01.10 Proiect finanţat de UNIUNEA EUROPEANA Coordinator: Bucovina Tourism Association INTRODUCTION. TOURISM AND THE MOTIVATION BEHIND. GENERAL PRESENTATION……………………………………………………………………………3 TOURISM OFFER AND CHARACTERISTIC OF SUCEAVA AREA.......................... 26 1. NATURAL FACTORS OF THE OFFER.......................................................................... 27 1.1 Place and surface of territory ............................................................................................ 27 1.2 Climate ............................................................................................................................... 27 1.3 Hydrologic information (sea, rivers etc.)........................................................................... 28 1.4 Landscape, Fauna and Flora............................................................................................. 28 1.5. Main sub-areas in Suceava Region. General presentation............................................... 35 2. SOCIO-ECONOMIC FACTORS ....................................................................................... 45 2.1. Structure of economy. Importance of different economic fields in Suceava region.......... 45 2.2 Demographic (Population in tourism, occupancy, structure)............................................ 50 3. INFRASTRUCTURE.........................................................................................................
    [Show full text]
  • The Coronation of “The Accompanying Comrade” Sică Alexandrescu – a Case Study
    STUDIA UBB DRAMATICA, LXII, 2, 2017, p. 87 - 113 (Recommended Citation) DOI:10.24193/subbdrama.2017.2.05 The coronation of “the accompanying comrade” Sică Alexandrescu – A case study MIRUNA RUNCAN1 Abstract: Have “People’s Artists” been famous artists, plain “nomenklatura” representatives in the artistic milieu or just “accompanying comrades”? What were the characteristics of the mechanism producing these “people’s artists” in the first years after the concept had been imported from the USSR? What are, in this context, the specificities of the Romanian theatre environment? Who are the people selected to become “distinguished artists”, “State Prize Laureate”, “Emeritus Masters of art” or “People’s artists” – and what justifies this hierarchy? Clearly, some of the members of the first generation of communist “theatre heroes” were truly artists who had earned a certain fame even before the Second World War. Others, however, had not – or they had earned an entirely different kind of status and fame in the artistic milieu. We shall try to uncover at least a part of the mechanism for selecting/producing “state artists”, by means of a case study focusing on possibly the most illustrative character for the stated theme: theatre director Sică Alexandrescu. With this in view, we used previous files of personal research concerning the political, ideologic and aesthetic debates in the first decades of the communist regime, we revisited archives, journal and cultural magazines collections and, of course, we revisited the articles and books written by the famous theatre director himself. Keywords: Theatre Directing, Romanian Theatre, Theatre History, Cultural Policies Historic context: theatre in the first decades after the Second World War In contrast to other areas of science and arts, Romanian theatre appears to have welcomed the passing from a democratic regime to communism without any suspicions, or even with strange enthusiasm.
    [Show full text]
  • National History Colloquium, with International Participation 22Nd Edition, 2020 COTROCENI NATIONAL MUSEUM
    National History Colloquium, with international participation 22nd edition, 2020 COTROCENI NATIONAL MUSEUM NATIONAL HISTORY COLLOQUIUM WITH INTERNATIONAL PARTICIPATION 22nd edition, May 2020 HISTORY SECTION I. MODERN ROMANIA - ADMINISTRATIVE, SOCIAL AND ECONOMIC POLICIES FOR THE MODERNISATION OF THE STATE drd. Ancuța BRAȘOVEANU, Universitatea Ovidius, Constanța The modernization of Romania in the vision of Ion C. Brătianu in 1857 dr. Ștefania DINU, Muzeul Național Cotroceni The ceremonial at the Court of Prince Alexandru Ioan Cuza Cătălin MANEA, Muzeul Național Cotroceni The statute of the public employee in the reign of Alexandru Ioan Cuza dr. Nicoleta ROMAN, Institutul de Istorie „Nicolae Iorga”, Academia Română In Mid-Nineteenth Century Wallachia: the orphans and the patronage of the Reigning Princess dr. Ligia LIVADĂ-CADESCHI, Facultatea de Științe Politice, Universitatea București The dilemmas of the health system in modern Romania. The official public doctor dr. Cristina GUDIN, Facultatea de Istorie, Universitatea București Measures to modernize the rural area in the second half of the 19th century dr. Lelia ZAMANI, cercetător independent The economic and social evolution of the city of Bucharest in the second half of the nineteenth century, important stage of the development and modernization of the future capital of Great Romania dr. Virgil Aurelian BĂLUȚĂ, Universitatea Spiru Haret The philosophy of Romania’s social and economic policies during the reign of King Carol I dr. Maria-Camelia ENE, Muzeul Municipiului București Balls in 19th century Bucharest II. PARIS PACE CONFERENCE (1919-1920) AND ITS CONSEQUENCESON THE EVOLUTIONOF CENTRAL AND SOUTH-EAST EUROPE dr. Mihai MILCA, Școala Națională de Științe Politice și Administrative Romania’s politico-diplomatic steps regarding the international recognition of the Great Union in the period preceding the signing of the Peace Treaty of Trianon (1920) dr.
    [Show full text]