Concept

2 2 1 /2020 I Research Interdisciplinary Studies 04 Maria Rotar Resilience of Theatrical Institutions in Pandemic Times. Excelsior Theatre in Bucharest – A Case Study 13 Marina Hanganu Teatrul online nu s-a inventat în pandemie 27 Laura Ghiuru Online Learning between Movement and Stillness (The Use of Nonverbal Theatre Games in Online Education) 40 Radu Crăciun How to Write a Brechtian Article on Brecht (Part II) 57 Alexandru Papadopol Can Acting or Theatre Be Correlated with Moral Good or Moral Evil? 69 Ana Vicovan Creativity, the Engine of Artistic Research 81 Claudia Ene Imitation, empathie, communication – les composantes de l’expérience du spectateur 90 Raluca Rădoi La communication dans la diplomatie culturelle: au-delà des clichés institutionnels. Étude de cas: La Saison

CONTENTS France-Roumanie

Artistic Pedagogy Studies 99 Andreea Hristu Improvisation – Freedom and Rigour in Theatre Pedagogy 111 Monica Ciută Vocea actorului nu intră în lockdown 124 Raluca Rusu Rolul tehnicilor teatrale în procesul de autocunoaştere Arta actorului între jocul ascuns şi cel deschis în raport cu publicul 147 Victor Ivan Lopez Espiritu Santo Ibsen and Naturalist Theater Workshop at the Higher School of Dramatic Art (ESAD) in Asturias, Spain – an Erasmus-based research

Cinematography and Media Studies 157 Petru Mărgineanu Parallel between Film and Theatre Music 167 Dan Curean Proxemic Filmic Manifestation. A Possible Interpretation of the Functions of Shot Dimension 174 Vadim Staver Filmmaking on a smartphone 180 Matei Şopterean Entrepreneurship and Management in Early American and French Cinemas. Comparative study 192 Alina Grigore Playing with the Fire of Creation – Werner Herzog 203 Andrei Tache-Codreanu The Consuption of Cinema in the Context of the COVID-19 Pandemic 216 Valentin Pojar Studiu de caz privind evoluția estetică a noului cinema de la Marfa și banii la Aferim!

II Book Review 227 Doina Moga Simona Șomăcescu's Books Under the Ancient Precept: „Beauty is Truth, Truth Beauty”

CONTENTS 230 Cristian Stamatoiu Radu Olăreanu, 14 steps of the Actor Character Towards the Character… of the Spectator 235 Ioana Visalon Mihaela Beţiu despre performanţa actorului în spaţiul dintre normă şi abatere

III Interview 241 Călin Ciobotari – „Toată viața m-am abătut de la șoseaua principală” – Interviu cu regizorul Radu Afrim ”All my life, I`ve stayed away from the main road.” – Interview with stage director Radu Afrim 262 Ironiţa Coruţi – „Sunt mici revoluții care ar putea fi făcute care ne-ar ajuta pe toți să nu rămânem în negura timpului.” – Interviu cu regizorul Andrei Măjeri „There are small revolutions that could be made and that could help all of us not to stay in the darkness of time.” – Interview with stage director Andrei Măjeri

I Research

Interdisciplinary Studies

Resilience of Theatrical Institutions in Pandemic Times. Excelsior Theatre in Bucharest – A Case Study

Maria ROTAR Excelsior Theatre, Bucharest [email protected]

Abstract: The COVID-19 pandemic substantially changed the paradigm of creation and consumption of the cultural offer. New challenges rose for both the producers and the consumers. But like any other period of crises, it compelled both parties to transform the threats in opportunities, the weaknesses into strengths. It was time to put creativity and effort into the service of society and work together to overcome the greatest challenge that would permanently amend the theatre and its guild, its aesthetics, its utility and its mission. Keywords: COVID-19 pandemic, theatrical institutions, cultural offer, online cultural content, cultural consumption, Excelsior Theatre in Bucharest. How to cite: ROTAR, Maria (2020) ”Resilience of Theatrical Institutions in Pandemic Times. Excelsior Theatre in Bucharest – A Case Study”, Concept 2(21), pp. 4 .

-12 Premisses One of the main goals of a cultural institution is to create a significant cultural offer that responds to the authentic needs of its beneficiaries. In times of a global pandemic, like the COVID-19 one, the responsibility of each theatrical institution is even greater as it has to ensure and improve not only the welfare of society, but also to soothe the anxiety produced by the threat and isolation inflicted on everyone.

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Facing temporary shutdown in 2020, many theatrical institutions had to reconsider their mission and activity, in order to respond to the new needs and challenges that emerged. As the physical access to the cultural offers has been temporarily suspended, virtual access had to be redefined, in order „to stay alive” and accompany, at the same time, the people through a difficult time. It was not only a question of survival, but of resilience, of finding its meaning in a period of crisis.

The main focus of the research Now that physical spaces are no longer the priority, the cultural sector is rushing to adapt events and experiences for an entirely digital-first audience. For digital innovators, this is our moment to push the limit of our creative and technical vision, and a chance to openly experiment. For everyone else, it’s a crash course in digital marketing triage (UNESCO, 2020). During the COVID-19 pandemic, the cultural sector was forced to innovate itself rapidly, with accelerated digitalisation, in order to reach and stay in touch with it's audience. It is a fact that art consumption has experienced great shifts. But the main focus of this research is not the vehicle of communication during the pandemic, nor the access to culture or to its beneficiaries, but the content of the cultural offer provided by theatre institutions in this period, content that had to be adapted to the new reality and would define, from now on, its utility and meaning.

Challenges In the first months of the pandemic crisis, the cultural sector has experienced an increasing demand for digital content directly accessible from the private households. The consumers have been eager to distract themselves and this behaviour has emphasized the importance of cultural consumption in everyday life. Consequently, the cultural institutions (the theatrical ones in particular, as they are the focus of this research), have tried to be as responsive as possible to this growing demand by engaging in digital solutions for delivering cultural content, organising at the same time the use of alternative dissemination tools of content on different online platforms: virtual tours, “Q&A” sessions with artists, online performances, free access to materials, interviews, photo or video archives, etc. The main characteristic of these alternatives was, for a period, their open and free access, that mainly aimed to ensure a dynamic alternative to their normal activity and show solidarity with the audience, at the same time. But the sudden and compulsory digital consumption of culture has raised some issues little faced before. On one hand, the capacity or delay of some theatrical institutions to enter the digital era efficiently in terms of tools and techniques. Then, the necessity of moving cultural content without previous preparation to an exclusively online format (as well as the sustainability of such an action). We must keep in mind that many institutions did not have the financial or technical resources to develop digital projects, that the employees did not have the necessary training or skills for the use of digital technologies

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and, last but not least, the fact that a great part of the cultural content was not suitable for digitization, as theatre is mostly the result of presence, generated by the live encounter between the artists and the audience. The mediation of virtual channels could definitely compromise the act of reception. On the other hand, questions of online content, of platforms, of frequency of posts and broadcasts, of format, the video and sound quality of the cultural offer, the ability to effectively reach and interact with an online audience that needed to be built, are other issues raised by the new paradigm. In consequence, the theatrical institutions had to change their way of creating a cultural offer and rebuild audience in challenging circumstances. Their meaning and utility were questioned, so measures had to be taken in order not only to survive, but to overcome the crisis by reinventing themselves. Kipping in mind the opportunities generated by the new reality that has suddenly opened the door to innovations for both art and artists, being able to reach at the same time new audiences, outside the theatre venues and halls. If the first reaction to challenge was to adapt the existing cultural offer to the new exigencies (streaming online previous filmed performances, for example), the providers of cultural offer soon understood that the content had to be adapted to the new communication channels and needs, in order to be efficient and meaningful. Creativity, engagement and responsibility towards the communities they serve moulded therefor the projects and programmes developed by theatrical institutions during pandemic times. By learning the hard way, experimenting, forcing the acquirement of new skills, transforming existent resources and reinventing their art, according to the new demands.

EXCELSIOR Theatre. A case study Mission EXCELSIOR Theatre is a performing arts public institution dedicated to children and teenagers. It is a repertoire theatre that has assumed the mission of responding to the genuine needs of today's society: the lack of coherent cultural offers specially designed for youngsters. The theatre assumed an ambivalent mission: on the one hand, to use the act of culture as an engine for education in order to transform the young spectator into a “genuinely cultural being”, and, on the other hand, to use education as a way of disseminating and producing culture. Through the projects and programmes that is normally running, EXCELSIOR Theatre aims to build a creative space and a discussion platform, both dedicated to youngsters. In addition, they mean to bring the new generation closer to the performing arts, in the various aesthetic forms they might take, by developing cultural projects of national and international scale which can open up new horizons for a dialogue between creativity in theatre and other related fields and supporting permanently the cultural development of the targeted audience. The mission statement of EXCESLIOR Theatre develops on two main directions: cultural valorisation and educational redefinition, joined by other three complementary goals: social

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Research involvement, openness to international relations and, last but not least, a direct approach to family (Teatrul EXCELSIOR, 2019).

2. Shifting cultural offer during COVID-19 pandemic Normally running a dens activity that involves presence and experience exchange through a rich performance programming (having a repertoire based on valuable titles from both the universal and national literature), educational and creative programmes (such as NEW DRAMA, Playwrighting contest for adolescents or RELIEF, a young theatre laboratory), workshops or festivals, open guided discussions with the audience on topics concerning the sphere of their interests in relation to the subjects proposed on stage, from the beginning of the COVID-19 pandemic, EXCELSIOR Theatre committed to respond to its duties towards its beneficiaries through a new, improved and meaningful cultural offer. Many theatres metaphorically opened their doors with virtual tours, used their own archived materials, offered for free live streamed or pre-recorded performances. But when addressing young audience, the engagement had to preserve the participative feature, aside the cultural and educational traits that were already dictated by the theatre's mission. So, for the online cultural offer, EXCELSIOR Theatre focused on developing new projects able to attract, engage and stimulate the direct and indirect beneficiaries’ interest (parents, grandparents, guardians of the minor spectator), leaving behind the „normal” activity. Subsequently, a long series of original „online shows”, produced exclusively with the artistic and technical team of the theatre, using only the existing resources was created. Projects dedicated to children: • The world behind the curtain (16 episodes) – an original series that took the spectators behind the scenes, to discover the theatre's secrets, guided through mysterious chambers by the most beloved characters from the children’s performances. The series presented their adventures and discoveries in search of the stage, after remaining trapped inside the theatre, during lockdown. In this amusing way, the dressing rooms, the scene and costume workshops or storehouses, the electric magazines, the sound and light cabins, the stage mechanisms were revealed to the children that never before had the opportunity to see what lies behind the curtains of a theatre. • The wizard knows it all (10 episodes) – an original series filmed on a specially designed set, build on stage, tells the story of a clumsy but witty

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wizard that answers unique questions asked by children. His messengers are the most cherished characters from famous fairy-tales. The use of special effects in editing and post-production gives to this series the magical touch and modernity that children adore, transmitting at the same time educational information, not just a fun time.

• EXCELSIOR Arts&Crafts (43 episodes) – tutorials of „do it yourself” (games, puzzles, origami, building toys), coordinated by actors who encourage creativity and manual skills, as much as spending quality time with the family. • Bedtime story (46 episodes) – filmed famous stories, illustrated and read by the theatre's actors, for children with ages between 6 and 12. • The afternoon story (41 episodes) – filmed famous stories, illustrated and read by the theatre's actors, for children with ages between 4 and 8.

Projects dedicated to youngsters: • EXCELSIOR Podcasts (42 episodes) – a complex 45 minutes live debate show held by 4 to 6 actors, on subjects concerning the theatrical field, the production of a play, the rehearsal period, the creation of a part or of a character, mentoring sessions for adolescents interested in pursuing a theatrical training or carrier, etc. • #UrbanTheatricalDictionary (40 episodes) – an original educational-comic series specially written to reveal the theatrical vocabulary and the plurality of meanings of certain words that, in theatre receive unexpected significance. Filmed in different locations, presenting the most eccentric characters in the most uncommon situations, give a glimpse into the infinite possibilities that theatre has to offer, transmitting at the same time valuable cultural information. • IMPROVChallenge (32 episodes) – an explosive improvisation show, filmed on a TV set build on stage, challenges each time the 7 actors involved to react to surprising tasks. The show stimulates both the artistic team and the spectator to open up to the unexpected.

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• Roast Gallery: EXCELSIOR Re- Act (7 episodes) & Two chairs and a table (4 episodes) – two short formats meant to present in an amusing way the artists and the productions of EXCELSIOR Theatre. • Missing theatre (29 episodes) și Inside-Out (14 de episodes) – two formats that invited the actors and the audience to present their artistic achievements from confinement, in order to stimulate their creativity and encourage a positive and productive mindset.

The strategy and goals The online programme of EXCELSIOR Theatre focused on creating a coherent cultural offer providing an alternative form of training, complementary to formal education that aimed to improve the horizon of children and youngsters, to provide a propitious context for practicing and cultivating various inclinations, skills and abilities of the young generation. It was also conceived as a method of intervention that encourages a positive attitude, finding solutions to defend the values and principles in which the beneficiaries believe, to use art as therapy – a way to stimulate interaction, emotional intelligence, the ability to deal with emotions and increase self-esteem, especially in times of crisis. The offer also aimed to provide a framework where parents could interact directly with their own children in order to better understand their needs, and be, at the same time a reliable source of cultural information and an educational platform. As regards the theatre's artistic and technical team, this period was used as a trial session. An internal laboratory, an experimentation and training time, when creativity and the acquirement of new skills and qualifications become a must. Not less important were the opportunities to raise awarenss and reach new audiences trough the online promotion and marketing strategies that became more effective once the entire cultural offer of the theatre was moved online.

The peculiarities of the online offer, the communication channels and the results The online programme of EXCELSIOR Theatre was transmitted on the YouTube Channel and Facebook page of the institution, with different frequency. During the lockdown, every day, from Monday to Sunday original content filmed in confinement has been posted on the two platforms, at hours that proved to be the most suitable for the audience. According to the monitorization of the online activity, more than 2.5 million people engaged or followed the cultural offer provided by the theatre from the end of March till June of 2020.

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After the lockdown, still unable to open to the public, the online content was diversified and the production of each project became much more elaborated: sets were built on stage, using at the same time many outdoor or indoor filming sets around the city, special scripts were written, filmed rehearsals took place, editing the recorded video and audio materials, as well as adding special effects became a must for every featured episode. From September 2020 till March 2021, posting 3 to 5 original episodes weekly, another 4 million virtual spectators followed the online programme produced by the theatre. The peculiarity of EXCELSIOR's online cultural offer and success is the fact every project was specially conceived for online communication, starting with the content, the topics, the aesthetics, the technical features, the way of acting, filming and editing and finishing with the designed impact calculated in relation to a studied consumption behaviour and acknowledgement of the beneficiaries needs.

The benefits of an online cultural offer According to the National Institute for Cultural Research and Training, the benefits of an online cultural offer are (INCFC, 2020b): • the accessibility of the cultural act: maintaining and facilitating access to artistic creation and cultural products. • diversification of the cultural offer: watching programmes remotely, regardless of the geographical positioning of the consumer, directly in one’s own home. • visibility of cultural institutions: the public can discover new institutions, actors and directors, various interpretations of classical plays. • the possibility of the public to easily choose and change between the cultural products consumed. In addition, beside the creative diversification of programmes and the new audiences gained, the benefits of producing a particular and meaningful online cultural offer reflected on the team’s capacity to adapt, on the skills acquired, on the confidence and feeling of purpose gained in this critical period.

Conclusions All major crises throughout history have often been an engine of a renaissance of culture and an explosion of new forms of creativity, so vital for the progress of art and of the guild. During the lockdown, many theatrical institutions moved old or new content online in order to keep audiences engaged and satisfied, at the same time. The increased demand for this kind of content was obvious. But in the case of culture, the needs or habits of the beneficiaries are not always well expressed or defined, so the ones who provided it, needed to create a custom of consumption. They first had to assess their beneficiaries’ needs and afterwards to respond creatively, never forgetting their responsibility toward the community, their duty to elevate the cultural level of its beneficiaries, to cultivate taste and moral values, to ensure social integration by accepting differences and by educating the

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Research citizens in his respect. And much more in this period, to show solidarity with the society and comfort those in need. The shutdown period has also significantly affected the pattern of art consumption, due to its social and experiential dimension that was suddenly suspended. If some of these patterns have temporarily disappeared since the beginning of the crisis (physical, collective, indoor experience), some others have dramatically risen (virtual, free, private cultural experience). According to Throsby (1994), cultural consumption is a process of accumulating knowledge and experience which affects future consumption. Customer satisfaction is crucial even in the art business, where success is mostly measured by customer’s experience and participation (Anderson 2004; Hume and Sullivan Mort 2008, 2010). (Radermecker, 2020) Consequently, this was the time for the theatrical institutions to create new compelling cultural offers, able to forge habits and „addictions” to cultural content, as their future is at stake. Resilience was the main feature of the theatrical guild in pandemic times. And its positive impact is quantifiable. After assessing trough case studies, inquiries and research the content and impact of the cultural offers provided by cultural institutions and the consumption behaviour of the audience, we are inclined to say that he COVID-19 pandemic changed all paradigms. They encouraged a more responsible, pro-cultural, pro-social, pro-environmental behaviours. They managed to ensure all this by reinventing themselves, by offering emotionally impacting narratives and by improving the audience understanding of the consequences of the major threats. And not in the least, by restoring the belief in the endless possibilities of art put into the service of humanity.

References: 1. BONET, Lluis, SCHARGORODSKY, Hector (2017) Managementul teatrelor. Modele și strategii pentru organizații și instituții de spectacol. Craiova: Pro Universitaria. 2. CROSSICK, G., KASZYNSKA, P. (2016) Understanding the Value of Arts and Culture. Arts and Humanities Research Council. 3. Institutul Național pentru Cercetare și Formare Culturală (2015-2019) Barometrul de consum cultural. Craiova: Pro Universitaria. 4. McDONNELL, T., TEPPER, SJ. (2014) ”Culture in crisis: deploying metaphor in defense of art”, Poetics, Volume 43, April, pp. 20-42. 5. MOLES, Abraham (1974) Sociodinamica culturii. București: Ed. Științifică. 6. THORSBY, David (1994) “The Production and Consuption of the Arts: a View of Cultural Economics” in Journal of Economic Literature, 32(1), pp. 1-29. 7. TOFFLER, Alvin (2000) Șocul viitorului. Botoșani. Ed. Laocoon.

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Online references: 1. UNESCO (2020) Culture & covid-19, impact & response tracker [Online]. Available at: https://en.unesco.org/sites/default/files/issue_2_en_culture_covid-19_tracker- 4.pdf (Accessed: 03.12.2020) 2. INCFC (2020) Readjusting Cultural Consumption [Online]. Available at: https://culturadatainteractiv.ro/monitoring-the-cultural-domain-in-romania- during-the-covid-19-crisis/cultural-consumptions-readjustment/ 3. INCFC (2020) Trends in the cultural consumption during the pandemic – first edition – [Online]. Available at: https://culturadatainteractiv.ro/trends-in-the-cultural- consumption-during-the-pandemic-first-edition/ (Accessed: 03.12.2020) 4. OECD (2020) Culture shock: COVID-19 and the cultural and creative sectors [Online]. Available at: https://www.oecd.org/coronavirus/policy-responses/culture-shock- covid-19-and-the-cultural-and-creative-sectors-08da9e0e/ (Accessed: 03.12.2020) 5. RADERMECKER, Anne-Sophie (2020) Art and culture in the covid-19 era: for a consumer oriented approach [Online]. Available at: https://link.springer.com/article/10.1007/ s43546-020-00003-y (Accessed: 03.12.2020) 6. Teatrul EXCELSIOR (2019) Raport de activitate Teatrul EXCELSIOR 2018 [Online]. Available at: https://www.teatrul-excelsior.ro/wp- content/uploads/2019/08/Raport-de-activitate-Manager.pdf (Accessed: 03.12.2020)

Maria Rotar is a theatre director, translator and, since 2017, the artistic director of EXCELSIOR Theatre in Bucharest. She has a bachelor’s degree in Theatre Directing from The National University of Theatre and Film "I.L. Caragiale" in Bucharest, a Master degree in Theatrical Studies, Cultural Management and Marketing and an ongoing Phd in Theatre Management at the same university, as well as a bachelor degree in Foreign Languages and Literatures (Italian and Portuguese) from The University of Bucharest. Starting with 2011 she had numerous collaborations with different theatrical institutions from Romania and abroad, where she directed, translated or was the assistant director of different performances. She also coordinated various cultural conferences, as well as national or international theatre festivals.

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Teatrul online nu s-a inventat în pandemie

Marina HANGANU ”George Ciprian” Theatre, Buzău, Romania [email protected]

Abstract: Theatre dependent on proximal audiences has become difficult or utterly impossible during the pandemic, whereas performances that take place exclusively online are now common. Instead of sparking actual innovations, the COVID-19 crisis has brought to the fore experimental artistic practices that were largely marginal until recently. This article contextualises online theatre nationally and internationally with reference to the diverse morphology of telematic art and to some of the artists who have contributed to its development since the 1960s. The much-debated concept of ”liveness” resurfaces as a way of distinguishing between performance that uses the Internet solely as a distribution and consumption medium and telematic art, which integrates it structurally. While the ”force majeure” strand of online performance is a form of creative resilience, the artistic incorporation of telecommunications goes beyond practical necessity. Mainstream theatre, currently brought to its limit, can learn from the history of experimental theatre and thus enlarge its means of expression, its rehearsal methods and its understanding of ”presence”. Keywords: telematics, online theatre, experimental art, mainstream, force majeure. How to cite: HANGANU, Marina (2020) ”Teatrul online nu s-a inventat în pandemie”, Concept 2(21), pp. 13-26.

Introducere Teatrul la distanță nu a fost inventat în pandemie. Așa cum voi demonstra în continuare, criza COVID-19 nu a generat inovații, ci a scos la iveală practici artistice experimentale în mare parte necunoscute în afara cercurilor de specialiști. Cel mai influent exemplu este arta telematică, a cărei tradiție este lungă, dar care abia acum a pătruns în „mainstream”. Voi realiza o schiță de ansamblu a varietăților de teatru telematic (ca subdiviziune a practicilor performative telematice), atrăgând atenția asupra faptului că

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folosirea tehnologiilor de comunicare la distanță nu este rezervată exclusiv unui teatru în forță majoră.

Ce este și ce nu este arta telematică? Telematica este domeniul telecomunicațiilor digitale (telecomunicații plus informatică). Numesc telematic orice spectacol care folosește Internetul și, în sens larg, telecomunicațiile, ca schelet compozițional – sau, în termenii lui Jennifer Parker-Starbuck, ca tehnologie subiect fără de care spectacolul nu ar putea să aibă loc (Parker-Starbuck, 2011). Teatrul telematic conectează cel puțin două spații diferite într-o buclă de feedback (conexiunea nu este unilaterală). Nu există un consens cu privire la cel mai potrivit nume pentru acest tip de artă (Sant, 2013, pp. 255-257). Câteva denumiri frecvent întâlnite (care nu se suprapun perfect) sunt networked performance (performance interconectat, în rețea), online performance, Internet performance, cyberformance, cybertheatre, distributed performance, telepresent performance, teatru-Skype și lista poate continua. O distincție între termeni este uneori realizată între spectacolele care au loc în realitatea virtuală (simulare computerizată) și cele care conectează spații fizice. De pildă, Steve Dixon (2007), Maria Chatzichristodoulou (2010) și Sarah-Bay Cheng (2010) se referă doar la spectacolele distribuite în spații fizice aflate la distanță ca fiind telematice.1 Helen Varley Jamieson (2008), cea care a inventat termenul cyberformance, remarcă, însă, că orice conexiune la distanță prin Internet, inclusiv într-un spațiu VR, este telematică din punct de vedere tehnic. Chiar dacă Maria Chatzichristodoulou consideră teatrul telematic o subdiviziune a cyberteatrului, voi adapta clasificarea ei și voi împărți teatrul telematic în spectacole care au loc în 1) spații fizice, 2) spații virtuale (VR) sau 3) spații fizice și virtuale. Din moment ce tehnologia evoluează rapid, teatrul și performance-ul telematic sunt într-un flux continuu. Cu toate acestea, nu ezit să afirm că arta telematică este o categorie artistică deja formată, din moment ce condiția absenței fizice, dublată de teleprezență, este comună tuturor formelor sale și a fost explorată îndelung. Așa cum am scris cu altă ocazie, există mai multe tipuri de teleprezență (vizuală, sonoră, sau prin tele-acțiune fizică) (Hanganu, 2019, pp. 63-64), dar teleprezența audio-vizuală este cel mai des întâlnită. Numeroși artiști-cercetători2 au scos în evidență importanța caracterului live al performance-ului telematic.3 Spectacolele care au loc într-un singur spațiu și sunt transmise prin live-streaming (webcast) nu sunt artă telematică; ceea ce nu înseamnă că teatrul telematic nu poate fi transmis și prin live-streaming. Nici spectacolele înregistrate în avans și difuzate în „premieră live” pe YouTube sau Facebook nu sunt artă telematică – aici, caracterul live ține strict de specificul tehnologic și de co-prezența temporală a publicului

1 Chiar dacă Dixon și Chatzichristodoulou nu afirmă acest lucru explicit, deducția mea se bazează pe exemplele pe care fiecare le analizează în cadrul diferitelor categorii și pe clasificarea cyberteatrului oferită de Chatzichristodoulou (discutată în continuare). 2 De pildă, Maria Chatzichristodoulou, Helen Varley Jamieson și Christina Papagiannouli. 3 Caracterul live e important pentru teatru în general.

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Research dispersat geografic (vezi și celebra dispută academică Peggy Phelan – Philip Auslander). „Viul” unei înregistrări diferă, însă, complet de schimbul în timp real între actori și public. În ambele situații, „live-streaming” și „premieră live”, Internetul e doar un mediu de distribuție și consum. Pentru ca un spectacol să fie telematic, cel puțin una dintre aceste relații trebuie să fie mediată live de tehnologie, facilitând un schimb bidirecțional: 1) între performeri (actorii fiind o subcategorie), 2) între performeri și public, 3) între membrii publicului (atunci când schimbul dintre ei este structurat artistic și face parte din rama performativă). În cele trei cazuri, persoanele (sau obiectele interactive) se află în spații diferite și interacționează de la distanță în timp real. Conștientizarea de către public a faptului că schimbul de informație între spațiile diferite se petrece live este important în telematică. Dacă desfășurarea în timp real nu este semnalată într-un fel sau altul, publicul poate crede că vizionează o înregistrare. O formă de participare sau interactivitate este benefică atunci când vine vorba de spectacole accesibile exclusiv online. În cea mai simplă formă a sa, un text-chat live (chiar și numai între membrii publicului) poate suplini co-prezența fizică în sala de teatru și poate inversa creativ convenția împământenită de a nu „vorbi” în timpul spectacolului.4 Posibilitatea unui schimb live între actori și public sau cel puțin semnalarea clară a prezenței publicului de către actori este crucială pentru senzația de viu (englezescul liveness) în spectacolele care au loc exclusiv online. Simplul fapt că publicul se află în aceeași întâlnire pe Zoom cu actorii, chiar dacă nu interacționează cu ei, poate fi un semn al caracterului live. Desigur, publicul poate fi „păcălit” prin crearea unui webcam virtual fals, dar aceasta e o altă discuție. Membrii publicului se pot afla la distanță față de actori, în același spațiu fizic cu actorii sau la distanță față de unii actori și în același spațiu cu alți actori. Mai mult, ei pot participa la acțiune, pot interacționa de la distanță, cu actorii sau între ei, sau pot avea un rol tradițional, fără a fi implicați direct în acțiune. Publicul telematic poate cuprinde indivizi dispersați geografic, în fața dispozitivelor lor, sau poate fi constituit din grupuri co-prezente fizic sau în spații virtuale. Nu e obligatoriu ca performerii să fie oameni – un braț robotic manipulat de la distanță,5 un canar sau un filodendron6 pot foarte bine să devină performeri non-umani într-o instalație telematică. Multiplicând tipologiile de mai sus cu numărul de spații care pot fi conectate în diverse configurații (trebuie să fie minim două, dar nu există o limită superioară, teoretic),

4 Am întâlnit acest comentariu la membrii publicului spectacolului online Mad Forest (2020), dar și urmărind înregistrări difuzate pe YouTube Premiere alături de oameni din lumea întreagă în cadrul programului online al Teatrului Național din Londra (National Theatre Live). Pentru Mad Forest, vezi: https://fishercenter.bard.edu/events/spring-mainstage-2020/ (accesat 01.08.2020). 5 Cel mai cunoscut exemplu este, probabil, instalația telematică Telegarden realizată de artistul Ken Goldberg (1995-2004): https://goldberg.berkeley.edu/garden/Ars/ (accesat 31.07.2020). 6 Vezi instalația telematică a lui Eduardo Kac: Essay Concerning Human Understanding (1994): http://www.ekac.org/essay.html (accesat 31.07.2020).

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se poate deduce varietatea imensă a artei telematice existente sau potențiale, fie că vorbim de teatru, dans, performance art, instalație sau muzică.

De ce telematică? Judecând după experimentele inițiale de artă telematică bazate pe tehnologii precum telex, telefon, SSTV7 și conexiuni prin satelit, o bună parte din atracția telematicii pare să fi fost posibilitatea de a crea la distanță alături de alți artiști și/sau alături de public.8 Conținutul propriu-zis era marginal în unele dintre aceste forme timpurii în comparație cu simplul act de a colabora la distanță.9 Dorința de a lucra cu artiști internaționali și de a ajunge la un public dincolo de granițele geografice este o justificare suficient de puternică pentru existența teatrului și a performance-ului telematic și poate fi un domeniu bogat pentru pedagogia teatrală și pentru descoperirea unor noi metode de a repeta. E cazul proiectului universitar Immersive Telepresence in Theatre10, realizat de Universitatea Coventry (UK) în parteneriat cu Universitatea din Tampere (Finlanda) și cu alte universități din lume începând cu 2015. În ceea ce privește rolul practic al telematicii, această ramură este o rudă îndepărtată a teatrului în forță majoră, dar merge dincolo de majoritatea exemplelor de teatru în pandemie prin adoptarea conștientă a unei poetici a spațiilor îndepărtate și a întâlnirilor interculturale. În ce mă priveşte, sunt atrasă în special de teatrul telematic care se raportează la tehnologie inclusiv la nivel de conținut, telematica devenind într-adevăr o tehnologie-subiect. Aceste spectacole justifică folosirea telematicii comentând asupra tehnologiei înseși și asupra efectelor ei, cum ar fi separarea și simultaneitatea. Indiferent de motivația lor, performance-urile telematice sunt cu adevărat reușite atunci când explorează specificitatea mediului digital.

Context pre-pandemic Categoria largă a performance-ului telematic (performance art, instalații, teatru, dans, muzică) datează cel puțin din anii ’60 odată cu mișcarea Fluxus (Allan Kaprow și nu numai). Unul dintre primele exemple de teatru telematic a fost Double Entendre, realizat de David Douglas în 1980 folosind transmisiunea audio-video prin satelit.11 Au trecut 40 de ani

7 SSTV, „slow scan television”, e o formă timpurie de a transmite imagini la distanță, cadru cu cadru, nu sub formă de video cursiv. 8 Eduardo Kac oferă o istorie detaliată a primelor forme de artă telematică în cartea sa, Telepresence and Bio Art: Networking Humans, Rabbits and Robots. 9 Vezi, de exemplu, performance-ul realizat de Liza Bear și Keith Sonnier: Send/Receive Satellite Network (1977): https://www.keithsonnier.net/sendreceive.html (accesat 01.08.2020). 10 Immersive Telepresence in Theatre: https://telepresenceintheatre.coventry.domains/uncategorized/hello-world/ (accesat 01.08.2020). 11 Chiar dacă nu e în mod normal considerat „teatru”, îl includem aici datorită existenței unei acțiuni ficționale realizate de performeri care și-au asumat personaje. O descriere e disponibilă aici: http://www.mediaartnet.org/works/double-entendre/ (accesat 31.07.2020).

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și teatrul telematic (alături de arta telematică în sens larg) a continuat să se dezvolte, ceea ce dovedește negreșit că dorința de a depăși distanța fizică este mai profundă decât necesitatea pur practică de a face asta. Dintre artiștii și companiile celebre care au activat (sau încă mai activează) în domeniul teatrului telematic, menționez The Hamnet Players (Stuart Harris, SUA – teatru telematic prin text chat), The Plaintext Players (Antoinette LaFarge et al., SUA – teatru telematic în medii virtuale textuale MOO și spații fizice), Stephen Schrum (SUA – teatru telematic în medii virtuale textuale MOO), Desktop Theatre (Adriene Jenik și Lisa Brenneis, SUA – teatru telematic în medii virtuale), Second Life Shakespeare Company (SLSC – teatru telematic în Second Life), Avatar Body Collision (artiste din țări diferite: Helen Varley Jamieson, Karla Ptacek, Leena Saarinen, Vicki Smith – teatru telematic în spații virtuale și fizice), George Coates Performance Works (SUA – teatru telematic în spații fizice), The Gertrude Stein Repertory Theatre (Cheryl Faver și John Reaves, SUA – teatru telematic în spații fizice), Blast Theory (UK – teatru/performance în realitatea mixtă), Station House Opera (UK – teatru telematic în spații fizice), The Chameleons Group (Steve Dixon et al. – teatru telematic exclusiv online), Maria Chatzichristodoulou (UK – teatru telematic cu public exclusiv online), Christina Papagiannouli (UK – teatru telematic cu public exclusiv online), Studio Biscoe (teatru, dans și muzică în spații fizice și virtuale), La MaMa CultureHub New York (producător de evenimente telematice), proiectul Immersive Telepresence in Theatre (UK și Finlanda), Kay Voges (Germania) sau Sylvia Lane (UK – teatru-dans telematic). În domeniile artistice învecinate (și nu întotdeauna perfect separabile unele de altele sau față de ceea ce numim „teatru”), cum ar fi dansul, performance-ul și instalațiile telematice, îi amintesc pe Kit Galloway și Sherrie Rabinowitz,12 Nam June Paik, Roy Ascott, Bill Bartlett, Robert Adrian X, Ken Goldberg, Eduardo Kac, Paul Sermon, Andrea Zapp, Johannes Birringer și grupul ADAPT, Gerfried Stocker (Ars Electronia, Austria), Troika Ranch (SUA), Konic THTR (dans și performance telematic), Dries Verhoeven, Annie Abrahams, Suzon Fuks sau Daniel Pinheiro. Listele sunt departe de a fi exhaustive. În România, cel mai vechi spectacol de teatru telematic despre care am găsit informații este Alice (Pe urmele lui Lewis Carroll), regizat de Kedves Emőke în 2013.13 Spectacolul a fost co-produs de Teatrul Maghiar de Stat Csiky Gergely din Timişoara și Inno- Motive Nonprofit Kft. din Szeged, sub egida Programului de Cooperare Transfrontalieră Ungaria-România 2007-2013.14 Sălile de teatru din Timișoara și Szeged erau conectate prin video-conferință, iar actorii-copii jucau în limba engleză, filmați în timp real de cameramani. Publicul din România vedea ce se întâmpla în Ungaria și, invers, cei din Ungaria vedeau

12 Spectacolul de dans Satellite Arts Projects, realizat în 1977 prin conexiune audio-video prin satelit cu sprijinul NASA, este un reper al artei telematice. 13 Nu exclud existența unor alte spectacole telematice realizate în România înainte de această dată. E întotdeauna riscant să afirmi că un spectacol a fost sau nu „primul”. 14 Descrierea spectacolului Alice (Pe urmele lui Lewis Carroll): http://www.tm-t.ro/ro/?page=listpaged&pid=545&arh=1 (accesat 03.01.2021).

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proiectată acțiunea din România. Spectacolul era de asemenea transmis live pe Internet sub forma unui montaj din ambele spații.15 Un alt exemplu este Long Distance Affair, care constă într-o serie de performance- uri create de compania PopUP Theatrics (Ana Mărgineanu, Peca Ștefan, Tamilla Woodard) în colaborare cu artiști din toată lumea – actori, coregrafi, dramaturgi și regizori. Performance-urile conectează o persoană (membru solitar al publicului) și un performer distanțat geografic într-un episod de teatru intim unu-la-unu. Primele performance-uri au avut loc în 2011 pentru publicul din New York, apoi au fost prezentate în diverse contexte (Edinburgh Festival Fringe 2013, Buenos Aires 2013, București 2014 – în cadrul Platformei Internaționale de Teatru, ArCub). În timpul pandemiei, Long Distance Affair s-a reinventat pentru un public internațional izolat în casă și a cuprins și performance-uri pentru mai multe persoane conectate simultan.16 În 2020, PopUP Theatrics a produs și seria de spectacole pe Zoom Instrucțional pentru singurătate pentru un public distribuit.17

Practica personală Ca regizoare de teatru, am lucrat în domeniul teatrului și al performance-ului telematic din 2015. Cercetarea mea doctorală din cadrul UNATC „I.L. Caragiale” Bucureşti se axează pe dramaturgia teatrului telematic (dramaturgie în sensul de construcție a întregului spectacol, nu doar de scriere a unui text). Telematica este fascinantă pentru că oferă șansa explorării artistice a comunicării umane și non-umane, a separării, a conexiunii, precum și posibilitatea colaborării dincolo de granițe și dincolo de uman. Prima incursiune personală consistentă în domeniul telematicii a fost Strada Popa Rusu Nr. 30 (2015), un spectacol de teatru imersiv despre migrație și memorie.18 Maxim doi participanți odată explorau o instalație site-specific ghidați prin telefon de actrița Armine Vosganian, care juca rolul unei tinere emigrante. Chiar dacă personajul pretindea că sună din New York, actrița se afla într-o cameră diferită din aceeași clădire. Din moment ce spectacolul era un joc de imaginație, un amestec de ficțiune și realitate, participanții erau invitați să intre în rolul unor potențiali chiriași ai camerei din copilărie a personajului. Abia la final li se spunea unde se aflase actrița în tot acest timp – și o întâlneau în persoană. Tele-City (2016) a fost un proiect de performance telematic participativ pe smartphone care a implicat peste 100 de elevi de liceu din Buzău, Brașov, Iași și Brăila. Am conceput acest proiect cu scopul de a explora potențialul educațional al artei telematice în

15 Datorită generozităţii regizoarei Kedves Emőke am avut acces la înregistrare şi la alte materiale despre spectacol. 16 Vezi https://www.popuptheatrics.com/long-distance-affair.html și https://revistascena.ro/en/news/juggerknot- theatre -company-and-popup-theatrics-long - distance-affair/ (accesate 03.01.2021) 17 Vezi pagina spectacolului aici: https://instructionalpentrusinguratate.ro/ (accesat 03.01.2021). 18 Textul a fost scris împreună cu Armine Vosganian, care a fost și unica actriță. Vezi și Epîngeac, Alina, Un performance doar al tău – Strada Popa Rusu Nr. 30 în Yorick, 01/09/2015: https://yorick.ro/un-performance-doar-al-tau-strada-popa-rusu-nr-30/ (accesat 03.01.2021)

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Research contexte non-formale. Adolescenții lucrau în grupuri mici (2-3 persoane, deși au fost și excepții) pentru a prezenta în mod creativ obiective din orașul lor unui grup de elevi situați într-o sală de clasă dintr-un alt oraș. Publicul le putea adresa întrebări în timp real celor de pe teren.19 Tele-City s-a dezvoltat din Before Sunset/After Sunrise (2015-2016), o serie de performance-uri telematice participative care au conectat maxim 2 participanți din Londra cu un performer aflat într-un oraș din altă țară (București, Varșovia, Białystok, Los Angeles, New York, Waukesha, Perth și Atena).20 La începutul sau la sfârșitul performance-ului (în funcție de variantă), participanții asistau la răsăritul sau la apusul soarelui în orașul performer-ului, transmis în timp real prin video-conferință pe smartphone. Cel mai amplu proiect de teatru telematic pe care l-am coordonat este Tele- Encounters (2017-2019), co-finanțat prin programul Europa Creativă al Uniunii Europene.21 În afară de activitatea de management, am fost co-dramaturg (alături de Ion Mircioagă) și co-regizoare (alături de Ion Mircioagă și Javier Galindo) a spectacolului de teatru telematic Planeta Viselor Pierdute (2018, Buzău-Murcia). Cele 17 reprezentații au avut loc simultan în România și Spania, cu public și actori prezenți fizic în ambele spații. Actorii aflați la distanță interacționau live prin video-conferință și avataruri animate controlate prin Kinect. Piesa urmărește povestea unei familii despărțite de migrație și a fost inspirată de interviuri cu emigranți români din Spania și copii rămași acasă. Una dintre reprezentații a fost transmisă live pe YouTube din România.22

19 Un scurt documentar: https://youtu.be/MD3FpOWKvFA (accesat 01.08.2020). Vezi și cartea proiectului: Hanganu, Marina, Mihai, Paula, Mircioagă, Ion (ed.) (2016) Tele-City: Telematica și Pedagogia, Buzău: Ed. Alpha. Tele-City a fost produs de Teatrul „George Ciprian” Buzău și co-finanțat de AFCN. 20 Before Sunset/After Sunrise a fost prezentat în cadrul Bloomsbury Festival 2015 și We Are Now Festival 2016 (The Roundhouse). Mai multe informații sunt disponibile aici: https://beforesunsetaftersunrise.wordpress.com/. Trailerul: https://youtu.be/9ts6NqIAyg4 (accesat 01.08.2020). Performerii: Cristina Ispas, Jess Kaufman, Jakub Snochowski, Jack Davenport, Nefeli Tsipouridi, Cătălina Bălălău, Lucian Rus, Martin Lindsay, Rania Kim și Simona Maican. 21 Lider de proiect: Teatrul „George Ciprian” Buzău. Parteneri: UCAM Universidad Católica San Antonio de Murcia (Spania) și Município de Lousada (Portugalia). Site-ul oficial al proiectului: https://www.tele-encounters.com/ (accesat 01.08.2020). Toate rezultatele proiectului sunt disponibile și aici: https://ec.europa.eu/programmes/creative-europe/projects/ce-project- details/#project/583840-CREA-1-2017-1-RO-CULT-COOP1 (accesat 01.08.2020). 22 Spectacolul de teatru telematic Planeta Viselor Pierdute a fost realizat în 2018 în cadrul proiectului Tele-Encounters, co-finanțat prin programul Europa Creativă al Uniunii Europene. Concept telematic: Marina Hanganu. Text de Ion Mircioagă și Marina Hanganu. Actori: Andreea Darie, Radu Solcanu, Ruxandra Oancea, Tony Blaya, Ana Polo. Regia: Marina Hanganu, Ion Mircioagă (RO), Javier Galindo (ES). Scenografia: Alexandra Constantin. Design multimedia: Ygreq Interactive/Mindscape Studio. Producători: Teatrul „George Ciprian” Buzău (România) și UCAM Universidad Católica San Antonio de Murcia (Spania).

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Fig. 1 Planeta Viselor Pierdute (2018, Buzău-Murcia) (de la stânga la dreapta) Ana Polo și Ruxandra Oancea pe scena de la Centro Párraga (Murcia) și (pe ecran) Andreea Darie și Radu Solcanu, live de pe scena Teatrului „George Ciprian” (Buzău). Foto: Francisco José Ruiz.

Fig. 2 Teste cu animația digitală controlată prin Kinect. În spectacol, în lumea imaginară mamă-fiică, Andreea Darie (România) și Ruxandra Oancea (Spania) se întâlneau pe ecran și puteau desena (în culori diferite). Foto: Costin Fetic.

Fig. 3 Andreea Darie în România (pe scenă) și Ruxandra Oancea în Spania (proiecție). Planul general al camerei din Spania creează impresia unui spațiu comun. Foto: Costin Fetic.

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Fig. 4 În Spania, Ana Polo, Ruxandra Oancea și Tony Blaya își iau rămas bun de la public. În proiecție vedem publicul din România. Foto: Francisco José Ruiz.

În 2020, am obținut o nouă finanțare Europa Creativă pentru un proiect care duce mai departe cercetarea artistică și sociologică începută în Tele-Encounters într-un nou concept. Proiectul Tele-Encounters: Beyond the Human (2020-2023) explorează relația dintre om și robot în contextul singurătății la vârste înaintate. În colaborare cu artiști români și italieni, voi realiza un spectacol telematic (2022) care va conecta Teatrul „George Ciprian” din Buzău și teatrul Industria Scenica din Vimodrone, Italia. Unul dintre performeri va fi un robot construit special.23

23 Vezi https://ec.europa.eu/programmes/creative-europe/projects/ce-project-details/#project/ 616748-CREA-1-2020-1-RO-CULT-COOP1 (accesat 02.01.2021) și https://tele-encounters- beyond.eu/ (accesat 07.04.2021).

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Fig. 5 Posterul proiectului Tele-Encounters: Beyond the Human (2020-2023). Artistă: Daniela Dughiană

În timpul pandemiei, am regizat pe Zoom spectacolul Generation 200/Generația 200, produs de Teatrul „George Ciprian” din Buzău. Nu este, însă, un exemplu de teatru în forță majoră – aș fi optat tot pentru formatul telematic și în alte condiții. Generation 200 a avut o reprezentație-test în limba engleză în cadrul întâlnirii plenare a rețelei IETM și acum se joacă în două versiuni, una pentru un public internațional (în engleză), una pentru publicul din România. Spectacolul este interactiv și abordează un subiect futurist, dar poate nu atât de îndepărtat: extinderea duratei medii de viață. Actrița este Armine Vosganian, textul e scris de mine, iar structura de joc a fost elaborată împreună cu lect. univ. dr. Diana Dragomir (Vasile).24

24 Generation 200/Generația 200. Actriță: Armine Vosganian. Concept, regie, text: Marina Hanganu. Structură de joc: Diana Dragomir (Vasile). Light design, realizare instalație decor și operator video și lumini: Adrian Dragoman. Maestru sunet: Gabriel Ilie. Muzica: Mihaela Vosganian. Video: Armine Vosganian. Vezi un articol despre spectacol: Ionescu, Cristian, Buzoienii pot deveni personaje de teatru într-un spectacol despre „leacul” împotriva îmbătrânirii în Opinia, 08.12.2020: https://opiniabuzau.ro/buzoienii-pot-deveni-personaje-de-teatru-intr-un-spectacol-despre-leacul- impotriva-imbatranirii/ (accesat 03.01.2021).

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Fig. 6-7 Armine Vosganian în rolul Annei Assadour în Generația 200. Foto: Diana Nistor

Concluzie Performance-ul telematic care depinde de co-prezența fizică a unui grup de oameni în cel puțin unul dintre spații s-a dovedit dificil sau de-a dreptul imposibil în timpul pandemiei, în timp ce spectacolele pentru un public online au devenit comune. Un precursor al ramurii accesate exclusiv online este programul TV al lui Nam June Paik, Good Morning, Mr. Orwell (1984), care a adus împreună artiști importanți din Franța, Germania și SUA, teleprezenți în timp real prin satelit pentru un public global.25 Morfologic, teatrul în forță majoră face parte din aceeași ramură a artei telematice și orice pretenții recente cu privire la inventarea genului sunt nefondate. „Teatrul în forță majoră” nu trebuie desconsiderat – sunt câteva exemple semnificative realizate în străinătate și chiar în România în această perioadă. Pe plan național, se remarcă EXEUNT (spectacolul jucat live, regia Bobi Pricop), Tinerețe fără bătrânețe – povestiri din diaspora (regia Aristița Albăcan) și Instrucțional pentru singurătate

25 Mai multe detalii aici: https://www.eai.org/titles/good-morning-mr-orwell. Înregistrarea e disponibilă aici: https://www.youtube.com/watch?v=0oUdI-KFCyU&feature=youtu.be. (accesat 01.08.2020). Satellite Arts Project (1977) realizat de Kit Galloway și Sherrie Rabinowitz e tot un precursor evident al acestei ramuri, dar din câte știu eu nu a fost transmis live la TV.

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(PopUp Theatrics).26 Este esențial, însă, ca artiștii, criticii și teoreticienii să fie conștienți de lunga istorie a genului și de faptul că artiști din toată lumea optează pentru folosirea telematicii din motive estetice, nu din imposibilitatea fizică de a face teatru clasic. E mult să vorbim de „noi forme” sau „noi estetici” apărute în pandemie, deși s-a vehiculat în mod repetat acest punct de vedere în mediul teatral românesc și internațional. Ceea ce se petrece, de fapt, este deplasarea către centru a unor forme artistice până acum marginale. A discuta despre inovație în interiorul genului este cu totul altceva – desigur, arta telematică este un mediu propice pentru inovație, în pas cu situația socială și cu evoluția tehnologică. Dar pentru a discerne ce reprezintă inovație și ce nu, o privire în context este vitală. Consider că e nevoie de noi voci în teatrul românesc, inclusiv la nivel teoretic. Poate cei mai în măsură să scrie și să vorbească despre „noile estetici” sunt artiștii-cercetători, capabili să teoretizeze și să contextualizeze propria practică. Nu e nevoie doar ca teatrul „mainstream” să se reinventeze. Se face simțită nevoia acută a redistribuirii puterii și a mijloacelor de producție în teatrul românesc și a creșterii vizibilității artei experimentale. În lumina crudă a pandemiei, teatrul telematic a fost (re)descoperit ca formă de reziliență creativă. Dar el e mai mult de atât, așa cum se poate deduce din acest articol. Teatrul „mainstream”, în prezent ajuns la limită, poate învăța din istoria teatrului experimental lărgindu-și, astfel, paleta de expresie, metodele de repetiții și înțelegerea conceptului de „prezență”. Nu trebuie să facem toți teatru telematic – rezultatul ar putea fi o nedorită uniformizare artistică. Trebuie doar să fim deschiși la multiple moduri de „a fi” în artă și în lume și să știm unde ne situăm pe o hartă de corespondențe în spațiu și timp.

References: 1. BAY-CHENG, Sarah, KATTENBELT, Chiel, LAVENDER, Andy, NELSON, Robin (2010) Mapping Intermediality in Performance. Amsterdam: Amsterdam University Press. 2. CHATZICHRISTODOULOU, Maria (2010) CYBERTHEATRES: Emergent Networked Performance Practices. Teză de doctorat. Goldsmiths, University of London. 3. DIXON, Steve (2007) Digital Performance – a History of New Media in Theatre, Dance, Performance Art and Installation. London: The MIT Press. 4. HANGANU, Marina (2019) ”Dramaturgy and Telepresence” în Hanganu, Marina (ed.) Tele-Encounters: Telepresence and Migration. București: UNATC Press. pp. 56- 126. Vezi p. 63-64. 5. HANGANU, Marina, MIHAI, Paula, MIRCIOAGĂ, Ion (2016) Tele-City: Telematica și Pedagogia. Buzău: Ed. Alpha. 6. KAC, Eduardo (2005) Telepresence and Bio Art: Networking Humans, Rabbits, and Robots, Ann Arbor: University of Michigan Press. 7. PARKER-STARBUCK, Jennifer (2011) Cyborg Theatre: Corporeal/Technological Intersections in Multimedia Performance, London: Palgrave Macmillan.

26 Lista nu este exhaustivă.

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8. SANT, Toni (2013) ”Theatrical performance on the Internet: How far have we come since Hamnet?”, International Journal of Performance Arts and Digital Media, 9:2, pp. 247-259.

Online references: 1. EPÎNGEAC, Alina (2015) Un performance doar al tău – Strada Popa Rusu Nr. 30 [online]. Available at: https://yorick.ro/un-performance-doar-al-tau-strada-popa- rusu-nr-30/ (Accessed: 3 January 2021) 2. GORMAN, Tom et al. (2020) Immersive Telepresence in Theatre [online]. Available at: https://telepresenceintheatre.coventry.domains/uncategorized/hello-world/ (Accessed: 1 August 2020) 3. Instrucțional pentru singurătate (2020) Instrucțional pentru singurătate [online]. Available at: https://instructionalpentrusinguratate.ro/ (Accessed: 3 January 2021) 4. IONESCU, Cristian (2020) Buzoienii pot deveni personaje de teatru într-un spectacol despre „leacul” împotriva îmbătrânirii [online]. Available at: https://opiniabuzau.ro/buzoienii-pot-deveni-personaje-de-teatru-intr-un- spectacol-despre-leacul-impotriva-imbatranirii/ (Accessed: 3 January 2021) 5. Scena.ro (2020) Juggerknot Theatre Company and PopUP Theatrics: LONG DISTANCE AFFAIR [online]. Available at: https://revistascena.ro/en/news/juggerknot- theatre-company-and-popup-theatrics-long-distance-affair/ (Accessed: 3 January 2021) 6. Teatrul „George Ciprian”, Buzău (2016) Tele-City [online]. Available at: https://www.teatrulgeorgeciprian.ro/prezentare-tele-city/ (Accessed: 1 August 2020) 7. Tele-Encounters (2020) Tele-encounters [online]. Available at: https://www.tele- encounters.com/ (Accessed: 1 August 2020) 8. Tele-Encounters. Beyond the Human (2020) Tele-encounters. Beyond the Human [online]. Available at: https://tele-encounters-beyond.eu/ (Accessed: 1 August 2020) 9. VARLEY-JAMIESON, Helen (2008) Adventures in Cyberformance – experiments at the interface of theatre and the internet [online]. Available at: https://www.creative- catalyst.com/thesis.html (Accessed: 20 December 2019)

Performance references: 1. Alice (Pe urmele lui Lewis Carroll) (2020) Directed by Kedves Emőke [Teatrul Maghiar de Stat, Timișoara] 2. Before Sunset/After Sunrise by Marina Hanganu (2015) Directed by Marina Hanganu [Roundhouse Foyer, London] 3. Double Entendre (1981) Directed by Douglas Davies [Whitney Museum of American Art, New York & Centre National d'Art et de Culture Georges Pompidou, Paris]

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4. Essay Concerning Human Understanding (1994) Directed by Eduardo Kac [Center for Contemporary Art, Lexington (Kentucky) & Science Hall, New York] 5. EXEUNT by Lavinia Braniște (2020) Directed by Bobi Pricop [#Reactor de creație și experiment, Cluj-Napoca] 6. Generation 200/Generația 200 by Marina Hanganu (2020) Directed by Marina Hanganu [Teatrul „George Ciprian”, Buzău] 7. Good Morning, Mr. Orwell (1984) Directed by Nam June Paik [PBS station, New York & Centre Pompidou] 8. Mad Forest by Caryl Churchill (2020) Directed by Ashley Tata [Richard B. Fisher Center for the Performing Arts at Bard College, Annandale-on-Hudson, New York] 9. Planeta viselor pierdute by Ion Mircioagă și Marina Hanganu (2018) Directed by Marina Hanganu, Ion Mircioagă, Javier Galindo [Teatrul „George Ciprian”, Buzău, Universidad Católica San Antonio de Murcia (ES) & Municipio de Lousada (PT)] 10. Satellite Arts Project (1977) Directed by Kit Galloway and Sherrie Rabinowitz [multiple locations] 11. Send/Receive Satellite Network (1977) Directed by Liza Béar and Keith Sonnier [multiple locations] 12. Telegarden (1995-2004) Directed by Ken Goldberg [Ars Electronica Museum, Linz] 13. Tinerețe fără bătrânețe – povestiri din diaspora (2020) Directed by Aristița Albăcan [Teatrul Luni (Green Hours), Bucharest]

Marina Hanganu is a theatre director working with new media in an artistic research context. Since 2016, she has been writing and coordinating national and European cultural projects on behalf of “George Ciprian” Theatre in Buzău, Romania, often undertaking both a managerial and an artistic role. Between 2017-2019, she was artistic director of the ”Tele- Encounters” Creative Europe project. She is currently artistic director of ”Tele-Encounters: Beyond the Human” (2020-2023), a sequel Creative Europe project focusing on the integration of telepresence, robots, and AI into art and the impact of technology on transnational family relationships. The project is again led by “George Ciprian” Theatre, in partnership with UCAM, Spain, and Industria Scenica, Italy. Marina has a BA in Theatre Directing from UNATC Bucharest and an MA in Advanced Theatre Practice from the Royal Central School of Speech and Drama, London. Since 2018, she has been studying telematic theatre as part of her doctoral research at UNATC.

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Online Learning between Movement and Stillness (The Use of Nonverbal Theatre Games in Online Education)

Laura GHIURU University of Bucharest, Romania [email protected]

Abstract: This article starts from the premise that nonverbal theatre exercises can help motivate, stimulate and support online learning. We started our research from the idea that nonverbal theatre games can be an alternative to address online education for teenagers, with the goal to improve communication at a personal level: between body and mind, as well as at an interpersonal level: pupils-teachers, pupils-pupils. Survey, observation, structured interviews were used as investigative methods, while nonverbal theatre games in online courses were the experiential intervention techniques, and the research results lead to the conclusion that movement greatly influences our mood and that, when the body is neglected, the mind is also in discomfort. No matter how much digitalization has penetrated our lives, we need movement, social interaction, face-to-face interaction and, most of all, community life. For this reason, the interaction through nonverbal theatre games, based on the stimulation of the body and expressivity elements, can be an alternative in online education, but also in nonformal education. The idea of limiting learning to one single form, as in our case, to online or to formal education, based on reproducing information and memorizing, is only limiting and enclosing the development of pupils' abilities. Keywords: online education, nonverbal theatrical exercises, nonverbal communication, interpersonal communication, alternative teaching methods. How to cite: GHIURU, Laura (2020) ”Online Learning between Movement and Stillness (The Use of Nonverbal Theatre Games in Online Education)”, Concept 2(21), pp. 27-39.

In March 2020, when the first Covid cases were registered in Romania, due to isolation at home and other isolation measures, I felt like the Earth had stopped moving. Many of the projects we were working on got canceled, and others, out of inertia, confusion or fear, I canceled on my own. The first thought was to give up on the in-progress

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dissertation project within the interdisciplinary PED-ArtE MA (a UNATC - University of Bucharest collaboration). Things seemed to be returning to normal much faster. Being a fan of direct, face-to-face communication, I felt that, in terms of interaction methods, everything I knew before was no longer valid, and communication was becoming difficult. Both as a trainer and as a participant to online classes, I felt that I was not achieving my goals, which frustrated me. I felt my body "stuck" online and none of what was happening seemed tangible, serious. Then, after a few weeks, I imagined the entire situation as a scene from a play, in which we all play our own role and suddenly... the curtain falls, separating us from one another. What can we do? Do we remain stuck? Or do we continue to "play the game"? And then I did what theatre classes taught me: to adapt to the given situation, with the resources I have at hand "here and now". So, changing my perspective, I started the research project I had designed for the defense of my dissertation: the study of the impact that nonverbal theatre games can have on the development of adolescents. What initially seemed impossible, became necessary at the end of the project, with the conclusion: there is a close connection between body and mind, and when we communicate exclusively online, the body is neglected, which has an effect on our mind. And the pandemic context has led us to highlight the role and positive impact that nonverbal theatre games can have in online education. The argument of this study starts primarily from my own experience with nonverbal theatre, as I was always fascinated by the deep way in which the body manages to transmit and receive messages from the environment. A simple gesture can provoke, stimulate, perhaps even displease, putting you face to face with the most hidden parts of your personality and revealing the hidden aspects of your inner self. Although words accompany us all our lives, you integrate/feel the greatest emotions and discoveries in and through the body. But what happens when the communication channel changes? Adapting to online education has challenged us to check the extent to which theatre games can pass beyond the screen and whether the online environment is a barrier or a channel of communication as effective as face-to-face. As a theoretical basis, we support the principles of communication and the method of theatre games, as a way to release the "potential", as defined by Viola Spolin, who argued that theatre has two values: an educational value and a communicational value. The theatre game thus become, as Professor Bogdana Darie told us at the theatre in education classes, a “performative form of school” in which communication, socio-emotional skills that the student needs to manage and integrate in society are developed. Therefore, by using nonverbal theatre games techniques, at the level of high school classes in the case of this study, it is possible to contribute to the improvement of surpassing difficulties in adapting to online education, to stimulate the body's communication potential, to indirectly increase school performance and not lastly, to the psycho-emotional well-being of the students. Survey, observation, structured interviews were used as methods of investigation, while nonverbal theatre games in online courses were the experiential intervention

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Research techniques. Looking ahead, we chose adolescents as the target group, because adolescence is the period in which "the direction of the students' personality is outlined and decided", and the direction in which they go may even be the direction in which the country goes "because today more than ever, Romania needs mentors with a healthy and worthy soul, who know their needs and identify with their aspirations”. (Firu, 1939, p. 25)

Nonverbal communication Communication has been and will always be discussed, because it remains important regardless the context in which it takes place. At a simple search on Google, while writing this article, the English word "communication", I found 2,450,000,000 results. As a trainer, in soft skills courses, I came across the most diverse definitions of communication. From rigid definitions, "I say what to do, and the other responds, Yes, sir!", to subtle definitions of the nonverbal, "When the client looks at you tenderly, you can't help but help him", or wordings expressing frustration, "I say my opinion, yet my mother also answers me, You do as I say”. To be honest, communication has given and continues to give us headaches, but it remains the engine of our existence. One way or another, from an objective point of view, we all realize that it is important, but caught in the whirlwind of communication, few realize how to communicate effectively and, most of all, few of us are willing to take responsibility for poor communication. And the transposition of communication online has only put us in a position to readjust the way we use all elements of communication effectively. Verbal communication is closely related, almost inseparable to nonverbal communication. Nonverbal communication or body language has been described as the language we all speak, but very few of us understand it. Body language conveys more about a person than all the words they say. While words can lie, nonverbal communication always tells the truth, for the simple fact that many signals generated by the brain are transmitted to the body and communicated unconsciously. Mastery of nonverbal communication consists in the ability to perceive and understand the signs and movements of others (Arhip, 2015, p. 26). The term nonverbal communication, although I don't find it exactly appropriate, the negation canceling out the importance of what the term tries to define, was first used by Jurgen Ruesch (American psychiatrist) and Weldon Kees (photographer), in the title of a book published in 1956, Nonverbal Communications: Notes on the Visual Perception of Human Relations. But the existence of universal bodily signals, to which all people should respond equally, has long before been discussed. Charles Darwin (1872) in his book, The Expression of Emotions in Man and Animals, was the first to speak of the universality of signals, considering that the facial expressions of emotions are similar, beyond cultural diversity. Darwin's research was deepened by Paul Ekman, E.R. Sorenson and Wallace V. Friesen (1969) in Borneo, Brazil, Japan, New Guinea, USA, which led to the idea that cultural

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differences did not have a significant influence on the identification of emotions and that there are facial expressions common to all cultures. Ekman1 continued his research and in 1972 identified six universal facial expressions: anger, disgust, fear, joy, sadness and surprise. In 1990 he completed the list with 11 more universal expressions: amusement, gratitude, contempt, embarrassment, excitement, guilt, pride, relief, satisfaction, sensory pleasure and shame. After long experiments and research, the psychologist developed the Action Coding System (F.A.C.S.), a classification of human facial expressions. Social psychologist Amy Cuddy (2012) goes even further and asks the question, "Does nonverbal affect how we think of ourselves?"2, in other words, can body language change the way we perceive ourselves? After 15 years of study on body language, she launches a theory, controversial for some experts, which shows that, for example, "body positions specific to power" – to sit in a position that inspires self-confidence, even when we do not feel confident – can affect the levels of testosterone and cortisol in the brain and can even impact our achievements. In other words, communication can be achieved in both directions: from the inside towards the outside (what we transmit to others), but also from the outside towards the inside (what we transmit to our minds).

The body – mind – soul connection Neuroscience has shown that the mind and body are interconnected: Adler said that it is "the temple in which our spirit burns," neurologist Anthony Damasio believed that the mind can only be conceived as belonging to a body, and Freud argued that our ego is first of all bodily. With such a close relation between the two, we can consider that what the body manages to convey is the sincere, unprocessed message of our mind. And when the mind is in discomfort, the body follows (and then we can talk about somatization), but the opposite is also valid, a defective posture of the body can influence the mental state. The ancient Romans and Greeks believed that you had to have a healthy body to have a healthy mind (Mens sana in corpore sano), which is why they considered athletics so important. Dr. Howard Gardner's theory of multiple intelligences, according to which there is no single way to be intelligent, also includes bodily-kinesthetic intelligence, which he said was: The ability of someone to use their body to express an emotion (as in dance), to play a game (as in sports), or to create a new product (as in discovering an invention), is the proof of some cognitive properties of using the body (Gardner, 2015, p. 19). If we look around us, in any profession there is a necessity to use the body: a surgeon, or a dentist, needs the mobility of the hand, the same as a baker who kneades the

1 https://www.paulekman.com/ 2https://www.ted.com/talks/amy_cuddy_your_body_language_may_shape_who_you_are?language= ro

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Research dough or the cashier who handles the money. As for sports, where the body is the working tool itself (just like in theatre), Tim Gallwey argued that a tennis player must be less attentive to technical indications and more connected to his body and senses: If we allow ourselves to lose contact with our own ability to feel actions, relying too much on indications, we can seriously compromise our access to our natural learning process, but also to our own potential to perform (Gallwey, 2013, p. 63). In martial arts the mind must be focused on the actions of the body, and in Tai Chi a series of exercises are combined, called "forms", which also help to improve mental balance. Therefore, body movement has a role in concentration, spontaneity, but also improves mood. Endorphin, one of the hormones of happiness, is the chemical with morphine-like properties, which is released 30 minutes after we start doing sports. In the nineteenth century, Francois Delsarte (1811-1871) was the first to study human behavior driven by emotion, proving that there is a connection between what happens in our soul and gestures. After a visit to a hospital in Paris, he differentiated between the way a mother and a doctor take care of a child. In fact, he turned his attention to all spontaneous everyday expressions, but also to the reactions of human beings faced with extreme situations. For example, he went to a mining disaster to observe specific attitudes of bodies in situations of great physical suffering, or was simply attentive to the fights that took place on the street. Delsarte developed a method that bears his name, through which artists were taught to develop the expressiveness of their bodies. He divided human movement into three categories – eccentric, concentric and normal –, developed in three body areas (head, torso and limbs) in an attempt to develop the physical control of his students. The connection between emotion and body is also found in Yoshi Oida's approach, who dedicates an entire chapter to this topic. He starts from the premise that an actor must find "the bodily movement that corresponds to the inner movement". He even talks about creating emotional and physical maps: starting from what you feel, finding a physical correspondent for emotion: There is no point in finding the body position that seems to be “about” correct. You need to find the precise physical detail that is clearly and strongly associated with the emotion of the moment. Once you have discovered all the essential forms, you can connect them to form a kind of map of the emotional journey. Then you follow the physical "map" every time you play a role. But you need to take the time to find the right details to create the right "map" (Oida and Marshall, 2009, p. 89). But he also proposes the exercise in reverse: Instead of starting with movement and then finding the inner connection, you can keep a certain image in mind and let your body move. [...] However, for these exercises to be truly effective, you need to have a strong and rich imagination, to

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allow your body to move in many ways and not to get stuck in stereotypical patterns (Oida and Marshall, 2009, p. 90). Thus, nonverbal theatre games also challenge from the inside towards the outside, but also vice versa, allowing the student to explore both the inner and the outer space. Awareness of the connection between physical and emotional state helps you not only to controll, but also to stimulate them. As Yoshi Oida argues: Body exercises are not performed by actors just for the sake of health or to improve performance. If you get into the habit of regularly exploring your body so that it becomes entirely free and receptive, your mental processes become just as flexible. Moreover, your emotional life will be enriched (Oida și Marshall, 2009, p. 87). We can argue that in a world where it is difficult to find the right words, our body helps us to rediscover ourselves. As Viola Spolin said: Life arises from physical relationships, whether it is a spark from a flint, the howl of the waves hitting the beach, or a child born of a man and a woman. The physical element is what we know and through it we can find the way to the unknown, intuitive and, perhaps even further, towards human spirit (Spolin, 2014, p. 63). Metaphorically speaking, if life were a stage and we were the actors of life, we could say that the first role on the stage of our life was nonverbal, the body helped us to express ourselves and discover the world around us. In improvisation exercises, Viola Spolin uses the term "physicalization" when talking about nonverbal elements, "which give the student a concrete personal experience (which he can accumulate), on which his development depends" (Spolin, 2014, p. 63). In his book Mime Spoken Here, Tony Montanaro (1995, p. 17) states that mimes appeared in theatre as a solution to a problem, when actors encountered problems with speech on stage and were forced to use nonverbal language. For example, some authors consider that the first mime appeared in the Roman Empire and was Livius Andronicus, who before a show suffered a paresis and lost his voice. Instead of canceling, he chose to play in silence, keeping the choir in the background. Therefore, we can say that pressure can give birth to a language, and when you run out of resources, you turn to your inner self and awake the resource we all have at hand: the body. In Romania, the most famous creator of nonverbal theatre is the actor and director Dan Puric, under whose guidance I had the joy to participate in his latest performance, Înșir‘te mărgărite. He told us that gestural theatre is a theatre that everyone understands, from workers to intelectuals, thus managing to bring us closer, to raise the cultural level, because the role of the artist is to "wake you up". He emphasized that gesture gives meaning, does not translate, and that every movement of the body is accompanied by the soul. So much so that when we had the premiere, he urged us to play with our souls "as if God were in the hall".

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Jacques Lecoq, known for his teaching methods in physical theatre, movement and mime, at the school he founded in Paris (École Internationale de Théâtre Jacques Lecoq) said: I conceived my work with a double goal, a part of my interest goes towards theatre, the other towards life. It may seem like a utopia, but I want the student to be alive in life and an artist on stage [...] One of the originalities of the school is to offer a base, as wide as possible and even permanent, knowing that everyone will choose from these elements, an own path. The students who follow our path acquire a kind of intelligence of the game and develop their imagination (Lecoq, 2009, pp. 28-29). In other words, nonverbal theatre games do not only prepare you for the stage, but also for life. From personal experience, as a member of a nonverbal theatre group (Passe- Partout Company), the discovery of this type of language completely changed my perception of myself, of interactions with others and I can confirm its transformative value, being a theatre lesson, but also a life lesson.

Nonverbal Theatre Game When we say game, we instantly think of the major activity of childhood. From personal experience, I can say that I cannot imagine my childhood without the moments of play. In fact, as an adult I always felt the need to remember the game, so much so that, at the age of 35, I decided to quit my job, go to an audition, join a theatre group and return to game. In addition to the new path it helped me choose, theatre games gave me the courage, the spontaneity, the strength to adapt and to know myself better. During the rehearsals, Mr. Dan Puric told us, “You play and game is an exercise to disinhibit the brain. It's an act of freedom. You make people happy” and, I would add, you also make yourself physically and emotionally happy. As you go through the following quote, I suggest you do an exercise in imagination and pay attention to the effect of words on your body. Suppose that suddenly our children would stop playing, that in our schools the lessons would take place in silence, that we would no longer be distracted by the shouts or cries that come from the garden or the yard. Then we would no longer have this world of children around us, which brings us joy and worry, but a sad nation of clumsy and silent pygmies, lacking intelligence and soul... For soul and intelligence become great through play [...] A child who does not know how to play, "a little old man", is an adult who will not know how to think (Chateau, 1967, p. 8). Maybe some of you breathed a sigh of relief reading the first part with the silence in schools, but what if you were in this scenario, the ones who would have been "robbed" of the game? I consider the above quote revealing, for the benefits that game has on us: the game moves our body, and the body moves the mind. A Chinese proverb says, Tell me and I will forget, show me and I will remember, get me involved and I will learn. Involving the body

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in an activity helps in learning, because in addition to emotional memory, we also have physical, bodily, involved memory (for example, when you learn dance steps, or when you learn to drive a car). If we consider the hypothesis that theatre appeared with the first religious ceremonies, we can say that theatre was a constant presence in our lives. And if theatre is inextricably linked to human existence, it means that the human being, the one who needed to "invent" it, asks it to successfully carry out its mission: that of educating, of developing, of evolving man (Darie, 2018, p. 58). Therefore, if theatre represents life, then connecting with theatre can mean connecting with life. Theatre games exercises achieve exactly this: they connect the individual with reality and, through them, the actors immediately identify the correct relationship between life and the theme or subject of the scene/play. Theatre brings with it a world in which no judgments are made, no labels are placed, where students/participants are encouraged to have ideas and opinions, where group-level coordination is managed through "concession and cooperation", where the element of surprise is transformed into opportunity, where you are ready to adapt to any situation. We live in a dynamic world, called by some political specialists VUCA, (an acronym from the English words volatility, uncertainty, complexity, ambiguity). It is said that this world is volatile – everything changes rapidly, uncertain – that is, we can not anticipate change, we only know that it will come in one form or another, complex – our activity is influenced by a multitude of factors, ambiguous – with gray areas and we do not always realize the link between cause and effect. A recent and handy example of VUCA for us is the context of the pandemic. Theatre trains precisely these skills necessary to adapt to these complex, uncertain, changing and ambiguous situations. We can say that theatrical exercises also help in self-discovery. Regardless of the communication channel that a teacher uses in teaching, it is necessary to teach students to "learn" and discover their own way of... discovering. Acting can be taught to the “ordinary”, as well as to the “talented” individual, if the teaching process is oriented towards the intuition of the theatrical technique, so that it becomes something that becomes a part of the student (Spolin, 2014, p. 14). Or, as Lecoq rightly says, "the great strength of the school is its students, let them bring to our school their own school." In fact, he used a teaching method called self-study in his theatre school in Paris. By this he meant that for an hour and a half a day the students should work in small groups, on a topic proposed by the teacher and which they would present to the class at the end of the week. This method encouraged students to be responsible, autonomous, to work in a team, of course under the guidance of the teacher. We also encounter this idea in Viola Spolin, who lists among the principles of the improvisation game the idea of "individual freedom (self-expression), respecting common responsibility (collective agreement)".

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In an interview with actress Andrada Corlat, she emphasized the importance of theatre games: ”I think that in schools certain exercises done with students of all ages can help them to better socialize, help them fight bullying, or teach them how important teamwork is”. (The last aspect applies everywhere, especially in corporate, institutional workspaces). She continues with some examples of exercises: An example would be that of status, in which without speaking you can set a certain status in a certain situation. If the person who understands this exercise manages to take it further, in his life, he can use it to impose himself when needed, when the job requires it or on the contrary, lowering his status, to help someone else to establish a higher status in a team. Likewise, for those who are introverted, individuals who do not feel the need to express themselves, certain exercises (such as Mirror, in which you do something and others have to repeat your movements identically, or even the simple game of Mime) can force this more sensitive side and can change it so that they feel more comfortable in their own skin when they are the center of attention. Those who are not very confident in their own strength can work with the body so that it conveys to the brain that they are strong, as it happens when you sit in the Hero's position for a while and due to the chemical processes in the body, man can become more confident (Andrada Corlat, interview).

Challenges of online education – Research methodology: interviews with teachers and survey applied to adolescents In the educational context, the use of communication elements (verbal, nonverbal, paraverbal) in teaching has a very important role. The way the teacher's body is positioned and moves influences the quality of interaction and learning: Movement towards the speaking student may, for example, convey involvement and interest, while movement away from that student may communicate loss or lack of interest. The teacher's movements can thus often develop and optimize the interaction. Indeed, the teacher's movement in all its aspects, in different areas of the classroom, can support students in maintaining attention to the teacher (Moore, 1994, p. 328, apud Pânișoară, 2006, p. 94). From selecting a few statements from interviews with teachers, online education seems to prevent the involvement of the whole body in the conversation, hence the feeling that you fail to communicate "completely": I would also like to emphasize a key moment in the process of adapting to online teaching. There is, given the technical conditioning, another major disadvantage of this type of communication: we see each other's head, with the torso at best. But the human brain is taught to process the whole image of the interlocutor. In addition, non-verbality, gestures, the energy transmitted have more value in communication than words themselves. Hence the terrible feeling of discomfort that I felt during the first classes. The struggle for adaptation was harder at first, but easier with each hour (I specify a detail not to be neglected: after the first two or three classes I was

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physically ill, I felt a condition similar to a person deprived of liberty, I felt I did not transmit enough). (Associate Professor Mihaela Beţiu, interview) What was it I didn't like? The possibility for students to sit with their camera off, so you often do not know if the students are with you, in class or not. What's not convenient? To not know what the student is doing behind the camera! And body language can't be used at all, you can't understand and consider certain reactions and behaviors that are easy to deduce face to face. (Dana Macadon, technical disciplines teacher, interview) I believe that in the online school the message hardly penetrates beyond the screen, it is necessary to engage directly in the learning process, the rest is just trying to get heard as much and as loud as possible. (Florina Iacob-Gheorghiță, educator, interview)

The negative effects of online education on the body, in a pandemic context, are also deduced from the answers given by adolescents in the online questionnaire: • related to the need to move during this period: 54% answered that they felt the need to move to a very large extent, 26% to some extent and only 2% not at all, and 74% said that they felt they lacked outdoor outings and 32% that it was difficult for them to become aware of body expression. • The idea that during this period the relationship with others and with space was affected, is also confirmed by the answer regarding nonverbal communication: 30% of adolescents say that this period did not help them to communicate nonverbally. • It seems that not only does online learning hinder nonverbal communication (“I only interacted over the phone and found that a face-to-face conversation is much more beneficial”), but so does the use of medical masks: “It’s harder to understand what the other person speaks", "It bothers me to wear it and makes me feel insecure not to see faces", "Communication is impersonal", "I don't realize the true meaning of the sentence and I don't see facial emotions", "Conversation lacks personality, even if the eyes are expressive, I feel that the communication is not complete ”. These answers lead us to conclude that the elements of bodily expressiveness support verbal communication, as well as the theories of communication. The lack of nonverbal cues affects both the interlocutors and the quality of communication. Spending several hours in front of the computer, we lose touch with our body, our physical presence is neglected. For many teenagers, it is important to be active, regardless of the proposed form of education: “I am so affected that I no longer feel anything. I just feel indifference and total lack of involvement.”, “The lack of interaction affected my social skills”, “This experience affected me to a great extent mentally, because I was asked by many teachers to solve many topics while I was 5-6 hours in front of a screen, and after that I felt very tired.” Movement influences our mood and body equally, and when the body is neglected, the mind is also in discomfort. No matter how much digitalization has penetrated our lives, we need

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Research movement, social interaction, face-to-face interaction and, most of all, community life. This conclusion is also confirmed by the answers to the last question of the survey: what will they do after the end of the period of isolation at home, where, in proportion of 90%, they answered that they will either meet their friends, or that they will move, or that they will go out in nature: "I will run through the park", "I would like to go to school, to go out with friends in the park, to visit my relatives, to solve my social problems". Therefore, following the centralization and analysis of the above answers, it was necessary to direct online education towards the non-verbal resources "hidden" to adolescents. By stimulating body language by practicing nonverbal theatre games, we can increase the awareness, involvement, spontaneity and adaptation of adolescents, both in school and extracurricular situations.

Practical online experiment We have therefore started from the premise that, in the conditions in which the human mind and body are interconnected and influence each other, the theatre game is the means that can bring these together. Thus, the practical experiment consisted in the elaboration and development of an interactive program based on the use of nonverbal theatre techniques taken from different theoretical works, written by specialists of educational theatre. The selection of participants was made independently, based on the interest of participation. Through the applied online survey, we reached a group of teenagers interested in participating. Motivation was assessed in a preliminary, 15-minute interview with 7 questions: What do you know about nonverbal communication so far? How much do you think you use it? How well do you think you can interpret nonverbal messages? How much did online education require of this type of communication? Have you ever interacted with theatre games? How would you like these courses to be held? What do you expect from these courses? These questions helped me to find out the reasons why everyone wants to participate in these courses, to anticipate the degree of involvement, to find out their concerns in the nonverbal area and what their expectations are from such a course. Related to the support framework, this was on the Zoom online platform, and from the beginning we agreed that everyone has to activate the video camera, so we can see, not just hear. The duration was 1 hour and 30 minutes, taking place between 10 May and 20 May 2020. The experimental project took place in two stages. In the first stage, the participants were contacted, and an online one-on-one meeting was set up. The purpose was on the one hand to inform about the program and the participation agreement, and on the other hand to get acquainted with the nonverbal theatre games exercises and to get used to the trainer. Starting from the principle of mirroring in communication, according to which you have more persuasive power when copying someone's gestures, I practiced the Mirror exercise for 3 minutes.

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The goal was to develop attention, concentration, and collaboration through the nonverbal exercises used. Regarding resources, given that improvisation theatre aims to use a minimum of objects, the body being the source of designing objects, our only resources used in carrying out activities consisted of our own body, surrounding objects and online resources used for animating content (videos, online tests). At the end of each session, the subjects had to reflect on several topics, called Missions without words, such as making a nonverbal film or giving nonverbal feedback. To test the energy level at the beginning and at the end of the course, we used the following exercise: “Let's imagine a line from 0-10, where 0 means 0 energy and goes progressively up to 10, maximum energy! Express nonverbally what your mood is now!” This exercise helped the participants to practice and recognize facial expressions, but it was also useful for me as a trainer to get feedback and observe progress. Although at first there was a lack of reaction from teenagers, it came from fear of the unknown and the need to adapt: "At first I was a little afraid because I did not know what it would be like, but it was great." Gradually the communication became fluid and the participants regained their comfort: it was "better than at school". The larger the group, the more difficult it is to manage interactions, the more reactions and opinions are lost sight of. Having a small teaching group, we managed to "adjust" our interventions more easily, to be able to better capture our facial expressions on the screens, to listen to each other and to get closer. Online learning groups are all the more effective as they function as a supportive community because we are social beings and need interaction. To increase the level of motivation for online participation, we need to include elements of non-formal education in online learning. The students reacted positively to all the proposed activities: “We played, we didn't even feel that time passed!”, “Usually, after our classes I was tired. I felt better in these classes.” "I'm curious how classes would go with all my classmates." When the process of educational communication focuses on a single form of interaction – the verbal one, we actually ignore the important elements of communication. As the theoretical studies in the first part of this article proved, nonverbal communication has a great impact on communication. Movement influences our mood and body equally, and when the body is neglected, the mind is also in discomfort. In a discussion with the actress of the National Theatre Bucharest, Carmen Ungureanu, she captured with a phrase the most beautiful and complex definition, which may be the best conclusion of this study: “Nonverbal theatre game is the unrestricted expression of the child when, not having any outside toy, he produces all of them from his inner self, free to create the story in which he feels himself.”

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References: 1. ARHIP, Otte (2015), Teoria comunicării. Iași: Editura Junimea. 2. CHATEAU, Jean (1967) Copilul și jocul. București: Editura Didactică și Pedagogică. 3. FIRU, Sulea (1939) Personalitatea profesorului român. București: Editura Biblioteca Liceului Românesc, Seria I, Liceul Teoretic. 4. GALLWEY, Timothy (2013) Jocul interior și tenisul. București: Editura Spandugino. 5. GARDNER, Howard (2015) Inteligențe multiple. București: Editura Sigma. 6. LECOQ, Jaques (2009) Corpul poetic, o pedagogie a creației teatrale. Sibiu: Editura Artspect. 7. MONTANARO, Tony și MONTANARO, Karen Hurll (1995) Mime spoken here. Gardiner, Maine: Tilbury House Publishers. 8. OIDA, Yoshi și MARSHALL Lorna (2009) Actorul invizibil. Sibiu: Editura Artspect. 9. PÂNIȘOARĂ, Ioan-Ovidiu (2006) Comunicarea eficientă. Ediția a III-a, revăzută și adăugită. București: Polirom. 10. SPOLIN, Viola (2014) Improvizație pentru teatru, manual de tehnici pedagogice. Ediție prescurtată, traducerea și editarea Mihaela Bețiu. București: UNATC Press.

Online references: 1. CUDDY, Amy (2012) Your body language may shape who you are [Online]. Available at: https://www.ted.com/talks/amy_cuddy_your_body_language_may_shape_who_yo u_are?language=ro (Accessed: 12 November 2020) 2. Paul Ekman Group (2020) [Online]. Available at:https://www.paulekman.com/ (Accessed: 12 November 2020)

Laura Ghiuru is a freelance trainer. She graduated from the Faculty of European Studies – Specialization in Political Science, from “Babeș-Bolyai“ University, Cluj-Napoca. She has an acting training in Dan Puric`s group and she also has a Master's degree in Alternative Pedagogies and Theatrical Art in Education (Ped-ArtE), FPSE/University of Bucharest – UNATC “I.L. Caragiale” Bucharest. Laura has been working in human resources for more than 15 years. Training was the area she felt most attracted to and that she deepened through her practice in retail and financial non-banking companies. All this time she had the opportunity to interact closely with various people. For the last 5 years she has been working as a Freelancer, starting to expand her courses in the educational area as well.

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How to Write a Brechtian Article on Brecht (Part II)

Radu CRĂCIUN Hyperion University, Bucharest, Romania [email protected]

Abstract: This is a two part article which strives to trace a cultural history and, as well, a practical framework of the „verfremdung” concept, following its emergence from the earlier theoretical work of Viktor Shklovsky and its ostranenie and Meyerhold’s later „odchudzny”, as he in turn chose to coin Shklovsky’s conceptual frame. This cultural paradigm is important because it renders a precise context and helps to further clarify the importance of „grotesque” in modernist drama and also the means to express it. It reads like a travel log, concentrating on how Brecht’s antourage, such as Asja Lācis, Walter Benjamin, Vasilij Lunacharsky, Eisenstein, Tretiakov, Bernard Reich familiarized him with the ideas of Meyerhold either directly or through their own work, which was stemmed as well from Meyerhold’s pre 1917 theatrical experiments. Finally, as secretary general of the Departament for Theater in the Illumination Minister (Education), Meyerhold encouraged the developement of labourers artistic brigades, or TRAM, blue-collar workers. The TRAM performances, akin to the cabaret performances of the early 1900’s had a profound influence on the left leaning theater practitioners in Western Europe. Through this network of people that were influential to Brecht’s carreer I closely follow the developement of epic theater and the „verfremndungseffekt”, from his debut in directing, „The Life of Edward The Second, King of Scotland” up to Brecht’s work being formally introduced into the artistic life of Soviet Union, with the adaptation of his „Three Penny Opera” by Tairov in 1930 and also Brecht’s direct contact with Meyerhold’s theater, during the latter’s 1930’s tour in Germany and France. Keywords: verfremdung, verfremdungseffekt, ostranenie, odchudzny, formalism, grotesque, modernist drama, epic theatre, estrangement, Meyerhold, Brecht, Walter Benjamin, Eisenstein. How to cite: CRĂCIUN, Radu (2020) ”How to Write a Brechtian Article on Brecht (Part II)”, Concept 2(21), pp. 40-56.

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“Footnotes and the habit of turning the page to check an argument must be part of the theatrical practice.” – Bertolt Brecht

The ”Know-how” Paradigm Meyerhold, the first actor to have ever played Treplev in Chekhov’s Seagull, parted his way from Stanislavsky’s Art Theatre, as a new form of performance was emerging. In the beginning of the XXth century, during a time when the decadent and the symbolist movement were generating the ferments of modernism, the cabaret was its peak of performance. In 1901, Ernst von Wolzogen alongside Frank Wedekind founded the ”Buntes Theater” (Colorful Theatre) later known under the name of ”Überbrettl”. As a fun fact, Frank Wedekind made a reputation for himself in the cabaret not as a playwright but rather as a singer and composer1. Both Meyerhold and Brecht keep Wedekind in high regard – Brecht praising his stage presence and energy2, whilst Meyerhold appreciated his efforts to detach himself from the naturalist dramatic convention through the use of songs, which undermined the sequential unity of the scenes3. Meyerhold, as a director employed in various Sankt Petersburg theatres led a double life by directing, playing in and writing plays in the vein of the Commedia dell’arte under the pen name of Doctor Dapertutto (Clayton, 1993, p. 85). During this time and being mainly influenced by the literary works of E.T.A. Hoffman, Jacques Callot’s engravings as well as the Wolzongen manifesto, Ernst von Wolzongen offizielles Repertoir. Erster band. Buntes Theater (Berlin, 1902), Meyerhold (quoted in Meyerhold, 2016, p. 163) develops his own artistic manifesto around the concept of the grotesque, who’s manifestation takes place by presenting a familiar subject from a strange perspective. The term used by Meyerhold to conceptualize the grotesque is ostranenie. This term is extremely useful to access the right understanding of the Verfremdung process, as it is used in the Brechtian system. For now,

1 Another composer close to the founding nucleus of the Überbrettl cabaret was Arnold Schoenberg. https://www.oxfordreference.com/view/10.1093/oi/authority.20110803110446105 In fact, another important practitioner of modernist theatre, Max Reinhardt, as well as Karl Vallentin (the actor who would play the lead role in the first and only film directed by Brecht, Mysterien eines Frisiersalon - 1923) played, wrote, directed and performed songs in the Berlin cabaret band "Schall und Rauch" ("Noise and smoke") (Braulich, 1972, pp. 30-33). 2At Wedekind's death in 1918, Brecht wrote a eulogy in an Augsburg diary: He filled every corner of the room with his huge personality. I still remember the first impression he left on me when I saw him on stage: provocative, threatening, brutal, with his hands in his pants pockets, as if the devil himself could not budge him (Eddershaw, 1996, p. 9). 3 ”Unfortunately, Wedekind suffers mainly from a lack of taste and a tendency to introduce many literary elements into the stage,” notes Meyerhold in a footnote in his article Balagan, translated by the English editors of his essays from the edition consulted for this article under the title The fairground booth (Meyerhold, 2016, p. 165).

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it’ s important to note that in the system developed by Meyerhold ostranenie4 gives us the key to the understanding of the Verfremdung concept. According to Meyerhold, the process of theatrality takes place during three stages. In the first stage, the actor stylizes. Stylization employs a certain degree of verosimilitude, and it also coerces the actor to analyze the process (Meyerhold, 2016, p. 164). During the second stage schematization ensues, which purports a certain degree of stripping reality to its bare essentials. In the third stage a synthesis of the two stages is involved, during which the grotesque is created, by means of estrangmenet, or ostranenie. According to Meyerhold, the grotesque is a union of opposites, which creates consciously burtal incongruences and fractures the internal logic of the character, the situation or the conditions to whom or which we are familiarized. Quoting a fragment from Hoffman where the latter describes Callot’s engravings, Meyerhold underlines the fact that these precise events in which familiar events of people’s life are depicted, such as funeral processions, military parades, crowds gathered at various public events – there is always a feature that makes them look both familiar and strange. Therefore, we can conclude that the grotesque is made up of elements that mutually contradict each other. For instance, the gothic church bells. The grotesque is composed of elements that contradict each other: ”like Gothic architecture, for example, in which the soaring bell tower expresses the fervour of the worshipper whilst its projections decorated with distorted fearsome figures direct one’s thoughts back towards hell” (Clayton, 1993, p. 57). The use of the grotesque in art, in the sense that Meyerhold appoints to the term, can express in a higher degree of likeness the contradictory complexity of reality. In fact, according to the definition of the grotesque given by the German esthetician Wolfgang Kayser in Das Groteske in Malerei und Dichtung - “das Groteske ist die entfremdete Welt. Es ist unsere Welt die sich verwandelt hat ("The grotesque is the estranged world. It is our familiar world that has taken on a different appearance"), we observe not just a similarity of conceptual approach concerning the role of defamiliarization, or estrangement, but also an etymological one, which is much more rigorously tied to the process called "Verfremdung"5 by Brecht.

4 The theoretical foundation of the Stanislavsky method is provided by Tolstoy, mainly in the series of essays grouped under the title What is art?, and especially in the essay On Shakespearean drama. The theoretical foundation of the method developed by Meyerhold lies in the writings of Appia, Fuchs, but also in the manifesto of Ernst von Wolzogen. 5 In the article Archeology of an Acting Style, published in 1998, in the 2nd no. of the European Journal of Cultural Studies, its author, Peter Buse, speculates the idea that "Ver-fremdung" must be dissociated from the usual meaning that Entfremdung has in Marxist critical theory and infer, but without providing any source, other than his own ability to untie crossword puzzles” the fact that Verfremdung is a word invented by Brecht rather after the structure of Freudian neologisms (the famous Freudian slips - Versprache, Verhoren, Verloren, etc.) and used to suggest a failed act. Furthermore, the author continues to slide on this dangerous slippery slope until, finally, he concludes that the Brechtian method is an "anti-humanist" one. The prefix "Ver-" in this case, Buse speculates, is an equivalent to the prefix "mis-" in English (with which the word "misinterpretation"

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Read without considering the paradigm of theatricalization initiated by Meyerhold, Brecht can be extremely difficult to understand, especially since, as surprising as this statement may seem, it is extremely difficult to consider the influence of Meyerhold's ideas on the Brechtian method exaggerated. In fact, the method of reaching to the emotional level of a character (in Brechtian terms the appropriate concept would be "inner attitude") starting from bodily action, a method developed by Meyerhold following the physical training of bio-mechanics ("don't tell me, show me" ), is stated by Brecht in an extremely clear way in The Resistible Rise of Arturo Ui: "What a funny thing smoking is: when a man smokes he seems calm, and if you imitate a man who calmly lights a cigarette you end up calming down too”. As observed in studies based on somatic theory, by imitating external attributes, the actor can achieve the internal conditions associated with them. It was also from Meyerhold, especially from the performances at the height of his career, during the fruitful collaboration with Mayakovsky, that Brecht borrowed the use of banners in performances. The Verfremdungseffekt is also found in Meyorhold's method focused on the estrangement phenomenon of the grotesque. At this point, it is important to note that there is a conceptual distinction in the Brechtian method between the Verfremdung ('estrangement') and the Verfremdungseffekt - 'the effect of estrangement’. Thus, the Verfremdung is the process by which the actor turns a familiar condition into an unusual, or strange one, and the Verfremdungseffekt implies that the estrangement process has taken place successfully and has been noticed by the audience. Meyerhold defines this ‘effect’, without conceptualizing it, as decisive in determining the spectator to have an ambivalent perspective towards what is presented to him in terms of scenic depiction. Moreover, for Meyerhold, the Verfremdung represents a constant desire of the artist to shift the viewer's perspective from an obvious point that is being made to another one, completely and utterly unforeseen (Meyerhold, 2016, p. 165). Brecht, as the German philosopher Walter Benjamin observes, uses it as a scenic equivalent of the Socratic method, making the spectator question the “unity” of the stage action presented (Benjamin, 1998, p. 12) or, in other words, giving the viewer a chance to see the illusion as what it is.

is formed, for example). "Misinterpretation" is actually a very appropriate term for what Buse does, and his article is symptomatic of a type of so-called scientific writing in the performing arts academy area, based rather on personal bias, unverified intuitions and easy speculation, rather than on rigorously verified factual information. Buse's intuition is not implausible, but it remains easy because he does not take the next step, which is necessary if we take into account the fact that dialectics is at the very heart of Brecht's method of acting. In other words, the "Ver-" (which suggests exteriorization) of the Verfremdung necessarily presupposes the "Ent-" (which suggests the interiorization) of the Entfremdung. Of course, if we want to take his linguistic approach seriously. We cannot, however, because it assumes only the negative aspects of words formed with the prefix “Ver-”, but it does not assume the positive aspects, such as verstanden or versuchen (pun intended). En fin.

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In fact, in a letter to Strehler about his performance, The Three-Penny Opera, Brecht states that although the musical moments in the performance were inserted to break the illusion of the performance's "unity," that illusion had to be created before it was to be dissipated. An atmosphere simply cannot be destroyed before it has been anticipated and built. The transformation of the actor from the character into the actor-who-plays-a- character in the frame of the show can take place only after the viewer’s condition of identification with the actor in question has been facilitated. Estrangement cannot exist without emotion, and Stanislavski's study is indispensable for the Brechtian paradigm. As Brecht himself confesses in "Complements to the Little Organon", the novelty of his method and the apparent abandonment of Stanislavski's method come from his inability to take into account the fact that - here too he quotes Mao Tze Dun - "From the two sides of the contradiction, one is necessarily the main one" (Brecht, 1972). The need of the naturalistic method presence in the familiar-strange dialectic is only overshadowed by Brecht's almost exclusive preoccupation with drawing the coordinates of epic theatre. At a conference held in 1953, Brecht speculated that Stanislavski may have insisted on the actor’s empathizing with the character in order to prevent any attempt at hamming. In fact, the concept of super-objective in Stanislavski's method is the closest equivalent to Verfremdung (Brecht and Mueller, 1964, pp. 155-166). In both methods, the actor is at the same time actor and character, and this contradiction overwrites any conscious feeling. Moreover, when the actor understands the over-objective, he represents society and is outside the character. As an author, according to Brecht, he firstly needs an actor that completely identifies with the character, which is also a major purpose of the Stanislavsky method. At the same time, he needs an actor who abandons his character and looks at him critically, from the perspective of a member of society, which any actor ultimately is. After all, as he states, the dialectical relationship between Verfremdung and identification can only be supported by an equal opposition between the two terms. In addition, Brecht notes that he allows actors to empathize with the character both in rehearsals and during performance, just as Stanislavski allowed his actors to play out of character. Obviously, each of the two allowed this to happen in various degrees. (Brecht and Mueller, 1964) I think it is necessary to mention here an ideological motivation that determined Brecht's predilection for the dialectic of empathy - estrangement rather than for the simple process of naturalistic build-up. In 1909, the theatre critic Georg Fuchs formulated in the political theatre the idea of the social utility of empathy understood as abandonment of the self. Thus, by estrangement of the self following the empathic process, the author of a play in which ideals from the political spectrum of the extremist right were circulated could inoculate the public, imperceptibly, ideas of force (nationalist, militaristic, classist etc.). Starting from the critique of this practice, Brecht finalizes his dialectical system of empathy and estrangement. Empathy shuts-down, so to speak, the processes of critical thinking and transports the viewer into a malleable state of receptivity during which he

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Research becomes susceptible to being infested with a harmful ideology, even without his consent. Estrangement, on the other hand, stimulates the processes of critical thinking, putting the viewer in a position where he can consciously fight in this “invisible war” against the ideological contamination to which he is exposed. Therefore, Aristotelian drama is conservative, while dialectical (or epic) theatre is ultimately progressive (Robinson, 2008, p. 207). In Stanislavski's method, the super-objective also stems from the need to avoid the positioning of the actor as a "parasitic agent", in order to prevent the contamination of the viewers with harmful ideological norms. A variation of the method occurs when the actor has to identify and reproduce the meaning hidden behind the text or the sub-text, as it is called in the terminology developed by Stanislavski. Simplifying, we refer to the true positioning of the character in relation to the conditions in which it manifests, a positioning that is often not even openly expressed, or more so, denied. For Brecht, the meaning hidden behind the text has the dimension of a social attitude (gestus) rather than an emotional expression. Thus, in the case of Stanislavski, the truth of the actor who plays the role is based on the psychological understanding of the character. In Brecht, the truth is based on the sociological understanding of the character. To further conclude, in the Stanislavsky method, the truth, being based on psychological reasons is corrected from the inside, emphasizing references related to the observable reality of the psyche, while in the Brecht method, truth, being based on sociological reasons is corrected from the outside, emphasizing references related to the observable reality of society. As in Stanislavski's method, in Brecht's method the character had to have a satisfactory motivation, a drive that would push him to act. There are testimonies during the rehearsals, according to which Brecht showed great care for extremely fine details of psychological analysis. Angelika Hurwicz, the actress playing Kattrin in Mutter Courage, recognized from reading An Actor Prepares, many of the exercises that Brecht did during rehearsals with the Berliner Ensemble (Mitter, 1992, p. 42). The difference was that, at one point, the actors had to move to another level, where the estrangement was included. The estrangement process had to contain and simultaneously overcome the process of identification. Thus, the episodic montage appears. Within the Stanislavski system, the actors have to find a line of force for the whole role, possibly expressed in a simple sentence

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and through which the atmosphere of the whole motivational force that leads the character from one end of the action to the other can be rendered. Thus, all his actions can be decoded as logical and coherent. Brecht, on the other hand, urged his actors to make a kind of "inventory" of all the behavioral attitudes and psychological traits that defined the character and to emphasize especially the lack of logic and/ or consistency in the character's behavior along with the paradoxical character traits. Of course, these different methods also reflected on the way the actor built his role. Brecht, unlike Stanislavski - who constructed each scene in light of what had been dramatically presented until then - insisted that each scene play for itself. As Benjamin suggests, there were no delayed viewers at Brecht's theatre. On the contrary, the scenes were so constructed that, for example, a member of the audience could drop in at a performance of the Three-Parade Opera just so that he can watch the scene in which Peachum chooses a wooden leg for a beggar (Benjamin, 1998, p. 6). In fact, what Brecht set forth by using the Verfremdung in the actor’s technique, – paradoxically, since his method was a progressive one, yet it stemmed from a very rich tradition of the grotesque in art - and through the perception of the process – Verfremdungseffekt – is based on a very rigorous research in the field of cognitive sciences. No form of artistic expression is capable of exposing total sum of all events that take place in real time. Art disassembles reality by presenting it either spatially or temporally. For this reason, as Meyerhold (2016, pp. 163-165) notes, art consists either of images (expressed in spatial forms) or in the alternation of images (expressed in temporal forms). Image reading is classified psychologically in the category generically called "perception of symbolic material". In Talks to Teachers on Psychology and to Students on Some of Life’s Ideals (1899), William James proposes a theory according to which when we listen to someone speak or read a printed page, much of what we think we see or hear is provided by our own memory. […] how little we hear we really realize if we go to theatre in a foreign country whose language we can’t speak but we see a play to which we are familiar with, because what bothers us the most is not that we can't understand what the actors are saying, but that we can't hear their words (quoted in Gombrich, 1973, pp. 242-243). The author of the book from which I truncated the above quote, the art historian Ernst Gombrich, recounts a personal experience during the Second World War, when he worked for the BBC, at the Transmission Monitoring Service. In this service, Gombrich came to realize "the importance of guided projection for the understanding of symbolic material". As a rule, the most interesting transmissions were also the most difficult to hear, in the sense that only a few articulated sounds could be discerned from the wax cylinders on which they had been recorded. To understand what was being said, the monitor had to first know what could be said. More precisely, he chose from the known possible combinations of words that seemed similar, which he then projected onto the heard noises. But the monitors were in a contradictory situation: on the one hand, they had to project possibilities, and on the other hand, they had to be critical of their own projections. Left to the imagination, perception

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Research could have recorded absolutely any pre-designed combination of words. From the moment the monitor's expectations were fixed, his beliefs well established, the noises "seemed to fall into place and turn into the expected words" (Gombrich, 1973, pp. 244). Expectation breeds the illusion. It is exactly on this principle (expectation breeds the illusion) that estrangement works. The refutation of what is to be expected laid forth from the build-up automatically leads to the disintegration of the illusion. The critical attitude of the actor towards the character, the sudden caricature commentary of the conditions that make the character act in a precise manner refutes the expectations of the viewers concerning the respective character and places them to a position from which they can perform a critical reasoning process over what they are being presented on stage with. Moreover, through the Verfremdung process a domino effect occurs from actor to viewer: when the actors put a hold to their inner projection with their characters, the viewers put on hold their inner projections towards the character as well. That is to say that the naturalistic, psychological method of acting is therefore crucial in order to produce the process following which the familiar becomes strange. As Meyerhold (2016, p. 385) puts it very plastically, “for the arrow to take flight, the bow must first be stretched”, or, as Brecht (1980, p. 92) says in an entry in the journal of June 18, 1942, "[…] there remains the tradition, which seems to be necessary, with its artistic material, which must contain something that can be overturned." The concept of empathy (Einfühlung) was first theorized by a German philosopher that remains quite unknown to this day, named Robert Vischer, in 1873, in order to explain the act of receiving works of art. Vischer formulates a proto-theory of cognition according to which works of art are received as an active psychological projection of feelings either in one object or in another person. The emerging academic tradition based on this idea has a consistent orientation with Hegel's dialectic, in the sense that it assumes that empathy involves not only a subjective construction of the object as a process of emotional internalization (or, in other words, the object - inner image), but also an objectification of the self as a result of the process of outsourcing the projection. Or, more clearly stated, "following the objectification of the self lies the alienation (estrangement) of the self" (Robinson, 2008, p. 207). Epic theatre proposes a different way of perceiving rhythm and stage action. First, the introduction of a new type of conception on rhythm is necessary because “thought processes require a completely different rhythm than affective processes” (Brecht, 1972, p. 68), and this rhythm implies a deceleration of the stage action (Haltung). The actor's ability in the paradigm of realistic naturalism to "evolve unitary, internalized and uninterrupted" in character gets overloaded in the epic theatre, because here the actor must play after each ellipse of each episode multiple character traits of the character, while being perfectly incompatible between themselves, but at the same time, despite depicting conflicting facets of the character’s personality, must retain at all costs the character’s geist throughout the whole play.

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The character is shaped in front of the audience depending on how he reacts in different situations, often paradoxical and contradictory. The episodic structure functions as an element that allows the actor to manifest the transformation, the pre-acting6, as Meyerhold calls it, and the spectator to register it. The change (both personally and universally) occurs as a result of the confrontation between perfectly incompatible elements. In things, in people, in events, something is hidden that makes them the way they are and at the same time different. For they do not stagnate, but develop, until they become something unrecognizable. And [all] things, as they are at the moment, contain in them, even imperceptibly something else, something of long ago, contrary to the present (Brecht, 1972, p. 260). As he later adds, the main prerogative of social realist artists is to emphasize the moment of becoming and obsolescence. This process takes place both by depicting the clashing of forces of opposite polarity (internal or external) and by presenting the transformation resulting from the opposition between things, people, events - both types of relationships can be continuous or episodic (Brecht, 1972, p. 268). And the actor that, strangely, both Meyerhold and Brecht give as an example to illustrate the concrete way of manifesting theories on the grotesque as a central element of social realism is Chaplin.

Chaplin, Verfremdung and ostranenie Brecht first refers to Chaplin in an article about the German chamber film (Kammerspiel), especially considering Leopold Jessner's masterpiece, "Hintertreppe" (1921). In that essay, Brecht drafts a program of criteria that he believes German filmmakers should take into account when trying to surpass the success of the emerging commercial film industry in the United States. After a review of the qualities of German cinema of his times, he finds that Nordic cinema generally lacks actors capable of reproducing the grotesque dimension of reality, such as Chaplin was.

6 The term used in the English translation consulted for this essay of Meyerhold's texts on theatre is pre-acting. The example of pre-acting that Meyerhold gives is that of the actor Lensky playing the role of Benedict in Much Ado About Nothing. He hides to catch a dialogue in which Beatrice is told that he loves her, and her reactions to this information are related to the fact that she knows he can hear her at that moment. Benedict/Lensky is left alone on stage and comes out of hiding, occupies the center stage and looks at the audience for a long time, with an expression of amazement frozen on his face. During this time, little by little, a smile emerges, first shy, then wider, which turns into a giggle and then an explosion of laughter that culminates in shouts of joy. Meyerhold adds, however, that this concept is not a technical means of embellishing the text with mimicry. The pre-acting prepares the viewer's perception, so that he understands in advance both the stage situation and its entire solution. From that moment, the actor can provide the viewer with information about what is hidden behind the stage situation (Meyerhold, 2016, pp. 257-258).

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Meyerhold also refers to Chaplin, and also in connection with film. More precisely, he invokes Eisenstein's approach to try and introduce in montage theory principles acquired during the period in which they were both involved in the study of bio-mechanics. Thus, according to Meryerhold, in order to consolidate his theory of montage and arrive at a coherent system centered around bio-mechanics, Eisenstein spent years, studying an important number of scientific papers concerned with the movement and the changes that the human body moving in space elicit on human behavior. The objective of the experiments that took place at the Bio-Mechanics Studio was "the exploitation of the expressiveness of movement". To achieve this goal, Eisenstein analyzed for a long time the movements of gymnasts and workers from the steel industry. 10 years had passed since then when Meyerhold (2016, p. 398) concludes, jokingly, that this goal could have been achieved whitout this huge effort only by studying Chaplin alone, observing his freeze frames, the strangeness of the movements, the puzzled expression that dominates all his movements. In Chaplin, as in the case of a performance gymnast or a worker in the metalworking industry, everything is reduced, Meyerhold observes, to a "fortunate concentration of physical action". A well-made comedy, according to Pushkin's definition, depends not only on the ability to provoke laughter, but also on the way the characters are developed. Moreover, states Pushkin apud Meyerhold, in a good comedy we will often see the characters being driven in the no man’s land of tragedy. Which, in Meyerhold's view, is exactly the case with the film The Gold Rush (1925), a film to which, by chance, Brecht also refers. In The Gold Rush, the characters often go through very hard or very sad situations. Continuing to use Pushkin's dramatic theory (that drama must involve three elements - laughter, sympathy, and terror), Meyerhold states, without providing examples, that Chaplin's film uses all three of these elements. Of course, it might seem like a random projection, especially since we don't have any concrete examples to see to what extent Pushkin's grid can be applied to The Gold Rush. Therefore, I will try to apply Pushkin's grid quoted by Meyerhold (without examples) to exactly the three examples of Verfremdungseffekt that Brecht provides when referring to The Gold Rush, in a note in his journal entitled Chaplin V-effekte7 , written a year before Meyerhold's essay on Chaplin

7 In the ensuing article, Brecht gives examples of the Verfremdungseffekt from other arts, as follows: “the integration of cinematographic documentary materials in theatre performances; the actions on the stage become strange by juxtaposing the objective images from the projection screen ”(for clarification of this statement see the production of the experimental performance Hamlet - 2015, made by Wooster Group); "Cezanne uses estrangement when, for example, he exaggerates the width of a vase"; "Surrealism and Dadaism use radical forms of defamiliarization. Dada objects do not return to familiarity." The article also concludes with the observation that "the defamilization effect of classical art produces a high coefficient of understanding." (Silberman, 2000, p. 10) Although Meyerhold's essay doesn’t have a date, it refers to Kerjenvev's article in Pravda, so I suspect that it was written after December 1937. Brecht's typed note is dated to approximately 1936.

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Laughter: "Chaplin's starving companion sees him in the shape of a giant chicken" Sympathy: “[at] the table, Chaplin eats his boot according to all the rules of good manners; takes out a nail as if it were a bone; eats with his little finger raised” Terror: "Chaplin destroys his rival by simultaneously courting him" (Silberman, 2000, p. 10). Of course, the classification I have just made is subjective and relative to certain personal affinities and judgments that led me to distribute Brecht's three examples on the grid that Pushkin made up and was quoted by Meyerhold. More than likely, another person, with different personal affinites and applying a different analysis of Pushkin’s grid and Brecht’s examples would group them all differently. However, what’s striking is the fact that, without exception, all the examples of Verfremdungseffekt provided by Brecht contain elements of the grotesque. This might be a good place to remind the reader about Meyerhold's statement on the grotesque as the nature of theatre, ("not only in the joke, but also in the tragedy, and in the tragicomedy, and in the whole theatre in general") referred to in the first part of this article. I think we have by now enough evidence to conclude that the vague term “distancing”, with which the Verfremdung process is (unfortunately) rather widely equated with, actually has a much more concrete meaning: that of materializing the grotesque. As Benjamin (1998, p. 83) very well observes, “Brecht reveals the conditions in which we live under the drape of conventional concepts”. And following this process of this, let’s call it, even though it might seem a little weird, a denude (denoue)-ment, the human content springs from underneath it. Unfortunately, and this calls into question the very concept of the grotesque, ideologically tributary to the convention of naturalistic realism, this revealed human content is presented in a dehumanized form. But, in fact, the stage poet uses the most available conceptual matrix, especially since the process by which the revelation of the condition behind which the human content is hidden in its "unconventional" form is made through satirical intermediation. Satire is always concrete and material. Corporal. And with the legacy of Brecht and Meyerhold, it also becomes dialectical. Paradoxical.

The somatization of the theory Before presenting the improvisational exercises used by Brecht to facilitate the appropriation of the Verfremdung process by the actors, it should be mentioned once again that estrangement is not a position, but the result of a transition. However, the Brechtian exercises do not only aim at simply facilitating the transition from empathy to estrangement but also to train the actors so that they can support these two states simultaneously. The actor that Brecht needs, as he himself states, is "the actor who can completely empathize with the character, and at the same time can completely detach himself from the character" (Brecht and Mueller, 1964, p. 166). These exercises are developed by Brecht to help the

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Research actor understand the know-how of the empathy – estrangement dialectics. A practical answer to the matter-of-fact question “ok, but how does it work”. In a letter addressed to Strehler just as the Italian director began rehearsing the Three-Penny Opera at the Piccolo Teatro and wanted to familiarize himself with the method of estrangement, Brecht recommended parody as his first exercise. Thus, progressively, a tragic scene will be played in a comic key, and the actors will have to intentionally look for in the text the accents with comic potential for that scene. The search is based on providing a contextual commentary that justifies the motivation for which the actors choose to present the tragic situation in a comic key. Trying to provide a meta-text, the actors suddenly become the object of their search. Another exercise supposes that at any time during rehearsals the actors should suddenly and swiftly change roles between themselves. At first, they should undergo this change under the direction of the coordinator. Subsequently, as they become more and more familiar with the text, the stage routes and the psychological motivations, and the intentions of the characters are fixed, this exercise is proposed by the actors at their free discretion, either for short periods of time or by a longer stretch, or alternating return to the role they were originally cast and entering the role of stage partner. This exercise also has the gift of helping the actor to give up the early discoveries during the first rehearsals, which could be the basis of a linear development of character, correct, but also devoid of dialectic or paradox. A variation of this exercise involves the actors being filmed while rehearsing the scene in the original cast, and then, after watching the video of them rehearsing, to change the roles between them while trying to recreate, with their inner resources of course, the same facial expressions, the same gestures and the same emotional impulses invested by their partners in the roles that were assigned to them. The exercise is useful because it allows each actor to observe (as much as possible) objectively both the dramatic substance of the stage situation and his way of characterizing that character in the situation in question. This type of training has the gift of revealing the relative nature of characterization (in a juxtaposition with the other characterizations from the performance) and explicit (in turn, the characterization is itself subjected to interpretation). Another version of this exercise involves an actor playing alone both his role and that of the partners in a scene, trying to reproduce as accurately as possible the way in which his colleagues typify their characters and, at the same time, changing the tragic geist with a comic one or vice versa. Another classic example of an exercise, used by Brecht himself in rehearsals for Jakob Lenz's Der Hofmeister, requires the actor to recite, in the rhythm in which he would recite a poem, the directions of the playwright, where they exist, before he starts uttering

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the text assigned to the character he is playing8. The actor must dissociate the intonation and even the tone of the character’s voice he’s playing from the tone of the author's voice. Through this exercise the aim is to access the mechanism within the somatic theory according to which the internal conditions are determined by external factors. The exercise also clearly highlights the distinction between text and meta-text. Also, paraphrasing the authorial indications, the actor can, by calibrating the intensity of the delivery, generate the subversive energy of parody. Authorial indications are essentially interventions related to the functionality of the dramatic text. Their delivery in poetic form denounces their technical character and, through reterritorialization, gives them an aesthetic character which, paradoxically, blurs the authorial vanity. This process, according to Shomit Mitter (1992, p. 47), is very similar to the functioning of the super-objective in the Stanislavsky method because it generates a social critique of "class privileges" (i.e. hierarchically, the playwright is above the actor). Another residual effect is that, by formulating the authorial indication, the actor confirms the temporal recurrence of the performance: this does not happen now for the first time, but takes place every night in the same space, but with another audience who is suggested to do so, every time. And a last residual effect is that the actor makes the character refer to him in the third person, effectively producing an act of estrangement. Officiating this act, the actor becomes the meta-text. Another classic exercise envisages the character's temperament. Four actors take on the roles of two married couples. The wives are separated from their husbands by an imaginary wall and the action they partake in is that of folding the bed linen. During this time, the spouses in the front room have a generic discussion about a neutral topic. From the other room, the wives are heard praising each other’s husband, but this dialogue is actually a game, meant to inflate the husband’s ego, whilst their “real” intention is in fact to ridicule their husbands who pursue their “manly” affairs instead of helping the two to finish folding the linen at a faster pace. In other words, the wives create a subtle quid pro quo, meant to convince the two spouses in the other room that there is a heated debate between them about the moral superiority of one husband in the detriment of the other and vice versa. The two end up exchanging blows to simulate a heated degeneration of the debate, but, on another level, the simulated blows degenerate as well and the two end up fighting "for real". This exercise is divided into three stages: 1. The two wives simulate a quarrel to fool their husbands. 2. They end up hitting each other while folding the linen. 3. The game takes a serious turn.

8 The exercise can also be performed by imprinting a purely technical aspect to the lyrical passages in the text, even going as far as the infusing the interpretation with vulgar and/or prosaic undertones.

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In the first stage, the actors are asked to support two competing levels of scenic truth: the actual situation - the visit plus the action of folding - and the situation of simulating a heated argument. The simulacrum is obviously initially subsumed to the "realistic" stage truth. In the second stage, the gestural content of the actors (the fact that they fold the bed linen and hit each other) replaces the textual content (praises), which they express entirely as a stage action. And in the third stage, the two competing actions seem to merge in terms of the stage situation. But, dealing with a struggle whose purpose is not to be real, but to seem real, two plans still coexist. This time, neither one is subsuming the other. The action is and at the same time is not real - and both levels must be acted with the same conviction9. On one hand, the fiction becomes reality. On the other hand, the fiction continues to be nothing more than fiction. As soon as this technique of simultaneously supporting two competing levels of scenic reality is mastered, the exercise is distilled into a more refined form and is based on an above-average mastery of corporal means. Thus, the actor assumes the role of a magician who performs a magic trick or a juggler who presents a juggling routine. The more elaborated, the better. At the same time, he must render through facial expressions the expressions of astonishment or amazement of members of the public at various stages of the magic trick or juggling routine. Either by imagining them, or by actually imitating his colleagues, whom he must first convince to look at and whose attention he must gain from the beginning. Another exercise involves suggesting an option contrary to the one the character decides upon during the dramatic unfolding of the action. The exercise is called "Not ... but ..." and consists of introducing an estrangement in a sentence structure. For example, "he did not spare his life, but ended it" presents a commonsense expectation (to save someone's life) deceived by the revealed reality of the action that actually took place. During rehearsals, the actor must identify the opposite idea that is dialectically contained in each line of dialogue and in each action and express it explicitly (Brecht and Mueller, 1964). During the actual performance, this explanation of the opposite course of action that could take place at any moment is suppressed, but the actor's awareness that determination is an illusion can find its tacit expression in stage actions, as demonstrated by the practice of somatization. The objective of this exercise is first to highlight the fact that there are always two courses of action, and second to present the nature of reality as relative, not absolute.

9 This process is illustrated very clearly in the rehearsal scenes of John Cassavetes' Opening Night (1977).

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Instead of ”instead of conclusions” I will give a personal account of how it was when I first attended a so to speak “Brechtian” performance in Berlin, in 2010, at the "Berliner Ensemble". I wrote above, quoting Gombrich, about the "importance of guided projection" and how "expectation breeds illusion." I remember that the "directed projection" from the teachers who mediated my (mis-)understanding of Brecht's system, especially done during informal discussions on the nature of foreign theatre, was that "Brecht's theatre is a theatre devoid of emotions", "thesist", "obsolete”. This perception was generally accepted without any further questioning coming from the student’s side, no attempt to test the "limits of the theory" was ever made. Probably out of a sense of fear of not having our expectations betrayed. So, my expectations were set somewhere in this area: I was expecting to see an awful, dated performance, a sort of museum theatre piece, and I was very eager to see this performance so that my bias could be confirmed. I can’t think of any attitude screaming ‘provincial’ louder than the one I had when entering the Berliner Ensemble that evening. The performance I was attending that evening was The Broken Jug, by Kleist, directed by Peters Stein, and starring Karl Maria Brandauer, a huge actor whom I had previously seen in Istvan Szabo's "German trilogy" (Mephisto - 1981, winner of the Oscar for Best Foreign Film, Oberst Redl - 1985 and Hanussen - 1988). The show started in a very naturalistic vein, with a flock of chickens walking about aimlessly on the stage, which had the gift of decelerating my directed projection. I was ready to give up the point, considering that the director probably had to make concessions to the naturalist system to attract the public (the hall was full) and that Brecht’s system was kaput. I had given up on the thought that I was about to see a hardcore Brecht performance, believing that his method had somehow lost the battle against naturalistic realism, so, naturally, I put aside my prejudices about Brecht’ theatre. Then, imperceptibly, I entered the atmosphere of the performance and as more and more confusion threatened the reputation of the judge, played by Brandauer, at one point, in what I would call the climax of the action, he, finding himself alone on the whole stage, comes to the proscenium, he pauses for a moment to catch the audience’s attention and very simply shrugs. Of course, it is dire to write down the intensity of a moment of such effectiveness and simplicity - but, paradoxically, one so complex that it presented, simultaneously, the struggles of both The Judge and Brandauer, at the same time - like the one I witnessed, so I will limit myself to presenting the effect of this simple gesture: the whole audience burst into a heart-felt applause. One might sarcastically rebuke: and everyone clapped. Jokingly, I can also reply: Can confirm. I was the applause. Because that was the moment when all my prejudices about the Brecht method were shattered. It was just theatre very well done. It was precisely this dialectic of estrangement that brought Brandauer back to me in an extremely familiar light. The fact that "the one which shows must also be seen showing" has the gift of bringing the audience closer to the actor, in complete accordance with Brecht's dialectic, which, indeed, must be made in order to be seen and must be seen in

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Research order to be understood. And what I saw was a performance of the highest quality, not an "emotionless", "thesist" or "obsolete" performance. That is why I believe it is necessary to remove the prejudices around this method, especially since the problems posed by Brecht are still present in what we like to call the "total theatre" of our times.

References: 1. BENJAMIN, Walter (1998) Understanding Brecht. Translated by Anna Bostock. Introduction by Stanley Mitchell. London & New York: Verso. 2. BRAULICH, Heinrich (1972) Max Reinhardt: Teatru între vis și realitate. Trad. Margareta Andreescu. București: Ed. Meridiane. 3. BRAUN, Edward, PITCHES, Jonathan (eds.) (2016) Meyerhold On Theatre. London & New York: Methuen Drama. 4. BRECHT, Bertolt (1972) Scrieri despre teatru. Trad. Corina Jiva și Nicolae Dragoș. București: Ed. Univers. 5. BRECHT, Bertolt (1980) ”Jurnal de lucru 1938-1955”, selecție și traducere de Margarete Vegh, Secolul 20, octombrie-decembrie/1980. 6. BRECHT, Bertolt, MUELLER, Carl, ”Notes on Stanislavski”, The Tulane Drama Review, Vol. 2, No. 9 (Winter 1964), pp. 155 – 166. 7. BROOK, Peter (1995) The Empty Space. New York: Touchstone. 8. BUSE, Peter (1998) ”Archaeology of an Acting Style”, European Journal of Cultural Studies, nr. 2/1998. 9. CLAYTON, Douglas (1993) Pierrot in Petrograd. Montreal and Kingston: McGill Queens University Press. 10. EATON, Katherine (1977) ”Brecht’s Contacts with the Theater of Meyerhold”, Comparative Drama, Vol. 11, No. 1 (Spring 1977), pp. 3-21. 11. EDDERSHAW, Margaret (1996) Performing Brecht – Forty years of British performances. London & New York: Routledge. 12. GOMBRICH, E.H. (1973) Artă și iluzie. Trad. Balcica Măciucă. București: Ed. Meridiane. 13. INGRAM, Susan (2002) ”The Writings of Asja Lācis”, New German Critique, (86), 159, p. 159-176. 14. LUKACS, Georg (1978) ”On Bertolt Brecht”, New Left Review, I/110, July/August. 15. MEDVEDEV, Alexandrovich Roy, SHRIVER, George (1989) Let History Judge – The origins and consequences of Stalinism. New York: Columbia University Press. 16. MITTER, Shomit (1992) Systems of Rehearsal: Stanislavsky, Brecht, Grotowski and Brook. London and New York: Routledge. 17. POE, Edgar, Allan (1990) Prăbușirea casei Usher – Schițe, Nuvele, Povestiri. Ediție îngrijită, prefață, note și comentarii de Liviu Cotrău. București: Ed. Univers. 18. ROBINSON, Douglas (2008) Tolstoy – Shklovsky – Brecht: Estrangement and the Somatics of Literature. Baltimore: The John Hopkins University Press.

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19. SILBERMAN, Marc (ed.) (2000) Bertolt Brecht on Film and Radio. London & New York: Bloomsbury Methuen Drama. 20. TONITZA-IORDACHE, Mihaela, BANU, George (coord.) (2004) Arta Teatrului. Bucureşti: Ed. Nemira. 21. YURCHAK, Alexei (2015) ”Bodies of Lenin: The Hidden Science of Communist Sovereignity”, Representations, 1 (129), February.

Online References: 1. LĀCIS, Anna, BENJAMIN, Walter (2020) Signals from another world: Proletarian Theater as a Site for Education [online]. Available at: https://www.documenta14.de/en/south/25225_signals_from_another_world_prol etarian_theater_as_a_site_for_education_texts_by_asja_la_cis_and_walter_benjamin_ with_an_introduction_by_andris_brinkmanis (Accessed: 21 October 2020)

Filmography: 1. Kuhle Wampe oder: Wem gehört die Welt (1932) Directed by Slatan Dudov [Film]. Praesens-Film. 2. Hintertreppe (1921) Directed by Leopold Jessner [Film]. Gloria-Film GmbH & Henny Porten Filmproduktion. 3. Mysterien einer Frisiersalon (1923) Directed by Bertolt Brecht & Erich Engel [Film]. Munchen: Dr. Koch. 4. Opening Night (1977) Directed by John Cassavetes [Film]. Faces Distribution. 5. The Gold Rush (1925) Directed by Charlie Chaplin [Film]. Charles Chaplin Productions.

Radu Crăciun is a lecturer at the Hyperion University, Bucharest, a PhD graduate of the “I.L. Caragiale” National University of Theatre and Film since December 2019, when he defended his PhD thesis, “The Fool’s Journey”, supervised by Prof. PhD Cristian Pepino. As a PhD candidate he was an assistant to Prof. PhD Mihai-Gruia Sandu and also to Assoc. Professor PhD Ioan Brancu. He contributed, alongside Mihai-Gruia Sandu and the Master students from the class of 2016 to the performance “3 (Three) Farces Concerning Pantaloon”, awarded with the Special Jury Prize at the Graduate Gala of UNATC in 2016. A performance consisting of excerpts taken out of the Commedia dell’ Arte Masterclass coordinated by Prof. PhD Mihai-Gruia Sandu and assisted by Radu Crăciun, held with the Master students from the graduate class of 2017 won the Special Jury Prize of the Student Theatre Nights. He held a Theatre Clown Art workshop with the Pupeteering Department students from the final Bachelor year, class of 2015, under the supervision of Associate Prof. PhD Ioan Brancu. The resulting performance was presented at the Comedy Festival in Galați and was awarded with the prize for Best Debut Performance. He played various roles in theatre and film, among which, so far the most notable is the role “Ilie” in “Sleep? Awake!”, d. Andrei Ştefănescu, 2012.

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Can the Art of the Actor or Theatre Be Correlated with Moral Good or Moral Evil?

Alexandru PAPADOPOL UNATC “I.L. Caragiale“ Bucharest, Romania [email protected]

Abstract: Beyond religious concepts, in order to strengthen moral exigencies and the promise of metaphysical or practical compensation, morality could be interpreted as abstract. In the absence of moral goodness, everything is, in fact, allowed. This is the premise on which this research is based. Moral good and moral evil are fluctuating concepts and are the effect of individual actions, messages and ideas of specific processes determined by will, creativity or imagination. The concept of theatre, like the one directly related to the art of the actor, aims precisely at the idea of consent and the Grotowskian idea, taken from Artaud, of ”piercing” the human nature. In addition, the audience is invited to make the effort to find out the truth about themselves. Both the good and the evil that we can recognize in the proximity of art, result from the way in which our inner make-up adapts to the experience of meeting the ”other one”. Hence the moral goodness-moral menace polarity. The art of the actor, as a concrete element, is firstly linked to the unique human nature and then, indirectly, through the transmitted emotional elements, to the necessary and universal moral law. This is why the only valid theatrical ”ideology” is represented by the metaphysical human knowledge. When the actor processes and then transmits and the audience lets themselves be ”pierced” – Grotowskian specific term – by the emotion transmitted by this higher court, only then the freedom of having honest self-interrogative hopes can be born. Keywords: actor's art, "piercing" into human nature, moral good, moral evil, metaphysical human knowledge, Jerzy Grotowski. How to cite: PAPADOPOL, Alexandru (2020) ”Can Acting or Theatre Be Correlated with Moral Good or Moral Evil?”, Concept 2(21), pp. 57-68.

In order to create a link between the two notions, it is first necessary to specify that the notions of moral or immoral are often different from the notions of conforming or not

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conforming to the rules. Important for the actor's art is precisely their use in ordering and correcting not the rules, but rather the actions and concepts. In this way it will be possible, perhaps even on a practical level, a connection with the effects on others, not necessarily with their individual logic, but with feelings and affect. In general, the thought that an act is morally good or evil depends on its influence, not only on the person who issues it, but also on the influence it has on other individuals. The message inseparable from my own visceral will could be translated into the question, I want something – Why should I care about others? There have been many attempts to justly answer the questions that contain within them the notions of moral good or evil. On the other hand, however, the main question can inevitably branch out with other legitimate questions: Should I care? Or Why should I care? Beyond the too many, too inflexible, and often abstract and diverse religious concepts, if there is no universal divine source to reinforce moral demands with the threat of punishment and the promise of metaphysical or practical compensation, morality could be interpreted as an abstraction. In the absence of moral goodness (with all its meanings) everything is allowed. This is a fairly direct formulation of the moral foundation. A more "seductive" statement on the issue could be that the reason why moral goodness must be achieved and propagated is not fear, but love. Hence, the Creator (whatever he may be) loves you, so you have to love him in return, and you have to do your best to obey his orders so as not to upset him. The main objection in interpreting such a motivation is, however, that if an action is generally accepted as moral evil, this is precisely why Providence forbids it, therefore there is no divine recommendation and permission to do it. In this way, it seems that there can be nothing concrete that completely replaces, as a basis of morality, the direct concern for other individuals, the "accomplishment" that was mentioned of involving the intervention of a human action. Moral good or moral evil are, after all, quite fluctuating concepts, ultimately turning into an effect of individual actions, messages and ideas and specific processes determined by will and, later, by creativity and imagination. In this sense, St. Augustine believed that: […] For the unclean in the sight of God is every one who is unrighteous; clean therefore is every one who is righteous; if not in the sight of men, yet in the sight of God, Who judges without error. […] In general, it is never right to tell a lie for any man, such as may hurt another, even if the hurt be slighter than would be the hurt to him unless such a lie were told. Because neither must another man's bread be taken from him against his will, though he be in good health, and it is to feed one who is weak; nor must an innocent man, against his will, be beaten with rods, that another may not be killed. Of course, if they are willing, let it be done, because they are not hurt if they be willing (2016, p. 84). The concept of theatre as well as the one related to the actor's art refers precisely to the idea of consent, including, however, Grotowski's idea borrowed from Artaud of the "piercing" into human nature. Lying for someone's sake can only gain significance and effect by exploiting and using the role. This tool, or perhaps only this tool, can reveal what is

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Research hidden under the everyday mask, and the spectator will understand according to his own moral grid, responsibly or not, that he is invited to make the effort to discover the truth about himself, within a well-defined theatrical process witnessing the specific stage creation. The aesthetic solution in this process also becomes necessary in the perspective of the global composition to which it belongs. No one can see the full picture, both the spectator and the actor existing under the sign of fragment and separation. Through his will, or only through his will, the spectator will be invited to look closely and through someone else's eyes which describes himself in certain conventional conditions to give up the distant, dettached way of approaching his own concepts and notions related to good or evil and to realize the confrontation with one's own truth or even one's own mission in life. The effect cannot be accurate, however, through dettached calculation. The warmth towards what is human is vital, the process assuming, in fact, an understanding of human paradoxes, man being by nature a suffering creature, which is unclean (as argued by St. Augustine), but which does not deserve in any way disregard. Despite inconsistent variants of existence, evil is not an appearance and is not a human way of packaging what is real. Perhaps that is why Grotowski referred to the decline of theatre as inextricably linked to the decline of the church. The disappearance of the sacred and the ritual tasks of a performance can lead, however, to a secular sacredness. Perhaps this very sacredness will be able to honestly bring to light the concept of consciousness that can contain within it the moral goodness, and “faith becomes, perhaps, a true concept only when it is transformed into faith in this world, connecting instead of designing” (Deleuze și Guattari, 2020, p. 108). Also familiar with duality of human nature, Jung appealed to individual consciousness, an approach he considered extremely difficult despite its futility. Consequently, the great Swiss thinker categorized this concept as indispensable, seen not only as a counterpart of the unconscious, but even as a defining element of the meaning of life. The evil seen in the outside world in our fellowmen can be acknowledged as a negative meaning residing in our own psyche, and this profound intuition would be the first stage of the radical change of attitude towards our fellowmen. Individual knowledge is linked to man and the deep meanings of the human being who will understand that his identity is partial, that it is a beginning and not the end of the road. The outside world voluntarily accepted in the theatrical convention that gives rise to human impulses and reactions can, in this way, (often, however, not radically) change something in attitude and personal evaluation of what each considers morally good or evil, both concepts still having common roots produced by consciousness and instinct. The common theatrical experience will be able to be, in this way, inextricably linked to a confrontation, not at all scientific or psychological, with one's own self and with an elementary-human exploration that contains everything related to moral good or evil and their observation through present actions embodied by living individuals. Thus, […] just as the philosopher behaves in relation to the reality of existence, so the artistically excitable man behaves in relation to the reality of dreams. He looks at

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them precisely and with pleasure, for from these pictures he fashions his interpretation of life; from these events he rehearses his life. This is not merely a case of agreeable and friendly images which he experiences with a complete understanding. They also include what is serious, cloudy, sad, dark, sudden scruples, teasing accidents, nervous expectations, in short, the entire “divine comedy” of life, including the Inferno—all this moves past him, not just like a shadow play, for he lives and suffers in the midst of these scenes, yet not without that fleeting sensation of illusion (Nietzsche, 2018, p. 32). The interpretation of life in the acute interest given to art (in this case the art of the actor and the art of performance) of which the German philosopher speaks may appear as a "denouncement " of the notions of moral good or evil, or as noted by a Romanian philosopher – a kind of replacement of the infinite outside the spectator with the inner infinity. The inner infinity is in direct connection with the primordial human nature and even with the "original sin" by which man is forbidden to taste the Tree of Knowledge and is punished for not listening. The Tree of Knowledge can also be interpreted as the Tree of Knowledge of good and evil, instinct and discernment. In this way, space and time become pure forms of human sensitivity and the spectator standing in the vicinity of the artistic act of the actor accessing specific creative means, will be, perhaps, in the potential condition to experiment good or evil or their real representation with his own senses and not with his own intellectual grid. This means that any experience of human life, from the incomprehensible one to the moral and direct behavioral manifestation, can take place thanks to the functioning of a prior essential structure of the human being. Good, or in fact - the choice to do good and not to do evil that was talked about at the beginning of this article is a notion tainted by the fear of punishment. The good or evil that we recognize in the proximity of art results from the way in which our inner composition adapts the experience of meeting the "other". Hence the polarity of moral good – moral evil, examples and notions being infinite – Cain and Abel, God and Devil, Ormuzd and Ahriman (in Persian culture) and many others. The coexisting duo solution is not accepted by ancient philosophers, such as Plato or Aristotle, for them good is the strong element of the world, evil being considered a marginal element that can appear only by virtue of human mistake. For them, good is substantial, evil is just an accident. The spectator, but also the actor, carries the two entities in the soul, probably in equal weights. However, everything can start from the recognition of these "notions" following the meeting within the theatrical fiction. Everything starts from the a priori material of the human species, which can reform or falsify and gives the final version to the information related to each situation present in the creative act. In this way, the spectator, after perceiving the creative act, may have the chance to process in the a priori womb of the “human” it contains, the experimentation of the convention between him and his fellowmen. The change takes place, therefore, moving the notions of good or evil from what would be called "beyond us" into "us", that is, into our inner self. Humanity, but also suffering, and happiness can appear as a result of a person receiving honest acting emotions,

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Research placing him deep in his own self. The aesthetic way in which contact takes place is in this context, often, quite unimportant, the truth not having to be sacrificed at any cost for the sake of conscientiousness or ideologisation. Therefore, […] goodness and badness being the distinguishing marks of moral differences), it follows that we must represent men either as better than in real life, or as worse, or as they are. It is the same in painting. Polygnotus depicted men as nobler than they are, Pauson as less noble, Dionysius drew them true to life. […] In literature, Homer, for example, makes men better than they are; Hegemon the Thasian, the inventor of parodies, and Nicochares, the author of the Deiliad, worse than they are. The same distinction marks off Tragedy from Comedy; for Comedy aims at representing men as worse, Tragedy as better than in actual life (Aristotle, 2000, p. 24). If reason and language do not have the power to change the conceptual perception of good and evil, they can at least attack the mortified part of the protagonists of the encounter through direct senses and instinct. Perhaps nothing can better stimulate humans with all their anatomy or inner soul as the ongoing theatrical process. Spectators may be amazed, frightened, shaken, disturbed, but perhaps the production of a moral outcry will partly demolish the preconceptions about the supposed moral good or evil, in which everyone believes. Therefore, the distinct marks of human goodness or evil that the great philosopher, scholar and professor of Ancient Greece spoke of, can gain valence as a result of spectator-actor forms of meeting, perhaps even compulsive and extravagant ones, containing caricature and idealization, generating in this manner primary energies that can modify or replace preconceptions and moral systems. Thus, the emotion and the substantiation that the actor's art puts into play, ends up taking the real theatrical circumstance out of its pragmatic limitation and conditioning, bringing it to that degree of its intrinsic substantiality, transforming it into a true object of direct knowledge. Without the existence of actors and their creative-specific processuality, theatrical art could not be transformed from an artistic event into a dramatic phenomenon, not being able to achieve the separation of the illusion of the spoken text, in subtext, thus transforming art into a good or evil message, morality or immorality. Once the object of knowledge is finalized, an inherent conflict between consciousness and limit will probably be triggered through immediate affect, the subtext operating directly to capture moral phenomena as such, which later leads to the decommissioning of reality and the conversion of theatrical performance into something broader than just an aesthetic cultural phenomenon. If the reason of the spectator, but also of others, refers to personal protection, on the one hand, and to history and culture, on the other, and instinct keeps man in the vicinity of his own intimate-deep nature, then, the real theatrical struggle can be considered the one between the authentic human “pulsional” and the rational being who in a balanced way tries to define concepts that can be evaluated without affective involvement, the two entities living, in fact, inside the same individual. It follows that moral good or evil refers to intense, educated people, but at the same time, instinctive behavior can refer to the protagonists of the play, not as

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individuals, but as representatives of man and nature in general. "In this sense, it is not just about seducing the public. It is a more complicated problem to create works that arouse among the spectators a hunger and an undeniable thirst” (Brook, 2014, p. 197). The actor's art is linked as a concrete element, first to the unique human nature and then, indirectly, through the transmitted emotional elements, to the necessary and universal moral law. That is why the only valid theatrical "ideology" is metaphysical human knowledge, and actors and spectators can be recovered as essential human figures or profiles converted into their own "eternity". The hunger and the undeniable thirst of which Peter Brook speaks suppose that a moral concept could also be the result of the transition of emotion from the surface layers to the deep layers of the human, from mixed to concrete and constant, actors as well as spectators relating to each other, for a moment, as a supreme axiological instance. If the acting process is "personified", and the conscience carrying moral convictions eventually takes the form of a theatrical character, namely the hero, then the moral good or evil becomes visible under the clear appearance of the terms within which the meeting can take place. The theatrical phenomenon is born in relation to the logic of consciousness, but especially to the moral meanings related to what is human and real, thus consciousness gaining value by removing any so-called philosophical system that is not constituted on anthropological grounds, which may include the naturalness, the authenticity, and the individuality of the human being. The authenticity of each actor will force him not to evolve on stage, but to reveal himself following creative processes specific to his art, not altering his identity, not betraying the imposed metaphysical theme and entering, at the same time, in an "epidemic" vibration with the spectators. The essentialization of the notions of moral good and evil can find a current correspondent in Heidegger's theory that made a clear distinction between reason and visceral vibrations, transforming the essence of life into the difference between being able and being in the present, thus the spectator no longer having to subject to cruel realism, identifying the characters only through stories or concrete actions. Being in the present, updating potentialities, will bring to light something stronger than the events presented, helping processuality and creativity, namely, decrypting the system of the human condition and exposing the universally accepted and moral principles liberated of dramatic appearance. The divine intelligence, being nurtured upon mind and pure knowledge, and the intelligence of every soul which is capable of receiving the food proper to it, rejoices at beholding reality, and once more gazing upon truth, is replenished and made glad, until the revolution of the worlds brings her round again to the same place (Plato, 2018, p. 76). However, beyond the theatrical-spiritual perspective, the concept of the unconscious and of inner suffering transformed into consciousness can also be discussed, thus, from a psychological point of view the problem can be presented in terms of decline, dissolution, but also as the victory of the human element in front of an artistic act. A brief definition of art that Jung gave in Psychological Types was – "union between man and man

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Research reaffirmed, but nature which has become alienated, hostile, or subjugated, celebrates once more her reconciliation with her lost son, man" (2004, p. 152). According to the anthropological-psychological research developed by Jung, and to a greater extent by his descendants, if the unconscious is not balanced by the experience of the conscious, it will inevitably show its opposite aspect, namely the negative – evil aspect. Thus, the acting proposal can develop positive meanings (moral good), being the expression of a magical and deep mysticism of nature, or it can be interpreted only as an expression of notions related to concepts or conceptualizations less digestible, unpleasant, unfavorable, associated with the destructive spirit that destructures the self, that contains moral evil. The two elements can even, paradoxically, depend on one another, knowing that the paradox is one of the main elements, a primary characteristic of the actor's art, but also of its unconscious and its composition. As for the natural, visceral, instinctive or atavistic aspects, it must be emphasized that it rarely relates entirely to aesthetic, symbolic or cultural considerations, there are psychologists who even consider that libido in its primary form takes over the individual, transforming him in an animal limited to itself, to its own being. The unconscious can manifest as a purely physiological phenomenon or, perhaps, as a psychological affiliation determined mainly by physiology. This impulse may call into question the fact that the actor's art, as an integral part of the theatrical process, can serve other, somewhat inconclusive moral truths, which should either exclude each other or encompass one another, or, why not, refer to a higher-ranking unit that constitutes the essence of moral good or evil. The substance of the theatrical encounter does not seem to be conceptually or ideologically related to any stage of civilization or to any doctrinal form concerning the world and its composition. At least at the end of the process, these things should disappear. The theatrical reality, not the dramatic one, the world in front of the spectator cannot be culturally contested, not being an abstract entity. Even if it speaks or contains and highlights abstract messages such as goodness, moral evil, truth, beauty, it still cannot deny its own nature. Dramaturgy can certainly be understood intellectually, and it will also be demolished or placed on a pedestal, often in view of its aesthetics and cultural message, but, as Chekhov said, it can be understood. with the soul only through the actions of the characters, even if […] sometimes the poet feels more deeply than the actor; sometimes, and perhaps oftener, the actor's conception is stronger than the poet’s; and there is nothing truer than Voltaire's exclamation, when he heard Clairon in a piece of his, ”Did I really write that?” Does Clairon know more about it than Voltaire? Anyhow, at that moment the ideal type in the speaking of the part went well beyond the poet's ideal type in the writing of it […] The poet had engendered the monster, Clairon made it roar. (Diderot, p. 437). Good or evil, ethics or morality, are, however, inextricably linked to something that is probably worth emphasizing, namely, the spirit of the times. It is known that events do not define an epoch, but rather its dogmatic immateriality. Very often, the fundamental

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notions collide or merge with the dynamics of social and, of course, cultural life and the changes that result from the natural course of rational and spiritual messages. A concrete example in favor of this theory, about how the spirit of the times manifests its “grandeur”, is Meyerhold's epoch, also characterized by the declamatory style of the actors animated by the deepening of the workers' vision. Moral good or evil was abusively embedded in the discourse that the actors addressed directly to the audience. The audience was sometimes enlivened by the real news from the front, the mood of the actors and spectators enhancing the transmission and "color" of the message. Of course, this is an extreme example of the ideology of the time imposing its authority on the transmitted moral good or evil, the processuality of the "new actor" sought and invented by Meyerhold seeming to be at least questionable or misinterpreted in some cases. Perhaps the changes do not involve revolutionary transformations that would mean rebuilding art and its foundations and messages; there are, however, certainly artists (actors) who will have formulated their goals in ways not heard or accepted until then, thus, implicitly, the subjective representation of reality involved the direct and personal delivery of elements related to moral good or evil. The representation of ideological nature was no longer important, but the expression of one's own affective perception of human nature could conceptually prove new valences. A great French painter, for example, spoke of contemporary art as a recovery of human solidarity, but also emphasized the reality of his own being. The actors can consider now the lucid assembly of their own inner reality with the reality of those who watch and try, in a meeting through which the actor's art is used as a binder, to unite matter with spirit. More specifically, in some cases, the rupture between the abstractionism that the theatre performance will propose and the pure realism that the actor releases through play, following creative processes specific only to his art, can be healed, cured or at least repaired. Perhaps, for the audience, this will be noticed or very difficult to perceive through the modified atmosphere of a performance, but at an intimate-deep level the actor's art will be perceived as sensory and imaginative. A great film director said that through acting you can deny or at least accept and not treat as a triumphant or decrepit enemy even the deepest evil. So, in the actor's play, maybe only in the actor's play, the spirit can be mirrored, because regardless of the proposed theme, it is not matter, thus breaking the temporary limits of physical existence. Atmosphere, perceptions become possible and, above all, intelligible. Therefore, in seemingly irrational conditions, the actor's art will decipher to rational beings the moral meanings and codes, replacing a cold cultural phenomenon with a biological function, adding an essential characteristic to a direct instinctual phenomenon. Nicolae Steinhardt spoke precisely in this sense about the immeasurable power of transfiguration contained in the seemingly ordinary word "between", characterizing the art of writing, but also theatre, as an act of generosity of actions accomplished together. He considers that the actor has, in fact, a special condition and even if the playwright or director adopts superior cultural or dramaturgical messages, these are fulfilled through the specific process of the

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Research actor's art that is found in the same measure and in the viewer's desire to experience. Steinhardt speaks of a […] kind of interspace, a no-man's land at equal distance from receiver and performer, where the drama of audition is actually consumed. In this way, both the literary text and the spoken text no longer belong exclusively to the “producer” […] reading becomes a complex act, a communion between the “reader” and the “writer”. Hence the "active" character of a "careful reading"… a meeting between two temperaments (2009, p. 135). The active character and the collision between the different temperaments that the Romanian philosopher and later theologian talks about, can give birth in theatrical practice, something experienced by great directors and acting teachers, to a message containing moral good or evil. Many practicing directors, who later developed proper laboratories and theatre schools, tried to communicate the message of goodness using the relationship between acting vibration and the emotions of the spectators, rather than their explicit words or meanings. They rightly assumed, most of the time, that human beings have a special, instinctive receptivity to tones, emotions and intensities, and that, in fact, sounds contain the redemptive message. There is also the belief that resonance can include to some extent the "offspring" of emotional conditions that actors can arouse in any soul, regardless of the understood and spoken language. The meeting of temperaments “carrying” messages that can influence moral good or evil, as well as the actions arising from these concepts, is considered, however, by teachers who teach the art of the actor quite eccentric, precisely because of the specificity of this dual art. At a philosophical level, but also practical level, the testing of this highly original claim can be achieved by abstracting a validly formulated concept, of which Professor Cojar argued that, unfortunately, cannot really translate the essence, or by confronting, this time theatrically, the actor with an audience made up of totally different spectators in terms of structure from cast members. A great American director, for example, often moved his own successful company from the centre of New York right into the heart of Africa and forced his actors to improvise performances in predominantly unconventional spaces, on mats, using a minimum of props and giving up specific costumes intended for the original performance. Thus, through the performance, but also through honest relation to "something else", the specific mechanism of the actor's art acquired the value of theatrical essence, but also made room for the direct transmission of good or evil, moral or immoral, ethical or dishonest messages. The actors gained value precisely by the fact that they were intentionally "stripped" of any trace of sophistication, of any security and of any typical theatrical and cultural aspects accepted in their country of origin. In front of the defenseless actors, the audience also changed, being amazed and being able to endure and, later, to metabolize the accuracy of a message and an event shared with sincerity. Moral good or moral evil are, probably, either very didactic or extremely insignificant concepts at a social level. The essence of theatre found only through the

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processes and elements specific to the actor's art, involves reaching the core that will organize these concepts at a human level, the essential condition for things to come to an end being the removal of formalism and affectation. Peter Brook, an almost fanatical follower of non-verbal experiments, wrote that there were similarities even between the distancing effect imposed and created by Brecht and the effect of happening on the senses of the spectators. In fact, if the happening removed the barriers naturally imposed by reason and culture, the distancing invariably constituted of a sum of shocking elements, but, paradoxically, improved the message transmitted and enhanced the authenticity of this message. A normal stage action will appear real to us if it is convincing and so we are apt to take it, temporarily, as objective truth. A girl, raped, walks on to a stage in tears— and if her acting touches us sufficiently, we automatically accept the implied conclusion that she is a victim and an unfortunate one. But suppose a clown were to follow her, mimicking her tears, and suppose by his talent he succeeds in making us laugh. His mockery destroys our first response. Then where do our sympathies go? The truth of her character, the validity of her position, are both put into question by the clown, and at the same time our own easy sentimentality is exposed. If carried far enough, such a series of events can suddenly make us confront our shifting views of right and wrong (Brook, 2014, p. 110). The spectator part of this game is "tempted" to feel, investigate, and interrogate inward, claiming his own human nature and, as Brook said, even his own views as a being on this earth. In this way, the word "temptation" may no longer take on a negative biblical- religious connotation but become a call and a viable probability. Good can become through the actor as tempting as absolute evil, the choice being an instinctual one, indeterminate by any duty, on neither side, therefore, morally legitimate. In these terms the freedom of both parties, actors and spectators, appears possible towards what they want, that attracts them, and towards something they do not necessarily logically want, but they can't be indifferent for. In other words, there is a kind of fracture that apparently finds its solution at a certain moment and in a certain sense, good or evil appearing contextually against the explicit will of the spectators in full "procedural" interaction with the actor who thinks and acts in front of them. In this way, there is an assumed risk of a real search through the ocean of one's own beliefs, the result being often disturbing, but also unsettling from a moral point of view. Probing one's own interior will find something truly "own" directly related to interiority and subjectivity. When someone reaches the limit of his own interiority by sincerely questioning his own moral grid, he wakes up in a space where he is alone. Everything that is not directly related to one's own person, everything that is outside the ego is considered instinctive, more or less foreign, appearing as something distinct, inevitable, but the interaction will create a new dimension more assimilated to intuitive thinking, and less to reason.

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Ancient philosophers spoke of will as the main vector of placing principles, emphasizing the theory that the path to free will is often liberation from one's own will. As a result, when the actor processes and transmits and the spectator is "pierced" (Grotowskian specific term) by the emotion transmitted by this "higher court", only then can the freedom providing honest self-interrogative hopes be born. Freedom presupposes, in this way, enlivening and renouncing egotistical intellectual desires on the part of the other, thus creating, not transcendent, but inner unity as an a priori principle of one's own moral conduct. Aristotle's writings in his Poetics of Imitation (Mimesis) are well known, which, in fact, has nothing to do with copying an external model. When art imitates nature, it can mean for the actor or spectator that art recreates the basic creative principle of things already created. In this way, the unity or substance of the unique transformation through art appears, which implies, of course, the serious investigation of the changes that can be related to the moral good or evil, as well as to the intrinsic transforming force of the substance. In other words, the acting and theatrical process carries in its own substance an “antagonism” that makes it move from what is to what is not, depending on the transmitted and received moral perception. It can be concluded that the actor's art can be linked to both moral good and evil only if it recreates the creative principle through clear facts and not through simple possibilities, but only through faculties that have become concrete passions and acts. In this way the "rational soul" referred to by sages, philosophers and artists from different eras, will react and be able to turn its attention to its own virtues or to what can be considered moral behavior or, on the contrary, can be constituted as weakness and mistake. Perhaps the theatrical process is linked precisely to the basic circumstances of moral good or evil by highlighting the indispensable conditions for cataloging principles as good or bad: freedom, knowledge, consistency and voluntary character. The conditions of realization and perfection would be multiple, but one thing can be considered certain, namely that the actor's art can be related to moral evil or good in certain situations where the inner self of participants will be faced with effort, (sometimes) mental pain, and the voluntarily surrender of social masks. A great English director sincerely investigated the actor's condition, crying out: What effect did the work have? It caused each actor a series of shocks - the shock of facing himself in the face of irrefutable challenges, the shock of capturing his own evasions, tricks, clichés, the shock of feeling something of his vast and untapped resources (Mitter and Shetsova, 2010, p. 140). The privilege of the live process, on the other hand, the "beneficiary" of acting conflicts and confrontations with one's own self, i.e. the audience, updates, at the same time with the actor, the working conditions, discovering a reality that can overcome any function, extracting with one's own senses what Joe Bousquet called "conceptual realities". As director Aureliu Manea, often considered by his contemporaries an Artaud of the Romanian theatre, poetically concluded referring to the actor, spectator and, most of all, to the moral meanings,

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[…] the pleasure to participate in the game comes from solving the enigma. In its depths, the sperformance encloses moral philosophies. It happens, however, quite rarely, that theatre builds the so-called model worth following. In its dialectic, more than the affirmation of what is morally good, the performance is the denial of what is characterologically bad. There is no exemplary history of heroes in theatre. Rarely does the one who enforces the law appear […] The supreme human judgement at the end of the performance will choose between what is good and what is evil […] The director will hide in the shadow of the actor, called to inspire fear or joy (2018, p. 201).

References: 1. ARISTOTEL (2000) Poetica. București: Editura Științifică. 2. BROOK, Peter (2014) Spațiul gol. București: Editura Nemira. 3. DELEUZE, Gilles și GUATTARI, Felix (2020) Ce este filosofia. București: Editura Hecate. 4. DIDEROT, Paradox despre actor. Biblioteca UNATC. 5. JUNG, Carl Gustav (2004) Tipuri psihologice. București: Editura Trei. 6. MANEA, Aureliu (2018) Spectacole imaginare. Cluj-Napoca: Editura Eikon. 7. MITTER, Shomit și SHETSOVA, Maria (2010) 50 de regizori cheie ai secolului XX. București: Editura Unitext. 8. NIETZSCHE, Friedrich (2018) Nașterea tragediei. București: Editura Cartex. 9. PLATON (2018) Phaidon sau Despre suflet. București: Editura Humanitas. 10. SFÂNTUL AUGUSTIN (2016) Despre minciună. București: Editura Humanitas. 11. STEINHARDT, Nicolae (2009) Primejdia mărturisirii. București: Editura Polirom.

Alexandru Papadopol is a film, stage and TV actor. He has a degree in the Art of acting and is currently a final-year doctoral student at UNATC "I.L. Caragiale". He was a student of the great professor Dem Rădulescu, graduating from the Faculty of Theatre, Acting Department, in 2002. He made his film debut in college with the lead role Ovidiu, in "Stuff and Dough", directed by Cristi Puiu, film that was the starting point of the New Romanian Wave. He made his theatrical debut in his third year of university at the Casandra Theatre Studio, playing one of the main roles in "Night of the Assassins" by Jose Triana, directed by Alexandru Berceanu. Alexandru Papadopol is also famous for the main roles in films such as: "Occident", directed by Cristian Mungiu, "Back Home to Dad", directed by Andrei Cohn, "Two Lottery Tickets", directed by Paul Negoescu, "Love Building", directed by Iulia Rugină, "Arrest", directed by Andrei Cohn, being one of the most representative actors of his generation. Since 2014 he has been part of the Odeon Theatre team, where he plays in successful plays, directed by: Alexandru Dabija, Andrei Șerban, Dinu Cernescu, Andrei Măjeri, Peter Kerek and others. Since 2010 he is one of the initiators of the "ActoriedeFilm.ro" project, producing independent films and holding film acting classes. He was also present in television series, some of them very successful among the general public.

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Creativity, the Engine of Artistic Research

Ana VICOVAN UNATC “I.L. Caragiale” Bucharest, Romania [email protected]

Abstract: Creative thinking has long been considered essential for the development and advancement of numerous fields included in the sciences and the arts. It is for this reason that I consider the rapport between creativity and genuine human connection to be essential in establishing the credibility of the modern-day artist- researcher. The importance of exploring revolutionary ways of benefiting society through art is made evident by the latter’s transformation and survival throughout history as well as its interdisciplinary qualities. Looking at various examples from the field of performing arts, I will analyse what I consider to be the most noteworthy facts about the field of artistic research, concluding with significant viewpoints about its future, underlining the fact that scientific and artistic researchers share the same creative thinking that fuels their curiosity, originality and necessity to discover revolutionary viewpoints of approaching societal problems in order to get their messages across. Keywords: creativity, creative thinking, performing arts, applied theatre, Internal Family Systems, IFS, artistic research, interdisciplinary research. How to cite: VICOVAN, Ana (2020) ”Creativity, the Engine of Artistic Research”, Concept 2(21), pp. 69-80.

Today, art education is about navigating, negotiating, about doing what you want to do and reconsidering, again and again, whether a specific structure is supportive or not, about being aware of its limitations and creative about using its possibilities, and about taking hybrid positions (Bangma, 2004, p. 126). In the current day and age, creative thinking is becoming more and more valuable. Creativity is not and has never been accessible only to a certain category of people. However, the ability to find solutions, to look at things from a unique, original perspective belonging to one person but resonating with several, makes the difference between a mentally, spiritually, financially, and socially satisfying life and a life lived without purpose. Being

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creative means being aware of both yourself and others, being empathetic, knowing the environment, and making connections. Being creative gives rise to the need for evolution because life is continuously developing, and development is about improving individual skills, suitable for advancing to the next level. Research is the main means by which this goal can be achieved. It is fuelled by curiosity and creativity, and the results of performing arts research highlight its importance in society and emphasize the need to empower the research artist community to bring to light the full range of questions and answers associated with each art form in existence. In this paper, I will be discussing the main purposes of art, as well as the connection between performing arts and the field of scientific research. I will present some examples – mainly focused on theatrical performance, but also other types of performing arts – in order to strengthen the idea that artistic research is dependent on the mentality of researchers, whose skills and sensibilities, although not reserved exclusively for those directly involved, are the right catalysts for promoting a revolutionary approach to research by seeking and adopting different points of view. I support the idea that creative thinking and the creation of authentic connections between people are the two fundamental elements on which both art and the need to investigate the various phenomena that take place within it are based. I will conclude the paper by formulating the problems characteristic of the field of research in the performing arts, but also potential solutions, and I will present relevant mentalities

for the future of this branch.

A unique and irreplaceable encounter Starting from Kant's aesthetics, Helen Nicholson – author to whom I will return later – mentions the reasoning of artists who consider themselves a catalytic tool for social change through the horizons of their visionary thinking, driven by an imagination freed from the restrictive norms of society. This mentality, born in the nineteenth century, is still alive today, and one of the basic qualities of the art of theatre, which amplifies the need for the depth of the connection process, is its transcendence. The experience proposed by a theatrical event, regardless of its type, is always based on the relationship established in real-time with the audience. Once created, this experience takes into account the specificity of each of its components (space, spectator, actor, special conditions, etc.) and cannot be created again, even under the same conditions. The experience itself has its role and produces its effect when it happens in real life. The term Ichi-go ichi-e (Japanese: 一 期 一 会), in translation: one time, one encounter, is a phrase associated with Zen Buddhism and is the basis of many Japanese cultural practices. This expression includes, in its simplicity, a multilateral concept on which a whole set of values is based. Its role is to emphasize that any chance meeting we may have in this life is unique and unrepeatable. Even if the same people meet once more, in the same formulation, the meeting will never be able to be replicated exactly. This expression invites us to reflect on the value of the significant moments of our ephemeral existence and on the

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Research fact that, in order for something to have factual value, it will have to be practiced with full involvement, repetition never actually being possible. The more we analyse the implications of this way of thinking, we can see how the actions based on this concept become true rituals. Tea ceremonies and martial arts are the best-known examples of activities based on this mentality. Therefore, their training is not based on repeating an action until it becomes significant. Instead, each attempt is seen as a valuable step in the evolution of that practice. A ritual does not offer the possibility to stop during its development so as to restart the process from the beginning in the case of a deviation from the rules. In life, time continues moving forward, and the lessons learned from each deed will contribute to the improvement and spiritual evolution of the practitioner. Theatre is, without a doubt, such a ritual as well. It proposes a unique encounter with the audience, the energies produced and exchanged in one moment impossible to replicate in another. The value of the teachings that can be deduced from such a confluence of thoughts, emotions, and perceptions is what creates depth and substance, attributing to the theatrical manifestation the quality of ceremony. I believe the definition of the term ceremony from the book titled Art and Intimacy: How the Arts Began, to be original as well a good argument for supporting the previous statement. The author of the book, Ellen Dissanayake believes that “ceremony” is, in fact, a one-word term for what is really a collection or assembly of elaborations (of words, voices, actions, movements, bodies, surroundings, and paraphernalia) – that is, of arts (chant or song, poetic language, ordered movement and gesture or dance, mime, and drama, along with considered and even spectacular visual display). It is as if the people who create and engage in these art-saturated ceremonies believe that in order for their efforts to succeed, nonhuman powers must be attracted and persuaded by displays of supreme beauty, skill, extravagance, and impressiveness. These qualities, which require an expenditure of time, thought, and effort, are unmistakable signs of caring and care (Dissanayake, 2000, pp. 138- 139). The author's observation refers to the way the artist approaches his purpose and the purpose of his art in relation to his audience. Those so-called non-human powers that are part of another plane of existence refer to those factors that produce, both in the spectator and in the artist, that something which can only be defined by analogies and which takes place when the delivered message genuinely resonates within the recipient's being.

The artist’s relationship with the audience This being said, even today, being an artist is a somewhat controversial occupation. Opinions are divided between those who recognize the importance of art in the evolution of society and those who do not consider being an artist a serious or a real job. The latter are probably the ones who would gain the most by introducing art into their lives.

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I appreciate The Art of Asking or How I Learned to Stop Worrying and Let People Help as an excellent argument for defining the position of the independent artist in the world we live in. In this book we are presented with the artistic evolution of the author (Amanda Palmer); a path marked by the defining mentality for an artist: creative thinking. The artist, whatever the nature or object of his art, uses his intuition and creative spirit to access those circumstances that allow him to position his own art, in order to convey a message in which he truly believes and which, consequently, will produce important changes in the world by influencing a multitude of people, in turn, interconnected. Speaking about the relationship that is created between the general public and artists, the author notes that, We have a fucked-up relationship with artists. While artists are, on one hand, applauded for their awe-inspiring, lifechanging works of art, they’re simultaneously eyed with suspicion, disdain, and other sentiments of the GET A JOB variety. Look at the media: we deify artists one second, demonize them the next. Artists internalize this and perpetuate the cycle; artists do this to each other, and they do it to themselves (Palmer, 2014, p. 198). The fact that an artist's work is defined by the uniqueness of his art, which is outlined in part, by the identity of those who receive the message, gives him the right to create his own rules in the creative process. As long as the finality is an exchange of energy, a significant connection between the artist and the public, the way in which this destination is reached can be any. Through introspection, the creator knows his own needs that he can fulfil through various means compatible with his lifestyle, with his conceptions and moral values, etc. What is really impressive about the aforementioned book is the clarity with which we can see the importance of creating and maintaining a close relationship with the public. The artist uses all means of communication, from social media to telephone and face- to-face meetings to enhance the connection with her fans, they even contribute to the direct or indirect fulfilment of the various needs necessary to finalize the artistic product. The role of performing arts in the evolution of the human species is also examined in the book Engaging Audiences A Cognitive Approach to Spectating in the Theatre, by Bruce McConachie. Analysing the type of relationship that is established between spectators and the art they consume he observes how the physical correlation of abstract ideas from a psychological level allows the acquisition of behaviours and attitudes convenient and applicable in everyday life. Quoting Ellen Dissanayake, McConachie emphasises the idea that: The inborn rhythmic-modal sensitivities of mutuality, through cultural elaborations, became adaptive means for arousing interest, riveting joint attention, synchronizing bodily rhythms and activities, conveying messages with conviction and memorability, and ultimately indoctrinating and reinforcing right attitudes and behaviour (Dissanayake, 2000, p. 139).

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On the same note, Helen Nicholson argues for the usefulness of the creative individual in society, outside the artistic sphere. She observes the transformation of the general mentality of considering creativity as belonging only to those with artistic inclinations, the main idea being that those who master certain dexterities such as spontaneity, flexible thinking, and the ability to take risks are more likely to also possess a high degree of creativity. Anna Craft also lists the basic characteristics of the creative individual. These are: Reflection: making time to reflect, in a variety of ways. Leveraging: picking out what they are good at and really pushing that. Framing: the spin put on things that do not work out. Creative people neither ignore nor are put off by failure but instead ask: ”What can I learn from this?” (Nicholson, 2005, pp. 112-113). This last phrase is the basis of productive thinking and is especially important in theatrical pedagogy. This way of thinking is maintained throughout the study of the art of the actor in university because, when applied correctly, it offers the student the most valuable opportunities to learn through experimentation, therefore, to think creatively- constructively.

Science in art, the trigger of curiosity, the catalyst of research Due to the current times' wide access to information and novelty, we are able to see, more and more, the impact that art has on the economy, health, social welfare, and education. Art in general, and the art of theatre in particular, have strong links with all areas in which people get involved using their personality and creative skills. In this sense, we can say that there is no difference between a scientist and an actor, both using their curiosity, imagination, and creativity to solve those problems in their spheres of interest, to uncover and analyse phenomena, in order to improve the field in which these processes take place. Curiosity in any branch is the motor of examination, and in the performing arts, the creative person’s mentality mentioned above is compatible and very similar to the mentality of the researcher. In other words, the evolution of the performing arts and their perpetuation today have taken place as a result of the desire triggered by the curiosity to find answers to questions born by practicing various art forms. Art-based research has emerged as an extension of the study of the nature of artistic experience and is defined by the systematic use of the artistic process, generating artistic expressions in its various forms. This form of research proposes an investigation of human experiences through art, often using the tools of psychology (Oltean, 2019). Psychologically speaking, each person, depending on their inner spiritual and emotional composition, reacts to and resonates with various external stimuli, such as works of art. Taking into account the theory of internal family systems, we can say that those component parts of our being that we have rejected and those that we allow to exist, simultaneously influence our perception and reaction to the stimuli generated by the work

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of art. At the same time, by being aware of our own system's components, we can identify what blockages, but also what needs are manifested to create what we call I (myself).

Internal Family Systems (IFS) From the point of view of the artist, especially of the actor, the study of his sphere of interest will last throughout his entire lifetime. This process is an introspective one, which allows the actor to know his own psychic triggers, to determine those inner mechanisms that determine genuine emotions, and with adequate guidance, to discover various instruments compatible with his being, through which to reach an emotional balance. We can observe here the connection of the actor's art with psychology, the latter containing indispensable knowledge for any field that primarily focuses on the human being and inter- personal relations, be they self-centred or cantered on others. But if a person is one individual being, then the meaning of the phrase relationship with oneself becomes questionable, as a relationship is established between two or more beings or elements. A relevant example of this is the theory of Internal Family Systems or IFS1 whose founder is Richard Schwartz. IFS is a therapeutic method whose purpose is self-knowledge through a process of individualized introspection based on the theory of multiplicity, which argues that the internal composition of each person is the result of the sum of elements called parts. These parts of the human mind are personified and classified according to the role they play in the system. They are called: managers, exiles, and firefighters. The person who encompasses all these parts represents the system as a whole. Each component of the system, here called part, has a set of responsibilities to keep the person (system) in a state of balance. In other words, each part of a system has a specific and distinct personality, as well as a well-defined role. Thus, managers are the ones who maintain control by anticipating problematic situations. Their role is to maintain the balance of the system by finding solutions to drive away what is not wanted – usually traumatic experiences that cause unpleasant emotions. Exiles are those parts that formed as a result of trauma (usually dating back to childhood) and which are rejected by the system and suppressed by those with a protective role. Firefighters are those who enter the scene when managers do not successfully perform their protective functions. They are responsible for triggering behaviours with immediate effects, usually extreme, in order to rebalance the system. For example, a drug addiction to suppress thoughts and emotions caused by abuse. The main purpose of IFS therapy is to maintain a healthy balance of the system, by identifying healthy methods through which all its components can perform the functions for which they were created and can coexist in harmony with each other. In 2015, IFS therapy was included in the National Registry for Evidence-Based Programs and Practices (NREPP) as a proven practice for relieving symptoms such as phobia, panic, generalized anxiety, depression, and certain physical conditions.

1 Information from the IFS institute official website: https://ifs-institute.com/

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On the IFS official webpage IFS Institute – Internal Family Systems Official, Dr. Richard Schwartz talks about the starting point of the Internal Family Systems therapy, namely, the problems that result from the rejection of internal component parts. Their integration and acceptance into the general system is the first step towards healing those inner wounds caused by traumatic experiences. Rejection and suppression of parts associated with strong feelings of shame, anger, suffering, is why the internal system becomes unbalanced. This rejection arises from the erroneous presumption that the part and the burden it bears are one and the same. The rebalancing technique proposed by Schwartz is to raise awareness of each suppressed part and reintegrate it by finding solutions that allow it to function simultaneously with the others, within the system. This rebalancing technique based on understanding, acceptance and reintegration of one's own being, also depicts the process by which the artist completes his relationship with his work, in relation to his audience and himself, throughout his entire career.

Artistic research – implications, shortcomings, future In the academic field there exists a certain segregation between artistic research and other types of research, art being positioned at the opposite pole of science. However, the arguments presented so far are meant to highlight the connections that cannot be ignored in all areas of study. By its flexible nature, art can create a bridge between any field, as its fundamental specialty is building and strengthening connections. In the seminar Visioning the Future, Artistic Research in Performing Arts in Ireland (Visioning the Future, 2020), organized by IMBAS2, Helen Phelan, a professor of artistic practice at the Irish World Academy of Music and Dance, the University of Lymeric in Ireland and the founder of IMBAS, talks about the obstacles faced by doctoral students at the university during their research process. The lack of research methodologies in the artistic field forces these students to design for themselves the means and techniques they need for research, depending on the chosen topic. Consequently, getting the results of their research accepted as valid and scientific becomes a difficult task. Using her pedagogical experience, Phelan identifies the importance of the following issues, which she considers imperative to talk about in the academic environment of the arts in order to strengthen its scientific attributes and to bring to light as diverse solutions as possible. The first problem is the isolation of artistic researchers from the scientific field, a split that results in the amplification of the persuasion work necessary for their works to be considered valid. By intertwining different artistic and scientific fields, it is possible to remedy this problem, as well as broadening the range of possible topics, which may result in new questions and therefore new research opportunities. Another important element highlighted during the seminar is the need to build artistic academic communities in order to strengthen and develop the field of artistic

2 Irish Advocacy Organization for Artistic Research in Ireland – a forum dedicated to those interested in artistic research in the performing arts in Ireland

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research. Phelan supports the idea that, by sharing knowledge and results in an interdisciplinary framework, the field of artistic research will develop considerably, by forming the exact methodologies applicable in various fields of art. In her doctoral dissertation, Adriana Popovici, an important presence in the field of Romanian theatrical pedagogy, also talks about the difficulties encountered by artists during the history of theatre, noting that: The lack of status of artistic professions and their suspicion in terms of Christian ideology have created many difficulties for artists, but it was probably also one of the essential triggers for a general effort of defence and assertion, and perhaps it was this urgent need that contributed greatly to the dimension of their art (Popovici, 1998, p. 15). We can apply the same reasoning to the obstacles encountered by the artist in the scientific field, concluding that their research work is all the more valuable the more difficult it is to undertake. And the fact that artistic researchers have already initiated the change that Phelan is talking about is obvious. The need for artists to measure the results of the investigations they work on, not only in order to capitalize on their points of view but also to position the arts among scientific disciplines, represents the drive for research and solving the various problems encountered along the way.

Applied theatre – a means of expression and empowerment As we noted earlier, we can say that each person is a whole system of interconnected elements, both physically and mentally, sensory and mental. Physically, an organism is made up of a multitude of cells, microorganisms, each with its own existence, reunited to form a single body. In conclusion, each of us is the result of infinite combinations of elements, circumstances, personalities, thoughts, feelings, different sensations, reunited in a single physical representation, independent of other such representations. It can be seen how this model is reflected in many planes, in universal reality. One of the basic human needs, even more important than feeding, is to socialize, which shows us that we are not really as separate as we might think. Studies show that isolated beings (both humans and animals) become apathetic, depressed and that they stop satisfying their physiological needs, even if they have access to food and water. Basically, they behave as if they no longer exist due to the lack of connection with their peers. This behaviour speaks for itself, highlighting the extraordinary importance of positive social relationships. The need to improve the quality of these relationships is also reflected in the growing desire of teachers to use creative principles in order to improve the quality of their teaching, regardless of the form of education in which the learning process takes place. The introduction of theatre in schools' curriculum as an independent, optional subject has manifested itself in a need for change and is a strong argument in favour of creative thinking. The fact that the art of theatre is based on skills such as empathy, concentration, attention,

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Research intuition, memory, teamwork, allows those who practice it, both as a guide and as a learner, to practice and use those innate mechanisms to perpetually evolve, applying the principle of lifelong learning, and to also establish beneficial relationships with others. In addition, due to the introspective methods used by the art of theatre, there is a transformation of the school environment by reducing the rate of bullying and aggression, improving relationships between students, and also between students and teachers. In his book, Creative Schools: The Grassroots Revolution That's Transforming Education, Sir Ken Robinson, a renowned university professor, associate professor, and international advisor, points to this need by describing the current-day field of education from a global perspective. In order to illustrate the differences between the fixed opinions of a stationary way of thinking and one based on innovative creativity, he presents the example of Michael Faraday. In his day and age, Faraday impressed the audience of the Royal Institute of London with the first demonstration of electromagnetism, despite the fact that none of the most famous and intelligent researchers of the time could see the usefulness of this new discovery. He himself could not formulate a field in which his discovery could have been used, but by using his extraordinary intuition, he allowed it to follow its creative course, he further investigated the phenomenon, thus laying the foundations for a discovery that is nowadays considered essential for the harmonious development of daily life on the planet. However, we must also keep in mind that: Chasing originality can have detrimental effects. An example is the crisis of science born of the publishing race, especially in the field of psychology. Replication research is missing, those that validate or invalidate previous research. Their contribution is fundamental, even if it is not something creative or innovative. You can also be original by writing summaries or treatises. There are thousands of ways in which you can present, in an original way, the development of a discipline. You can be provocative, you can offer a new general scheme of interpretation, you can recover what has been overlooked or forgotten, you can reconstruct an entire history in the broad plan of a synthesis. Originality is not just an arrow shot towards the future, it can be the way we give a new image to the world we live and think in without using new elements, only new perspectives (Socaciu et al., 2018, p. 132). By implementing this concept, various ways of practicing performing arts or the principles underlying them in various unusual environments are born. It is the same reason why art research is so controversial, but also original, useful and revolutionary, producing changes of perspective in many fields with which it creates connections. The idea of applied theatre is a relatively new one in the history of theatre and refers to the different possibilities of using it in various fields to bring benefits to targeted social groups. Theatre practiced in unconventional spaces, such as schools, hospitals, prisons, etc. contributes to collective well-being. In other words,

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Applied theatre is a fairly recent category of practice that draws together work that is conducted outside mainstream theatre venues and that is often designed to be of benefit to the individuals and groups involved (Brodzinski, 2010, p. 21). For example, theatre can improve the time of those hospitalized and their families. Playing theatrical games or engaging in shows adapted to the clinical environment can give patients the opportunity to participate in creating a comfortable atmosphere by transferring attention to those elements that can influence them, thus providing them with a sense of control over the situation in which they find themselves. In prisons, detainees can explore various environments of artistic expression, experiment with various situations and roles, and better understand themselves, and also those around them by practicing the art of theatre. In schools, applied theatre brings benefits to both students and teachers, improving relationships and benefiting communication between generations. One of the branches of applied theatre in which research is particularly necessary is applied theatre in the field of health. The specialized literature of this field leaves much to be desired, especially in Romania. Consequently, there is no practical methodology for those interested in working in this unconventional environment. Research is a safe and accurate method, which can result in the development of this aspect and encourage artists specializing in performing arts to get involved in the process of solving long-term problems. Such research can give those involved the chance to intervene, to influence society for the better through their art. Drama provides a powerful opportunity to ask questions about whose stories have been customarily told, whose have been accepted as truth, and to redress the balance by telling alternative stories or stories from different perspectives. It is this understanding that narratives can be changed that lies at the heart of practice in applied drama (Nicholson, 2005, p. 63). In conclusion, research in the field of performing arts not only has the potential to obtain solutions to possible problems encountered in the fields of artistic activity, but it also has the means to create a group of professionals with a recognized status, accepted as relevant to their research on an international level. Each person belonging to this group possesses a huge potential to positively influence society, both through the art they practice, but also by recording, analysing, and disseminating the results they obtain. Moreover, the field's interdisciplinarity considerably widens the horizons that artistic research can aim for.

References: 1. BARRETT, Estelle (2010) Practice as Research. London: I.B. Tauris & Co. Ltd. 2. BROZDINSKI, Emma (2010) Theatre in Health and Care. London: Palgrave Macmillan. 3. COJAR, Ion (1999) O poetică a artei actorului. București: Editura Paideia.

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4. CORBIN, Juliet M., STRAUSS Anselm (2008) Basics of Qualitative Research: Techniques and Procedures for Developing Grounded Theory. 3rd edition. California: SAGE Publications. 5. DARIE, Bogdana (2015) Curs de arta actorului – Improvizația. București: UNATC Press. 6. DISSANAYAKE, Ellen (2000) Art and Intimacy: How the Arts Began. Seattle: University of Washington Press. 7. GOLEMAN, Daniel (2008) Inteligența emoțională. București: Curtea Veche. 8. JOHNSTON, Chris (2017) Drama Games for Those Who Like to Say No. London: Nick Hern Books. 9. LUCACI, Liviu (2017) Nașterea actorului. București: UNATC Press. 10. McCONACHIE, Bruce (2008) Engaging Audiences. A Cognitive Approach to Spectating in the Theatre (Cognitive Studies in Literature and Performance). New York: Palgrave Macmillan. 11. MOSS, H., O'Neill D. (2009) „What training do artists need to work in healthcare settings?”, Medical Humanities, pp. 101-105 12. NICHOLSON, Helen (2005) Applied Drama: The Gift of Theatre. Hampshire: Palgrave Macmillan. 13. PALMER, Amanda (2014) The Art of Asking or How I learned to Stop Worrying and Let People Help. New York: Grand Central Publishing. 14. POPOVICI, Adriana Marina (1998) Funcția actorului în modernitatea teatrului European. Teză de doctorat, București: Biblioteca UNATC. 15. ROBINSON, Ken (2011) O lume ieșită din minți, revoluția creativă a educației. Buc: Publica. 16. SEXTOU, Persephone, HALL Sharon (2015) ”Hospital theatre: Promoting child well- being in cardiac and cancer wards”, Applied Theatre Research, Volume 3, Number 1, pp. 67–84. 17. SEXTOU, Persephone, MONK Claire (2012) ”Bedside theatre performance and its effects on hospitalised children's wellbeing”, Arts & Health: An International Journal for Research, Policy and Practice, 5:1, Routledge, Colorado, pp. 81–88. 18. BANGMA, Anke (2004) ”Observations and Considerations”, Lier & Boog. Series of Philosophy of Art and Art Theory, volume 18, Rodopi, Amsterdam, pp. 126-134. 19. SOCACIU, Emanuel, VICĂ, Constantin, MIHAILOV, Emilian, GIBEA, Toni, MUREȘAN Valentin, CONSTANTINESCU, Mihaela (2018) Etică și integritate academică. București: Editura Universității din București. 20. STARICOFF, Rosalia Lelchuk (2006) ”Arts in health: the value of evaluation”, The Journal of the Royal Society for the Promotion of Health, Sage Publications, pp. 116– 120. 21. THORNTON, Alan (2013) Artist, Researcher, Teacher A Study of Professional Identity in Art and Education. Bristol: Intellect Ltd.

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Online references: 1. OLTEAN, Cosmina Marcela (2019) Cercetarea artistică, între semiotică și reflexie teoretică [online]. Available at: http://www.condeiulardelean.ro/articol/cercetarea -artistica-intre-semiotica-si-reflexie-teoretica (Accessed: 27 January 2021) 2. Visioning the Future (2020) Visioning the Future Seminar 10 - IMBAS: Artistic Research in Performing Arts in Ireland [online]. Available at: https://www.youtube.com/watch?v=dLkFzGvx7vU (Accessed: 05 February 2021)

Ana Vicovan graduated UNATC’s Acting Department, class of 2011, Professor PhD Florin Zamfirescu, followed by a master’s degree in Acting, under the guidance of Professor PhD Adriana Popovici, class of 2013 and a master’s in Theatrical Pedagogy, graduated in 2019. Meanwhile, she has taught English and conducted theatre workshops for DMM Eikaiwa and Brit Academy Kindergarten in Bucharest, working with children and adults of all ages. She is currently a PhD student in UNATC’s Theatre Department, where she plans on initiating a laboratory for Applied Theatre in Health and Wellbeing in order to bring theatrical performances to children’s hospitals in Bucharest.

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Imitation, empathie, communication – les composantes de l’expérience du spectateur

Claudia ENE UNATC ”I.L. Caragiale” Bucharest, Romania [email protected]

Abstract: What theatre pedagogues discovered empirically in the last one hundred years is objective reality nowadays, due to on-going scientific experiments and research. Today, we may refer to theatre as a playground for the development of empathy; thus, an interdisciplinary approach may rise new questions regarding how communication between actors and their audiences take place. In the future, such an approach may lead to a better understanding not only of the spectator’s experience, but also of the art of acting. Since the discovery of the mirror-neurons mechanism in monkeys, concepts like empathy, imitation and embodied simulation have become major points of interest in cognitive science and art research. A good example of how these concepts affect our view of theatre is Bruce McConachie’s study of audience engagement. This article proposes a look into the science of empathy and automatic imitation of other human beings, in order to apply their principles in the theatre, to a live audience. Keywords: empathy, cognitive sciences, theatre, neuro-theatre, spectatorship, performing arts, imitation, simulation, communication, intersubjectivity, empirical research, art as research. How to cite: ENE, Claudia (2020) ”Imitation, empathie, communication – les composantes de l’expérience du spectateur”, Concept 2(21), pp. 81-89.

Introduction Dès les premières formes de spectacle, on a attribué au théâtre un côté ineffable, magique, divin. Par exemple, le théâtre était pour les Grecs le lieu où le gens rencontraient les dieux. Plus tard, il était le lieu où les non-initiés avaient accès à une compréhension supérieure de la vie ; la place où, comme par magie, les profondeurs de la nature humaine se révélaient. De nos jours, le caractère ineffable fait place aux découvertes des neurosciences, de la psychologie, et, plus largement, des sciences cognitives. Ce que

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Konstantin Stanislavski1 avait pressenti il y a cent ans, grâce à son intérêt pour l’étude de la nature humaine, devient aujourd’hui objet d’analyse. Au-delà des transformations subies tout au long de l’histoire, le théâtre a toujours été un espace de communication et, par ailleurs, toute relation humaine est édifiée sur la communication. L’homme est un animal social, créateur de relations. L’essence du théâtre, sans laquelle nous ne pouvons pas parler d’acte artistique, est basée sur la rencontre directe entre un comédien et son public; c’est la caractéristique principale du théâtre: «Un homme traverse un espace vide tandis que quelqu’un d’autre le regarde et c’est tout ce qu’il faut pour que l’acte dramatique commence.» (Brook, 1997, p. 17) Ce qui facilite la communication, dans le théâtre mais non seulement, c’est l’empathie. Par ailleurs, la communication représente un aspect fondamental dans les arts performatifs. En d’autres mots, dans le théâtre, le comédien a une limite d’espace et de temps où il peut engager le spectateur dans son récit. L’efficacité suppose que le public comprenne réellement les actions, les pensées et les émotions du comédien. Autrement dit, il y a de l’efficacité aussi longtemps que le public éprouve de l’empathie. La communication est possible grâce à l’identification sociale. L’identification sociale incorpore les domaines de l’action, des sensations, de l’affect et des émotions et est stimulée par l’activation des circuits neuronaux dispersés. Un mécanisme fonctionnel commun de base – la simulation incorporée – gère notre capacité à partager avec autrui la signification de nos actions, intentions, sentiments et émotions, instituant de cette manière l’identification et la connexion avec les autres. L’identification sociale, l’empathie et le sentiment de « nous » sont les fondements de notre développement et de notre existence (Gallese, 2009, p. 519). L’identification prend sa source dans l’acte d’observer, un acte simple et en même temps complexe: en observant les autres en action, en déchiffrant les éléments d’expression, l’action, les sentiments et les émotions qu’ils affichent, un lien interpersonnel plein de sens surgit tout à coup. Dans la sphère de l’identification sociale, intervient un phénomène sans lequel la formation de ces liens ne serait pas possible: l’empathie. «C’est seulement par l’empathie que nous comprenons l’existence d’une autre vie psychique que la nôtre.» (Freud, 1926, p. 104). Récemment, l’empathie est devenue un point d’intérêt important dans les sciences cognitives, surtout une fois que le mécanisme des neurones-miroir chez les singes2 a été

1 Né le 7 janvier 1863 – décédé le 7 août 1938. Professeur de théâtre, comédien et metteur en scène, il a fondé la méthode que nous connaissons aujourd’hui comme «Le système de Stanislavski». Les plus connus ouvrages sont Le Travail du comédien sur lui-même et l’autobiographie Ma vie dans l’art. 2 Les neurones-miroir ont été découverts en 1990 par un groupe de savants italiens. Ceux-ci ont observé les neurones des cerveaux des singes macaque qui avaient un comportement inhabituel : les neurones déchargeaient une charge électrique, soit quand le singe prenait un objet, soit quand il observait la même action chez un autre singe.

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Research découvert. Dans les arts performatifs, l’idée d’étudier la façon dont le spectateur s’y implique est devenue de plus en plus populaire. L’objectif de ces études est de comprendre l’importance que revêt l’expérience du spectateur lors d’un événement théâtral, mais aussi la relation directe entre le comédien et le spectateur. Pour arriver à des conclusions dans ce sens, nous allons nous concentrer sur des études qui ont été réalisées là-dessus dans le domaine des sciences cognitives, mais aussi dans le domaine de l’art théâtral. Par des recherches qualitatives, on a extrait et interprété des concepts scientifiques dans les arts du spectacle, afin de comprendre les mécanismes et le rôle du spectateur.

Vers une science de l’empathie Avant de diriger notre attention vers l’expérience du spectateur, il est nécessaire de définir l’empathie du point de vue neuroscientifique. L’empathie joue un rôle social fondamental en nous rendant capables de partager avec les autres nos expériences, nos désirs et nos besoins. Le concept de l’Einfühlung a été proposé par le philosophe Theodor Lipps3 et il suppose une fusion du sujet avec son objet. Pour Lipps, le processus inconscient de l’Einfühlung se fonde sur l’imitation intérieure des actions observées, qui module en même temps leur contenu émotionnel. En d’autres mots, un individu empathique imitera inconsciemment la posture, les mouvements ou les expressions faciales de l’objet avec lequel il interagit – ce que nous connaissons comme L’effet Caméléon. La théorie de Lipps a été le fondement de nombreuses études approfondies dans le domaine du traitement et de l’imitation des émotions, en mettant en rapport les concepts d’empathie et d’imitation. Comment se produit ce que nous nommons l’empathie? Selon Lipps et ses disciples, elle se produit par l’intermédiaire d’un mécanisme de représentation de l’action qui module et modèle le contenu émotionnel – l’imitation et la stimulation incorporées. Notre capacité d’empathiser avec les autres est médiée par les mécanismes de la simulation incorporée, c’est-à-dire par l’activation des mêmes circuits neuronaux qui soutiennent nos propres expériences émotionnelles et sensorielles. Dans cette perspective, l’empathie doit être conçue comme le résultat de notre tendance naturelle à expérimenter nos relations interpersonnelles tout d’abord au niveau implicite de l’intercorporalité, ce qui signifie la résonnance mutuelle des comportements sensori-moteurs importants (Gallese, 2009, p. 523). Dans le cerveau des primates, on a observé des systèmes neuronaux séparés pour le traitement des émotions et pour la représentation des actions. Le système limbique s’occupe du traitement des émotions et du comportement, pendant que la représentation de l’action apparaît à la suite de l’interaction entre le circuit fronto-pariétal et le cortex temporel supérieur. Ce dernier contient les neurones-miroir qui se déchargent pendant l’exécution ou l’observation d’une action. Les données des chercheurs sur les singes et

3 Né le 18 juillet 1851 – décédé le 17 octobre 1914. Philosophe allemand, renommé pour sa théorie sur l’esthétique qui a créé le cadre du concept de Einfühlung (empathie). Ses contributions ont mené vers de nouvelles études interdisciplinaires de psychologie et de philosophie.

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l’homme montrent le fait que ce circuit est responsable pour l’imitation. L’imitation, à son tour, facilite l’empathie. Le processus imitatif s’instaure à la suite de l’interaction entre plusieurs régions cérébrales, comme suit: 1. Le cortex temporel supérieur encode une description visuelle de l’action observée et renvoie cette information vers les neurones-miroir pariétaux postérieurs; 2. Le cortex pariétal postérieur encode l’aspect kinesthésique précis de l’action et renvoie à son tour l’information vers les neurones-miroir frontaux inférieurs. En d’autres mots, la totalité des sensations qui reflètent l’action est encodée à ce niveau. 3. Le cortex frontal inférieur codifie le but de l’action. 4. De la région des neurones-miroir (pariétaux et frontaux), des copies d’efférence des plans moteurs sont envoyées vers le cortex supérieur temporel. Nous retenons que le même cortex temporel supérieur a encodé la description visuelle de l’action qui se passe à l’extérieur de nous, et que maintenant c’est le moment où il reçoit la « réponse » de la part des autres régions cérébrales. Par la transmission de la réponse, des mécanismes d’adéquation entre la description visuelle de l’action (A) et les conséquences sensorielles prédites de l’action imitative planifiées (B) se créent. 5. Au moment où A s’adapte à B, l’imitation peut commencer.

Théâtre et empathie Nous pouvons dire que le mécanisme des neurones-miroir n’est pas seulement une voie vers la compréhension et la «lecture» de l’esprit de l’autrui, mais aussi un pont vers l’intersubjectivité. L’imitation et l’empathie ont un rôle profondément social, en facilitant l’interaction entre les humains. Dans ce sens, le théâtre peut être vu comme une aire de jeux pour le développement de l’empathie, justement parce qu’il représente un moyen d’exercer la conscience sociale – le rôle «d’animal social» de l’homme dans le monde. Pour commencer, nous donnons ici la définition proposée par Daniel Goleman pour4 le concept de conscience sociale qui prend en compte les aspects suivants : l’empathie primaire, c’est-à-dire le partage de nos émotions avec les autres et l’observation des signaux émotionnels non-verbaux; la résonance émotionnelle, c’est-à-dire la réceptivité maximale, la résonance avec les émotions d’une autre personne; la précision empathique, à savoir la compréhension des pensées, des sentiments et des intentions des autres; et, non en dernier lieu, la connaissance sociale, c’est-à-dire la compréhension du fonctionnement du monde social. Il n’y a pas de lieu plus propice pour exercer le mécanisme des neurones-miroir que le théâtre dont l’art est fondé sur la rencontre directe entre un comédien et un spectateur, sur ce que nous avons déjà appelé «intersubjectivité». On peut définir l’intersubjectivité, en

4 Née le 7 mars 1946 – Psychologue et journaliste américain qui, pendant 12 ans, a écrit pour The New York Times des articles sur le cerveau et les sciences comportementales. Nous retrouvons le concept de conscience sociale dans son livre le plus connu, L’intelligence sociale, paru en Roumanie aux éditions Curtea Veche, traduit par Ileana Achim, 2018.

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Research général, comme l’interaction entre deux processus cognitifs différents, la rencontre entre deux définitions distinctes de la réalité ou, en langage poétique, entre deux mondes différents. Le mécanisme des neurones-miroir fait possible l’intersubjectivité qui, à son tour, facilite l’effort des neurones-miroir pour qu’un individu imite un autre/simule le comportement d’un autre. Les découvertes scientifiques susmentionnées nous offrent la possibilité d’envisager l’expérience du spectateur sous un autre jour. «L’anatomie de l’imitation» peut donner naissance à de nouvelles interprétations ou en confirmer d’autres, plus anciennes, à propos de notre façon d’envisager le théâtre, le comédien et le spectateur. Pour cela, nous essayerons maintenant d’analyser comment ce processus de simulation de la part du spectateur se développe face à l’objet avec lequel il interagit – le comédien/le personnage. Tout d’abord, une fois le spectacle commencé, le spectateur prend contact avec les représentations extérieures des comédiens et des objets. Ces représentations extérieures font référence au mouvement, aux costumes, à la voix, à l’expression faciale, à la posture. En les observant, le spectateur ramasse des indices qu’il intègre dans le «tableau» du spectacle, par rapport aux autres comédiens et personnages, mais aussi par rapport aux éléments de scénographie: le décor, les accessoires, la lumière. Pendant l’événement artistique, tous ces indices sont traités dans de multiples régions cérébrales qui donnent en retour des réponses sur le plan mental, avec des effets (aussi) dans le plan corporel – il nous est sans doute arrivé à tous d’avoir le cœur qui battait plus fort pendant une scène plus tensionnée… Mais pour que ce changement physiologique ait lieu, le spectateur doit empathiser avec ce qu’il voit sur la scène. L’aspect qui produit des palpitations à un certain spectateur peut ne rien produire de plus qu’un oscitatio (un bâillement) contagieux au spectateur d’à côté. Nous reviendrons plus loin sur les aspects qui facilitent l’empathie dans un spectacle. Le spectateur interprète les signaux qu’il reçoit en employant ses propres filtres, son esprit et son corps. Pourtant, il faut mentionner que, dans le théâtre classique, les fonctions motrices sont réduites au minimum; le spectateur n’interagit pas du point de vue physique avec les personnages, mais il peut réagir physiquement. Sa rencontre avec le récit se produit au niveau de l’esprit, par le «soi». Les sciences cognitives ne sont pas encore mises d’accord sur une définition commune du «soi». Il est difficile, sinon impossible, de le définir en l’absence de son aspect psychologique. Si nous nous orientons vers la terminologie employée dans l’art dramatique, nous pouvons dire que le «soi» est formé d’une composante organique et d’une composante culturelle - éducationnelle5 . Pour les

5 La composante organique peut être considérée comme le trousseau neuronal que nous héritons. En d’autres mots, l’organicité fait référence à deux types de caractéristiques: les traits génétiques spécifiques à toute l’espèce humaine (ce que Jung appelait l’inconscient collectif) et des traits hérités de nos ancêtres les plus proches – des parents et des grands-parents. Dans la deuxième catégorie nous allons inclure les aspects physiques comme la couleur des cheveux, la taille ou la couleur des yeux mais aussi des aspects psychologiques – des tendances, comportements et attitudes. La composante organique représente une totalité de potentialités de l’être humain, vers lesquelles la

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chercheurs des sciences cognitives, cela signifie la totalité de circuits cognitifs, structurés d’une certaine manière et fonctionnant d’une certaine façon, caractéristiques pour chaque individu. Les circuits neuronaux que nous inclurons dans la composante culturelle- éducationnelle sont formés par l’apprentissage et par l’expérience au départ des circuits neuronaux qui existent déjà – ceux qui forment la composante organique. Les nouvelles connexions se forment, donc, sur les anciennes. Ou, en d’autres mots, nous pouvons dire que nous apprenons quelque chose d’inconnu à l’aide de quelque chose de connu – une affirmation qui synthétise ce que nous appelons l’apprentissage de type Hebb6, par association. De quelle manière pourrions-nous intégrer l’apprentissage de type Hebb dans le théâtre? Si l’on réfléchit à ce que suppose la relation entre le comédien et le spectateur, nous remarquerons que, dans la communication entre les deux, une composante déjà connue (culturelle-éducationnelle) fait son apparition, mais aussi une autre, inconnue – des aspects qui nous sont familiers, mais aussi des aspects moins ou pas du tout familiers. Nous avons déjà mentionné que, dans un premier temps, le spectateur participe à l’acte artistique en observant et, au fur et à mesure, en acceptant le récit qui lui est présenté ; il ajoute des indices et commence à les traiter pour compléter les pièces manquantes. Maintenant, nous ajoutons une nouvelle idée: le spectateur suit le récit parce que, au moins au début, la narration a une composante connue, familière. Il gagne de la confiance et se laisse hypnotiser parce qu’il se trouve encore dans sa zone de confort. La communication s’adressera d’abord à la composante culturelle-éducationnelle/ à l’égo et, ainsi seulement, arrivera-t-elle à la composante organique et à ses éléments inconnus; cette communication ne serait pas possible sans le miracle qui est l’empathie. Celle-ci est facilitée par ce que nous connaissons consciemment et nous amène vers ce qui est inconscient. De cette affirmation nous tirons une conclusion qu’on peut trouver aussi dans les livres d’art dramatique lorsqu’ils font référence au spectateur: les artistes impliqués dans un spectacle doivent prendre en considération et connaître le public auquel ils s’adressent. La formation culturelle et éducationnelle du spectateur détermine dans quelle mesure un spectacle peut être apprécié à sa vraie valeur ou considéré comme incompréhensible.

voie d’accès n’est pas toujours ouverte, au niveau conscient. Nous faisons référence à tous les réseaux neuronaux qui, avec ou sans volonté individuelle, ont accompagné notre apparition sur terre. D’autre part, la composante culturelle-éducationnelle met ensemble toutes les connexions que nous développons durant notre vie, à travers l’apprentissage et l’expérience. Elle est celle qui fait déclencher la réponse à la question «Qui suis-je?» et c’est toujours elle qui construit une image qu’ensuite nous présentons au monde. En d’autres mots, c’est la composante à laquelle nous avons accès consciemment et à travers laquelle nos croyances sur nous-mêmes se développent et sont incluses dans la réalité – l’égo. 6 Le terme fait référence à Donald Hebb (1904 – 1985), psychologue canadien qui a travaillé dans le domaine des neurosciences. Hebb s’est intéressé au rôle que les neurones jouent dans le processus d’apprentissage et a proposé la théorie d’apprentissage par association en 1949.

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Prenons un exemple concret: supposons que la pièce «Une lettre perdue» est jouée dans un théâtre londonien, en anglais. Au-delà des barrières linguistiques qui pourraient intervenir dans la traduction du comique de langage, il est certain que le public londonien aurait un niveau plus bas d’empathie comparé au public roumain. A la différence du spectateur roumain, un allochtone percevra moins d’éléments connus; il ne s’identifiera pas aussi facilement aux sujets traités et il ne fera pas aussi facilement confiance à la qualité et à l’esprit du spectacle. D’autre part, le public roumain et Caragiale partagent un cadre commun de référence: une certaine langue, histoire, géographie, culture et esprit – en d’autres mots, la composante culturelle-éducationnelle. Le spectateur devient captif, ayant une concentration de l’attention similaire à celle qu’on a au moment de l’hypnose, grâce au fait qu’il comprend. Pour que l’attention reste concentrée sur le récit – pour que l’hypnose continue – des éléments- surprise commencent à être insérés (des éléments du texte, de la mise en scène, du jeu des comédiens, etc.). Si, au contraire, le spectacle ne s’adresse en aucune manière à la composante culturelle-éducationnelle du « soi » du spectateur, les neurones-miroir n’ont rien à «refléter». Par défaut, le degré d’empathie est diminué. Comme déjà mentionné, le processus imitatif commence par la description visuelle de l’action, par le traitement des éléments kinesthésiques, et continue avec l’encodage du but. Sans cette «étape», le cycle de la transmission des informations est interrompu. Nous revenons à l’idée que la simulation incorporée suppose le partage des significations de nos actions. «L’activité des neurones-miroir reflète plutôt une description motrice interne du sens de l’action perçue qu’une simple description visuelle de ses caractéristiques». (Gallese, 2009, p. 541) Nous pouvons affirmer que, pour décoder le sens correct de l’action scénique, en lien direct avec son objectif, le spectateur doit comprendre le but qui se trouve à la base de l’action scénique – ce pour quoi le personnage fait ce qu’il fait. Sur l’importance du but de l’action scénique nous pouvons consulter les œuvres des grands pédagogues du théâtre, en commençant par Stanislavski. Ainsi, voit-on comment un des principes de l’art du comédien, découvert de manière empirique et transmis à des générations de jeunes comédiens, a trouvé de nos jours une explication scientifique. Le spectateur peut mener le processus de simulation jusqu’au but tant qu’il comprend le but de l’action, le point final vers lequel le personnage aspire. A l’explication scientifique, nous ajoutons une étude faite dans les années 1970 sur l’intentionnalité et ses effets sur l’imitation. L’expérience en question a donné lieu à plusieurs observations: outre le fait que le cerveau est capable de faire la différence entre le mouvement et le non-mouvement, il peut discriminer aisément le mouvement fait volontairement de celui fait au hasard. Les chercheurs ont été surpris par le fait que le même cerceau a concentré son attention plus longtemps sur le mouvement aléatoire, afin d’en décrypter l’intention. Le processus imitatif est considéré comme étant automatique, comme

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la manière dont les bébés connaissent et interagissent avec le monde extérieur7. Il est probable que le cerveau observé dans l’étude mentionnée a voulu imiter un mouvement, mais le « chaînon manquant de l’intention » a fait de sorte que le processus n’ait pas pu avoir lieu. Si nous nous référons maintenant au spectateur, nous pouvons interpréter les observations de cette étude comme suit: une action scénique exécutée sans intention attirera l’attention du public dont les circuits feront un effort supplémentaire pour la comprendre, pour entrer en résonance avec celle-ci et, à la fin, pour l’imiter. Une fois prêt l’enregistrement de la description visuelle de l’action, de la totalité des éléments kinesthésiques et du décryptage du but de l’action, le processus imitatif peut prendre place au niveau du plan mental du spectateur. Toutefois, il faut se souvenir que l’imitation aura comme effet l’empathie, mais que celle-ci n’équivaut pas à l’émotion. L’empathie est un mécanisme à travers lequel nous percevons, nous comprenons et nous entrons en résonnance avec les émotions des autres, en créant ainsi des liens entre nous et en développant le sentiment de «nous». C’est pourquoi nous pouvons regarder le théâtre comme une manière d’exercer notre conscience sociale. Nous nous situons maintenant au moment T0 de la vraie interaction et collaboration entre le théâtre et les sciences cognitives. Les recherches avancent rapidement et valident de nombreuses découvertes empiriques des pédagogues du théâtre. Les scientifiques étudient les cerveaux des comédiens par l’intermédiaire des EEG - électro-encéphalogrammes; les spécialistes du théâtre trouvent de nouvelles manières d’expression artistique interdisciplinaire, à la frontière entre les neurosciences et l’art performatif8. Récemment, de nombreux chercheurs ont dirigé leur attention sur la personne qui se trouve dans la salle de théâtre – le spectateur. D’un point de vue scientifique, de telles études impliquent aussi bien l’anatomie et la physiologie de l’expérience du spectateur que ses effets sur la culture, l’histoire et la société. Du point de vue de l’art dramatique, connaître la manière dont le public interagit avec celui-ci peut nous donner des indices pour l’améliorer. Nous osons croire qu’une telle connaissance scientifique n’enlèvera pas au théâtre son côté ineffable, sacré et même divin. Au contraire, elle nous offrira une plus grande compréhension du phénomène théâtral, en général, et de l’art du comédien, en particulier. En fin de compte, l’objet d’étude des deux domaines est le même: l’homme.

7 Decety, J., & Meltzoff, A. N. (2011). Empathy, imitation, and the social brain. In A. Copland & P. Goldie (Eds.), Empathy: Philosophical and psychological perspectives (pp. 58-81). New York, NY: Oxford University Press. 7 Brown Steven, Cockett Peter and Yuan Ye, The neuroscience of Romeo and Juliet: an fMRI study of acting, R. Soc. open sci, 2019, http://doi.org/10.1098/rsos.181908 8 Forme d’acte performatif connu comme Neuro-Theatre. Un exemple concret est le projet The Female Role Model, dirigé par Tjaša Ferme, dans lequel les comédiens et les spectateurs ont porté des dispositifs EEG, pour mesurer les ondes cérébrales.

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Références bibliographiques: 1. BROOK, Peter (1997) Spaţiul gol. București: Editura UNITEXT. 2. DECETY, J., & MELTZOFF, A. N. (2011). Empathy, imitation, and the social brain. In A. Copland & P. Goldie (Eds.), Empathy: Philosophical and psychological perspectives (pp. 58-81). New York, NY: Oxford University Press. 3. FALETTI, Clelia, SOFIA, Gabriele, JACONO, Victor (ed.)(2016) Theatre and Cognitive Neuroscience. Bloomsbury. 4. FREUD, Sigmund (1926) Inhibitions, symptoms and anxiety. Standard Edition, vol. 20. 5. GALLESE, Vittorio M.D. (2009) ‘Mirror Neurons, Embodied Simulation, and the Neural Basis of Social Identification’, Psychoanalytic Dialogues, 19:5, pp. 519-536. 6. GOLEMAN, Daniel (2018) Inteligența socială. București: Editura Curtea Veche. 7. MCCONACHIE, Bruce (2008) Engaging Audiences. A Cognitive Approach to Spectating in the Theatre. Palgrave Macmillan. 8. MCCONACHIE, Bruce, HART, F. Elizabeth (2006) Performance and Cognition. Theatre studies and the cognitive turn. Routledge. 9. SHAUGHNESSY, Nicola (ed.) (2013) Affective Performance and Cognitive Studies. Bloomsbury.

Références en ligne: 1. BROWN, Steven, COCKETT, Peter, YUAN, Ye (2019) The neuroscience of Romeo and Juliet: an fMRI study of acting [Online]. Available at: https://doi.org/10.1098/rsos.181908 (Accessed: 9 December 2020) 2. CARR, L, IACOBONI, M, DUBEAU, MC et al. (2003) Neural mechanisms of empathy in humans: a relay from neural systems for imitation to limbic areas [Online]. Available at: http://doi.org/10.1073/pnas.0935845100 (Accessed: 9 December 2020) 3. KEYSERS, C, GAZZOLA, V. (2014) Hebbian learning and predictive mirror neurons for actions, sensations and emotions. [Online]. Available at: https://doi.org/10.1098/rstb.2013.0175 (Accessed: 9 December 2020)

Claudia Ene is a PhD student at the ”I.L. Caragiale” National University of Theatre and Film in Bucharest, where she graduated Acting (2015-2018). She holds a Master’s Degree in Acting (2020) and one in Theatre Studies – Cultural Management and Marketing (2020). She is an independent actress and she coordinates acting workshops for children in Bucharest.

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La communication dans la diplomatie culturelle: au-delà des clichés institutionnels Étude de cas: La Saison France-Roumanie

Raluca RĂDOI Institut National de Recherche et de Formation Culturelle, Bucarest, Roumanie [email protected]

Abstract: Communication lies at the core of any cultural project playing an essential role in reaching the target audience. Nowadays, cultural communication campaigns can benefit from a diverse range of result-oriented tools as long as they follow a coherent integrated strategy. One of the most successful cultural communication campaigns in Romania and a suggestive example for practitioners was dedicated to the Romania-France Season, a unique cultural and public diplomacy project led by a memorable slogan: „Forget about clichés”. The article explores how this particular campaign was created: from the idea to setting the objectives and capitalizing on a series of communications channels. Keywords: cultural communication, cultural diplomacy, bilateral projects, integrated campaigns, target audience. How to cite: RĂDOI, Raluca (2020) ”La communication dans la diplomatie culturelle: au-delà des clichés institutionnels. Étude de cas: La Saison France-Roumanie”, Concept 2(21), pp. 90-98.

La communication des projets culturels est un processus actif qui joue un rôle essentiel dans la réalisation des objectifs organisationnels. Dans le domaine culturel, la communication consiste à diffuser des messages spécifiques au projets afin d’assurer la visibilité et la participation le plus large possible du public cible. La communication est souvent considérée comme synonyme de marketing culturel, mais bien qu’étroitement liées, les deux domaines diffèrent fondamentalement dans la façon dont les stratégies sont élaborées. Si le marketing culturel signifie la corrélation d'instruments tels que le produit, le prix, le placement, la promotion et le personnel, étant caractéristique des organisations qui ont la capacité de développer des stratégies à long terme, la communication de projets culturels implique une approche générique dans laquelle l'art et la promotion se trouvent

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Research au premier plan, tandis que les autres variables jouent un rôle secondaire. Le marketing est, donc, un processus continu intégré dans le management des institutions et des organisations culturelles, tandis que les campagnes de communication sont des actions ponctuelles menées sur une période déterminée, représentant un effort unique de promouvoir un projet singulier.1 La campagne de communication de la Saison France-Roumanie, le plus grand projet de diplomatie publique et culturelle réalisé par les deux pays, est un exemple éloquent dans lequel la réalisation d’une stratégie cohérente, la fixation d’objectifs et du public cible, ainsi que la détermination des voies de communication les plus appropriées et la mise en œuvre des actions planifiées ont procuré des avantages à long terme aux organisateurs, au public et à la société dans son ensemble. L'orientation accentuée vers la communication de la Saison France-Roumanie, aussi que les résultats enregistrés positionnent le projet comme sujet d'une recherche exploratoire. Ainsi, pour clarifier et comprendre en profondeur les coordonnées des campagnes de communication dans la culture, cet article approche la Saison comme une étude de cas qui pourrait contribuer au développement ultérieur des pratiques de communication dans les institutions, organisations et projets culturels en Roumanie. En tant que méthode de recherche marketing, «les résultats d'une étude de cas ne doivent pas être considérés comme justificatifs ou concluants, mais suggestifs.»2

Un context unique La diplomatie culturelle est l'activité menée en Roumanie par le ministère des Affaires étrangères et par l'Institut culturel roumain afin de développer des relations bilatérales ou multilatérales avec d'autres états et de promouvoir les valeurs culturelles roumaines, mais aussi pour construire et consolider l'image de la Roumanie à l'étranger.3 Des projets de diplomatie publique et culturelle menés en France depuis plus de 30 ans, Les Saisons croisées sont des projets de coopération bilatérales décidés au niveau gouvernemental, impliquant à la fois des responsables, des professionnels de la culture, des artistes, du grand public et les médias afin de mieux comprendre la culture de deux pays partenaires et de changer la perception l’une envers l’autre.4 La vocation principale de la Saison France-Roumanie était d’actualiser l’image des sociétés des deux pays l’une envers l’autre. Dès le début, les organisateurs se sont engagés à refléter l’image contemporaine de la Roumanie et de la France: des pays créatifs, connectés et dynamiques tant dans la culture que dans l’éducation, l’économie et le tourisme. La

1 Colbert, François, Marketing culture and the arts – Second edition, Maison d'édition Presses HEC, Montréal, 2001, p. 8 2 Cătoiu, Iacob, coord., Cercetări de marketing. Tratat, Maison d'édition Uranus, Bucarest, 2009, p. 76 3 Diplomatie culturelle, https://www.mae.ro/node/1640, consulté le 01.07.2020 4 Ministère des Affaires étrangères, Cahier de charges – Campagne de communication, consulté le 02.07.2020

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communication en a été l’un des éléments-clés lors de la programmation de la saison qui a compris plus de 600 projets de théâtre, danse, musique, cinéma, littérature, arts visuels, gastronomie ou économie.

Une stratégie assumée

En général, les campagnes de communication culturelle visent à informer, éduquer et accroître l'intérêt du public cible pour certaines idées, concepts ou actes artistiques. La communication met en évidence les conséquences positives de la consommation culturelle et fournit des raisons d'agir dans la direction suivie par l'organisation culturelle. À l'instar des pratiques de management et de marketing, l'atteinte des objectifs de communication est étroitement liée à une planification préalable rigoureuse et adaptée aux besoins des projets, respectivement des organisations.

Les objectifs généraux de la communication de la Saison France-Roumanie ont été convenues par les représentants des deux pays comme suit:5 • Faire découvrir au grand public et aux professionnels des domaines concernés les réalités culturelles, artistiques et économiques de chacun des deux pays. • Présenter et promouvoir auprès du public roumain, français et européen le dynamisme, l'imagination, la création et la contemporanéité de chacun des deux pays. • Renouveler l'image et la perception des deux sociétés l'une envers l'autre, en suivant et en soutenant le fil rouge de la programmation de la Saison. • Offrir aux acteurs culturels et économiques, ainsi qu'à la société civile, un large espace de visibilité, un espace diversifié dans lequel ils ont la possibilité de surprendre, convaincre et enthousiasmer un public pluriel.

5 Cahier de charges spécifiques – Campagne de communication, consulté le 02.07.2020

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Le public cible6 de la Saison France-Roumanie et de la campagne de communication a été segmenté comme suit: • Le grand public roumain, français et européen; • Les ressortissants français se trouvant en Roumanie et les ressortissants roumains se trouvant en France; • Le public intéressé par les Saisons croisées de l'Institut français, mais aussi par les événements de l'Institut culturel roumain en France et de l'Institut français en Roumanie; • Les professionnels des secteurs culturels, de la recherche, de l'éducation, des sports, de la gastronomie, du cinéma, du tourisme et de l'économie des deux pays; • Les partenaires de la Saison France-Roumanie (partenaires médias et les mécènes); • L'environnement des affaires et en particulier des PMEs et des start-ups roumaines et françaises; • Les institutions politiques, culturelles et diplomatiques des deux pays, impliquées dans la Saison; • Les touristes français et roumains, mais aussi d'autres pays.

Selon la méthodologie des saisons, la partie française était chargée de communiquer la séquence de la saison en France, ainsi que la partie roumaine était chargée de communiquer la séquence de la saison en Roumanie. La stratégie de communication a été mise en œuvre «en miroir» et a eu trois piliers principaux: la réalisation d'une communication générique de la Saison France-Roumanie en tant que programme bilatéral unique de diplomatie publique et culturelle; le soutien de la communication pour un certain nombre de temps forts dans les deux pays; la communication par les opérateurs des projets.7

Un message et une identité visuelle originaux Idéalement, les messages formulés dans les campagnes de communication devraient attirer l'attention, susciter l'intérêt, activer le désir et provoquer l'action, ces étapes étant connues sous le nom de modèle AIDA.8 Le slogan conçu pour la Saison France-Roumanie était «Uitați de clișee»/«Oubliez vos clichés», et l'image identitaire est partie de l'idée d'assumer les clichés qui caractérisent nos sociétés et la façon dont ils sont perçus, de manière ironique, afin de les dépasser et de se redécouvrir, au-delà des stéréotypes.9

6 Idem, consulté le 02.07.2020 7 https://business-review.eu/profiles1/interviews-interviews/cliche-away-cultural-diplomacy- unites-romania-and-france-204049, consulté le 02.07.2020 8 Kotler, Philip, Scheff, Joanne, Standing Room Only: Strategies for Marketing the Performing Arts, Maison d'édition Harvard Business School Press, Cambridge, p. 309 9https://dilemaveche.ro/sectiune/la-zi-in-cultura/articol/franta-si-romania-au-nevoie-sa-se- redescopere-interviu-cu-andrei-tarnea, consulté le 03.07.2020

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Edith Piaf, Dracula, Maria Tănase et Napoléon sont devenus les protagonistes d'une identité visuelle courageuse qui a été complétée par une série d'activités de communication intégrées réalisées par les institutions de coordination et les organisateurs du projet. L'image identitaire a été créée par une agence de publicité française, d’une manière particulièrement attrayante pour le jeune public: «un concept fort et riche en nuances, dont la réalisation a été confiée à Tofdru. L'un des plus grands créateurs d'affiches d'Europe centrale, l'artiste et plasticien Tofdru crée des collages aux accents pop. Il fait revivre en pleine actualité quatre figures légendaires, historiques ou mythiques, un double mariage anachronique qui annonce les belles rencontres de l’avenir… Un fond coloré et percutant qui invite les peuples de Roumanie et de France à vibrer de désirs et d'intérêts mutuels.»10

La saison roumaine au Centre Pompidou 2018 – foto Saison France-Roumanie, Thibault Chapotot

Trois directions d'action intégrées Dans la société contemporaine, la communication est un effort intégré qui a pour rôle de corréler plusieurs actions et canaux afin de faciliter la rencontre avec le public cible. La communication culturelle implique un sens rapide de l'orientation, de l'imagination et de la créativité, mais aussi de la détermination, de la discipline et de la capacité à évaluer.11 La structuration des actions liées à la stratégie de communication de la Saison France- Roumanie dans trois directions intégrées et leur planification minutieuse se sont matérialisées dans le développement de la campagne à plusieurs niveaux:

10 http://www.saisonfranceroumanie.com/la-saison-france-roumanie-2019/, consulté le 03.07.2020 11 Hill, Liz, O'Sullivan, Catherine, O'Sullivan, Terry, Creative Arts Marketing, Maison d'édition Routledge, Londres, 2003, p. 237

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1. La réalisation de la communication générique a impliqué une série d’activités en miroir, deroulées en Roumanie et en France: gestion des relations presse et des partenariats médias, réalisation de campagnes d’affichage, communication en ligne via le site internet et les réseaux sociaux, production des contenus photo-vidéo et des matériaux imprimés (informatifs et promotionnels). 2. La communication à travers les opérateurs du projet a visé à assurer la visibilité de la Saison à travers les entités impliquées. Ainsi, les plus de 400 opérateurs des projets labellisés lors de la Saison France-Roumanie ont utilisé le logo officiel et le bloc logo des institutions coordinatrices sur tous les supports de communication, y compris dans les campagnes d'affichage. 3. Le soutien des temps forts, comme des événements majeurs de la Saison France- Roumanie, a été réalisé par la production des supports informatifs et de reportages photo-vidéo dédiés, de visites de presse ou de rencontres thématiques avec des journalistes. De plus, pendant les temps forts, ont été distribués des matériaux informatifs et promotionnels de la Saison.

Des canaux de communication adaptés au public cible La sélection des canaux de communication est directement liée à l'objectif du projet culturel. Dans le cas particulier de la Saison France-Roumanie, l'élément déterminant dans l'identification des moyens de promotion les plus appropriés était l'objectif d'atteindre un public aussi large que possible. Les principales activités de communication menées par les deux équipes ont été divisées en: relations presse, campagne d'affichage, matériaux photo- vidéo, matériaux informatifs et promotionnels et communication en ligne.

Les relations presse Les relations publiques ou, plus spécifiquement, les relations avec la presse visent à façonner ou changer l'attitude du public cible à l'égard d'un certain projet. Cette activité consiste à communiquer avec la presse spécialisée ou généraliste afin de diffuser des informations crédibles qui susciteront l'intérêt, changeront les perceptions et mettront en évidence le caractère unique ou les avantages d'une certaine expérience culturelle.12 Lors de la campagne de communication de la Saison France-Roumanie, la relation presse a été gérée par une agence française en France et une agence roumaine en Roumanie qui ont organisé des événements de présentation, des réunions thématiques informelles avec des journalistes et des visites de presse; les deux agences ont aussi surveillé la presse et ont maintenu le contact avec les journalistes tout au long de la programmation. En France, environ 600 articles, reportages et interviews ont été consacrés exclusivement à la Saison, et leur répartition était relativement égale entre des publications et émissions quotidiennes, hebdomadaires ou bimensuelles. Les apparitions ont été dans la

12 Bernstein, Joanne Scheff, Arts Marketing Insights, Maison d'édition Jossey-Bass, San Francisco, 2007, p. 109

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presse nationale et régionale. Les quotidiens les plus importants en France: Le Monde, Le Figaro, La Croix, L'Humanité, Les Echos, Libération ont abordé des questions à la fois culturelles et politiques, économiques et sociales liées à la Saison France-Roumanie en tant que programme bilatéral de diplomatie publique. En Roumanie, plus de 700 articles, reportages et interviews ont abordé exclusivement la Saison, les apparitions étant enregistrées principalement dans la presse nationale (publications imprimées, télévisions, radio). Les temps forts de la Saison, ainsi que le programme dans son ensemble ont été le plus souvent présentés par România Liberă, Europa FM, News.ro, RFI, Radio România Actualități, TVR et Digi24. Le ton general des articles publiés dans les deux pays était plutôt positif et il n’y avait pas d’articles négatifs; en outre, une grande partie d’entre eux a repris le slogan de la Saison et l’identité visuelle caractérisée comme «courageuse», «hors du commun» et «contemporaine». En Roumanie, le succès de l’activité de relations publiques liée à la Saison France-Roumanie a été récompensé par le «Silver Award for Excellence» pour la communication dans le secteur public lors du Romanian PR Award, édition 2019.13

Campagnes d’affichage La communication à travers les campagnes d'affichage est l'une des méthodes les plus populaires pour attirer le public vers des événements culturels, étant utilisée par les organisations principalement en raison de faibles coûts par rapport aux publicités à la télévision et à la radio.14 Au cours de la Saison, en France, trois campagnes d’affichage ont été menées pour l’ouverture et la clôture de la Saison à Paris et pour la période de programmation la plus intense à Lyon. En Roumanie, une campagne d'affichage a été menée dans les stations de métro, ainsi qu’une campagne d’affichage urbain et l’habillage de bus pour la clôture de la Saison à Bucarest.

Communication en ligne L'un des éléments essentiels de la communication des Saisons est la communication en ligne. Le site officiel a été réalisé en roumain - www.sezonulromaniafranta.ro et en français – www.saisonfranceroumanie.com, étant l'outil par lequel le programme de la Saison dans son intégralité pouvait être consulté par le grand public. Le design attrayant et la présentation succinte de toutes les informations nécessaires ont offert aux utilisateurs la possibilité de découvrir les projets, mais aussi la Saison en images, d’une manière conviviale et facile à suivre. L'activité de community management – c’est-à-dire la mise à jour constante du site, la publication de descriptions de projets envoyées par les opérateurs culturels, l’élaboration de textes adaptés aux différents réseaux sociaux – a été le principal moyen de communication avec le jeune public. Compte tenu des spécificités de la programmation de

13 http://mae.ro/node/50913, consulté le 05.07.2020 14 Hill, Liz, O'Sullivan, Catherine, O'Sullivan, Terry, Op.cit., p. 202

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Matériaux photo-vidéo, informatifs et promotionnels Dans les deux pays, une série de vidéos animées qui abordaient des clichés sur la France et la Roumanie, complémentaires à l’identité visuelle et le slogan «Oubliez vos clichés», ont été produites. En outre, des reportages photographiques et vidéo consacrés aux temps forts de la Saison ont été utilisés tout au long de la campagne pour illustrer le caractère unique du projet et familiariser le public avec les événements programmés. L'un des éléments importants de la campagne de communication a été la création de matériaux informatifs et promotionnels qui, à leur tour, ont exploité l'image identitaire et ont été adaptés aux spécificités de chaque temps fort. En France, ont été réalisés 68 000 supports d'information et de promotion tandis qu’en Roumanie 72 000 ont été diffusés auprès du grand public. La campagne de communication de la Saison France-Roumanie est un modèle de bonne pratique en ce qui concerne les projets culturels. L’intégration de tous les types d’activités de communication aussi que la capacité des deux équipes à compléter et mettre en œuvre la stratégie «en miroir» ont été des éléments déterminants tout au long de la Saison. La France a fourni un modèle opérationnel qui a été adapté et assimilé dans le système publique roumain, et le point fort de ce type d’organisation de l’activité de communication a été la façon dont les deux équipes ont compris le but principal de la Saison et l’importance de l’investissement dans la communication. Ce type d’approche communicationnelle, harmonisée et planifiée à l’avance était une nouveauté en termes de fonctionnement de la communication culturelle en Roumanie.

L’Usine de Films Amateurs, TIFF 2019, foto Saison France-Roumanie, Vlad Catană

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Références bibliographiques: 1. CATOIU, Iacob, coord. (2009) Cercetări de marketing. Tratat. București: Uranus. 2. COLBERT, François (2001) Marketing culture and the arts – Second edition. Montréal: HEC. 3. CROITORU, Carmen (2017) Particularitățile marketingului cultural. Craiova: Pro Universitaria. 4. HILL, Liz, O'SULLIVAN, Catherine, O'SULLIVAN, Terry (2003) Creative Arts Marketing. Londob: Routledge. 5. KOTLER, Philip, SCHEFF, Joanne (1997) Standing Room Only: Strategies for Marketing the Performing Arts. Cambridge: Harvard Business School Press Publishing.

Références en ligne: 1. MAE (2019) Cahier de charges – Campagne de communication [Online]. Available at: https://www.mae.ro/sites/default/files/file/anul_2019/2019_pdf/sectiunea_2_- _caiet_de_sarcini_campanie_de_promovare_media_szrofr.pdf (Accesed: 02 July 2020) 2. MAE (2019) Campania „Uitați de clișee” a Sezonului România-Franța 2019 a câștigat „Silver Award for Excellence” pentru comunicarea în sectorul public la Romanian PR Award [Online]. Available at: http://mae.ro/node/50913 (Accesed: 03 July 2020) 3. MAE (2020) Diplomaţie culturală [Online]. Available at: https://www.mae.ro/node/1640 (Accesed: 01 July 2020) 4. MARTIN, Matei (2019) „Franța și România au nevoie să se redescopere“ – interviu cu Andrei ȚĂRNEA [Online]. Available at: https://dilemaveche.ro/sectiune/la-zi-in- cultura/articol/franta-si-romania-au-nevoie-sa-se-redescopere-interviu-cu- andrei-tarnea (Accesed: 03 July 2020) 5. saisonfranceroumanie.com (2019) Présentation de la saison [Online]. Available at: http://www.saisonfranceroumanie.com/la-saison-france-roumanie-2019/ (Accesed: 02 July 2020) 6. VASILIU, Oana (2019) Cliché away: cultural diplomacy unites Romania and France [Online]. Available at: https://business-review.eu/profiles1/interviews- interviews/cliche-away-cultural-diplomacy-unites-romania-and-france-204049 (Accesed: 02 July 2020)

Raluca Rădoi is a cultural marketing and communications specialist with over eight years of experience, both in the private and public sector. Since 2020, she is Director of the Training and Development Department at the National Institute for Cultural Research and Training in Romania. Prior to that, she was the Communications Coordinator of the Romania-France Season at the Ministry of Foreign Affairs. She developed cultural marketing strategies, organized high-level events, managed media relations and social media content, created and implemented cultural and social projects in cultural and creative industries organizations, but also in the FMCG industry. She is a PhD candidate at the National University of Theatre and Film ”I.L. Caragiale” in Bucharest.

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Artistic Pedagogy Studies

Improvisation – Freedom and Rigour in Theatre Pedagogy

Andreea HRISTU UNATC “I.L. Caragiale“ Bucharest, Romania [email protected]

Abstract: Despite its generic meaning, improvisation has profound roots in theatre development. From the birth of performance to 20th century aesthetic refinement and contemporary artistic experiments, it has become both an intriguing working process and a valuable training tool for future professionals. However light and playful it may seem, improvisation has to be based on rigour and study in order to achieve a true and authentic creative value. Theatrical education aims not only to become a space for developing one’s area of expertise, in accordance with the current rigors of the profession, but also to provide a suitable framework for experimentation and reflection, as the skills that an actor uses in an improvisation are the same skills we need to live authentically. Keywords: history, culture, creativity, rigour, training, method, theatre pedagogy, abilities development, authenticity. How to cite: HRISTU, Andreea (2020) ”Improvisation – Freedom and Rigour in Theatre Pedagogy”, Concept 2(21), pp. 99 – 110.

The concept of improvisation is essential to culture and art, especially to theatrical practice, but rather simplistically defined from a linguistic point of view. The term refers directly to the verb "to improvise" which is the act of composing, quickly putting together (occasionally), in an unprepared way, a poem, a speech, a musical composition, etc.; to make, to manufacture, to build something in a hurry (and temporarily), from what is at hand (DEX,

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2016, improviza entry). Despite the immediate meanings comprised in the definition, it is easy to notice its limiting nature, especially from the perspective of the present analysis, as well as the pejorative nuance associated with the action. The terms "occasionally", "in a hurry", "unprepared", "temporary" suggest not only a questionable quality and value of the product resulting from improvisation, but also limit the creative dimension of the process. A poem or a musical composition, although improvised, requires previous study and rigorous training of the skills specific to the respective art, the result having the potential to be a proof of virtuosity. This also applies to theatre, as can be noted since ancient times. One of the most important playwrights of the 20th century, Peter Brook, conducted an empirical research on undeveloped art during his trip to Africa in 1972. The project aimed to present the poem "The Conference of Birds" (later transformed into a performance) in villages, schools and remote areas of Nigeria, while also seeking the necessity and creative essence in theatrical art (Croyden, 1973). During the visit to a community of pygmies, keepers of ancient and unique traditions, the director noticed that every night, under the watchful eye of the healer, they gathered for dinner and attended a children's role play in which the mistakes or the clumsiness of adults were amended, to the horror of those targeted and the delight of those present. The purpose of these impromptu dramatizations of the day's events was not the performance itself (besides, the locals were not even aware of the fact that they were doing theatre), but maintaining a "vital energy" of the community that would ensure good communication between group members while correcting inappropriate behaviour. From this point of view, the phenomenon is therefore a dialogue, a communication between the individual and the community, with a social and educational purpose. Theatre was born and has always operated as a result of this premise, regardless of the dramatic genre through which it manifested itself. But, "in order for the improvisation show to have a beneficial impact on the audience, from ancient times it has been observed that the artistic form that it should take must be, eminently, the comedy" (Muscalu, 2019, p. 20). In ancient Greece, comedy appeared during the Dionysian Celebrations, developing from phallic songs. As in tragedy, comic characters “portray people in action” (Aristotle, 1957, p. 14), but “with an inferior morality, not an imitation of any kind of vice, nonetheless of those in the realm of ridicule, which is part of the ugly. Indeed, ridicule is a flaw and an abomination without pain or injury; thus, for example, the comic mask is ugly and crooked, with no expression of suffering” (Aristotle, 1957, p. 22). While tragedy was considered the superior dramatic form, with a "chosen" subject in which human sufferings are judged by the gods and aimed to produce a cathartic effect through pity and fear, comedy was the expression of the common man. Comedy actors were agile, they had to know how to sing, to have the strength to speak the lyrics while doing all kinds of movements, tumbles, jumps. [...] The comedian had to move from one stage situation to another in a very short time,

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change the timbre of his voice depending on the character he was playing and, sometimes, play several characters (Muscalu, 2019, p. 56). The actors' play did not remain exclusively under the sign of improvisation for a long time, soon enjoying the contribution of the written texts by Sophocles, Aristophanes (known for the social criticism of his plays) and Menander. The latter introduced the intrigue of love in the action plot and laid the foundations of character typology (the hero, the flatterer, the peasant etc.), thus becoming a source of inspiration not only for Latin authors like Plautus and Terence, but also for playwrights of later times. In the Roman Empire, there were several forms of comedy based on improvisation, such as the palliata, the togata, the atellanas or the mimes. The Latin range proved to be a favourable environment for the development of theatrical art: we encounter actresses (given that women were not accepted in tragedy shows), actors begin to specialize in a certain human character, developing its expressivity, and the first theatre companies emerge, led by a Dominus. However, “the actors initially had a pariah status; free people were not allowed to go on stage. Only histrions were allowed here and were viewed by society with contempt because what they were doing was not considered work” (Muscalu, 2019, p. 58). Latin comedy continued during the Middle Ages with the farce that enjoyed public success throughout Europe, despite outdated topics. It was performed by actors who had special artistic abilities; they were mimes, jugglers, they sang and spoke in lyrics, of course using double meanings; they made jokes about people known to the community, they constantly improvised, even if their lyrics were not always the most inspired (Muscalu, 2019, p. 59). The continuity of improvised theatrical manifestations, despite the questionable aesthetic quality, was essential for shaping a unique phenomenon in the 16th century: Commedia dellʼArte. The freedom of expression and experimentation specific to this period led to an organic secularization of the ancient dramatic heritage. The actors not only organized themselves into strong companies but had professional status and were paid for their work. The performances of Commedia dellʼArte are based on the canovaccio, a schematic script that mentions only the characters and the situations in which they find themselves. Furthermore, the actors always knew how to improvise, how to address everyone, and not only the intellect, but also the hearing and the sight, that is to the immediate perception, as entertainment. Extraordinary jugglers and mimes, virtuoso singers from the mouth or on very different instruments, exceptional dancers and acrobats, the actors mastered their soul and body, their voice, their face, revealing the wonders of the performances (Mărculescu, 1984, p. 7).

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The Commedia actor would learn the art from his predecessors, since each mask’s specific features were well-kept secrets within the company1. Although the acting performances were born out of improvisation, these spectacular effects were long studied and trained: “The mastery of the actors was measured in the amplitude of the expressive register, so that the latter reached true virtuosities. Forced to take special care of their appearance (it was mandatory for actors to be supple, mobile, athletic), they had to do, in addition to proving their talent, prove their fantasy, humour, ingenuity, spontaneity and, not the least, their intelligence. These stage professionals had to possess a trained sense of observation, as extensive knowledge as possible about human behaviour and a high dose of audacity" (Mihăilescu, 2016, p. 139). Therefore, behind the spontaneous, free, creative artistic manifestation of the actor, there is rigor that ensures the success and high value of the performance. Due to favourable socio-political and economic contexts, theatre developed in the rest of Europe as well, under the powerful influence of the Commedia dellʼArte. In France, along with the establishment of the Academy in 1635 by Cardinal Richelieu and the construction of the Palais-Royal auditorium, the acting profession was rehabilitated and a code of morality was set. Inspired by the ancient model, French classicism imposed some aesthetic rigors on theatrical art: plausibility, propriety, a certain cleansing and ennobling of the language, the rule of the three units, the purity of genres. These regulations may seem restrictive, but they had the refining effect of creating and discovering new forms of artistic manifestation. Considered to be the founder of modern acting, Molière was one of the most important playwrights at the time (Boileau, 1957) due to the deep analysis of human nature he encouraged within his company. Such detailed study wasn’t aimed at stage reproduction per se, but at discovering and assimilating archetypal characters: when you paint people, you have to paint them according to nature. You are required to make the portraits look like their living models, and you have done nothing if you have not painted your contemporaries in such a way that they can be recognized (Molière, 1955, p. 145). In the play Improvisation at Versailles (1663), Molière makes some remarks on the art of acting, using the technique of theatre-in-the-theatre2:

1 The publishing in 1699 of the work A Treatise on Acting, from Memory and by Improvisation brought Andrea Perrucci deep antipathy from the theatre companies, who interpreted his approach as a betrayal of the principles and the traditional ways of passing over the techniques specific to the art of the Commedia dellʼArte actor. However, in the context of a clear evolution towards cult theatre, the publication of the treatise aimed at “theoretical rationalization and methodical normalization of the actor’s creative process” (Beţiu, 2018, p. 8), at the same time proving to be essential in documenting the Italian theatrical phenomenon. 2 The same technique is used by Shakespeare in Hamlet's famous advice to the actors, proof that the new theatrical art principles had already spread across Europe:

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You play the role of the poet and you have to enter the skin of the character, to highlight the pedantic air of those who are in touch with the upper-class. [...] Try to assimilate as much as possible the nature of your roles and imagine that you are what you represent. [...] Didn't I tell you that you have to play a role naturally? (Molière, 1955, pp. 175-176) Although the expression might seem obsolete, these principles can be identified in the foundational outlook on modern acting: the study of life and people, the training of means of expression and their use in rendering human characters as true as possible. Despite the imposed rigors, Molière used improvisation as an exploratory means of creative freedom, following a well-known Perruccian principle: "sometimes going out of the rule is the best rule to be found" (Perrucci, 1982, p. 59). Such a detailed chronological presentation of the theatrical phenomenon, its development through improvisation and describing the evolution of various aspects related to the actor and his art may seem inappropriate in the economics of the present analysis, but it is relevant. "A nation that does not know its history is like a child that does not know its parents" wrote the historian Nicolae Iorga. On the same note, one could say that an artist who does not know his cultural origins cannot fully understand the layers of his art, nor can he fully practice it. It is therefore essential that theatre professionals be aware, on the one hand, of the difficult path that actors have taken over the centuries for their creative manifestation to be recognized and respected, and on the other, of the rigor, discipline and training on which improvisation is based. There is a duty and a responsibility to study and pass on the specifics of the actor's art, which, despite its playful appearance, demands seriousness and respect. Once liberated from the rigors of classicism and along with the aesthetic diversification of the twentieth century, the function of improvisation in theatrical art acquired new meanings, depending on the perspective from which it is analysed: Stage practitioners (actors or directors), for example, treat it as a working method, either as a performative mechanism or as a simple trick to overcome stage accidents. Theorists most often perceive it as a stylistic process, playwrights consider it a potentially threatening dilution to the rigors imposed by the text (whatever it might be), and most viewers retain it as a blamed (but intimate-captivating) voyeuristic experience, almost always of a comic nature (Mihăilescu, 2016, p. 29). The present analysis will continue to focus on the specificity of improvisation from the perspective of the actor's art, which includes the pedagogical process. This process, in turn divided into subsequent stages, analysed, theorized, methodized and assisted,

o'erstep not the modesty of nature. For anything so overdone is from the purpose of playing, whose end, both at the first and now, was and is to hold, as ’twere, the mirror up to nature, to show virtue her own feature, scorn her own image, and the very age and body of the time his form and pressure. (Shakespeare, 1955, p. 105)

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designates what today is called theatrical education and which began, without a doubt, with the Konstantin Sergheevici Stanislavsky's "system". At the beginning of the twentieth century, the concept of theatrical exercise was introduced in acting training, which aimed to create a favourable ground for the emergence of the unexpected and the suppression of routine. After years of research and experiments in search of "the moments of truth"3, the famous pedagogue formulated the method of physical actions as a way of organic "releasing" the affective component: The secret of the Stanislavskian process is to not force your feelings at all, to let them freely take control of yourself, not to think about the truth of the passions, for these passions are not up to you, but come naturally (Gîlea, 2018, p. 92). The "magic if", the "given circumstances", the overarching theme or the affective memory are just some of the concepts that Stanislavski integrated through theatrical exercise in the process of methodical systematization of the actor's creativity. Therefore, we could say that "Stanislavski was the inventor of the modern use of improvisation, at least seen as a device for rehearsals and training" (Frost, Yarrow, 2007, quoted in Mihăilescu, 2016, pp. 40-41). This is the system that lays at the heart of the pedagogical practice in the Bucharest theatre school. Established in 1954 by merging two forms of higher education, the „I.L. Caragiale” Institute of Theatre and Cinema followed from the beginning the direction of a “scientific rationalism based on cognitive processing and grafted on a methodical intellectual study” (Mihăilescu, 2016, p. 101), present in all areas of Romanian education (even nowadays), be it artistic, philological or technical. The organization of the educational act in the teaching-learning-evaluation stages, doubled by the structuring of the subject in analytical programs with clear objectives, supports the Stanislavskian pedagogical desideratum. But the Russian model was soon adapted and reinterpreted giving rise to Professor Ion Cojar’s method, a defining development for the school’s didactic concept. The practice of creative exercises starting from the "magic if" naturally leads to the emergence of improvisation. The methodical study of the "unforeseen" within the university begins in the 1960s, with the infiltration of a technical translation, in typewritten form, of several chapters from Viola Spolin's Improvisation for the Theater. The influence of this event is decisive. On the one hand, there is an assimilation of modern pedagogical concepts, such as learning through play, giving up the teacher-disciple relationship in favour of a prejudice- free search – “we learn from experience and experimentation and no one teaches anyone anything” (Spolin, 2008, p. 49), or the emphasis on the work process – “the process comes before the final result” (Spolin, 2008, p. 59), a principle famously formulated by Ion Cojar as “the process, not the success!”. From a practical point of view, the improvisation exercises

3 "Before, I used to prepare everything - the atmosphere, the setting, the staging and then I told the actor Here you have to play. But now I don't prepare anything else for the actor, except for what I saw that he needs and his heart demands." (Stanislavski, 1950)

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Research underwent multiple adaptations, and the “folklore” thus formed acquired the quality of tradition in the Bucharest school4. Nowadays, improvisation continues to be an essential training method for actors at UNATC, based on the principles formulated by Professor Ion Cojar (1988, p. 88) at the centre of which there is the "MAN, in his irreducible totality, and his dynamic behaviour”. The first semester within the first year of undergraduate studies is dedicated to activities that prepare the student for the rigors and demands of working in this particular education system, but also for the specific requirements of theatrical education. Also, this first year is essential in developing the main skills underlying theatrical education, as stated by Professor Adrian Titieni, PhD: Improvisation is a concept that we use in the idea of improving the actor's skills and expertise; [it] is a complementary study, which comes in a natural symbiosis with the actor's art, in the idea of being able to develop imagination under the sign of spontaneity, solving obstacles or a problem, develop creativity and last but not least, find the solution during rehearsals, during the performances, in order to reach a goal on a different path that the novelty of the moment describes. [...] In fact, improvisation accompanies the actor all his life (Mihăilescu, 2016, pp. 117-118). The analytical program for the discipline entitled "Actor's Art" includes an extensive description of objectives set for the training based on improvisation. The practical approach is faithful to the pedagogical principle "from simple to complex", following the path of knowledge and self-knowledge through the Game system: Clarifying the difference between game and play and establishing that the game involves very strict rules, the student will be invited to discover, in an atmosphere of beneficial competition, the fact that each game, regardless of the difficulty it presents, has a very great representation in the art and stage creation (Programa analitică a Cursului de Arta Actorului, 2020, p. 2) This phase aims primarily at training and developing specific skills, the importance of which is given by the fact that, through them, "relationships are established with all other components of the personality, contributing to the effective behaviour of the individual, to his performance" (Popa, 2017, p. 64). On the premise of reconsidering "talent" (Spolin, 2008, p. 49) in favour of creativity, the training aims to regain the natural component through games that develop observation skills, attention, memory, imagination, spontaneity, intuition and group work. It is important to note that training these specific skills must be a continuous process, as they can regress and even disappear. The second work stage introduces the concept of dramatic conflict in order to stimulate "acceptance of diversity in thinking, differentiation of justifications, discovery that the possibilities of

4 Victor Mihăilescu (2016, p. 107) mentions another document about improvisational training for student actors entitled "Improvisation as a Means of Developing the Physical and Mental Skills of the Actor", dated "April 1964", a kind of program for an improvisation course.

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interpersonal relationships are multiple, which leads to gaining individual freedom in relation to the dramatic circumstance." (Programa analitică a Cursului de Arta Actorului, 2020, p. 4) Accepting that "all the characters are within us", what follows is: the ascent from myself to the character [which] has three crucial moments: 1) Myself in a given circumstances; 2) the discovery, purpose, my role in the stage convention; 3) Assuming the concept, the logical mechanism of the character, the substitution, Myself, the role, the character (Cojar, 1998, p. 79). This process is done in stages, through "selective use of certain work tools acquired in the study of Improvisation" (Programa analitică a Cursului de Arta Actorului, 2020, p. 5). Particularly useful is clarifying the concept of theatrical parameters that will become a basic tool in the actor's practice: If in dramatic writing there is still the rule of the three unities regarding action, time and space, in the creative process of the actor, the stage situation is guided by a number of theatrical parameters: Where? Where from? When? Since when? What? Why? (Darie, 2015, p. 132). As a culmination of the skills thus acquired, at the end of the semester the students work on short of improvisation sketches based on dramatizations, using the written text in extenso as support for generating dramatic situations. Once detailed, it is impressive how rigorous and structured the training in acting is, whose purpose is not to improve "a working model, a technique, but the training of all cognitive, affective and psychomotor sub-processes that define personal experience. In fact, this training (and, especially, its self-regulatory, self-taught and self-applicable character) is the technique" (Mihăilescu, 2016, p. 117). The exercises used by UNATC teachers are extremely diverse, given the tradition of this type of pedagogical approach. However, there are two main sources: the combination of their own versions (adapted, invented or “inherited” from the school’s “folklore”) and the methodical documentation. In this regard, the observation of conf. univ. dr. Mircea Gheorghiu is particularly relevant: All good schools try to structure their methods on what is extraordinary and efficient. [...] Stanislavski is present, Augusto Boal less, Meisner is present, Strasberg is present, Viola Spolin is present, Ion Cojar is present (obviously, through what they wrote), Michael Chekhov is present. From each we have taken things that, in one way or another, we consider necessary in order for the student to be informed or trained. Each teacher, during his experience, empathized with one author or another, but it is certain that Viola Spolin's games and her principles of theatre and improvisation are, in one way or another, conveyed (Mihăilescu, 2016, p. 119). In recent years, the Actor's Art Department has published through UNATC Press works of major interest that update concepts, visions and principles, both of the Faculty’s professors and of some prominent personalities in the theatre field, as well as collections of games and improvisation exercises. These efforts facilitate both the specific study of

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Research practical, pedagogical and research aspects, as well as the access to theatrical education in general.5 In the 2020/21 academic year, the educational process was significantly hampered by the global pandemic generated by the spread of the SARS-CoV-2, therefore the conduct of live courses became uncertain. After a first semester of hybrid education, with over 6 weeks of online courses (out of 14 weeks of course and 3 of academic session), it is to be expected that specific topics will require further study. Despite the efforts of teachers and students alike, it cannot be denied that the educational process specific to the Actor's Art was corrupted by the limitation of physical contact, given the strong sensory and kinaesthetic component of improvisation. With the start of the campaign to immunize the population and the rolling back of distancing rules, there is a prospect of returning to a framework of workshops that would take place in favourable conditions and even conducive to the development and training of future actors. Therefore, this analysis continues with the suggestion of a workshop that would meet the students’ current needs, focused on the technique of improvisation. As usual, students start by setting the rules: the workshop will last 2 hours without break, the training clothing is mandatory, the acting notebook and a writing tool are to be kept at hand, the phones are switched off6 and each participant places an object of personal significance on the coordinator's table. These notes are necessary not only to clearly establish the framework, but especially due to the fact that the last rule is that, during the workshop, no one is allowed to speak (except for the coordinator). The aim is, on the one hand, to restrict communication to the non-verbal level and to explore alternative means of expression, and on the other hand, to understand the organic path that leads to the need to use words. Through this limitation, students are encouraged to discover the freedom to act autonomously, to make decisions, to answer for themselves any questions or concerns related to the following exercises. Once these aspects are clarified, a Brownian movement starts7, during which the participants focus their attention on the activity they are about to take part in, on their body posture (which must be relaxed but active), on their working partners. Following the coordinator’s instructions, they organize in two parallel lines across from each other, one of girls and one of boys. They are encouraged to look, to observe carefully the person in front

5 Most of the works are available in digital form on the UNATC website: https://www.unatc.ro/cercetare/carti-unatc.php https://www.unatc.ro/cercetare/carti-unatc-junior.php 6 Unfortunately, this is a reminder that must be constantly repeated to younger generations. 7 In regard to this well-known term in theatrical pedagogy in Romania, conf. univ. dr. Mihaela Sîrbu (2020) notes: [...] it is, obviously, improperly used. In the Brownian motion, as is well known, the particles collide with each other, this collision having the gift to change their trajectory. When we say Brownian movement in theatre, we mean random movement through the workspace, so that the participants do not collide! (p. 11)

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of them. In turn, they will take a step towards each other, experiencing the change of perspective given by the physical closeness. Students are informed that the person in front of them will become their working partner for the rest of the workshop and are invited to focus on the connection to be developed in relation to them, isolating themselves from the rest of the group8. When possible, they experience the physical touch of the hands, after which they receive the suggestion to find, by mutual agreement, a place within the space. This is followed by a theme that, on the one hand, is an exercise in deep relaxation and confidence, and on the other hand, a body research approach. One of the participants sits on the floor with his eyes closed9 keeping active his attention focused on the kinaesthetic experience, and the partner embarks on an exploration of the colleague's body, following one or more planes: the deep level, skeletal assembly, the average level of muscle composition and the superficial, tactile level. Once the whole body is thus observed, the point of concentration becomes the work with the weight, so the active student must lift and support the upper body of his partner in a hug, while the latter is completely relaxed and "allows" to be maneuvered by his colleague. Then the partners exchange places and the exercise resumes, this time without the coordinator’s guidance. At the end, the two open their eyes, position themselves face to face, observe themselves and their partner, as well as the quality of the connection between them. A reciprocal body exploration follows, this time consciously performed, which will be doubled at some point by the coordinator's indication: "What if you were a couple?". Students are encouraged to explore this situation by ”act”-ing together with their partner in the workspace. In turn, each pair is invited to choose, by mutual agreement and without speaking (or mimicking unnaturally), an object (except the personal one), then return to the chosen place. After a while, the students are instructed to put down the object, move away from their partner and find a new place in the workspace. During this moment of detachment, of returning to the condition of a participant to the workshop, each of them receives a copy of a short text, in the simple form of AB, which he/she will actualize10 later. Students are encouraged to study the given part, to analyse the dramatic situation, to assume the specific logical mechanism of the role as resulted from the text, and, when they are ready, to return to the "acting" space, where they left the object chosen by the couple. The coordinator allows some time for the re-harmonization of the partners to the new context, after which he enables the development of the scene by using the given words, insisting that the lines must become necessary. Once the scene is over, the students are encouraged to leave the acting space, return the object, choose another place in the room and write in their notebook, in the form of free-thought, personal impressions of the workshop experience. Finally, everyone chooses just one sentence to share with the group, as part of the evaluation.

8 The ideal version involves an equal number of girls and boys in the group, but alternatives can be found if this is not possible. However, the even number of participants is mandatory. 9 Can be explained as the "0" position in the horizontal or savasana in Yoga 10 In the sense defined by Prof. Ion Cojar (1998, p. 69)

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Such an improvisation workshop is based on learning through experimenting, discovery and communication, with respect to the pedagogical principles previously analysed. The suggested exercises and games develop all cognitive, affective and psycho- motor skills (attention, observation, memory, imagination, intuition, spontaneity, working with a partner), which are then transferred to "an actor’s work on the role" as Stanislavski called it. Despite the imposed limitations, the student will discover a vast freedom of expression and creativity, which is based in skills that are trained in a rigorous and steadfast manner. In order to understand it in all its complexity, this theatrical phenomenon called improvisation must be seen as part of the performative act. From the birth of theatre in ancient Greece and the mimesis as a way of understanding human nature, the elements of popular theatre of the Commedia dell'Arte and the aesthetic refinement generated by the rigors of French classicism, to the spectacular experimental forms of the twentieth century and its integration as a pedagogical method, improvisation has always accompanied theatre, as a revelation of playfulness and freedom of creative expression, based on study and continuous training. Theatrical education aims not only to become a space for developing one’s area of expertise, in accordance with the current rigors of the profession, but also to provide a suitable framework for experimentation and reflection, as the skills that an actor uses in an improvisation, to be authentic and to establish a connection with the audience, are the same skills we need to live authentically. Honesty, introspection, taking risks bring us into the position of being truly ourselves, of living authentically (Goodman, 2008, quoted in Mihăilescu, 2016, pp. 35-36).

References: 1. ARISTOTEL (1957) Poetica. București: Editura Științifică. 2. BANU, George, TONITZA-IORDACHE, Mihaela (1975) Arta Teatrului. București: Editura Enciclopedică Română. 3. BEŢIU, Mihaela (2018) Elemente de analiză a procesului scenic. București: UNATC Press. 4. BOILEAU, Nicolas (1957) Arta poetică. București: E.S.P.L.A. 5. COJAR, Ion (1998) O poetică a artei actorului. Ediţia a III-a. București: Editura Paideia în colaborare cu Unitext. 6. DARIE, Bogdana (2015) Curs de arta actorului. Improvizația. București: UNATC Press. 7. DIACONU, Mihai (2007) Educația și dezvoltarea copilului. București: Editura ASE. 8. FROST, Anthony, YARROW, Ralph (2007) Improvisation in Drama. 2nd edition. New York: Parlgrave Macmillan. 9. GîLEA, Marius (2018) Despre improvizație. București: UNATC Press.

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10. GOODMAN, Katie (2008) Improvisation for the spirit: live a more creative, spontaneous, and courageous life using the tools of improv comedy. Naperville, Illinois: Sourcebooks, Inc. 11. HUIZINGA, Johan. (2018) Homo ludens. Trad. H.R. Radian. București: Editura Humanitas. 12. MĂRCULESCU, Olga (1984) Commedia dellʼArte. București: Editura Univers. 13. MIHĂILESCU, Victor Ioan (2016) Improvizația – pedagogia organicității (teză de doctorat). Iași: Universitatea de Arte „George Enescu”, Facultatea de Teatru. 14. MIHĂILESCU, Victor Ioan (2020) Improvizația – pedagogia organicității. Galaţi: Galați University Press. 15. MOLIÈRE (1955) Opere. București: E.S.P.L.A. 16. MUSCALU, Dragoș (2019) Incursiune în teatrul de improvizație. București: UNATC Press. 17. PERRUCCI, Andrea (1982) Despre arta reprezentației dinainte gândite și despre improvizație. Trad. Olga Mărculescu. București: Editura Meridiane. 18. POPA, Camelia (2017) Noțiuni de psihologia educației și managementul clasei de elevi. București: UNATC Press. 19. Programa analitică a Cursului de Arta Actorului (2020) București: UNATC, Facultatea de Teatru. 20. SHAKESPEARE, William (1955) Hamlet. Trad. Petru Dumitriu București: E.S.P.L.A. 21. SÎRBU, Mihaela (2020) Cum să facem teatru de improvizație?. București: UNATC Press. 22. SPOLIN, Viola (2008) Improvizație pentru teatru. Trad. Mihaela Bețiu. București: UNATC Press. 23. STANISLAVSKI, Konstantin Sergheevici (1950) Viața mea în artă. București: Editura Cartea Rusă. 24. STANISLAVSKI, Konstantin Sergheevici (1955) Munca actorului cu sine însuși. București: Editura de Stat pentru literatură și artă.

Online references: 1. Croyden, Margaret (1973) Peter Brook's ‘Birds’ Fly to Africa [Online]. Available at https://www.nytimes.com/1973/01/21/archives/peter-brooks-birds-fly-to- africa-peter-brook-s-birds-fly-to-africa.html (Accessed: 03.03.2021)

Andreea Hristu is an actress and a contemporary dance performer. She studied Acting at the Faculty of Theatre and Television within UBB, Cluj-Napoca, and later graduated with a Master’s degree in Acting at UNATC, Bucharest. In 2013, through an Erasmus scholarship, she took part in Prof. David Esrig’s acting classes at Athanor Akademie in Germany. Some of the directors and choreographers she has collaborated with over the years are Mihai Măniuțiu, Alexandru Dabija, Răzvan Mazilu, Catinca Drăgănescu, András Lóránt, Elena Anghel, Vava Ștefănescu, Arcadie Rusu. She has been part of the Excelsior Theatre team in Bucharest since 2017 and is currently studying for a Masters in Theatre Pedagogy at UNATC.

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Vocea actorului nu intră în lockdown

Monica CIUTĂ UNATC ”I.L. Caragiale” Bucharest, Romania [email protected]

Abstract: The analysis in question discusses the impact the pandemic has had on the vocal technique teaching process as triggered by the change from the face-to- face to the online interaction with the students at the “I.L. Caragiale” University of Theatre and Film in Bucharest. The analysis is based on a longitudinal study that took place over two semesters during the academic years 2019/2020 (second semester) and 2020/2021 (first semester), a research conducted with a number of 110 students specializing in Theatre and Performing Arts. The article describes the observation of some changes in the learning process and of the products obtained, compared to the years of face-to-face study, and the perspective of the pedagogue's experience, pointing out some directions in the realization of the pedagogical process in the on-line environment. The conclusions prove that even if there are some clear drawbacks to online learning, the actors’ voice does not go into lockdown. Keywords: the learning process during the pandemic, online vocal technique teaching, sound and video recordings as learning instruments, face-to-face and online learning. How to cite: CIUTĂ, Monica (2020) ”Vocea actorului nu intră în lockdown”, Concept 2(21), pp. 111-123.

Cât e de ciudat să vezi o întreagă specie, miliarde de indivizi care experimentează și ascultă tipare tonale fără sens, ocupați și preocupați mare parte a timpului de ceva ce ei numesc muzică. Oliver Sacks

Se spune că nevoia de a cânta este o nevoie instinctuală, primară de refulare a energiei emoționale interioare și de reglare vibrațională. Serge Celibidache, fiul marelui dirijor Sergiu Celibidache, a tipărit în anul 2012 un volum numit Despre fenomenologia muzicală, care este transcrierea unei expuneri susținute

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de celebrul său tată la Universitatea din München. În deschiderea acestei conferințe muzicale, celebrul dirijor şi compozitor definește sunetul din punct de vedere muzical ca o structură creată de om pentru ca, odată cu reiterarea tonului muzical, omului să i se deschidă drumul spre re-emoționalizare sau, mai bine spus, spre recrearea emoției inițiale, ceea ce stă și la baza tehnicii actoricești – recrearea emoției cu ajutorul cuvântului: (...) El lasă să vibreze o lungime elastică între două puncte fixe, suflă printr-un tub de bambus sau printr-un os tibian golit, înzestrat cu găuri, și, întemeiază astfel, fără a avea vreo idee în această privință, ipotezele sub care poate să depășească condițiile sale întru acum... îl fascinează stabilitatea descoperirii sale: de fiecare dată, atunci când creează aceleași condiții, îi e dată aceeași trăire (Celibidache, 2012, p. 15). Această cercetare are la bază metoda observației și a interviului. Având în vedere că numărul celor implicați depășește o sută de persoane pe o perioadă de șase luni de zile (numărul de persoane implicate include mai multe tipuri de targhet profesional: studenții anului I, an începător (57 de persoane), anului II Actorie care devine ulterior an terminal – III Actorie (58 persoane), din cadrul UNATC „I.L. Caragiale” București) își propune să evidențieze atât beneficiile pe care – în mod neașteptat – perioada pandemică le-a adus în cadrul procesului pedagogic, cât și atitudini și comportamente observabile de-a lungul semestrelor universitare desfășurate în pandemie. Observarea aspirațiilor, nevoilor și motivațiilor existente în rândul studenților implicați a condus la desfășurarea unei anchete intensive, directe și calitative ce a permis identificarea caracteristicilor de profunzime ale realității socio-profesionale în actul pedagogic desfășurat în mediul virtual. Izolarea impusă și trecerea la susținerea cursurilor în mediul online au adus și o nouă viziune a structurii pedagogice în cadrul unui curs ancorat în aceleași teme și cerințe conforme cu programa anului de studiu. Paradoxal, această restructurare impusă de condițiile complicate a adus în aria de studiu și acumulare informațională o aprofundare a fenomenului de învățare intrinsec. Premisa de lucru de la care am pornit această cercetare empirică este aceea că schimbarea mediului de comunicare poate afecta conținutul (mesajul și informația) în acest caz fiind necesară adaptarea metodelor de predare. Acest concept – „mediul este mesajul” – prezentat de McLuhan în Galaxia Guttenberg legat de apariția tiparului ca modalitate de diseminare a informației se oglindește simetric în realitatea anului 2020 în care mediul digital devine forțat un mediu de susținere, diseminare și comunicare a informației în aria pedagogică: Dacă o limbă creată și utilizată de mai mulți oameni reprezintă un mijloc de comunicare în masă, oricare dintre noile noastre limbaje este într-un fel un nou limbaj, o nouă formă de codificare a unei experiențe colective ce a fost dobândită prin noi deprinderi de muncă și conștiința colectivă inclusivă. (...) Educația implică, din câte se pare, traducerea experienței într-un mediu nou (2006, p. 398).

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Iată deci că spațiul cibernetic prin intermediul căruia se desfășoară preponderent pedagogia universitară astăzi este de fapt un nou suport informațional cu ajutorul căruia procesul de învățare continuă. În urma experienței se demostrează că acest proces nou ca formă, dar care respectă aceiaşi parametri de informaţie acumulată în cadrul cursurilor – are beneficii sub aspectul eficientizării. Comunicarea în mediul virtual este continuu subordonată mesajului inițial pe care profesorul trebuie, conform programei și nivelului de studiu, să îl trasmită studentului. În acest context au apărut noi forme ale procesului de învăţare, comunicare de informaţie sau strategii de lucru, toate acestea aducând procesul pedagogic la un nou nivel de creativitate şi relaxare. Schimbarea metodelor de lucru, suprimarea aproape în totalitate a comunicării nonverbale prezente în cadrul cursurilor face to face, limitarea limbajului paraverbal – toate aceste stări de fapt au condus la o reevaluare atât a raporturilor profesor-elev, cât şi a raportului profesorului cu formele pedagogice accesate până în prezent în stil „clasic” sau al raportului student-proces educaţional. Probabil că sunt în asentimentul tuturor când evoc imaginile prezente la știri luni de zile – cu italienii cântând în balcoane – drept marca acestui timp de restriște a umanității. Refrenul Bella ciao – acest cântec preluat din solidaritate internațională împotriva flagelului 2020 a fost auzit pe toate meridianele lumii din nevoia Omului de a-și exprima vocal puterea, voința și credința că Totul va fi bine. De fapt, ceea ce rezultă ca demonstrație din acest demers prin prisma teoreticienilor fenomenului muzical, dar în aceeași măsură și prin prisma experienței directe, este faptul că, dintotdeauna și pentru totdeauna, muzica a avut, are și va avea, întocmai ca și teatrul, calitatea de a produce catharsis, atât pentru persoanele care o produc, cât și pentru auditoriu. În contextul dramatic socio-uman al ultimului an, în această atmosfera vibrantă încărcată de nesiguranță și incertitudine, dacă punem sub lupă un curs de canto într-o universitate de artă, vom vedea necesitatea continuării lui într-o formă în care cursanții să- și urmeze instinctiv şi intuitiv (ajutați desigur și de îndrumarea tehnică profesională) nevoia de a se exprima sonor la cel mai înalt nivel vibrațional armonic, ritmico-melodic și emoțional – iată și triada reper a acestui fenomen sonor numit canto. Ca profesor de canto într-o Universitate de Arte am observat modul în care pandemia a impus o schimbare totală de strategie pedagogică de-a lungul unui întreg an. Cadrul desfășurării acestei cercetări practice constă în oportunitatea de a lucra timp de două semestre universitare cu toate nivelurile de studenți la actorie: un semestru cu studenții de la teatru – Arta actorului, anul II, apoi în paralel: cei de anul I – începători, și cei de anul III – în an terminal. Desigur, cerințele au fost direct proporționale cu anul de studiu și posibilitățile generațiilor cu care am lucrat. În continuare am să dezvolt separat cele trei modalități de lucru cu prezentarea beneficiilor aferente. Anul I Arta actorului are ca obiectiv, conform programei de învățământ și planului de studiu, dezvoltarea capacităților ritmice, melodice, cât și a auzului și memoriei muzicale.

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În cadrul cursurilor desfăşurate fizic în cadrul universităţii, modalitatea de lucru lua preponderent forma unor exerciţii de grup. Durata unui exerciţiu era mai mare, iar evaluarea se baza pe sound-ul de grup cu identificarea erorilor de reproducere la persoanele din grup care nu reuşeau un exerciţiu corect constant. În noua formulă pedagogică desfăşurată în mediul online – datorită faptului că necesitatea acestor exerciţii este evidentă – am identificat o nouă variantă de comunicare, de lucru şi de evaluare care să conducă la acelaşi rezultat, fără a modifica în vreun fel bagajul informaţional sau nivelul de acumulare al studenţilor. În această direcție le-am propus studenților în fiecare săptămână un set de (minim 2, maxim 4) exerciții înregistrate pe platforma digitală și trimise online către fiecare dintre ei. Studenţii au avut obligația de a le lucra zilnic între 20 și 30 de minute (practic, cursul de 2 ore pe săptămână s-a împărțit în minute zilnice de lucru), de a filma mai multe variante, a se autoevalua pentru a putea alege cel mai reprezentativ material din săptămâna respectivă în vederea trimiterii în mediul online profesorului pentru feedbackul săptămânal. În urma evaluărilor, fiecare student beneficia săptămânal de un feedback al profesorului care era condus către un mini interviu. În timpul acestor discuții constante desfășurate după un plan stabilit în prealabil am făcut observații referitoare la nevoile exprimate individual și le-am corelat identificând punctele comune. Toate aceste date au condus la concluziile prezentate prin analiza și interpretarea informațiilor în timp real. Am observat un fenomen îmbucurător, aș spune, și oarecum neașteptat în această stare de tristețe metafizică constantă: studenții au fost conduși de necesitatea noii strategii de lucru online să devină mai asumați și mai conștienți de procesul de învățare (și mă refer aici la cei de anul I prin comparație cu generațiile trecute cu care am lucrat la nivel de licență, an începător). Modalitatea de lucru adoptată a impus reluarea unui exercițiu săptămânal până la susținerea sa într-o formă satisfăcătoare înainte de a fi trimis profesorului pentru feedback. Astfel, s-a impus de fapt conștientizarea lucrului individual cu focus pe calitatea produsului, spre deosebire de modalitatea directă de lucru (față în față) când conducerea procesului de învățare revine în primul rând profesorului care ascultă și evaluează în timp real greșelile pentru a le putea îndrepta. Livrarea informației aproape instant de către profesor la observarea unei greșeli făcute de student, pe de o parte ajută studentul să schimbe modalitatea de redare, dar, pe de altă parte, lenevește atenția acestuia ajungând să creadă că, de fapt, această conștientizare a greșelii este misiunea profesorului, nu a lui personal. Lucrul de acasă a forțat într-o oarecare măsură studentul să fie atent (filtrând din afară sunetul și imaginea pe care le înregistrează – în momentul în care vede și își evaluează materialul), să încerce să înțeleagă ce e greșit la fiecare variantă și să o aleagă pe cea mai bună (sau cele mai bune 2-3 variante) pentru a le trimite profesorului în vederea feedbackului tehnic pentru săptămâna respectivă. Desigur, această conștientizare constantă este un lucru benefic și – în situația dată – un proces organic. Desigur, orice tehnică pedagogică se poate îmbunătăți și, în fapt, perioada pandemică, cu toate schimbările, aferente şi succesive de sistem, a adus acest beneficiu în

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Research mod necesar și organic. Și, desigur, orice soluție găsită în mod natural în desfășurarea procesului educativ este o soluție valabilă. Într-un fel, această modalitate se aseamănă cu modalitățile clasice de predare a tehnicii vocale când subiectul (cursantul) era așteptat să conștientizeze procesele din timpul lucrului, o ședință de lucru având o durată prelungită. Din păcate, în zilele noastre se doreşte o eficiență cât mai mare într-un timp cât mai scurt. Din acest motiv putem concluziona că tehnica pedagogică descrisă mai sus și abordată în această perioadă de (probabil) mulți profesori de canto nu este viabilă, și totuși ea s-a dovedit adecvată timpurilor actuale. Câteodată, din erori se nasc soluții de excepție. Și această perioadă – din punct de vedere comunicațional – poate fi considerată de unii o eroare. În urma informațiilor primite în cadrul interviurilor cu studenții, am identificat o problemă general valabilă – și anume nevoia de interacțiune cu grupul. În acest context am stabilit împreună cu beneficiarul (cursanții) o nouă temă de lucru într-un demers ce a îmbinat fericit cercetarea cu acțiunea practică: în încercarea de a imprima cursurilor acel aer de creație comună, în timpul aceluiași curs pentru an I începători, spre finalul semestrului, am ales că temă un gospel, dar și un colind românesc îmbogățit cu ritmuri – în care au interferat atât noțiunile de tempo-uri/ritm, cât și cele de auz și memorie melodică studiate de-a lungul semestrului prin intermediul exercițiilor. Suprapunerea cu ajutorul tehnicii de montaj a tuturor filmărilor individuale trimise de studenți a avut ca rezultat videouri spectaculare, în ton cu stilistica „la modă” a montajelor făcute cu muzicienii marilor orchestre sau a cântăreților profesioniști din coralele internaționale. Tot acest demers al meu a avut că scop crearea sentimentului de apartenență la un grup din care acești studenți fac parte teoretic din momentul în care au promovat examenul de intrare la facultate. Practic, legătura între studenții acestei generații se realizează mult mai greu, interconectarea fiind posibilă doar la nivel virtual. Dintr-un alt punct de vedere, munca profesorului, cuantificată în ore de lucru, se dublează/triplează. Cu toată tehnologia pe care o are la dispoziţie, profesorului îi este necesar un timp minim pentru a asculta variantele individuale, a compara și a acordă feedback. Și, dacă o clasă este formată din aproximativ 60 de studenți, la un calcul simplu se confirmă adevărul celor spuse mai sus. O altă derivată din această tehnică de lucru impusă de perioada pandemică a fost în mod cert benefică – crearea unui reflex al studentului de a lucra constant individual, în fiecare zi, o perioada de timp exerciții vocale. Faptul că aceștia au cerut în perioada imediat următoare carantinei, când cursurile directe au fost reluate (respectiv o întâlnire pe săptămână) un set de exerciții pentru continuarea lucrului acasă, demonstrează clar asumarea acestui reflex de lucru zilnic. Acest comportament de lucru profesional derivat din modalitatea pedagogică nouă impusă de perioada pandemică nu face decât să profesionalizeze „în regim de urgență” studenții și raportul lor cu această meserie. Un aspect important pentru această perioada de timp în care foarte multe persoane s-au adaptat cu dificultate la noile reguli – de la cele de comunicare până la cele de învățare

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sau de ce nu, relaxare, este calitatea muzicii prin care se poate asigura un anumit gen de terapie. Schopenhauer scrie în Lumea ca voință și reprezentare că muzica nu exprimă niciodată fenomenul, ci esența intimă, interiorul fenomenului, voința însăși. Ea descrie bucuria însăși, suferința însăși și toate sentimentele, ca să spunem așa în mod abstract. Ea ne dă esența lor fără niciun accesoriu și, prin urmare fără motivele lor (Schopenhauer, 2012, p. 188). Iată deci că, dacă pornim de la acest citat, în contextul în care un student la arte are programat săptămânal această întâlnire nemijlocită cu muzica, studiind fenomenul direct implicat, avem de-a face cu un proces constant de trăire/asumare a unei game de sentimente transmise către subiect prin însăși forma muzicală accesată. În această situație este foarte important repertoriul accesat în cadrul cursului, acesta fiind în măsură să transmită diferite tipuri de emoție. În anul II de studiu, în afara tehnicii vocale (respiratorii, de impostație etc.) studenții trebuie să abordeze – prin intermediul repertoriului propus de profesor și zona de interpretare, deci zona emoțională. În contextul pandemic, o idee ajutătoare a constat în abordarea unui refren auzit de la un capăt la altul al globului – italianul Bella ciao. Această melodie simplă poartă o încărcătură emoțională aparte racordată la situația omenirii din anul 2020. Ea a fost ascultată și cântată ca un manifest muzical împotriva flagelului care a ținut în izolare o lume întreagă. Studierea acestui cântec la clasă în cadrul orelor de canto face parte din racordarea strategiei pedagogice la mediul socio-emoțional al timpului prezent, și, a adus cu sine un val de emoție conținută, procesul de transformare a acestei emoții într-un act artistic atingând în fapt esența artei actorului. Continuând lucrul la clasă în această idee de alchimizare a emoțiilor și transformare a lor în vibrație vocală profesională un al doilea proiect/temă pentru studenții de anul II actorie a fost realizarea unui colind pentru sărbătorile pascale în limba latină. Organizarea armonică a acestuia pe trei voci, lucrul individual cu studenții, dar mai ales coagularea acestei munci într-un video de prezentare cu mii de vizualizări în spațiul virtual urmând modelul materialului intitulat Ciao Italia, totul va fi bine a demostrat că, deși modalitățile de lucru, abordările pedagogice și posibilitățile studenților variază în perioade complicate, totuși produsul artistic va fi întotdeauna unul în care emoția primează. Țînând cont de toate aceste lucruri, plaja de alegere a repertoriului pentru studenții din anul terminal a fost destul de largă de-a lungul semestrului de studiu individual, dar a întrunit anumite calități ale formei și conținutului sonor: piesele alese pentru studiu trebuiau fie să facă parte dintr-un musical cunoscut, fie să fie hit-uri muzicale. Ritmul recomandat era unul rapid, dansant. Melodia trebuia să aibă o formă accesibilă, recognoscibilă și într-un registru de voce confortabil. Textul cântecului trebuia să conțină o poveste, o situație a unui personaj cu scop bine definit pentru a putea transmite mai ușor mesajul. Totodată, căutarea repertoriului a fost făcută de fiecare student bazându-se pe gusturile personale. Această practică le-a adus și o altă percepție asupra materialelor vizionate, acestea nefiind impuse de profesor. (Desigur că la bază a existat o lista de

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Research propuneri venite dinspre profesor – acesta devenind facilitator de informație, dar conținutul nu a fost cu titlu obligatoriu, ci mai mult o inițiere în zona musicalului sau a artiștilor deja existenți pe piață care promovează un repertoriu spectaculos la limita dintre muzică și teatru – exemplu The Tiger Lillies, Postmoden Jukebox, Puddles from Puddles Pity Party – the seven foot tall sad clown with a voice like Tom Jones). Metodele folosind retroacțiuni fonatoare de origine auditivă le-am considerat extrem de practice în cadrul metodologiei desfășurate în online, în special cea bazată pe cercetarea lui A. Tomatis – cu cele două perioade de concluzii rezultante din experimentele practice în studio. El susține, pe baza cercetărilor, existența unui (...) mimetism vocal. În aceste condiții este binecunoscut că exemplul declanșează facilitări motrice foarte marcante și oportune. Nu vorbim aici de imitație, care este rareori recomandabilă, și adesea nefastă. Vorbim de declanșări motorii ușurate prin reprezentarea psiho-auditivă de către elev. (...) el apreciază de asemenea timbrul vocii sale după ureche. (...) el va trebui să caute audieri de voci care prezintă tehnici din clasa celor care îi convin (...) emisia sa va putea fi avantajată prin activarea inconștientă a finelor mecanisme neurologice (Husson, 1968, p. 224). Practic, prin îndrumarea fiecărui student către un repertoriu potrivit din toate punctele de vedere, studiul individual al acestor materiale bazându-se exclusiv pe auz și memorie, a însemnat pentru fiecare cursant o reglare inconștientă a acțiunilor laringiene și faringo-bucale în cânt. Acest nivel cred că trebuie atins cel mai târziu în ultimul an de lucru cu studenții ciclului primar. În acest fel, la finalul ciclului de licență, ei vor avea posibilitatea de alegere a unui master în deplină cunoștință de cauză a ființei lor artistice și a unei asumări tehnice evidente a ceea ce au reușit să performeze până la momentul respectiv al studiilor universitare, cu ajutorul profesorilor. În acest fel, masterul ca specializare își urmează cursul natural al propriei voințe, construcții și necesități spiritual-artistice pentru fiecare student în parte ca entitate liberă și independentă. După alegerea de către fiecare student a unui potențial repertoriu pe care ar vrea să îl abordeze a urmat feedbackul pe baza temei ca parte integrantă a procesului de observare și coordonare al profesorului. În fapt această etapă a avut ca scop nu doar alegerea temei muzicale pentru semestrul în curs, cât și dezvoltarea unei strategii personale, a fiecărui student, pentru evoluția sa ulterioară. Înțelegerea nivelului la care a ajuns, a datelor pe care le are, dar mai ales identificarea potențialului său încă neatins care conduce organic către o independență creativă – am considerat că este o parte a răspunderii pe care un profesor trebuie să o aibă față de studenți mai ales într-un an terminal. În acest moment al dezvoltării sale educaționale, studentul trebuie să primească din partea profesorilor mai multă atenție și ajutor pentru a-și creiona o strategie activă de viitor, cel puțin pentru următorii ani, în vederea continuării evoluției sale, atât pe plan personal cât și artistic. Domeniul cântului este de preferat a fi abordat din punct de vedere teatral într-o instituție de gen. Așa cum profesorul de actorie în ultimul an are o gândire pedagogică vis-à-vis de alegerea rolului de

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licență pentru fiecare dintre studenții unei clase, la fel și profesorul de canto are datoria de a alege inspirat (de comun acord cu studentul) songul pentru examenul final. Acest moment lucrat în cadrul cursului de canto va rămâne probabil pe viitor, câțiva ani buni, prezentarea vocală cu care tânărul actor licențiat se va înscrie la castinguri și probe în teatru sau la examenul de master, pentru continuarea studiilor. De acest semestru va depinde șansa lui de a păși rapid în lumea profesionistă așa cum, de obicei, rolul său din piesa de licență îi va aduce un alt rol în film sau teatru la terminarea acestui nivel de pregătire numit licență artistică academică. Dacă această etapă este dusă la bun sfârșit în condiții satisfăcătoare, ea devine în timp un reper de autoevaluare și autocunoaștere al tânărului artist. De asemenea, această direcționare strategic-pedagogică îl va ajută, odată ieșit din cadrul academic, să își continue muncă artistică în mod organic, natural. Piesa abordată trebuie să se încadreze, evident, în cerințele tehnice – o durata nu mai mare de 3 minute (adecvată concursurilor viitoare), să fie prezentat un personaj sau o situație foarte clară pentru a putea aborda o interpretare spectaculoasă, și, nu în ultlimul rând, intonarea corectă, frazarea logică și o tehnică respiratorie bună. În același timp, la fel de importantă este potrivirea personalității studentului cu personajul pe care îl interpretează. De fapt, această suprapunere ar trebui să fie în mod ideal perfectă pentru realizarea unui reuşit moment spectacular. Dacă alegerea este inspirată, atunci mare parte din atitudine și interpretare vor apărea în mod intuitiv, studentul simțindu-se „ca acasă” în situația dată de song. O cunoaștere foarte bună a personalității studentului, o etalare a calității principale (la unii este un timbru foarte special, la alții este ușurința de a cânta și a dansa în același timp, la alții este o sensibilitate acută tradusă vocal etc.) este datoria profesorului. În momentul în care toate aceste premise sunt activate, lucrul poate începe, căutarea creativă și libertatea studentului sunt puse într-un context fertil care va duce negreșit la descoperirea unui moment artistic de excepție. Cristina Soreanu spune în Arta cântului: didactica specializării că alegerea repertoriului trebuie să îndeplinească în primul rând o sumă de criterii tehnice cum ar fi: (...) Repertoriul ales trebuie să fie accesibil din punct de vedere: auditiv, vocal – ambitus, timbru, rezistență, al înțelegerii literar-muzicale, al posibilităților expresive, vocale, mimice și corporale, ca valoare estetică, ca valoare formativ- educativă exprimată prin tematică, printr-o emoționalitate bogată, densă, variată (2009, p. 82). Această expertiză a fost oferită de către profesor fără a cenzura însă opțiunile studenților, aceștia având libertatea de a-și alege o sumă de materiale pe care vor să le studieze care îndeplineau caracteristicile de bază impuse la curs, dar care, în același timp, se armonizau cu gusturile și nevoile fiecăruia de perfecţionare, autoconstrucţie și evoluţie. Căutarea și prezentarea acestor materiale de studiu a avut loc direcționat pe platformele digitale specializate pe care materialele muzicale se pot accesa fără bariere de spațiu și timp, modelele de bază fiind producțiile de pe Broadway sau teatre de gen londoneze și pariziene.

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Direcţii generale în realizarea demersului pedagogic în mediul online Referitor la experiența pedagogică din timpul anului pandemic 2020, susțin că acest nou mod de comunicare si structurare a informației mi-a adus și mie, ca profesor, și studenților, ca participanți direcți, o deschidere mai mare către tot ceea ce înseamnă modalități de căutare, cercetare și asumare într-un domeniu, cât și acordarea unui extra- timp de înțelegere și aprofundare. Într-o eră a vitezei, conștientizarea faptului că e nevoie de timp pentru încorporarea naturală a unor informații în cadrul pocesului de învățământ echivalează cu epifaniile celor care, trecând prin procesul de iluminare pur și simplu SUNT altfel de la acel moment al revelării. Nu vreau să spun că până la acest moment modalitățile de lucru erau eronate, dar ceea ce s-a schimbat profund și major în această perioadă este, de fapt, capacitatea noastră de a ne adapta. Această adaptare a individului (nu doar în plan educațional) are loc constant. În era tehnologiei ne-am adaptat la perceperea informației pe plan orizontal – într-o perioadă scurtă de timp luăm contact cu foarte multă informație și această senzație de supraplin a reușit ani de-a rândul să creeeze senzația de supracunoaștere. Problema constantă a acestei modalități de învățare a fost superficialitatea înțelegerii unui bagaj imens de cunoștințe. În această nouă perioadă în care izolarea a dus la perceperea timpului ca un timp expandat (pentru că din orarele noastre obișnuite au dispărut ore întregi de stat în trafic, ore întregi pe care le acordăm prietenilor și întâlnirilor de socializare etc.) omul a avut posibilitatea alocării unei perioade de timp pentru studiul informației în adâncime și nu pe orizontal. Astfel, pentru acea majoritate care structural a fost pregătită pentru studiul în profunzime, această pandemie pot spune că a avut beneficii evidente. Și, cum categoria tinerilor studenți face parte din această majoritate, împreună cu profesorii pasionați de arta pedagogiei (care, ca orice artă, este în continuă evoluție și căutare de forme noi) iată că am avut posibilitatea unui extra-timp de căutare, cristalizare și folosire a unor noi modalități de lucru. Chiar dacă 2020 a fost din foarte multe puncte de vedere un an care a cerut soluții radicale, acestea sunt totuşi adecvate abordării pedagogice. Individul, prin structura sa intrinsecă, are nevoie de conștientizarea propriilor limite pentru a putea dezvolta noi căi de progres personal sau la nivel macro. Modalitățile de lucru prezentate mai sus au, desigur, unele neajunsuri, unul dintre cele mai evidente fiind lipsa interacțiunii face to face în timpul lucrului cu studenții. Ambii poli ai procesului didactic – profesori şi elevi – au simțit acut lipsa acestui schimb de energie directă, a comunicării nemijlocite tehnic. În același timp, izolarea poate fi asimilată la nivel spiritual cu un post prelungit în care atenția a fost centrată spre interior, înspre autocunoaștere și autoasumare, înspre mărirea rezistenţei la frustrare, la stres – unul cu totul nou, cel al izolării, al însingurării ce poate fi factor de dezorientare, depresie, demotivare.

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Din analiza datelor şi coroborarea acestora se desprind câteva direcţii general valabile legate de procesul didactic susţinut în mediul online: Deşi pornit din necesitate impusă de factorii externi, procesul didactic desfășurat în mediul online a avut un efect evident benefic: a optimizat percepția studenților asupra actului de învățare. Acest rezultat este similar cu rezultatul observațiilor expuse în capitolul „Modele explicative ale învățării cu ajutorul tehnologiilor informaționale și de comunicare” din volumul Educația digitală conform cărora tehnologiile utilizate în educație au transferat o mare parte din controlul asupra procesului de învățare de la instructor la cel care învață. (Ceobanu, Cucoş, Istrate, Pânişoară, 2020, p. 127) Dacă, până acum, 80% dintre studenți considerau că munca trebuie să fie în mare parte a profesorului care transmite conţinuturi (așteptând de la acesta o expunere spectaculoasă, profundă și facilă în același timp, concisă, dar vastă ca informație), în perioada pandemică, atât așteptările, cât și procentajul implicării lor s-au modficat. Au înţeles (acționând în consecință) că pedagogia nu e unidirecțională, ci solicită implicarea studentului în aceeași măsură cu cea a profesorului într-un proces de continuă descoperire şi experimentare, bazat în primul rând pe curiozitatea și dorința studentului de a afla și nu doar pe dorința profesorului de a-l învăța. În aceste condiții sondarea studentului după noi informații și adevăruri ascunse a continuat – în mod ideal – și după încheierea cursului propriu-zis. Și tot acest comportament – datorită prelungirii situației de criză de-a lungul unui an întreg – a devenit reflex. Astfel, generația „pandemică” are de fapt un avantaj enorm: asumarea unei modalități de lucru individual, de autocunoaștere și progres, o modalitate perfect valabilă atât la 20 de ani, cât și la maturitate și postmaturitate. „Formarea continuă” nu mai este doar un concept pentru această generaţie, iar responsabilitatea studentului în procesul educaţional cât şi independenţa creativă au crescut vizibil. A doua direcție este referitoare la condiția profesorului în această perioada și la raportul acestuia cu studentul prin prisma modalităților de lucru abordate. În primul rând, lucrul individual, atât cu studenții din an începător, cât și cu cei din an terminal, are avantaje de neconstestat. Datorită acestei stări de fapt atenția noastră s-a putut îndrepta spre detaliile de structură ale fiecărui cursant găsind tonul necesar și soluțiile personalizate cele mai bune. În al doilea rând, studenții s-au putut exprima într-o manieră mai liberă/dezinhibată (mai ales cei de anul I a căror problemă de asumare a erorilor sau neputințelor în fața celorlalți este o reală piedică în timpul cursurilor comune). Datorită acestui fapt am putut să identificăm mai uşor problemele și potențialele blocaje și evident timpul de recuperare a fost unul net superior comparativ cu același proces care ar fi avut loc de față cu ceilalți cursanți. Lucrul individual ne-a adus – prin experiența directă cu un număr de peste o sută de studenți – o mai mare acuratețe în observarea fină a anumitor detalii psihologice şi de comportament în cadrul procesului de predare, lucru extrem de benefic prin prisma domeniului artistic în care se înscrie universitatea noastră – Teatru şi artele spectacolului.

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Din punct de vedere al nivelului de creativitate pedagogică profesoral asumăm că din cele cinci niveluri susținute de C. Taylor și prezentate în modelul de cercetare educațională semnat de Camelia Popa și Adelina Dobrea cele mai activ-dezvoltate în această perioadă pandemică sunt: cel inventiv şi cel inovativ. Proiectele de grup lucrate și definitivate cu anul II și III în mediul digital, folosind materialele clasice într-o nouă manieră inovativă formal și structural, au reușit să facă din cursul de canto o platforma de socializare și de exprimare a empatiei și susținerii internaționale, acceptând și adaptându-ne cu ajutorul limbajului artistic la o realitate înconjurătoare greu de asumat. Și toate aceste lucruri se încadrează în marea fenomenologie a existenței muzicii, sau, așa cum spunea Sergiu Celibidache în conferințele sale: Este muzica doar o consecință a sunetului? Acea nouă născocire care nu se mai ivește nicăieri altundeva, condiționată de efectele secundare ale unei singulare bogății pentru om? Nu. Esența muzicii se află în relația ton-om și în căutarea corespondențelor dintre această structură a sunetului și structura universului afectiv uman (2012, p. 19).

Concluziile cercetării Prin metoda observației conjugată cu interviul, dar și comunicarea liberă s-au conturat concluzii relevante atât pentru profesor, cât și pentru audienți: - comunicarea online a dezvoltat din punct de vedere al schemei pedagogice de lucru o mai mare creativitate în folosirea materialelor deja existente în forme noi de prezentare, cât și dezvoltarea posibilităților de a depăși (fără a le nega structural) unele principii de bază pentru a deschide noi căi de interpretare a rezultatelor şi a realităţii din domeniul luat în considerare. - în ceea ce îi privește pe studenți, beneficiul important în urma modalităţii de lucru impuse de pandemie este cel al fenomenului de asumare rapidă personală ca parte activă a procesului pedagogic. Autoresponsabilizarea a crescut vizibil, studenţii implicându-se mult mai activ în procesul educațional din aria de referință. - noile forme și strategii de comunicare pedagogică asumate în mediul virtual au condus, datorită practicii constante, la crearea de reflexe profesionale reale într-o perioadă restrânsă de timp din punct de vedere strategic. - schimbarea percepției studentului cu privire la evaluarea rezultatelor sale e un nou beneficiu câştigat în perioada pandemică. Feedbackul constant din partea profesorului – ca parte a noilor strategii de comunicare pedagogică – a devenit un act perceput şi înţeles ca fiind necesar în procesul evolutiv. Mai mult decât atât, s-a dezvoltat în conştiinţa studentului necesitatea autoevaluării şi a iniţierii procesului comparativ între aceasta şi feedbackul profesorului, dezvoltându-şi astfel gândirea critică şi capacitatea de a-şi analiza propriul traseu evolutiv. - progresul individual a ajuns la un nivel superior datorită noului format de interacţiune pedagogică în care ierarhizarea studenţilor nu a mai fost expusă. Fiecare student a lucrat

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într-un mediu de siguranţă în raport direct cu profesorul. În acest context, profesorul devine facilitator de informaţie şi proces. - imposibilitatea interacţiunii fizice de grup a condus la crearea unor materiale în formate noi, ca rezultat al muncii depuse de-a lungul semestrului. Aceste materiale au avut un impact media puternic şi spectacular ridicând nivelul de conştiinţă al fiecărui student cu privire la potenţialul creator. După cum se poate observa, mutarea cursurilor în spaţiul virtual a adus beneficii evidente atât din punct de vedere al profesorilor, care şi-au revizuit metodele aducându-le îmbunătăţiri de ordin creativ, cât şi din punctul de vedere al studenţilor care, prin iniţierea unui raport de lucru conştient şi asumat, şi-au recâştigat poziţia de pion principal în procesul educativ. Ne încheiem analiza circular întorcându-ne la motto-ul preluat din cartea lui Oliver Sacks – Muzicofilia. De fapt, această frază care exprimă un punct de vedere din afara umanului pământesc este pe cât de descriptiv ironică la adresa firii omenești, pe atât de clară în etalarea complexității structurii umane care este muzicală prin excelență. Acest fapt şi cercetarea întreprinsă ne conduc spre o concluzie evidentă: cum necesitatea evoluției este scrisă în genele oricărei ființe, probabil că accesul nostru spre un plan superior de existență și înțelegere se poate face natural, organic, cu ajutorul și prin accesarea limbajului muzical. În această situație, focusul nostru ca profesori – entități dedicate susținerii evoluției și cunoașterii – va trebui direcționat în viitor într-o măsură mult mai mare asupra educației muzicale pentru noile generații.

References: 1. BERNSTEIN Leonard (1982) Cum să înțelegem muzica. Bucureşti: Ed. Muzicală. 2. CELIBIDACHE Sergiu (2012) Despre fenomenologia muzicală. Bucureşti: Ed. Spandungino. 3. COJAR, Ion (1998) O poetică a artei actorului. Ediţia a III-a. Bucureşti: Editura Paideia în colaborare cu Unitext. 4. COVĂTARIU, Valeria (1996) Cuvinte despre cuvânt. Tg. Mureş: Casa de Editură „Mureş”. 5. CUTHBERTSON-LANE, Rebecca (2009) “The Breath and the Science of Feeling”, in BOSTON, Jane, COOK, Rena (eds.) Breath in Action. London: Jessica Kingsley Publishers. 6. DIMON, Theodore (2018) Anatomy of the Voice: An Illustrated Guide for Singers, Vocal Coaches and Speech Therapists. Berkeley: North Atlantic Books. 7. GUTENKUNST, Christina și GILLET John (2014) Voice into Acting. Integrating Voice and the Stanislavski Approach. London: BLOOMSBURY. 8. HUSSON, Raoul (1968) Vocea Cântată. Bucureşti: Editura Muzicală. 9. JAMIESON, Harry (2007) Visual Communication: more than meets the eye. Bristol: Intellect Books.

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10. LEVITIN, J. Daniel (2010) Creierul nostru muzical – Știinta unei eterne obsesii. Trad. Dana Ligia Ilin. Bucureşti: Humanitas. 11. LINKLATER, Kristin (2006) Freeing the natural voice. London: Nick Hern Books. 12. McCALLION, Michael (1998) The Voice Book. London: Faber and Faber. 13. McLUHAN Marshall (2006) Texte esențiale. Bucureşti: Ed. Nemira. 14. PÂNIŞOARĂ, Ion Ovidiu, CEOBANU Ciprina, CUCOŞ Constantin (2020) Educaţia Digitală. Iaşi: Editura Polirom. 15. PEZIN, Patrick (2002) Le livre des exercices à l’usage des acteurs. Saussan: L’Entretemps Editions. 16. POPA, Camelia (2017) Noțiuni de psihologia educației și managementul clasei de elevi. Bucureşti: UNATC Press. 17. POPA, Camelia (2019) Evaluarea creativității și a intereselor artistice ale elevilor. Un model de cercetare educațională. Bucureşti: UNATC Press. 18. SACKS Oliver (2013) Muzicofilia. Trad. Anca Bărbulescu. Bucureşti: Humanitas. 19. SCHOPENHAUER, Arthur (2012) Lumea ca voință și reprezentare. Bucureşti: Humanitas. 20. SOREANU Cristina (2009) Arta cântului. Didactica specializării. Vol. I. Braşov: Editura Universităţii Transilvania. 21. SPOLIN, Viola (2008) Improvizație pentru teatru. Trad. Mihaela Bețiu. Bucureşti: UNATC Press. 22. STANISLAVSKI, Konstantin Sergheevici (1955) Munca actorului cu sine însuși. Bucureşti: Editura de Stat pentru Literatură și Artă.

Monica Ciută, PhD is a theatre and movie actress and a lecturer PhD at the Faculty of Theatre of UNATC ”I.L. Caragiale” Bucharest, where she has been teaching vocal techniques classes and Introduction to musical since 2005. Her research is focused on several aspects of teaching vocal techniques and canto to drama students: Acting trainer for children – film acting (international awards: Best Child Young Actress/Best Child Young Actor – London Independent Film Awards 2018, Best child actor/actress – Festigious International Film Festival Los Angeles 2018), Emotion coach/Behavioural coach “Victor Hănescu” Tennis Academy, Director of the ”Classic is fantastic” Series – Odeon Theatre & ”George Enescu” Philharmonic (2010 – ongoing); also, her activity contains compositions, musical arrangements and she is a vocal coach for theatre productions (Comedy Theatre, National Theatre of Bucharest, Operetta Theatre, Metropolis Theatre). Published books: "The actor and his singing voice” (a course of vocal technique), ”Beethoven’s Childhood”, ”Chopin's Childhood” (”Great Musicians’ Childhood” collection, Classic is fantastic). PhD thesis (2011): ”The Structures of Sound in Theatrical Representations”.

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Rolul tehnicilor teatrale în procesul de autocunoaştere

Raluca RUSU DIȚĂ UNATC ”I.L. Caragiale“ Bucharest, Romania [email protected]

Abstract: This article presents a series of benefits that the study of acting through the technique of improvisation brings not only to the theatre students, but to all those interested in rediscovering themselves, testing new ways of personal development, accessing a depth of latent resources, taking the step towards the magical world of creativity. The author focuses on some characteristics of the improvisation method inspired by the use in her own practice of Viola Spolin’s seminal text ”Improvisation for the Theater” that gives both the professionals and non-professionals the joy of expressing themselves in an authentic way. Experimenting with theatrical techniques is all the more important at a time when digitalization and online communication tend to further isolate the individual. Through the theatrical art, one can work to restore his connection with the immediate and concrete reality of our life, with ”the other”. Keywords: theatre pedagogy, Viola Spolin, improvisation, development of abilities, theatre games, sensory awareness exercises, self-presentation games, empathy development, team- working skills, learning through experimentation, authenticity. How to cite: RUSU DIŢĂ, Raluca (2020) ”Rolul tehnicilor teatrale în procesul de autocunoaştere”, Concept 2(21), pp. 124-136.

„How much more certain would knowledge be if it came from and out of the excitement of learning itself? How many human values will be lost and how much will our art forms be deprived if we seek only success.” Viola Spolin

Există ceva „magic” în legătură cu actul creativ. El transformă pe cel care îl generează, indiferent de rezultatul obținut. În momentul când cineva creează, el accesează un adânc de resurse latente care, cu această ocazie, se catalizează pentru a genera ceva nou și necunoscut. O „descoperire”. Improvizația teatrală îl pune pe cel care o practică în această

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E un lucru bine știut că între atitudinea ludică și cea artistică adeseori e o distanță foarte mică. Copiii fac deseori trecerea dintre jocurile lor de creație, de desen, modelaj sau chiar imitație spre pictură, sculptură sau teatru și își pot descoperi abilități sau pasiuni în direcțiile respective, pasiuni care sunt hrănite de bucuria pe care au simțit-o în momentul jocului. Pe de altă parte, și artiștii, fie ei actori, fie din alte domenii, descoperă cele mai prețioase lucruri atunci când se întorc la atitudinea ludică pe care o aveau în copilărie, cu toată seriozitatea ei, dar, în același timp, și cu lipsa de prejudecăți și libertatea ei. Ludicul dă artistului, așa cum dă și copilului, bucuria descoperirii noului, bucuria de a se exprima pe sine într-un mod autentic și de a pune propria amprentă peste lumea înconjurătoare. Jocul face vizibilă una dintre trăsăturile chipului divin din noi, și anume capacitatea noastră de a fi creatori, și ne învață să folosim această putere în interacțiune cu restul creației, să descoperim relația cu ea, armonia sau dizarmonia pe care creațiile noastre le provoacă. Atunci când jocul se întâmplă într-un mediu real, și nu virtual, interacțiunea aceasta ne îmbogățește pentru că nu noi suntem cei care controlăm mediul. Astfel, suntem provocați la o altă înțelegere decât cea proprie și la descoperirea acelor legi foarte complexe după care realitatea funcționează și care nu ne aparțin. Prin intermediul jocurilor, studentul-actor este chemat la o reconectare cu sine și cu mediul înconjurător. Jocurile și exercițiile de improvizație teatrală „obligă” la dobândirea focusării, dezvoltă în student capacitatea de a se concentra pe rezolvarea unor probleme concrete (cele oferite de joc) și, punându-l în această ipostază, îi stimulează creativitatea, inteligența, spontaneitatea, fără a pune în mod expres accentul pe asta. Studentul are pur şi simplu o serie de probleme de rezolvat. Aceasta comutare a atenției de pe „Cum fac” pe „Ce fac” este un exercițiu care stă la baza formării unui reflex profesional fundamental pentru viitorul actor. Profesorul Gelu Colceag, în cadrul conferinței sale cu tema Rolul, partitura concretă a actorului între gând și acțiune, afirmă: Asemeni cântecului sirenei către Ulisse este chemarea personajului către actor: „Fă-mă aşa!” Iar, asemeni eroului lui Homer, actorul trebuie să reziste tentaţiei. Este un îndemn înşelător în a cărui capcană cad adesea actorii tineri, dar şi cei cu mai multă experienţă. Dacă va descoperi în partitura din textul dramatic calea cea dreaptă şi sigură către personaj, actorul nu are cum să greşească. Pentru asta, va trebui să-i ceară personajului răspunsuri la întrebările esenţiale: ce fac şi de ce fac ce fac. (2012, pp. 34-35) Pe de altă parte, jocurile teatrale se realizează prin relaţionare directă, concretă, reală (de preferat fizică, nu intermediată online) și conștientă cu omul de lângă tine, de aceea ele sunt tot atâtea prilejuri pentru a dezvolta calitățile legate de comunicare. „Tehnicile teatrului sunt, de fapt, tehnicile comunicării.” (Spolin, 2014, p. 24) Din pricina aceasta ele sunt un „leac” extraordinar pentru toate tulburările de închidere la nivel de ființă, atât pentru cele severe, patologice să spunem (cum sunt cele din spectrul autist, de exemplu), dar și pentru cele mai puțin evidente și acceptate astăzi în societate că fiind un

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1 Facem aici o trimitere la articolul colegei conf. univ. dr. Mihaela Beţiu care, în numărul 1/2014 al revistei Concept, numea educaţia teatrală „educaţie pentru cooperare” considerând-o o „dimensiune necesară comunicării dintre individ şi societate, necesară progresului şi calităţii vieţii umane” şi care îşi argumentează astfel afirmaţia: „Adulţii care fac cursuri de teatru, de jocuri teatrale şi improvizaţie mai ales, sau cei care-şi înscriu copiii la cursuri, conştientizează, după o scurtă perioadă, un progres personal atât de evident, încât senzaţia plenară este că viaţa li s-a schimbat substanţial în bine. Sunt mai deschişi, mai dezinhibaţi, mai toleranţi, capabili a-şi asculta semenii, a comunica eficient cu ei, capabili de un management adecvat al propriilor emoţii, de un management adecvat al situaţiilor dificile din viaţa personală sau profesională, capabili a se accepta fizic şi emoţional, învaţă să se joace, să experimenteze, să înveţe distrându-se, lucrează mai bine în grup, acceptă propunerile celorlalţi cu uşurinţă şi le pot asuma, cooperează în rezolvarea sarcinilor şi descoperă, jucându-se, că a ceda nu trebuie să provoace neapărat frustare. Mai mult, şi acesta este un element extrem de important în educaţie, dar, din păcate, mai necunoscut, învaţă să piardă.” (Beţiu, Mihaela, „Educaţia pentru cooperare. Importanţa teatrului în educaţia generală.” Concept, vol. 8-nr. 1/2014, p. 10)

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Jocurile teatrale au ca obiectiv dezvoltarea în viitorul actor a acelor abilități care determină şi caracterizează nivelul performanței scenice. Arta lui trebuie să aibă atât autenticitate și intensitate, cât și precizie și rigoare. Ca să se atingă aceste obiective, pedagogia Artei actorului se bazează, într-o primă etapă, pe dezvoltarea puternică în viitorul actor a unor calități cât se poate omenești, tocmai pentru ca ființa lui vie să fie din ce în ce mai bogată și mai plină de conținuturi. Dar prin același proces de îmbogățire poate trece oricine face aceste jocuri, chiar dacă obiectivul lui nu este acela de a spune povești cu propria ființă pe o scenă. Prin dezvoltarea unor abilități precum atenție, concentrare, intuiție, încredere, empatie, vulnerabilitate, spontaneitate etc., nu doar că se îmbunătățește considerabil calitatea relațiilor cu ceilalți, dar se petrece și un proces de cunoaștere mai profundă a propriei identități. Cunoaștem nu doar ce e unic și irepetabil în noi, dar, în același timp, și ce ne aseamănă și ne unește cu ceilalți. Pe drumul spre atingerea acestor obiective majore, studentul va avea parte și de un număr semnificativ de beneficii „colaterale”, să le numim așa, pentru că sunt multe zone interioare care sunt atinse prin intermediul tehnicii improvizaţiei teatrale și toate sunt, în mod inevitabil, legate între ele. Crește disponibilitatea de a interacționa „pe viu” cu celălalt, capacitatea de a avea încredere într-o altă persoană, disponibilitate ludică, capacitatea de a înțelege mai ușor mesajul verbal, non-verbal sau para-verbal pe care o altă persoană ni-l comunică. Crește curajul de a aborda situații necunoscute și încrederea de a le face față sau chiar de a le iniția (adaptabilitate sporită), sporesc abilităţile de comunicare interpersonală (crește capacitatea de a comunica deschis, cu răbdare şi „căldură” cu ceilalţi) şi intrapersonală (capacitatea proprie de introspecție şi reglaj emoţional). Prin intermediul improvizaţiei teatrale sporeşte şi calitatea de bun observator, acea abilitate esenţială vieţii de a percepe şi de a prelucra stimulii ce conţin informaţia oferită de mediul înconjurător şi de celelalte individualiţăţi umane ce-l populează. Una din cele mai mari provocări pe care le resimțim atunci când suntem în situația de a porni o relație cu ceilalți este incapacitatea noastră de a topi barierele față de cineva care ne e necunoscut și de a ne face cunoscuți. De aceea e foarte important să dezvoltăm capacitatea de a ne exprima în orice situație, de a ne prezenta, de a ne exprima cu curaj modalitatea de gândire, preferințele, nevoile, caracteristicile personale de tot felul, pentru a putea vedea care sunt punctele comune și care sunt diferențele dintre noi şi ceilalți, pentru ca punțile pe care le stabilim împreună să țină cont de aceste realități. Nu excluzând ce nu este „ca noi”, ci respectând. Există numeroase exerciții și activități care au ca obiectiv dezvoltarea capacității de autoprezentare. De exemplu: • Cine sunt eu? – studenții sunt invitați să se așeze formând un cerc, să își spună numele și prenumele și să propună simultan un gest/o mișcare/o atitudine care îi caracterizează sau care li se potrivește în acel moment. Pot, de asemenea, să facă o succesiune de gesturi care spun o poveste despre ei înșiși, o pot însoți de muzică sau de dans;

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• Colțul frumos – cursanții sunt invitați să creeze un spațiu în care pot aduce obiecte personale preferate, pot pune muzică şi pot propune acţiuni care exprimă ceva semnificativ despre ei și despre personalitatea lor (exerciţiu adus în şcoala de la Bucureşti de Veniamin Filshtinski de la Academia Teatrală din Sankt Petersburg); • Mie îmi place/mie nu-mi place – cursanții sunt aşezaţi în cerc, iar cel care este în mijlocul cercului formulează una din preferințele sau hobby-urile sale (de exemplu: „Mie îmi place fotbalul”).Toți cei care au aceeași preferință ca și el, inclusiv el, trebuie să schimbe locul între ei pe cerc.

În timpul desfășurării exercițiilor de acest tip coordonatorul trebuie să încurajeze exprimarea fiecărei individualități și respectarea diferențelor naturale dintre participanți și să descurajeze în același timp tendința de a emite judecăți asupra persoanelor sau de a pune etichete pe unul sau pe altul dintre membrii grupului. În primul rând, pentru ca momentul acesta fragil de început, al stabilirii conexiunilor în interiorul grupului, să nu fie compromis prin agresivitatea unor judecăți superficiale și, în al doilea rând, pentru a stabili o normalitate a relaționării în cadrul grupului, de acum înainte. Un alt obiectiv major în cadrul atelierului de actorie este dezvoltarea atenției studentului-actor. Orice intenţie de relaționare pornește de la atenție. Sau, mai bine zis, atenția naște relație. Atenția e primul instrument cu care ne conectăm unii la alții. Acordând atenție cuiva golim puțin din spațiul interior pentru a-l lăsa pe celălalt să intre înăuntru. Îl primim, îl „considerăm” și, din acel moment, el începe să existe pentru noi. Nu e de mirare că noi toți ne dorim atenția celor din jur. Pentru că astfel simțim că „suntem” pentru ei. Atenția are o importanță covârșitoare în încercarea noastră de a ne armoniza cu lumea din afara noastră. Un om neatent nu se poate integra. Pentru că nu înțelege în ce. De aceea dobândirea abilității de a fi cu adevărat atent este esențială. Vorbind despre atenție, vorbim și despre dezvoltarea capacității de a fi un bun observator, ceea ce înseamnă nu doar capacitatea de vedea și de a lua în considerare realitatea înconjurătoare, ci și de a o putea studia, de a putea extrage ce e semnificativ, în vederea unei cunoașteri mai adânci, atât a lumii înconjurătoare, cât și a propriei persoane în raport cu lumea. Din nou exercițiile care vizează dezvoltarea atenției de toate tipurile (vizuală, auditivă, olfactivă, tactilă), a capacității de observare, dobândirea senzorialității conștiente sunt foarte numeroase. Vom oferi doar câteva exemple:

• Forme și culori – cursanții trebuie să numească forma și culoarea obiectelor din spațiu cu rapiditate și precizie; • Colegul meu – cursanții stau în cerc sau merg în mișcare browniană timp în care studiază în detaliu felul în care arată fizic colegii lor și, la semnalul coordonatorului, se întorc cu fața la cerc sau se opresc din mișcare, închid ochii și răspund la întrebări concrete în legătură cu felul în care arată, sunt îmbrăcați, tunși etc. colegii lor; • Ce auzi? – cursanții închid ochii și trebuie să asculte toate sunetele din spațiul de lucru sau chiar din afara lor și apoi să le menționeze cu precizie;

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• Oglinda (cu toate variantele ei) – cursanții se grupează doi câte doi și unul dintre ei inițiază o mișcare, iar celălalt trebuie să preia mișcarea ca și cum ar fi o reflectare în oglindă a primului (Spolin, 2014, pp. 56-57).

Coordonatorul trebuie să invite studenții să facă, pe lângă exercițiile de dezvoltare a atenției și a capacității de a observa de la curs, acest exercițiu de a fi atenți și de a observa cât mai des în viața din afara cursului și să iasă din indiferența cu care privesc oamenii de pe stradă sau cu care se ciocnesc zilnic, în diversele activități și întâmplări cotidiene. Ba dimpotrivă, să-i observe cu atenție și să încerce să le înțeleagă motivațiile și nevoile care stau în spatele reacțiilor lor, precum și felul individual de a gândi. Vorbind despre înțelegerea unor feluri diferite de a gândi, vorbim în același timp și despre dezvoltarea intuiției, dar și a empatiei. Dezvoltarea acestor două calități are o importanță extraordinară în procesul de potenţare a inteligenței emoționale. Sunt două calități greu definibile, fac parte din acea zonă a ființei care are puterea să treacă dincolo de ce se vede, se aude, se poate pipăi concret prin intermediul simțurilor și care ne fac uneori să acționăm chiar în pofida evidențelor, a siguranței sau chiar a instinctului de supraviețuire. Ceea ce nu înseamnă că ceea ce ele aduc în relația cu altcineva este mai puțin valoros, ci, dimpotrivă, uneori poate fi chiar esențialul. Arta teatrului nu poate exista în absența empatiei. E necesară prezența acestei calități atât în cel care o practică (fie că e actor, fie că e regizor etc.), cât și în consumatorul de teatru. În receptor. Fiind un ingredient fără de care nu se întâmplă nici procesul de creație scenică, nici receptarea lui, teatrul contribuie în foarte mare măsură la cultivarea empatiei, calitate care este de altfel indispensabilă pentru stabilirea oricăror relații umane sănătoase, adică indispensabilă vieții. În cursul de Arta actorului, citând din Empatia lui Stroe Marcus, Bogdana Darie afirmă că, din punctul de vedere al psihologilor: (...) empatia este definită ca „o specie de comuniune afectivă, prin care cineva s-ar identifica cu altă persoană, măsurându-se în acest fel sentimentele; (...) o stare mintală prin care un individ se identifică cu o altă persoană sau grup, ori simte starea acestora”. Sau: „empatia este acel fenomen psihic, manifestat îndeosebi în cadrul relațiilor interumane, prin care cineva se identifică cu o altă persoană, dobândind astfel înțelegerea și cunoașterea directă a acesteia”. Și pentru ca acest proces să se realizeze este nevoie de mai mulți factori (2015, p. 63). Din punctul de vedere al definițiilor din DEX (2009, empatie), conceptul de „empatie” înseamnă: 1. Intuire a realității prin identificare afectivă; 2. Tendință a receptorului de a trăi afectiv, prin transpunere simpatetică, viața eroilor din opere literare, filme etc.; 3. Formă de cunoaștere a altuia, în special a eului social, apropiată de intuiție; 4. Interpretare a eului altora după propriul nostru eu; 5. Transpunere a noastră simpatetică în obiectele exterioare Cf intropatie.

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Empatia este deci capacitatea de a recunoaște și, într-un fel, de a împărtăși modul în care curge viața printr-o altă ființă și ce experimentează ea la nivel de trăire, chiar dacă aceasta nu se exprimă explicit. Empatia presupune atât capacitate de identificare cu celălalt, cât și puterea de a te detașa de ceea ce trăiește el, într-o mișcare cumva oscilantă între aceste două ipostaze pentru a-l putea și mai bine înțelege și ajuta. Din punctul de vedere al actorului această mișcare oscilatorie de identificare- detașare în raport cu materialul de trăire al altcuiva (rolul) pe care îl studiază, este esențială. Identificarea este importantă pentru a putea înțelege și asuma cu propria ființă traseul emoțional pe care îl are de parcurs, iar detașarea e importantă pentru a putea conduce conștient acest traseu și pentru a-l putea reface. În faza de descoperire a parcursului rolului, empatia face posibil acel transfer al bagajului emoțional propus de dramaturg către ființa actorului. Dramaturgul, la rândul său, tot datorită empatiei poate să pună în pagină un traseu de viață care nu îi aparține în mod absolut, dar pe care l-a cunoscut și l-a recunoscut în alții. Pe de altă parte, nici spectatorul, receptorul mesajului spectacolului, nu ar putea primi acest mesaj și nu ar putea crede și simți că i se adresează în mod personal, dacă n-ar empatiza și el cu povestea de pe scenă, dacă nu ar recunoaște-o. Cu ajutorul empatiei ne recunoaștem unii pe alții, ne oglindim unii în alții, stabilim și restabilim conexiuni, acele fire nevăzute prin care suntem legați, oricât de unici și irepetabili suntem și intuim că suntem parcă parte a aceluiași întreg. Prin empatie putem înțelege că barierele și distanțele dintre noi nu sunt chiar atât de mari pe cât credeam, că problemele și provocările noastre se aseamănă și că, deși le parcurgem într-un mod unic fiecare, durerea e la fel de greu de dus pentru toți, bucuria ne umple cu aceeași lumină. E greu de cuantificat cu exactitate ce anume face posibilă empatia, această putere care uneori contrazice chiar instinctul de supraviețuire. Neurologii vorbesc despre prezența neuronilor-oglindă prin intermediul cărora se declanșează reacții similare cu cele pe care le observi la celălalt (Kilner și Lemon, 2013). E interesant că ei sunt prevăzuți în design-ul trupului nostru, ceea ce ne îndreptățește să credem că, dacă ni s-a dat acest „instrument” anume pentru a putea înțelege și relaționa cu celălalt, e foarte posibil ca această relaționare- identificare cu celălalt să fie la fel de vitală și importantă ca și celelalte funcții pe care le susține creierul pentru ființa noastră. Empatia are acest suport în materia noastră, însă ne conectează cu un adânc care depășește materialul, imediatul, vizibilul și pare că activează resurse din zona sufletului și a duhului nostru. În sprijinul ei vine și o altă putere care ține tot de tărâmul nevăzutului și anume imaginația. Tot din cursul de arta actorului al Bogdanei Darie aflăm că „imaginația se definește ca proces cognitiv complex de elaborare a unor imagini și proiecte noi, pe baza combinării și transformării experienței” (2015, p. 62). Privind suferința cuiva și punându-ne, cu ajutorul imaginației în locul lui, adică întrebându-ne „Cum ar fi dacă asta mi s-ar fi întâmplat mie?” generăm un răspuns al ființei noastre la o trăire care nu ne aparține. Imaginația se bazează pe experiența proprie, dar umple și goluri. De neînțelegere, de „netrăire”, goluri de

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real. Cu ajutorul imaginației putem crea virtualități pe care, datorită faptului că ni se par verosimile, le putem confunda cu realul. Acesta este marele dar, cât și marea capcană a imaginației. Aceste „realități” imaginate sunt conforme cu noi, dar în același timp nu ne reprezintă în totalitate, ci pot fi născute din propriile senzații, păreri, frici, vise, traume, iar uneori, pentru a le naște nici măcar nu e nevoie să fi experimentat acea zonă a vieții câtuși de puțin. Imaginația e un ingredient de bază al muncii actorului care nu poate, prin intermediul experienței proprii, acoperi toată gama de trăiri cu care se întâlnește de-a lungul profesiei și pe care trebuie să le asume. El se vede atunci obligat să caute în interior un eveniment echivalent sau câtuși de puțin asemănător cu cel prezentat în piesă pentru ca, ulterior, cu ajutorul imaginației să-i dea importanța pe care rolul lui în piesă o impune. Actorul însă va crea un traseu asemănător, dar nu identic cu cel imaginat de dramaturg sau de regizor pentru că situațiile de viață sunt trecute prin alchimia ființei proprii și este extrem de important ca acest fel „personal” de înțelegere a situațiilor de viață să fie lăsat să existe pe scenă de către regizor sau coordonator. Pentru că, deși o situație este recunoscută și înțeleasă de toți, ea nu capătă autenticitate decât dacă cel care o asumă e lăsat să-i dea propriile conotații și propriile înțelesuri, născute din experiența lui, trăită real. Desigur, cu condiția ca aceste conotații și înțelesuri să se subordoneze scopurilor scenei și piesei în întregime. Imaginația este o calitate care trebuie neapărat cultivată de către cineva care dorește să practice actoria. Mulți dintre cei mai mari teoreticieni ai domeniului sunt de acord asupra acestui subiect, începând cu Stanislavski cu al său magic „Dacă?”. „În procesul de creație, imaginația e înaintașa care îl duce după sine chiar pe artist”, spune Stanislavski în Munca actorului cu sine însuși (p. 75). Există numeroase exerciții de actorie care vizează dezvoltarea imaginației (crearea poveștilor pe cerc, transformarea utilității obiectelor, exerciții cu obiect invizibil, mersul prin substanţa invizibilă, exercițiile de tipul Ce ar fi dac- ar fi?2 etc.) şi utilizarea lor dezvoltă spiritul de observaţie şi declanşează intuiţia.

Pentru dezvoltarea capacităţii empatice se folosesc mai multe exerciții cum ar fi: • „Îmi place de tine” – cursanții stau față în față și timp de două minute își spun toate lucrurile care le plac la celălalt; • „În pantofii colegului” – cursanții stau pe cerc, cineva aruncă o minge spre altcineva și propune o activitate, cel căruia i s-a propus are o reacție la respectiva activitate și toată lumea, indiferent de părerea personală, preia și reproduce respectiva reacție. • „Pătratul emoțiilor” – spațiul de lucru este împărțit în mai multe pătrate, al furiei, al bucuriei, al tristeții ș.a.m.d. Coordonatorul propune diverse situații de viață: aștept troleul, am găsit

2 Un cursant iese afară din spațiul de lucru. Se stabilește un voluntar în cadrul grupului rămas în spațiu. Când cursantul reintră în spațiu, el trebuie să afle cine este voluntarul ales în grup prin intermediul unor întrebări de genul „Ce ar fi dacă ar fi culoare?”, „Ce ar fi dacă ar fi muzică?” sau „Ce ar fi dacă ar fi mâncare?”.

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50 de lei pe jos etc. Cursanții trebuie să se ducă pe pătratul corespunzător cu ceea ce simt, să observe cine sunt colegii care vin pe același pătrat, să-i îmbrățișeze, după care jocul continuă; • „Scaunul emoțiilor” – cursanții stau în semicerc. Coordonatorul propune diverse situații pe care cursanții să le poată identifica în viața lor (conflicte cu persoane dragi, pierderi, situații de bullying etc.). Fiecare este invitat pe scaun, iar acolo poate să poarte un dialog cu scaunul și să-i spună lui toate lucrurile pe care le-a simțit, dar n-a îndrăznit să le spună atunci, în situația reală. Ceilalți trebuie să se pună în locul celui care lucrează; • „Povestea mea” – cineva trebuie să povestească cu ajutorul unor personaje fictive un eveniment plăcut sau neplăcut din viața lui. Ceilalți trebuie să ridice mâna dacă și ei, la rândul lor, s-au simțit așa vreodată în viața lor.

Din nou coordonatorul trebuie să tempereze orice încercare de a judeca persoanele de față tocmai pentru a încuraja deschiderea reciprocă și acceptarea. La acest capitol al lucrului se pune accent pe consolidarea încrederii reciproce, iar seria exercițiilor de încredere pot crea o foarte puternică coeziune în cadrul grupului și, de asemenea, pot dizolva diverse blocaje în ceea ce privește încrederea. Uneori poate fi destul de dificil de lucrat aceste exerciții tocmai din pricina diverselor experiențe sau traume anterioare pe această zonă, dar, cu foarte multă răbdare și cu antrenarea întregului grup în susținerea cursantului care are o problemă majoră de încredere în ceilalți, uneori experiența acestor exerciții are rol pronunţat terapeutic. În același timp, este uimitor să observi câtă frică și durere putem acumula din relațiile cu ceilalți și cât de paralizante pot fi ele pentru relațiile noastre viitoare. Există un alt obiectiv important al atelierului de actorie: capacitatea de a lucra în echipă. Capacitatea de a fi partenerul cuiva, de a te armoniza cu cerințele de moment ale grupului, de o lucra cu dedicare la un obiectiv comun, calitatea de a fi „împreună” cu ceilalți, are în social o valoare extrem de mare și, din păcate, din ce în ce mai puțin conștientizată de fiecare dintre noi. Este o forță extraordinară în acest „împreună”. Uniți și lucrând împreună oamenii pot schimba realități ce par imposibil de schimbat. Exercițiile care antrenează această abilitate dezvoltă concesia și cooperarea, atenția distributivă, concentrarea și capacitează întreaga ființă pentru că necesită o deschidere și o atenție sporită la multitudinea de stimuli care vin înspre noi și care așteaptă un răspuns imediat și eficient, în același timp. Din nou, exercițiile care dezvoltă această abilitate sunt numeroase, începând cu Mișcarea browniană, dar și Ține mingea sus (grupul trebuie să paseze o minge invizibilă de la unul la altul fără ca aceasta să atingă vreodată podeaua), Direcționează balonul (grupul trebuie să țină un balon în aer fără să-și folosească mâinile), Conversația în grup (toţi participanţii trebuie să poarte un dialog cu coordonatorul vorbind simultan, răspunzând la un interviu luat lor de acesta; cuvintele sunt rostite în același timp de către toți membrii grupului, fără să ne dăm seama cine a inițiat răspunsul). E foarte important ca pe tot parcursul lucrului în cadrul atelierul de actorie, coordonatorul să neutralizeze, chiar să anuleze, frica studenților de a greși, să le dea voie să experimenteze în permanență, chiar dacă rezultatele nu sunt întotdeauna spectaculoase, ba

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chiar pot fi uneori contrariante sau amuzante. Această încredere că aici este un loc în care pot experimenta fără a fi judecați sau criticaţi, este baza tuturor câștigurilor personale pe care le poate dobândi cineva prin participarea la cursul de Actorie. Experimentarea este una din „normele” metodei Violei Spolin, „experimentare înseamnă pătrundere în mediul înconjurător, implicare organică totală în el. Implicare la toate nivelurile: intelectual, fizic şi intuitiv.” Din cele trei, intuitivul este elementul cel mai important în procesul de învăţare: Arta actorului poate fi predată individului «obişnuit» ca şi celui «talentat», dacă procesul de predare este orientat către intuirea tehnicii teatrale, în aşa fel încât să devină ceva propriu studentului. Este nevoie de o cale pentru a căpăta cunoaşterea intuitivă. Aceasta cere un mediu în care experimentarea să poată avea loc, un individ gata să experimenteze şi o activitate care să provoace spontaneitatea (Spolin, 2014, pp. 14-15). De asemenea, e foarte important ca cel care coordonează atelierul să facă studenților clare toate acele observații care sunt semnificative pentru dezvoltarea lor, să le explice tot ce nu au înțeles, ori de câte ori e necesar, și să analizeze și evalueze împreună cu ei rezultatele lucrului lor. E foarte important, de asemenea, ca evaluarea să-i implice activ pe studenți. În cadrul atelierului de Actorie nu se judecă niciodată persoanele în funcție de performanțele lor dintr-un anumit moment (cu evaluări de genul: Tu ești... și așa), ci vorbim doar despre problemele pe care le-a întâmpinat în lucru persoana respectivă (Concentrarea asupra problemei de rezolvat a fost completă? A acţionat conform scopului? A comunicat real cu partenerul? etc.) și căutăm împreună soluții. Toți participă la această evaluare și toți pot ajuta colegul cu o sugestie sau cu un feedback obiectiv care nu implică consideraţii asupra persoanei, ci asupra felului în care a rezolvat tema. Mihaela Beţiu observa despre metoda Violei Spolin: Procesul (rezolvarea de probleme) desfăşurat într-o atmosferă non-critică trezeşte simţul sinelui. Şi când simţul sinelui este trezit, autonomia înlocuieşte autoritatea. Iar despre Viola însăşi ne povesteşte chiar asistentul ei, Gary Schwartz, că nu spunea niciodată „bine făcut” şi că nu accepta mulţumiri: „Se ferea să-şi satisfacă orgoliul, nu voia să cadă în capcanele ego-ului (şi în ce priveşte jocurile făcea această demarcaţie clară: jocul scoate la suprafaţă sinele şi nu ego-ul) (Beţiu, 2018, pp. 70-71). Atunci când ştii că nu ești judecat ca persoană pentru o acțiune sau alta, ci că doar se analizează o problemă cu care te-ai confruntat la un moment dat (Ce ai făcut într-o situaţie scenică, nu Cum), frica de a fi criticat dispare și un moment de impas poate duce la o înțelegere mai profundă a lucrurilor. Poate fi o treaptă pe care o urci, și nu pe care o cobori. Poate fi unul din acele momente de salt interior, de mică sau mare epifanie, pe care experiența de a parcurge cursul de Arta Actorului ți le poate oferi.

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Concluzii Tehnica improvizaţei teatrale, utilizată în atelierele de arta actorului dedicate atât viitorilor profesionişti ai scenei, cât şi celor care nu își doresc să devină actori, dar vor să se dezvolte, deschide căi de reconectare cu sine şi cu celălalt. Tehnicile teatrale facilitează o benefică regresie către acea stare binecuvântată de la începuturile călătoriei noastre prin lume când descopeream cu fascinație cum funcţionează legea cauză-efect sau care sunt legile comunicării. Scuturându-ne, prin lucrul în echipă, de „zgura” egocentrismului, a criticii şi autocriticii, eliberăm în noi şi în studenţii noştri creativitatea, stimulăm procesele intuitive, stimulăm abilităţile emoţionale în strânsă legătură cu cele raţional-cognitive. Mai mult, prin intermediul teatrului, conştientizăm efectele reverberante ale acţiunilor noastre, că suntem „împreună” în reţeaua incredibilă a vieţilor în desfăşurare, învăţăm că suntem interconectaţi şi interdependenţi în timpul ce ne este dat.

References: 1. BEŢIU, Mihaela (2018) Elemente de analiză a procesului scenic. București: UNATC Press. 2. BEŢIU, Mihaela (2014) „Educaţia pentru cooperare. Importanţa teatrului în educaţia generală.” Concept, vol. 8-nr. 1/2014, pp. 06-12. 3. COJAR, Ion (1998) O poetică a artei actorului. Ediţia a III-a. București: Editura Paideia în colaborare cu Unitext. 4. COLCEAG, Gelu (2012) ”Rolul, partitura concretă a actorului între gând și acțiune”, Concept, vol. 4-no. 1/2012, pp. 34-35. 5. DARIE, Bogdana (2015) Curs de arta actorului. Improvizația. București: UNATC Press. 6. FROST, Anthony, YARROW, Ralph (2007) Improvisation in Drama. 2nd edition. New York: Parlgrave Macmillan. 7. GîLEA, Marius (2018) Despre improvizație. București: UNATC Press. 8. GOODMAN, Katie (2008) Improvisation for the spirit: live a more creative, spontaneous, and courageous life using the tools of improv comedy. Naperville, Illinois: Sourcebooks, Inc. 9. MIHĂILESCU, Victor Ioan (2020) Improvizația – pedagogia organicității. Galaţi: Galați University Press. 10. POPA, Camelia (2017) Noțiuni de psihologia educației și managementul clasei de elevi. București: UNATC Press. 11. SÎRBU, Mihaela (2020) Cum să facem teatru de improvizație?. București: UNATC Press. 12. SPOLIN, Viola (2014, ediţia prescurtată) Improvizație pentru teatru. Trad. Mihaela Bețiu. București: UNATC PRESS.

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13. SPOLIN, Viola (2008, ediţia integrală) Improvizație pentru teatru. Trad. Mihaela Bețiu. București: UNATC PRESS. 14. STANISLAVSKI, K.S. (1955) Munca actorului cu sine însuși. București: ESPLA.

Online references: 1. KILNER, J.M., LEMON, R.N. (2013) What We Know Currently about Mirror Neurons [online]. Available at: https://www.ncbi.nlm.nih.gov/pmc/articles/PMC3898692/ (Accessed: 21 October 2020) 2. OTTO, Devin (2020) An Interdisciplinary Conducting Curriculum: Selected Theater Games from Viola Spolin’s “Improvisation for the Theater” [online]. Available at: https://journals.sagepub.com/doi/10.1177/2158244020954927 (Accessed: 12 december 2020)

Raluca Rusu Diță graduated from UNATC “I.L. Caragiale”, Acting Department, the class of Professor Gelu Colceag, 2005 promotion. She subsequently attended the courses of the Acting MA and the Doctoral School at the same university. In the period 2005-2009 she played on the stage of The Comedy Theatre, The Very Small Theatre, The Metropolis Theatre, The Act Theatre and The Arca Theatre in plays directed by Gelu Colceag, Cristi Juncu, Emanuel Pârvu, Doina Antohi. Currently she teaches at the Acting Department of the Theatre Faculty for the BA Acting classes and the Art Therapy MA.

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Arta actorului între jocul „ascuns” şi cel „deschis” în raport cu publicul

Ennaamane EL HOULAILI UNATC ”I.L. Caragiale“ Bucharest, Romania [email protected]

Abstract: The article ”The Art of the Actor between Hidden and Open Acting in Relation to the Audience” is a study of artistic pedagogy with theatrical specifics that analyzes two ways of acting, and, at the same time, two directorial proposals, diametrically opposed and involving two different ways of co-participation from the audience: the ”open” acting and the ”hidden” acting. The author takes the idea of a comparative analysis made by John Wright between the open acting, which generally appears in comedic contexts, and the acting he calls ”hidden”, in which concealing the character's intentions through a prolonged psychological play will maintain further suspense. In the case of the open Shakespearean-type acting, the rational judgment is much more involved, while in the hidden acting the emotional judgment prevails – the audience being emotionally involved in the process, trying to decipher the outcome of the action. Keywords: open acting, hidden acting, empathy, takeover, processing, physicalization, accumulation time, invisible-visible, immediacy. How to cite: EL HOULAILI, Ennaamane (2020) 'Arta actorului între jocul „ascuns” şi cel „deschis” în raport cu publicul', Concept 2(21), pp. 137-146.

„Teatrul şi arta autentică a actorului sunt jocuri, la fel cum, în aceeaşi ordine de idei, văzute din acelaşi unghi, toate profesiile şi funcţiile considerate onorabile sunt, de asemenea, jocuri cu scopuri şi reguli specifice. (…) Un subiect literar închide în el o infinitate de alte teme şi subiecte posibile, dar acestea devin realităţi doar în măsura în care actorul le dezvăluie jucând corect.” Ion Cojar (1998, pp. 74-78)

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Orice tip de joc, pentru că este o manifestare umană coordonată, implică o corporalizare a gândului jucătorului, a intenţilor sale, a strategiei pe care şi-a făcut-o pentru atingerea scopului şi această corporalizare poate fi vizibilă sau, pentru a servi mai bine îndeplinirii obiectivului jocului închis, poate fi ascunsă. Jocul se desfăşoară pe etape şi acestea, cel mai adesea, devin vizibile după un timp de acumulare. Șahul, de exemplu, este un joc ascuns, unde timpul necesar de acumulare pentru ca o strategie de joc să iasă la iveală, se petrece numai gândind. Rolul corpului aici este de a ascunde orice intenție care ar putea fi citită de către adversar. Până la urmă, o acțiune fizică devine necesară pentru ca jocul să continue când întindem mâna și mișcăm un pion, un nebun, un cal sau regina, iar mișcarea corpului este, evident, vizibilă, şi depinde de jucător ca intenţia sa să rămânâ în continuare „în ascundere”. După un mecanism asemănător funcţionează şi jocul actoricesc, indiferent de stilul oferit de piesă sau abordat de regizor: tragic, dramatic sau realist psihologic1, unde empatia și iluzia își găsesc terenul fertil. În momentul în care renunțăm la acest mecanism de ascundere a gândurilor și a strategiei de joc, intențiile noastre devin vizibile, timpul de acumulare își pierde latura întunecată și iluzia dispare. Implicarea corporală, prin mimică, gest, mișcare sau orice altă manifestare organică sau acțiune fizică, capătă efect direct și transmite instantaneu orice intenție gândită. Actorul trebuie să aibă capacitatea de a crea legături spontane între gândul (determinat de subiectul piesei şi de intenţiile personajului) ce determină şi conduce acțiunea fizică. Rolul corpului este vital deoarece el este cel care actualizează din potenţial în real intenţiile actorului şi, implicit, pe cele ale regizorului şi, împreună, pe cele ale autorului. Rezultatul este o acţiune fizică plină de înţelesuri adânci. Fizicalizând şi vocalizând, corpul actorului face invizibilul2 vizibil. (Ideea aceasta conform căruia „actorul face invizibilul vizibil” aparţine marelui regizor şi teoretician al artei teatrale Peter Book3 şi a fost dezvoltată în şcoala de teatru bucureşteană prin intermediul metodei Spolin şi prin practica profesorului Cojar.) Acest proces invită publicul la reflectare şi, cu cât momentul de revelare a intenţiilor este mai prelungit, cu atât plăcerea publicului de a descifra nivelul psihologic ascuns este mai mare. Acumularea de acţiuni ale personajului fără intenţii declarate, ci ascunse, determină publicul să facă presupuneri care, mai apoi, vor putea fi verificate. John Wright spune, comparând jocul deschis cu cel ascuns:

1 În definiţa lui John Wright, tragedia reprezintă „un nivel de joc legat de idealuri”, realismul psiholgic „preferă, categoric, să imite viața”, iar melodrama: „este și ea mai bună decât viața și reprezintă nivelul de joc care a evoluat ca mijloc de activare a emoțiilor noastre” (Wright 2016, pp. 287-290). 2 Conform Violei Spolin, invizibilul este „zona fără limite despre care ştim foarte puţin, spaţiul invizibil ce poate da formă realităţilor pe care le creăm; actorul foloseşte spaţiul pentru a aduce realitatea (invizibilă) în realitatea obiectivă (vizibilă)” (Spolin, 2014, p. 137). 3 Brook, Peter (1997) Spaţiul gol. Traducere Marian Popescu. București: Editura Unitext.

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Cu cât ascundem mai mult jocul, până în punctul în care actorii sunt singurii care știu cu adevărat ce se întâmplă, cu atât ne putem juca mai mult, prinși în spontaneitatea vibrantă a jocului, în timp ce îi permitem publicului să descifreze acțiunile noastre la nivel psihologic (Wright, 2016, p. 150). Aşadar, ascunzând jocul, putem menține interpretarea actorului la un nivel subtil. Publicul crede că tot ceea ce face acesta pe scenă reprezintă gândurile și intențiile personajului său. Iar efectul dramei asupra publicului se amplifică deoarece acesta este supus unui efort psihologic sporit, pentru a crea combinații proprii între acțiunile verbale și limbajul nonverbal în scopul de a înţelege încotro se îndreaptă acţiunea şi care e posibila rezolvare a intrigii. În afară de aceste niveluri de joc dramatice, Jaques Lecoq a clasificat jocul scenic în alte trei niveluri, care au legătură directă cu genul comediei4, și în care conexiunea între acțiunea verbală și limbajul nonverbal devine directă. Astfel, se creează cea mai interesantă (şi vitală teatrului) invitație către public de a fi şi a rămâne bine ancorat în prezent, în aici și acum, pentru a se putea transpune cât mai repede în atunci și acolo. Singurul fapt care face această prezență posibilă este implicarea publicului în joc. Publicul este un partener, cel mai important în creaţia teatrală, el trebuie implicat la nivel psihologic într-un joc în care să încerce continuu să descifreze „ce” face actorul. Dacă jocul actorului este deschis, iluzia dispare și empatia nu se mai produce. Jocul deschis îndepărtează drama şi comicul deopotrivă, pentru că publicul nu mai face efort psihologic pentru a afla posibilele motive, scopuri şi deznodăminte ale acţiunii, ci relația actor-public se transformă într-un joc „Quiz” unde întrebările găsesc imediat răspunsuri. Timpul de acumulare pe care publicul îl trăiește prinde o formă clară, în care inteligența sa sau, şi mai concret, perspicacitatea sa devine ținta jocului scenic. În jocul deschis actorul trăiește emoțiile cu scopul de a le transforma în acte vizibile și palpabile. Spre deosebire de jocul deschis, în jocul ascuns actorul trăiește intensitatea emoțiilor prin acumularea unor gânduri care stârnesc mecanisme psihologice ascunse în spatele limbajului nonverbal. Amploarea psihologică este mult mai mare şi se poate realiza prin micșorarea oricărui efect vizibil al acțiunii fizice. Luându-l pe Shakespeare ca exemplu, suntem invitați să abordăm un joc deschis, indiferent de natura poveștii – comedie sau tragedie. La Shakespeare această noțiune a jocului deschis este o parte esențială a caracterelor sale. Jocul deschis devine instrumentul pe care Shakespeare îl folosește pentru a ne menține conștienți de natura ludică a acestora. Este exact ceea ce înțelegem din afirmația lui Bergson despre râs și comic în relație cu

4 Commedia dell’Arte „reprezintă prototipul farsei și al comediei fizice. Iar asemenea majorității nivelurilor de joc comic e mai «rea» decât viața”. Bufoneria „este nivelul de joc care pare cu mult mai rău decât viața; într-o măsură atât de mare, încât devine grotesc”. Iar, „spre deosebire de commedia și de bufonerie, clovnul este veridic... este vorba de viaţă pe scenă, fără ambalaje frumoase. Treaba clovnului e să stârnească râsul publicului prin orice mijloc. Pentru asta, el trebuie să «se conecteze la public» în favoarea celorlalte lucruri.” (Wright, John, 2016, pp. 287-290)

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emoția: „Emoția este cel mai mare dușman al râsului.” Și adaugă: „ca să aibă comicul efectul dorit, este necesară o operațiune precum o anestezie care blochează momentan inima” (Bergson, 1982, pp. 35-36). Această anestezie a inimii poate fi realizată dacă punem în prim- planul acțiunii jocul deschis. Pentru că jocul, afirmă J. Wright, „este alimentat de distracție, complicitate și de întrecere și orice joc trebuie să fie o întrecere care poate să fie între tine și temă sau între tine și altcineva sau un grup”. John Wright îşi continuă pledoaria afirmând că există jocuri în care întrecerea devine conflict făţiş, iar, în alte jocuri, întrecerea este ascunsă și devine un subtext sau o tensiune dramatică (Wright, 2016, p. 141). Atunci când jocul devine o parte esențială în construcţia unui caracter, comicul plutește la suprafață, iar anunțarea jocului devine o necesitate. În Îmblânzirea Scorpiei, Petruchio, în prima sa întâlnire cu Catarina (act. II sc. 1)(Shakespeare, 1996, p. 339), ne anunță jocul pe care îl va face și explică publicului ce strategie va aborda în ce o priveşte pe tânăra îndărătnică. Actorul știe că este vorba despre un joc comic, așa cum știe și publicul, deci nimic nu mai este de ascuns, iar confruntarea devine una directă. În Richard al-III-lea, Richard face același lucru, doar că el ne anunță strategia lui de joc în ce o priveşte pe Lady Anne după ce aceasta s-a desfăşurat: „Was ever women in this humour won?” (act. I, sc. 2) (Shakespeare, 1996, pp. 102-103). Richard este onest față de public, ne vorbește în mod direct despre intențiile lui, despre acțiunile lui și despre viclenia lui vizavi de Lady Anne, imediat după ce am asistat la reușita cuceririi ei, iar noi îi refuzăm atitudinea duplicitară cu un zâmbet amar. Hamlet, în cel mai confuz moment al trăirilor sale sufletești, se aproprie de public și întreabă deschis: „To be, or not to be, that is the question: Whether tis nobler in the mind to suffer...” (Shakespeare, 1996, p. 688) John Barton, shakespearologul englez, spunea ”you have to share your story” și le cerea actorilor care lucrau într-un celebru workshop pe tema jocului shakespearian să împărtășească jocul lor cu publicul.5 Așadar, jocul deschis este una dintre caracterisiticile artei actorului shakespearian şi mai ales când acesta este singur pe scenă este nevoie să se adreseze publicului direct, în scopul de a-şi comunica gândurile, motivaţiile, intenţiile, acțiunile.

5 Barton, John (1984) Playing Shakespeare – program TV înregistrat cu Royal Shakespeare Company pentru London Weekend Television (scris și prezentat de John Barton).

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Ennaamane El Houlaili în rolul Thisbe și Cosmin Gaspar în rolul lui Piram, „Visul Unei Nopți de Vară” de William Shakespeare, regia prof. univ. dr. Liviu Lucaci, 2020, UNATC, Bucureşti

Acțiunea precede expresia Jocul deschis implică în mod direct acțiunile fizice și corpul devine ținta acestora pentru a scoate la iveală natura vizibilă și vitală a actului teatral. Munca actorului constă în a declanşa conexiuni vitale între gândurile şi intențiile sale și corporalizarea lor. Acțiunea fizică devine o punte între gândurile ascunse și faptele văzute; în cele din urmă, în orice joc teatral, subiectul se desfășoară combinând două niveluri inseparabile – acțiunea fizică și acțiunea verbală, iar natura jocului este capabilă să îndrume sincronizarea și interacțiunea lor. Acțiunea fizică are un efect direct, vizual și palpabil, ea reușeșete într- un mod magic să ne contamineze trezind în public impactul unor senzații pur organice, unde vibrațiile corporale sunt implicate direct. În timp ce acțiunea verbală reprezintă puterea de a transmite emoția prin cuvinte dublate de intenții, într-un mod direct sau indirect. Vibrațiile corporale specifice emoţiei afectează publicul. Numai privind mișcarea actorilor pe scenă și ascultându-le poveștile, spectatorul preia impulsurile mentale, emoţionale, se modifică fizic chiar, preia empatic relaxarea sau încordarea, bucuria, spaima, şocul etc. Asumându-şi rolul de martor al fenomenului teatral, individul din public devine parte a creaţiei scenice – „spect-actor” – căci trăieşte senzații și emoţii reale, născute aici şi acum, deci având caracter de obiectivitate. Actorul poate face, în cele din urmă, un pas sau doi, apoi se poate opri, va scoate o hârtie din buzunar, se va uita la ea, va ridica capul, va privi în gol, îi va curge o lacrimă și apoi va ieşi din scenă... iar publicul va reacţiona la această înşiruire de acţiuni aparent simple în funcţie de tot contextul creat anterior, de acumulările pe care le-a produs povestea şi magnetismul actorului totodată, iar, într-un final, publicul se va identifica cu povestea personajului având totodată forţa de a se detaşa şi de a evalua pretextul dramaturgic ca fiind unul comic sau tragic. Cu toate simţurile, dar mai ales prin intermediul privirii şi auzului, publicul trăieşte povestea actorilor, iar această implicare senzorială se produce empatic6, căci rareori

6 „Energia care transformă convenţia în adevăr psihologic, producând fenomenul de empatie, specific actului scenic autentic, prin care spectatorul se recunoaşte pe sine în celălalt (în cel de pe scenă) şi

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spectatorul atinge sau gustă realitatea creată în faţa sa, dar întotdeauna o trăieşte total, intens. Combinația acestor două tipuri de acțiuni – acţiunea fizică şi senzorială (ce include elemente complexe de non-verbalitate) și acţiunea verbală (ce include elemente de paraverbalitate şi metalimbaj) – creează magia comunicării în teatru. Dacă este necesar să punem aceste două acțiuni într-o ordine vitală însă, ar trebui să presupunem regula următoare: „Acțiunea precedă expresia”7 – în sensul în care acțiunea se referă la acțiunea fizică care presupune un limbaj nonverbal, iar expresia se referă la acțiunea verbală, la exprimarea vocală. Vom observa că o acțiune completă va prinde forma următoare într-un mod succesiv: gând – acțiune fizică – acțiune verbală. Ceea ce gândesc sau intenționez să fac, mai întâi se transformă în elemente de limbaj nonverbal, apoi va deveni explicit prin verbalizare. Gândul poate fi o imagine, o senzație sau o emoție despre care nu vom ști niciodată ce reprezintă, atâta timp cât va rămâne ascuns. Într-un joc ascuns, succesiunea aceasta se pierde deseori, cu toate că regula rămâne valabilă, numai că trecerea de la gând la acțiunea fizică își pierde importanţa, se micșorează, iar acțiunea verbală sare peste rând și umple locul gol. În timp ce, într-un joc deschis, acțiunea fizică este fizicalizarea gândului, iar comentariul verbal o completează și o face explicită. Mai întâi „mi se întâmplă ceva”, corpul meu aprobă sau refuză. Cu alte cuvinte percepţiile senzoriale au loc întâi şi apoi apare conştientizarea a ceea ce am perceput, urmează procesarea informaţiilor şi abia apoi rezultă acţiunea, care poate fi fizică şi vocală. Punând aceste etape în succesiune reușesc să creez un ciclu vital de acțiune motivat psihologic şi plin de adevăr scenic. Acest parcurs între percepţie-prelucrare-opţiune-acţiune se numeşte procesualitate scenică şi a fost iniţiat de cercetările lui K.S. Stanislavski, cuprins şi dezvoltat în metodologia propusă de Viola Spolin. În şcoala de teatru de la Bucureşti s-au preocupat în mod special de teoretizarea „procesualităţii” marele profesor Ion Cojar şi prof. univ. dr. Gelu Colceag care, în unul dintre articolele sale, spune: După consumarea primei etape, adică preluarea, în creierul uman se produce o a doua etapă, prelucrarea. Această etapă are, la rândul ei, alte două subetape: conştientizarea tuturor informaţiilor primite şi opţiunea prin intermediul imaginaţiei. Iar, în cea de-a treia etapă, va avea loc acţiunea. Deci, cele trei etape ale procesului scenic cerebral sunt: preluarea, prelucrarea (conştientizare şi opţiune) şi acţiunea. Prima fază de lucru a actorului, în mod paradoxal, se identifică cu momentul 3 din text, adică acţiunea (cel mai adesea verbală, adică replica). Dar acţiunea poate îmbrăca şi alte forme. Cea fizică este de o importanţă hotărâtoare în actul de creaţie actoricesc. (…) În a doua fază a repetiţiilor (…), actorul începe să exerseze primele două momente ale procesului scenic. Şi preluarea şi prelucrarea vor determina pe cel de-al treilea – acţiunea (Colceag, 2012, p. 36).

motivând în ultimă instanţă actul scenic, depinde numai de actor, de disponibilităţile şi de limitele propriei sale naturi şi pregătiri profesionale.” (Cojar, 1998, p. 78) 7 Aceasta este una dintre primele reguli legate de arta actorului pe care le-am învăţat de la profesorul Ahmed Izedda încă din primul an de studiu (2007) la ISADAC – L’Institut Supérieur d’Art Dramatique et de l’Animation Culturelle” din Rabat, Maroc.

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Jocul comic, în mod special, este un act vital care implică o abordare mai degrabă deschisă a jocului actoricesc, o anunțare clară a intenţiilor şi o etalare a trăirilor într-un mod vizibil și imediat. Exact în acest fel ne-a invitat Shakespeare să abordăm jocul prin cuvintele lui Hamlet: ”Be not too tame neither, but let your own discretion be your tutor: suit the action to the word, the word to the action...” (Shakespeare, 1996, p. 689). Shakespeare ne invită să coordonăm cuvântul și gestul, iar, dacă ţinem cont de această regulă „acțiunea precedă expresia”, vom descoperi intensitatea jocului shakespearian experimentând simultaneitatea gând-emoţie-acţiune. Corporalizarea va fi imediată şi naturală, actorul exprimându-se vocal prin intermediul celebrelor sale tirade.

Desfășurarea acțiunii „Jo Ha Kyu” Desfășurarea acțiunii în viziunea lui Zeami Motokoya, dramaturgul japonez din secolul al XV-lea, este concepută după o lege firească a naturii umane. În teatrul NŌ această lege este prezentată în felul următor: Jo Ha kyu guvernează toate ritmurile din NŌ, plecând de la premisa că Jo Ha Kyu reprezintă ritmul firesc natural al vieții umane... Ideea e că cel mai natural și uman fel de a fi și de a face ceva este să pornești încet și să crești treptat către un apogeu rapid, să te oprești și să începi din nou (Wright, 2016, p. 265). În această viziune, acțiunea se derulează fără sfârșit, sfârșitul devine începutul și acțiunea evoluează într-un ciclu continuu. În acest sens afirmă John Wright că noi putem vorbi despre un Jo Ha Kyu al unei acțiuni, scene sau piese. Acești termeni sunt abstracți, așa că J. Wright i-a numit într-un fel în care să fie mult mai concreţi pentru actor: anticiparea, eliberarea și deznodământul unei acțiunii. Iată explicaţia sa: Imaginează-ți că ești cât pe ce să strănuți: asta reprezintă anticiparea acțiunii. Acum strănută: eliberarea acțiunii. Te simți eliberat după strănut: iată deznodământul. Cauți un șervețel: anticiparea următoarei acțiuni. Găsești șervețelul și-ți sufli nasul – eliberarea acțiunii. Te simți mai bine: acela e deznodământul. Te uiți după un coș de gunoi: anticiparea acțiunii următoare. Și așa se perpetuează ciclul acțiunilor (Wright, 2016, p. 267). Această acțiune Jo Ha Kyu sugerează că putem trece de la o situaţie la alta în scopul de a contura o acțiune completă, iar deznodământul este acea parte importantă, în care actorul trebuie să aducă intenția și să manipuleze sensurile pentru a concretiza logica acțiunii. Deznodământul, deci atingerea scopului, devine el însuși momentul de anticipare a unei noi acţiuni. Ce menționează J. Wright este că principiul de bază al anticipării, al eliberării și al deznodământului este să ne țină cât mai prezenți în momentul de joc, căci acțiunea se dezvăluie continuu, în „imediat”. Acest proces nu este decât o chemare la conștientizare în scopul de a analiza o acțiune într-un proces creativ şi a puncta cu exactitate anunțarea jocului deschis. J. Wright afirmă că deznodământul în comedie e cel care ne face să râdem și care oferă semnificaţia acţiunii. Ar trebui însă să nu anticipăm deznodământul cu intenția

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de a prelungi suspansul. Cu cât deznodământul este amânat sau întârziat, cu atât crește suspansul, iar în comedie suntem chemați să găsim măsura potrivită a acestui proces. Comicul se naște din ambiguitatea modului de finalizare a intrigii.

Concluzii Pornind de la premisa că jocul actoricesc poate fi „la vedere”, „deschis”, „evident” sau poate fi „ascuns”, „disimulat”, „prelungit”, am analizat două modalităţi de coordonare pedagogică şi regizorală diametral opuse şi care implică două moduri diferite de co- participare din partea publicului. John Wright a propus o analiză comparativă între jocul deschis, ce apare în general în contexte comice, şi jocul pe care l-a numit „ascuns”, în care disimularea intenţiilor personajului printr-un joc psihologic prelungit va menţine mai mult suspansul. În cazul jocului deschis de tip shakespearian este mult mai implicată judecata rațională cu tentă morală pe care publicul o face spunându-şi „Aşa nu!” despre acţiunile personajului, în timp ce în jocul închis primează judecata emoțională – publicul fiind implicat emoțional în proces, încercând să descifreze intenţiile jocului actoricesc şi deznodământul acţiunii. Articolul este o cercetare pe tema pedagogiei şi regiei ce se concretizează, ambele, prin munca actorului şi cu actorul, prin parcursul său procesual de la gând la acţiune implicând actualizarea unor potenţialităţi, corporalizarea, aducerea în vizibil a intenţiilor auctoriale. Aceste două elemente: principiul „acțiunea precedă expresia” și înşiruirea anticipare-eliberare-deznodământ „Jo Ha Kyu” sunt două modalităţi de a conștientiza acțiunea teatrală în procesul creativ pentru a naşte momente de adevăr scenic şi autenticitate a jocului deschis al actorului. Aceste tehnici sunt aplicabile şi în jocul dramatic, dar sunt mai lesne identificabile în jocul comic.

Atelier de Commedia dell’Arte, Piccollo Teatro di Milano, iulie 2011, Milano.

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The Clown Workshop with Cirque du Soleil director Stefan Haves, september 2016, UNATC, Bucureşti

References: 1. BERGSON, Henri (1982) Le rire, essai sur la signification du comique. Paris: Editions Payot. 2. BOLDAȘU, Romina (2019) Despre expresivitate corporală în Arta actorului, Bucureşti: UNATC Press. 3. BROOK, Peter (1997) Spaţiul gol. Trad. Marian Popescu. București: Editura UNITEXT. 4. CAZAMIAN, Louis (1945) L’humour de Shakespeare. Paris: Aubier, Editions Montaigne. 5. CLEMEN, Wolfgang H. (1951) The Development of Shakespeare`s Imagery. London: METHEUN and CO. LTD. 6. COJAR, Ion (1998) O poetică a artei actorului. Ediţia a III-a. București: Editura Paideia. 7. COLCEAG, Gelu (2012) „Rolul, partitura concretă a actorului între gând și acțiune”, Concept, vol. 4/no. 1/2012, pp. 34-35. 8. OLIVE, Jean-Paul și Claude AMEY (1999) Les frontières Esthétiques de l’art, Paris: Collection Arts 8, L’Harmattan. 9. READ, Herbert (1969) Semnificația artei. Trad. D. Mazilu. Bucureşti: Editura Meridiane. 10. TEAGUES, Frances (1994) Acting Funny: Comic Theory and Practice in Shakespeare`s Plays. US: Fairleigh Dicknison University Press. 11. WELLS, Stanley (2002) Shakespeare pentru eternitate. Traducerea: Ioana Grojdea. Ediție coordonată și îngrijită de prof. univ. dr. Anca Irina Ionescu. București: Editura Lider.

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12. WRIGHT, John (2016) De ce râdem la teatru? O explorare practică a comediei fizice. Traducere Maria Aciobăniței. Colecție coordonată de Monica Andronescu. Bucureşti: Nemira. Online references: 1. DENTON, Jaques Snider (2009) Exploring the Nature of Shakespearean Comedy [online]. Available at: http://shakespeare-online.com/plays/elementsofcomedy.html, (Accessed: 15 December 2020) 2. WILLIAMSON, George. The Comic Spirit in Shakespeare. [online]. Available at: https://www.jstor.org/stable/27533946?seq=1 (Accessed: 13 October 2020)

Ennaamane El Houlaili is a Moroccan theatre and film actor living in Romania since 2015, doctoral student of UNATC "I.L. Caragiale" in the field of Theatre and Performing Arts (he is set to defend his doctoral thesis entitled "Shakespearean Comic in the Acting of the Contemporary Actor"), and graduate of ISADAC "l’Institut Supérieur d’Art Dramatique et de l’Animation Culturelle" in Rabat, Morocco. He took part in a Commedia dell’Arte workshop (2011) led by Flavio Abanese at the Piccolo Teatro di Milano - Teatro d’Europa; has participated to "The Clown" workshop led by Stefan Haves and organized by UNATC in 2016. He played Thisbe in "A Midsummer Night's Dream" directed by Professor Liviu Lucaci in 2019- 2020 at UNATC; has played in the French-Moroccan film "Much Loved" directed by Nabil Ayouch, which participated at "la quinzaine des réalisateurs" in Cannes in 2015; he played in the Romanian film "La Gomera" in 2018, directed by Corneliu Porumboiu and in the English series "Around the World in 80 days", produced by BBC in 2020, directed by Steve Barron.

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Ibsen and Naturalistic Theatre Workshop at the Higher School of Dramatic Art (ESAD) in Asturias, Spain – an Erasmus-based research

Víctor Iván LÓPEZ ESPIRITU SANTO Escuela Superior de Arte Dramatico (ESAD) Asturias, Spain [email protected]

Abstract: Our practical study starts from the hypothesis that Ibsenian theatre is, for the twentieth century and the beginning of the twenty-first century, what Shakespeare was for the eighteenth and nineteenth century theatre, according to the Mexican thinker Salvador Novo1. During this research project, I studied the importance of approaching Ibsenian dramaturgy in the actor's art classes of theatre faculties. The article documents the author's activity carried out in the naturalistic theatre workshop developed during the experience exchange, made possible through the Erasmus- Plus scholarship, at the Higher School of Dramatic Art (ESAD)2 in Gijon, located in Asturias. Through this scholarship offered by the “ERASMUS”3 agency from UNATC4 Bucharest (Romania), I had the opportunity to teach an actor's art course as a guest teacher. The

1 Novo Salvador, Todo prosa, Ed. Empresas editoriales, México D.F. 1964, P. 770-771 Mexican thinker Salvador Novo, playwright, writer, and professor at the School of Theatrical Arts, wrote in a publication entitled “Outside Theater”, where he will reffer to Ibsen as “the father of modern theater”: “El descubrimiento de Shakespeare significó mucho para el teatro de los siglos XVIII y XIX, la revelación de Ibsen y la difusión de su teatro, su impecable doctrina y técnica influyo en todos los países, y es el descubrimiento teatral para el siglo XX. Bien podemos creer en la germinación del primer dramaturgo universal que produjo este nuevo mundo. Un abuelo literario del que heredaron: Eugene O'Neil, Arthur Miller, Tenesee Williams, un buen libertador, que acabará en Hauptmann, Chehov, Schnitzler, Zola, Brieux, De Curel, Galdos, Jones, Shaw, Ferrari, Bracco o Echegaray, entre otros”. (original Spanish quote) 2 The Higher School of Dramatic Art is an educational center integrated in Higher Artistic Education, where theatrical studies of interpretation, scenography and directing or dramaturgy are taught. It is located in Gijon in the Spanish region of Asturias. 3 The Erasmus program is a European Union (EU) program for student exchange. Erasmus Plus is the new program that combines all current EU programs for education, training, youth and sports. 4 “Ion Luca Caragiale” National University of Theater and Cinematography is an educational institution in Bucharest, the only state school in the Romanian capital specialized in specific disciplines related to theater and film.

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objective of this ERASMUS practice mobility was to organize practice courses related to the teaching of the actor's art in order to exchange experience and discover new study programs, ESAD being a faculty that offers courses related to community theatre, inclusive theatre and dance theatre. Keywords: acting, theatre pedagogy, Asturias, ERASMUS, ESAD, doctoral studies, doctoral practice, acting methods, Henrik Ibsen, naturalism. How to cite: LOPEZ ESPIRITU SANTO, Victor Ivan (2020) ”Ibsen and Naturalistic Theatre Workshop at the Higher School of Dramatic Art (ESAD) in Asturias, Spain – an Erasmus- based research”, Concept 2(21), pp. 147-156.

The Higher School of Dramatic Art in Gijon is located in the historic headquarters of the “Laboral” University of Asturias, Spain, where I was invited by the faculty management to hold a practical workshop on the actor's art specific to the Ibsenian naturalistic theatre with 3rd and 4th year students from the Acting Department (although they also adopted the Bologna system in Spain, the bachelor's programs retained 4 years of study).

Duration of the Erasmus-Plus scholarship workshop: 4 weeks (October-December 2019- 2020).

Theoretical framework Henrik Johan Ibsen is currently recognized as the father of modern drama, the Norwegian author made an important change during the nineteenth century in the way of writing and conceiving of dramaturgy. His work reformed and conscientiously renewed the art of the actor, since important theatre educators, such as Konstantin Stanislvaski5, studied and staged a large part of his plays, not only with the objective of artistic creation, but with the pedagogical purpose of investigating what the Norwegian author researched; he tried to enter in the human interior and seek the psychological basis that would reveal character and conscience, with the aim of educating the viewer, not in a didactic way, but in a way in which to go deep in conscience about the moral ideas. Ibsen's legacy has lasted to this day, his theatre continues to be a very important base for contemporary playwrights, actors and directors, many of the themes of his works continue to be studied and show an enormous need to reveal the character of the humans and their internal psychology. The precursor of modern theatre created his own style in which the subtext showed its great capacity for observation and reflection as a forerunner for modern psychology.

5 Konstantin Sergheevici Stanislavski (1863-1938) Born in 1863, Stanislavski became the author of an aesthetic revolution by theorizing the realist current. Together with Vladimir Nemirovich- Dancenko, Stanislasvki founded the Moscow Art Theatre, which at the time had a revolutionary impact in the field of interpretation. In 1912 he initiated "Studio One", in order to be able to experience the "System" on stage, he made his own imprint on the evolution of the actor's art, through the conception of psychological realism, also called "Stanislavski's system".

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The complexity of his characters showed at the same time the daily life of the common man, the traumas and the shadows that afflict him. His theatre plays wanted the reader and, later, the audience identify with his characters. Ibsen, through his playwriting, seeks to resolve the neurosis and mania of his characters, representing a moral, social or aesthetic philosophy, and these elements were central axes in his thinking and will be the outlets that his characters will have for their own redemption. Today, with the repercussion of the avant-garde of the twentieth century, as well as modernity in post-dramatic theatre, little by little, through various projects or dramatizations, both the works of the Norwegian author and various dramatizations, that start from its themes, characters and theatricality, were retrieved. This has made it clear that the importance of the Ibsenian theatre continues to this day and its value more than ever has to be exalted and reflected on, since its intention are, without a doubt, to reveal the human interior. I decided to carry out my doctoral research based on the analysis of ibsenian characters and the specificity of their characters, influenced from the psychological and philosophical point of view that give them the power of being a mirror of the psychological human, as recognized by the father of modern psychology, Sigmund Freud. I also drew a parallel between Ibsen's development in Romania and in Mexico. In both countries, the theatrical tradition reveals creative capacity and a similar identity. Ibsen's theatre came to Romania at the end of the 19th century and to Mexico at the beginning of the 20th century, through European, Italian, French and Spanish companies, which brought with them the novelty of this theatre. However, Ibsen's theatre denounces problems that are still valid today in the Hispanic world, especially in Mexico, such as corruption, social hypocrisy, the ambition of the powerful, the situation of women in a “macho society” and the emotional resentments in many of his characters. The great Norwegian author aimed to show the excesses of modernity, taking up some of the critical and idealistic points of two of the most important philosophers of the 19th century – Kierkegaard and Nietzsche, because in many of his works the Norwegian playwright made various social denunciations, criticizing the empowered classes, emptied by the growing capitalism of the time. Undoubtedly, the Norwegian author influenced the thinkers who followed after him in the field of theatrical writing, consolidating realism as the central axis in the acting development of the 20th century and as a pedagogical method that cared for the interpreter to deepen his emotions and feelings, lending thus life to fictional characters, now more real and closer to man himself. It is true that Ibsen influenced great Russian creators, such as Anton Chekhov, Maxim Gorki or Gogol, the Irishman George Bernard Shaw, who was undoubtedly his greatest admirer and defender in England through his treatise The Quintessence of Ibsenism6, or The North Americans Eugene O'Neil, Tenesse

6 Bernard Shaw. (2013) George, La quintaesencia del ibsenismo. Ediciones Cinca, CERMI, Tr. Miguel Ángel Martínez-Cabeza, Madrid.

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Williams, Arthur Miller or Lilian Hellman. The Spaniard Miguel de Unamuno, the Mexicans Alfonso Reyes7 or Rodolfo Usigli8 or the Romanians Liviu Rebreanu and Mihai Sebastian were undoubtedly inspired by the Ibsenian Dramaturgy in their evolution as writers and playwrights. The work that Konstantin Stanislavski did during his development of the laboratory of the Moscow Art Theatre, at the beginning of the first decade of the 20th century, was important because the Russian professor and actor developed through several of his montages an important study on the work that the actor needs to perform to decipher the characters of Ibsen. His inquiry into the construction of the character of doctor Stockmann in the play An Enemy of the People9 created a watershed in the way of understanding and building the characters of the Norwegian author from a truthful and a reliable understanding of their emotions and feelings. Stanislavski argued that to play a character of value, the actor requires talent and inspiration, in this case having approached Ibsen's texts, allowed him to be inspired by human situations that complemented his acting technique based on his famous work system. Through his publication My life in Art, in which the Russian pedagogue expresses his understanding of the Ibenian character, Stanislavki makes it clear that the truth in interpretation lies in living the fiction of the character through the translation of the "Actor-character". Therefore, the importance of continuing his provocation with young actors in our days. At present, the Norwegian playwright continues to have an important relevance and presence in various countries of the world, he has even been considered the most represented foreign author, even above Shakespeare despite the censorship that exists towards him, even to this day, in various nations such as China or the countries of the Arab peninsula. Ibsen was staged internationally in various theatrical versions, but his work was also transposed in different film and television adaptations. However, it is clear that there is a lag towards Ibsen's montages today. Especially due to the lack of encouragement towards his ideas and the little understanding of his emblematic characters. In Spain, Ibsen has an important relevance, being the first country in which an important translation of Ibsen was made in the second half of the 20th century. For this reason and taking advantage of the relationship between UNATC and ESAD of Gijón (Escuela Superior de Arte Dramatico de Gijón, Asturias, España), I decided to participate as an Eramus student, working as a visiting professor and assistant at the school.

7 Miguel de Unamuno, was a Spanish writer and philosopher belonging to the generation of 98. In his work he cultivated a wide variety of literary genres such as novels, essays, theater and poetry. 8 Rodolfo Usigli, was a Mexican poet, playwright, writer, and diplomat. He is considered the father of modern Mexican theater. 9 Stanislavski, Konstantin (2013) Mi vida en el arte, Ed. Alba (Artes Escenicas), Trad. Jorge Saura & Bibicharifa Jakimziánova, Barcelona.

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Methodology I decided to unify the theoretical and practical parts using Ibsen's emblematic works: An Enemy of the People, A Doll's House and Ghosts. I started the study using guided improvisation in order to get to know the group, the availability of individual work and so as to harmonize the group dynamics. Classes began with Viola Spolin's famous “Random Walk” exercise (known in UNATC as the “Brownian Movement”), continuing with guided introspection exercises on topics related to “love”, “selfishness”, “pride”, “restlessness”. After these moments of reflection, there was an analysis related to the topic, about the students’ perspectives on various life situations and about the physical and mental shapes that they used to express themselves during the exercises. Then, using the students' statements, we began the practical part of the exercise, using the improvisation system “A and B” (related to the method used by the famous Mexican pedagogue, director, and playwright, Hector Mendoza with his students, which is still being used in acting schools, and which can also be found in Romania, but in a different form). Through these improvisations, I tried to guide my students to highlight the way they think on stage, resulting from the personal reactions they each had at the time of improvisation with given situations. These sets of exercises evolved during the workshop, towards more complex motifs and themes, related to dramatic proposals (and life problems) such as: “losing a friend”, “breaking up with a boyfriend”, “cheating”, “losing a job”, and various other issues that people may experience during their daily lives.

Evaluation The proposed evaluation method was one that involved the entire group, the improvisation exercises receiving objective feedback from each student. We avoided negative evaluation, criticism, or personal opinion, in order to better develop the chosen topics and to understand each student's reflective and stage process. Next, we started work on the Ibsenian text, reading together the three pieces mentioned above, choosing a few scenes and approaching them, developing them with each student individually. The readings were a good starting point to get to know the personality of Ibsen's characters better. We tried to see the similarities and differences in the way Ibsen approaches female and male characters. The Norwegian playwright has now become one of the pioneers of feminist ideas, and Nora's slammed door to a no longer functioning relationship has become a symbol of liberation from the constraints of a society with strict and unjust morals for women. Although Ibsen intentionally wrote strong female characters, whose ideas and actions stood out even more over time, defining him as a pro-feminist author, he also gave a strong voice to his male characters, such as Dr. Stockmman, Consul Bernick, Torvald, Wangel, Arnold Ruteck, Peer Gynt, Brand10 and others, characters who are

10 Ibsen, Henrik, Teatro Completo, traducción y notas de Else Wasteson, completada por M. Winaerts y Germán Gómez de la Mata, revisión y prólogo de Germán Gómez de la Mata. Ed. Aguilar, Madrid. 1954.

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not distinguished by masculinity or “machismo”, but by a very subtle sensitivity that allows us to understand humanity. This is the great achievement of Ibsenian dramaturgy - it opened a window into the human inner world, in order to heal it; it triggered an impulse to research the morality of society in order to make it "more humane". We continued developing scenes, of which, the more resounding ones were the last act from A Doll's House (Nora's separation from Torvald) and the scene from The Ghosts, where Mrs. Alving watches her son, Oswald, on his deathbed. The scenes were studied by the students and were worked on during the workshop, where Ibsen's lucidity during these moments of crisis was researched by the group. I tried not to mount anything from a directorial point of view, but together with the students, I looked for the most motivating elements to fuel their work, I tried to discover the most significant details, emphasizing a faithful interpretation with real life; students, even if extremely young, experiencing in reality and with courage the strong feelings proposed by the author.

Escuela Superior de Arte Dramático, Gijón, Asturias în Spania

Analizing results Even though the scenes were not presented to a wide audience, we all made important discoveries about Ibsen's characters' inner worlds. Students learned how to approach an acting theme organically and how to approach a character's problems personally, recognizing the value that high-level dramaturgy offers us. It has also resulted in increased self-awareness and valid knowledge of human behavior. Approaching Ibsenian characters is essential in the actor's art because they, like the Chekhov characters, mark a break from the ancient dramatic writing and acting techniques,

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Research containing a truth that brings the actor more tangible, concrete, results, closer to human nature, and therefore more credible to an audience. The workshop marked an important moment for the students of the Higher School of Dramatic Art (ESAD) in Gijon (Spain), opening new research paths for students and interesting directions to follow on their future acting path. Some of the exercises done during the workshop can be viewed on the YouTube platform by accessing the following link: https://youtu.be/l5x3GiQrDpQ Some of the students who participated in the workshop I coordinated gave me their feedback, and their personal conclusions are relevant. Fourth-year student Laura Meza Perez argued that the study of Ibsen's dramaturgy is essential in preparing the actor's art, because Ibsen's themes are an introduction to human thought and action, so they are essential elements in the actor's discovery of life and the ways of its scenic transposition. The treatment of Ibsen's subjects, with common but relevant life problems leads to an existential confrontation necessary in the actor's work. For Laura Meza Perez, Nora's voice is a feminist symbol that is beyond her time and is valid to this day, because it speaks of the freedom of the individual regardless of gender identity. For fourth-year student Alvaro Alonso Celemen, Ibsen is the centerpiece of realistic theatre. His drama provides guidance to the actors, in order to experience a philosophical exposition through his characters. His work is based on constructing a strong personality, which falls in a context of imbalance and conflict, dismay or doubt, but in the end, the Ibsenian characters will always reveal hope, the desire to live a better life, a feeling each of us can identify with on a daily basis. For Patricia Caso, also a fourth-year student, the psychology of the Ibsenian characters represents a mentality specific to an era, but which has not changed until today, the human feeling remaining latent. Therefore, by exploring the characters' depth, the generated material is extraordinarily rich for the actor's work, who requires complex knowledge and an openness of mind towards different inner worlds, towards human self-exploration.

Conclusion All students agree that the influence of Ibsenian naturalism is found in contemporary theatre and current cinema or, as the term is called in the Romanian acting school – psychological realism. This is the main trend that guides the new currents in the work of the actor, because the modern-day man is searching for a mirror in which to analyze himself, in order to understand himself as an individual within the current social contexts.

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At the end of the workshop, maestro Joaquin Amores Moreno, director of the School of Dramatic Art11 (ESAD) in Gijon, ([email protected]) highlighted the fact that naturalistic theatre has brought a new way of thinking in theatrical creation, emphasizing that Ibsen proposes valuable characters, who face their own demons that lead them to face destiny and change their future towards something better. Master Joaquin Amores emphasized the importance of highly complex characters in the study of acting, offered by playwrights such as Lorca, Ibsen, Chekhov, or Strindberg. Through the great playwright, the actor has the opportunity to better understand mankind, in the context of his world and to bring on stage a reflection of the human interior, based on observation, personal experimentation, research and reconstruction. For this reason, the actor's work does not end, but remains continuous. The purpose of this research was to discover in parallel with my Doctoral Studies research, the psychological depth of the human being developed through Ibsen's characters and how an actor can work these complex characters that direct him to the depths of the human being. I consider it necessary for the Ibsenian characters to be studied, especially understood by the new generations of student-actors. They give value to the human consciousness and creativity that the theatre and film actor needs in any construction of his characters. Research into the most emblematic characters of Ibsen, whose interior and emotional intelligence we have studied, incorporates psychological meanings in the work that the actor can undertake in deciphering a role, when he plays it. An actor believes that he has to go through a long list of interpretive possibilities when building a role. If he understands them, his reason and talent can achieve, artistically, a synthesis that we will conventionally call a ROLE. I wanted to describe this diverse horizon of understandings through the doctoral paper, i.e. a mini encyclopedia of psychological reflections, referring to insights useful to the actor, in order to interpret a dramatic Ibsenian text in full accordance with its substrates of depth. This research aimed to raise awareness of the reflection and understanding of human freedom through the most important roles written by Henrik Ibsen.

Online education during the pandemic During the second part of the academic year 2019-2020, I received a new “Erasmus” scholarship to participate as an assistant director in the staging of the bachelor performance Nuestra Natasha, by Alejandro Casona, the relevant Spanish-Asturian author being a forerunner of symbolism and realism, through his dramaturgy and literature in Spain and Latin America in the early twentieth century. However, due to restrictions and the Covid-19

11 DEPARTAMENTO INTERPRETACIÓN ([email protected]), Jefe de departamento: Nora López Casella, Profesores/as: Joaquín Amores Moreno, Carmen Sandoval Rodríguez, Nora López Casella, M.ª Aránzazu Atucha Gutiérrez, Pedro Ignacio Ortega Sanz, Francisco Pardo Almansa, Manuel Álvarez Guzmán, Cristina Suárez Menéndez

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Research pandemic quarantine this was done through online means. I worked with Argentinian teacher and actress Nora Lopez and Spanish voice teacher and actress Carmen Bélen. From April to June 2020, I rehearsed with students online, and at the end of the work process, the play was recorded, performing a radio theatre show. The result was very valuable and is an example of artistic endeavor and effort to keep theater and arts education alive during this challenging time caused by the lack of direct contact during the quarantine and the general underfunding of art. It can be listened to for free on the YouTube platform: https://youtu.be/vu7c6lNsbTc As for us, we want to continue this research of the human by means of the actor's art and theatrical pedagogy, consider that only art remains as a remedy against loss of consciousness, sensitivity and reflection on issues of human equality, freedom, and law. The force of theatrical expression, the truth of the discoveries that theater provokes in humanity are the most fervent consolation and a beacon of hope in the current context.

References: 1. BANU, George, TONITZA-IORDACHE, Mihaela (1975) Arta Teatrului. Bucureşti: Editura Enciclopedică Română. 2. BERNARD SHAW, George (2013) La quintaesencia del ibsenismo. Tr. Miguel Ángel Martínez-Cabeza. Madrid: Ediciones Cinca, CERMI. 3. BEŢIU, Mihaela (2018) Elemente de analiză a procesului scenic. Bucureşti: UNATC Press 4. COJAR, Ion (1996) O poetică a artei actorului. București: Paideia. Reprint, 1998, București: Unitext. 5. DARIE, Bogdana (2015) Curs de arta actorului. Improvizația. Bucureşti: UNATC Press. 6. DRIMBA, Ovidiu (1996) ”Studiu introductiv” la ediţia Ibsen, Teatru, în trei volume, București: EPL. 7. DUMITRIU, Corneliu (2016) Caietele Ibsen după Ibsen. Bucureşti: Ed. UNATC Press. 8. IBSEN, Henrik (1954) Teatro Completo. Traducción y notas de Else Wasteson, completada por M. Winaerts y Germán Gómez de la Mata, revisión y prólogo de Germán Gómez de la Mata. Madrid: Ed. Aguilar. 9. LAYTON, William (2016) Por qué? Trampolin del actor. Madrid: Ed. Fundamentos. 10. MEYER, Michael (1974) Ibsen. London: Ed. Penguin. 11. OSTERMEIER, Thomas (2016) Teatrul și frica. Bucureşti: Ed. Nemira. 12. SPOLIN, Viola (2014) Improvizație pentru teatru. Trad. Mihaela Bețiu. Bucureşti: UNATC Press. 13. STANISLAVSKI Konstantin (2013) El trabajo del actor sobre sí mismo. México: Ed. Grupo Editorial Tomo. 14. STANISLAVSKI Konstantin (2014) Manual del actor. México: Ed. Grupo Editorial Tomo. 15. STANISLAVSKI, Konstantin (2013) La construccion del personaje. Madrid: Ed. Alianza. 16. SUÁREZ ÁLVAREZ, J. I. (2014). ”Mi experiencia con el método Layton”, Revista Colombiana de las Artes Escénicas, (8), pp. 131-143.

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17. TORRES GARZA Elsa Elia (2010) Kierkegaard dramaturgo, el teatro y las mujeres. Una lectura kierkergaardiana en la dramaturgia de Henrik Ibsen. Tesis de posgrado en filosofia. Facultad de Filosofia y Letras. Ciudad de México: UNAM. 18. VARTIC, Ion (1995) Ibsen și „teatrul invizibil”. București: Editura Didactică și Pedagogică. 19. VOINESCU, Alice (1983) ”Henrik Ibsen”, in Întâlniri cu eroi din literatură şi teatru, Bucureşti: Editura Eminescu.

Online references: 1. ANTUÑA, M.F. (2020) Titulados dramáticos con muy buena onda [Online]. Available at:https://www.elcomercio.es/culturas/titulados-dramaticos-buena- 20200526001929-ntvo.html (Accessed: 31 November 2020) 2. ESAD Asturias (2020) ESAD Asturias – Un centro spectacular [Online]. Available at: https://www.esadasturias.es/ (Accessed: 31 November 2020) 3. ESAD Asturias (2020) Taller de teatro Naturalista- Nora y Torbald (ESAD) 2019 [Online]. Available at: https://youtu.be/l5x3GiQrDpQ (Accessed: 31 November 2020) 4. MOORE, John (2019) ‘A Doll’s House’: How did Ibsen become a pioneering feminist anyway? [Online]. Available at: https://www.denvercenter.org/news-center/a- dolls-house-how-did-ibsen-become-a-pioneering-feminist-anyway/ (Accessed: 31 November 2020) 5. Paula González (2020) Capitulo 1 – Radioteatro: Nuestra Natacha de Alejandro Casona [Online]. Available at: https://youtu.be/vu7c6lNsbTc (Accessed: 31 November 2020) 6. VIDALES, Raquel (2019) Ibsen vuelve sin pelos en la lengua [Online]. Available at: https://elpais.com/cultura/2019/10/23/actualidad/1571860375_625458.html (Accessed: 31 November 2020) 7. visitnorway.es (2020) El dramaturgo que revolucionó el teatro, Henrik Ibsen [Online]. Available at: https://www.visitnorway.es/que-hacer-en-noruega/arte- cultura/henrik-ibsen/ (Accessed: 31 November 2020)

Mexican PhD student Víctor Iván López Espiritu Santo is an actor and acting teacher. He graduated with a degree in acting from the National University of Theatre and Film in Bucharest (UNATC) in Romania, where he also did a master's degree in performing arts and where he is currently a doctoral student in theatre studies, with a thesis called "Construction Methods of Ibsen's Male Characters and Their Emotional Intelligence”. He participated in various theatrical performances such as "Coriolanus" at the Bulandra Theatre, the last show directed by Alexandru Darie, "Picnic on the Battlefield" or "Servant to 5 Masters" created by Mihai Gruia Sandu, he also directed several performances in Mexico. In addition to being an actor, he has collaborated as a cultural manager at festivals and in various cultural agencies. His work as a teacher determined him to give courses and workshops on human development, for schools or companies. He has taught theatre, acting, Spanish language and culture or humanities in Mexico, Romania and Spain, at various academic or school levels, working with children, adolescents and adults.

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Cinematography and Media Studies

Parallel between Film and Theatre Music

Petru MĂRGINEANU UNATC “I.L. Caragiale” Bucharest, Romania [email protected]

Abstract: Film and theatre music evolve like DNA spirals. They distance and approach each other constantly, in a fluid and graceful concealing, permanently chained to one another. For the one who composes both, the artistry builds itself on learning the rules of time, extremely precise and terrifically vague at the same... time. From aesthetics to style and afterwards to studio technique, film and theatre music follow the same path of minimum resistance like the one from mountain towards the fields or, on the contrary, they stubbornly choose the hardest path, even though they root from the same creative river. Keywords: music for film, music for theatre, filmmaking, film score, theatre score. How to cite: MĂRGINEANU, Petru (2020) “Parallel between Film and Theatre Music”, Concept 2(21), pp. 157-166.

At the end of the 1980s, I constantly witnessed the audio mixing of films, paying special attention to the changes brought to the music editing. It was an evolutionary labor where the components changed on the go – the calculation in the sound editing booth never quite matching the reality of the mixing room. The music was usually recorded at the Mihail Jora Hall of the Romanian Radio Broadcasting Company, if it was composed for large orchestra, or at the T3 Studio of the same company, if it was composed for chamber orchestra or other types of chamber ensembles, such as string quartet or piano trio. But there was also a wonderful time for Romanian film music – the time of the Cinema Orchestra. At first conducted by maestro Paul Popescu, one of the most imaginative

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Romanian conductors and, later, by maestro Mircea Cristescu, the Orchestra was disbanded in 1965, after only six years of existence (Căliman, 2011, p. 67). It somehow survived, thanks to conductor Mircea Cristescu who turned it into an independent orchestra – one of the best in the country – providing concerts in the country and tours abroad. From a stylistic point of view, the film music of those years generally fell into three main typologies. Symphonic or chamber music, of Neo-Romantic or Neoclassical inspiration, seasoned with modernist elements in smaller or larger doses, dominated the films of the time, especially period dramas or historical films. Mood music, big-band or jazz-inspired, was the second typology and was found more in films with current issues, especially in comedies. Experimental music, other than that from avant-garde contemporary music, was either electronic music, which surfaced relatively rarely, because in those years there were very few composers who had access to the technology needed for this musical genre, or musique concrète built from exploitation in musical key of noises. Musique concrète was usually recorded in the studios of the Radio Broadcasting Company, but also in the great hall at Buftea, with instrumentalists from the Radio Estrada Orchestra, which was in itself a big band. Electronic music was most often recorded in the personal studios of the composers, who sometimes resorted to an instrumentalist who added to a structure made by means of sound synthesizers. In the latter part of the 1980s, synthesizers began to be able to reproduce, at different quality levels, sounds specific to natural instruments: stringed, brass or percussion instruments. Called sampling, this process recorded the entire range of a musical instrument note by note, then distributed these recordings to the synthesizer's keyboard. Consequently, the composer had the opportunity to record in his personal studio other genres besides electronic music. These authors often collaborated with theaters across the country on their plays. At the same time in the 1980s, Romanian theatre resorted to limited musical formulas, instrumentalists recording the music in advance, or – less often – becoming part of the distribution of the play, performing the music on stage for each performance. Film and theatre music was not released by Electrecord on disc, although there was some demand for it. Moreover, authorities rarely objected to instrumental music, thus allowing, for example, the editing of the albums Funky Synthesizer volumes I and II by composer Adrian Enescu. These records were Western both in name and graphics, but most of all in content. A film composer with more than fifty feature films, Adrian Enescu has composed theatre music throughout his entire career, constantly collaborating with directors Alexandru Darie and Dan Pița, in the few plays the latter directed. Both film and theatre music pose common problems, but also specific ones. The first element to be identified is the aesthetic one. The music must belong to the unitary aesthetics of the film or the theatre performance, depending on the requirements of the script or of the dramatic text, and most of all on the director's vision. The latter has the power to completely change the expectations derived from the initial texts, and the composer must prove his ability to adapt the aesthetics of his musical creation in the most malleable of forms (Cooke,

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2010, p. 102). Of course, music streams from the creativity of the one who gives birth to it, but in cinema and theatre it encounters a path filled with obstacles, snaking its way in a zigzag pattern. This first step, understanding the adaptation of a certain aesthetic that often significantly reduces the composer's creative freedom, is perhaps the most difficult. There are few composers who can express themselves in different aesthetic worlds with a certain ease. For others, it is a challenge that often brings them to the brink of failure. Each composer swims freely and gracefully in the pool of his own comfort. For some of them this pool is extremely interesting when viewed from the outside, in some cases the walls of the pool are transparent, so that the music is easier to admire. Most can only exist in their own pool. They can't get out of the water, they can't leave their shelter, they definitely can't go out into the world. It is a terrifying isolation in a comfortable, but painfully limited aquarium. That is why most composers should not look towards film and theatre music. This involves a certain type of inner training that, through constant exercise, minimizes ego and pride. In cinema and theatre, only one person is entitled to ego and pride. Not the actors, no matter how great they are, nor the playwright, if he is contemporary with the cast, but the director. Without him, everyone involved would sound like an orchestra trying to tune itself. You can sometimes cut out a fragment of a familiar sound theme, but this is generally overwhelmed by a large number of instruments that play each to their own. All this strange sound carousel stops instantly when the director appears, a conductor with ordering potential over chaos. It is interesting to note that, among the performing arts, theatre offers you an aesthetic, while film imposes it on you. If the theatre spectator fails to concentrate or is simply bored, he can look at the walls, count the ceiling lights or the folds of the curtain. The cinema spectator is completely captive in a world of darkness, wherever he wants to look outside the screen he will only discover the obscure, so he will give in to the magic of the screen, which is not necessarily a bad thing, if the film is good. As not enough films are good, being forced to engorge on them to the last bite can be unpleasant, especially when out of politeness, and out of regret of throwing away the money on the ticket you decide, stoically, to stay on the darkened barricade until the final credits remind you it's time to be free again. In the United States, the most expensive rates for video commercials are not on television, as in Europe, but in cinemas, precisely because the captive viewer has nowhere else to look, so he will pay full attention to the advertisement. Extrapolating, of all the performing arts, cinema has the greatest power to manipulate the spectator, precisely by not forcing him to attend the show, but rather to become part of the show. Any inattentive or bored viewer will quickly give in to the screen, a natural consequence of inattention and boredom. Once the aesthetics of the play or film are determined, which is not neccesarily an exact science, the style of music is next. Aesthetics and style do not necessarily correspond, they can be complementary. For example, it often happens that a classical play is reinterpreted in a modernist manner, and the music of the play thus becomes a key element

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in defining the nature of that modernism. A performance of William Shakespeare's Hamlet was staged in the early 1960s at the Lyceum Theatre in London, starring Sir Alec Guinness (picture on the left). The aesthetics definitely belonged to a Shakespearean drama, but the style was not only modernist, but very niche: the era of Nazism. If the style manages to meet the requirements of aesthetics, then everything will end well. This performance was a great success at the time, both in terms of audience and critical acclaim, which does not happen very often. From Romanian theatre we remember Ștefan Iordache's Hamlet from the Nottara Theatre from the seventies, directed by Dinu Cernescu in a studio hall in an intimate manner unusual for this text, Ion Caramitru's Hamlet from Bulandra from the eighties, under director Alexandru Tocilescu and, to close a circular arc in a ternary key, Adrian Pintea's Hamlet from the National Theatre in Craiova directorially orchestrated by Tompa Gábor. A common general aesthetic, special styles, no exaggerate modernism, different directorial visions. Theatre offers the magic through which the action of a story

Anda Caropol and Ştefan Iordache in “Hamlet”, Directed by Dinu Cernescu, “C.I. Nottara” Theatre, 1974

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Research takes place in real time, where no performance is a repetition of the previous one. The egregore created by the concentrated crowd of spectators adds weight to each line, is a strong energetic vibration and relatively constant in intensity, with peaks that depend on which moment of the song satisfies the audience the most. Film can also impress through acting, but not at the authentic level of the theatre performance.

Ion Caramitru – Hamlet, Directed by Alexandru Tocilescu, ”L.S. Bulandra” Theatre, 1985

Adrian Pintea and Ozana Oancea – “Hamlet”, directed by Tompa Gábor, National Theatre Craiova, 1997

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After aesthetics and style, the moments in which the music should intervene must be identified. Most of the time, both the film and the theatre performance have musical covers, necessary to create the emotional premises of entering and exiting the story. If in cinema the final credits belong to music as the main actor, music that represents the last conclusion of the story, which appears after the last line and after the last frame, in theatre the final music is the sound designed to support the applause of the audience calling for the actors back on stage. The film sometimes appeals to what the great sound engineer Anușavan Salamanian called “the exit through Sărindar”, referring to the extension of the final music beyond the final credits, that accompanied the spectators on their exit from the hall – the cinemas on the former 6 March Boulevard, currently Regina Elisabeta, had the exit in Sărindar Street, currently Constantin Mille. Such a musical extension of the performance is common in theatre, not at the end, but at the beginning. Often the music starts in the foyer, accompanying the spectators to the wardrobe or – where it exists – to the buffet. The role of this music is obvious – preparing the spectator for the atmosphere of the performance. In the early days of silent film, the two-funnel gramophone had been invented in France. One funnel was directed towards the inside of the hall or tent where the screening took place, providing musical background, the other was directed towards the outside, to advertise passers-by (Wierzbicki, 2009, p. 24). I participated to theatre performances where, both at the beginning of the play and during the intermission, there was a speaker with music from the performance directed towards the sidewalk because the spectators gathered there to smoke. Film music is considered to be diegetic or non-diegetic, and this classification is also valid for theatre music. Diegetic music is the totality of music that is heard by the characters in the shot – or on stage. In film there are frame music or additional music, a radio or maybe a music heard from the neighbors. The truly creative part is non-diegetic. The premise of characters on stage where a music that they are unaware of is heard is interesting. Do viewers realize this? Even if the music used in theatre usually refers to passages – entrances – exits, sometimes you find a support music for a certain exchange of lines or even a monologue. Just as in ancient times religion offered what the state lacked, a spiritual component, so does film or theatre music offer a certain state based on a certain emotional vein that makes the acting slide in smoothly, with the grace of a figure skating duo. I wrote my first film music when I was a student, and my first theatre music a few years later. It is interesting how my debut film had a theatrical dramaturgical component, and my first theatre performance a cinematic one. Love and Hot Water, the 1992 film by director Dan Mironescu, is a story of survival on the fringes of society, in decrepit blocks surrounded by mountains of garbage, a situation still present to this day in that respective neighborhood, thirty years later. Petru, the play by playwright Vlad Zografi, directed by Cătălina Buzoianu, was first staged in 1998 at the Bulandra Theatre. Tsar Peter I, craftsman of the transition of medieval Russia to the modern era, takes a long European tour, often incognito, to understand the workings of the Western world – he works as a carpenter in a

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Research shipyard where no one knows who he is, and with what he learnes there he will build an imperial fleet, the first in Russian history. Vlad Zografi's text refers to his visit to the France ruled by Louis XIV, the Sun King. I was fascinated by three things working on this play. By the historical event of which I had no idea, so well rendered by the playwright, the masterful interpretation of Cornel Scripcaru in the “Petru”, directed by Cătălina Buzoianu, main role – Cornel Scripcaru, main role, and the depth ”L.S. Bulandra” Theatre, 1998 with which a seemingly frail lady, whom I knew well from the childhood at the creative house from Cumpătu, united all the components of a play together, proving to be a conductor with five batons in each hand.

For the film, I stylistically proposed two musical sources, one in accordance with the image and the other in contradiction. The first resorted to the world of synthesizers, of mood music composed of musical sound effects, called drones; the second source appealed to Late Baroque music that contrasted sharply with the film's awful exteriors. Coincidentally, the music for the play Petru was also built on two sources, the first being the image of an ancestral, visceral Russia, with male choir icons immersed in strange sounds, at the limit of exploiting noise in musique concrète, the second source being inspired by Baroque court music drawned from the creation of Jean-Baptiste Lully, the court composer of the Sun King who, if you investigate further, turned out to be Giovanni Battista Lulli, a top graduate of the Florentine school of composition. Of course, I could have chosen together with Cătălina Buzoianu fragments from her creation, but I suggested to build a court music by myself that would contain some clues and tricks, as these small inventions are also called. Thus, the Baroque themes I wrote contained either musical instruments that had no place there, or melodic-harmonic writing solutions that were imported from another time.

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But the most important lesson learned from the composition of theatre and film music is the temporal dimension. Film, of course, works with fixed times, well measured with a quality timer. The film was watched together with the director and the sound engineer, you were shown the music sequences and you were offered the freedom to propose representative style and musical themes. If the main themes were accepted, you would start composing, usually in chronological order for an accumulation of musical ideas towards the end. Once the themes were chosen and approved, the rest came together naturally and somewhat by itself. When the music recordings were over, the music was edited on film, and it went into the mix. In theatre, things are as different as can be. Everything is in constant motion, the performance evolves smoothly, no scene lasts the same a second time. In Petru there was at a certain moment a dialogue between Cornel Scripcaru and Mariana Mihuț that Cătălina Buzoianu wanted to illustrate with a certain theme, which accumulated and grew towards the end, important dramaturgically. After composing the theme, I had a discussion with the sound engineer of the theatre to see what technical solution we can choose so that, regardless of the duration of the dialogue, the end of the music comes in at exactly the set time. I chose the option to create three separate musics of different lengths, which were identical until the end, where each was longer than the previous one. The sound engineer played all three simultaneously and decided, depending on how the scene was set in time, to use the right option. It turned out to be a good idea that has since been used in other performances. If the time of film is exact and the time of theatre is fluid, the neutral nature of the archetypal time exists somewhere in the middle. Some of us have a privileged relation with time, others never manage to catch up. Cronus' sickle offers no mercy, and in the end, the hourglass offered to everyone at birth is a precious gift – everyone's chance to withstand entropy. A few years later, Cătălina Buzoianu called me again to write the music for Marlene, with Emilia Popescu in the lead role. That was a completely different challenge – I rethought the orchestration of the songs performed by Marlene Dietrich to bring them to another time, but also to another dimension. Strangely, this performance had a fixed, cinematic time. The film Occident, directed by Cristian Mungiu, which we were working on at the same time, has – like any film – a fixed time. Composing its music involved many variants of music, each with its own time. The ternary “Marlene”, directed by Cătălina Buzoianu, structure of the story required a very precise Main role – Emilia Popescu, balance between what appears in the first act or Comedy Theatre, 2002 in the second , and how they all intertwine in the

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“Occident”, directed by Cristian Mungiu, 2002

Most of the time, if you screen a play, you risk getting a weak film; just as turning a movie into a play is not the happiest of ideas. Theatre is an art of conventions related to acting, the nature of scenography and the credibility of dialogues. The actors speak louder, so that all the spectators can hear them. The tree on stage is made of cardboard – if you accept that it is a tree, everything is fine. If you don't, you're not suitable for theatre. It puts our imagination and abstract thinking to the test, while the film pays attention to the smallest details – as the cinema screen is very large. Both of these performing arts involve different sets of conventions that we often naturally, instinctively and intuitively accept, and this acceptance is the gateway to two magical worlds without which the world would be a desert. The silver screen of cinema and the unique, unrepeatable diamond of theatre.

References: 1. CĂLIMAN, Călin (2011) Istoria filmului românesc. București: Contemporanul. 2. COOKE, Mervyn (2010) A History of Film Music. Cambridge: Cambridge University Press. 3. WIERZBICKI, James (2009) Film music: A history. New York: Routledge.

Online references: 1. ANDRONESCU, Monica (2020) Pe vremea când Adrian Pintea era Hamlet… [online]. Available at: https://amfiteatru.com/2020/08/05/pe-vremea-cand-adrian-pintea- era-hamlet/ (Accessed: 21 October 2020) 2. BEATON, Cecil (1951) Sir Alec Guinness as Hamlet [online]. Available at: https://www.npg.org.uk/collections/search/portrait/mw67403/Sir-Alec- Guinness-as-Hamlet (Accessed: 21 October 2020) 3. IONESCU, Dana (2020) Un „Hamlet” acid ca o „revoluție care ar fi putut începe de la Grădina Icoanei” [online]. Available at: https://amfiteatru.com/2020/02/05/un-

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hamlet-acid-ca-o-revolutie-care-ar-fi-putut-incepe-de-la-gradina-icoanei/ (Accessed: 21 October 2020) 4. MORARIU, Mircea (2020) Teatru online. „Petru” sau teatru fără conflict [online]. Available at: https://amfiteatru.com/2020/05/13/teatru-online-petru-sau-teatru- fara-conflict/ (Accessed: 21 October 2020) 5. SABET, Masood (2018) Moving Along the Cartesian Coordinates [online]. Available at: https://melcon.blog/2018/09/28/moving-along-the-cartesian-coordinates/ (Accessed: 21 October 2020)

Performance references: 1. Hamlet by William Shakespeare (1974). Directed by Dinu Cernescu [‘C.I. Nottara’ Theatre, Bucharest. 8 February] 2. Hamlet by William Shakespeare (1985). Directed by Alexandru Tocilescu [‘L.S. Bulandra’ Theatre, Bucharest. 30 November] 3. Hamlet by William Shakespeare (1997). Directed by Tompa Gábor [‘Marin Sorescu’ National Theatre, Craiova. 5 January] 4. Marlene by Pam Gems (2004). Directed by Cătălina Buzoianu [Comedy Theatre, Bucharest. 23 February] 5. Petru by Vlad Zografi (1998). Directed by Cătălina Buzoianu [‘L.S. Bulandra’ Theatre, Bucharest]

Filmography: 1. Dragoste și apă caldă (1992) Directed by Dan Mironescu [Film]. București: România Film. 2. Occident (2002) Directed by Cristian Mungiu [Film]. București: Temple Film.

Petru Mărgineanu is a graduate of the music composition department of UNMB. He composed the music for over fifty films, TV series and plays. He collaborated with directors such as Mircea Daneliuc, Nicolae Mărgineanu, Sergiu Nicolaescu, Șerban Marinescu, Cristian Mungiu or Ovidiu Georgescu. He has won numerous film music awards, including three UCIN awards and an APTR award. In theatre he collaborated with directors like Radu Apostol, Cătălina Buzoianu, Răzvan Mazilu or Ana Mărgineanu. He is currently a PhD student in filmology at UNATC, under the scientific guidance of Professor Ovidiu Georgescu, PhD.

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Proxemic Filmic Manifestation. A Possible Interpretation of the Functions of Shot Dimension

Dan CUREAN UBB, Faculty of Theatre and Television, Cluj-Napoca, Romania [email protected]

Abstract: Edward T. Hall's theory of proxemics proposes a form of understanding the relation of the individual in the existential space through the distances (traced by communication) in which the individual chooses to place himself in relation to the people/objects around him. In reference to this theory, we will replace the real individual with the camera, and we will position him in relation to the interlocutors at these communication distances. The result of the experiment proposes a new perspective and theoretical support for the study of the frame dimension, which we will see as a transposition into audiovisual language of the communication distances described by Hall, thus taking over its functions and meanings. Keywords: frame, shot, size of the shot, composition, proxemics, audiovisual language, spatial relations and boundaries, communication distances, public distance, social distance, personal distance, intimate distance. How to cite: CUREAN, Dan (2020) “Proxemic Filmic Manifestation. A Possible Interpretation of the Functions of Shot Dimension”, Concept 2(21), pp. 167-173.

In the physical space, movement involves a visual perceptual experience that materializes in a succession of mental representations of elements/objects in the visual field. Justification and activation of movement are determined by the relationship and rapport a person may have with them. A human being may choose to approach some elements gradually, from a certain distance, and pass by others without interacting. The connections with people/objects are regulated through actual physical distance, the result being larger, or smaller images representing the people/objects in the visual field. In The Silent Language (1980) and Proxemics: The Study of Man's Spatial Relations and Boundaries (1963, pp. 422-445), Edward T. Hall proposes a form of interpretation of

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human interaction with the space around him, defining the concept of proxemic as a notion that makes the connection between a person, and the territory he occupies, through the physical distances at which the individual chooses to place himself in relation to the elements he interacts with. Proxemics studies the play of territories, ways of perceiving space in different cultures, the symbolic effects of spatial organization, and the physical distances of communication. This describes a new type of language, determined by the play of distances, in fact, a new science that studies spatial relations as a way and form of communication. Proxemics is capable of studying the conventional and significant relations that regulate the simple distance between two interlocutors, the mechanics of a kiss, or the distance that transforms a simple greeting into a hopeless parting or a “goodbye”, therefore the entire universe of action transcribed in cinema is already a universe of signals. (Eco, 1970, pp. 11-51) In The Silent Language (1980), Hall defines proxemics as a set of theories that explain how humans relate to space (viewed this time as cultural space). In his studies, he transposes upon the territory of inter-human relations the research made by the Swiss ethologist Heini Hediger (1950) regarding the behavior of animals in different natural environments or in captivity. Several types of reactions (flight, attack, acceptance, proximity) were identified by observing the animals, depending on contact distance. Thus, an animal manages to escape by running up to a certain distance; below this critical distance, the “attack” is certain due to the fact that the prey no longer has enough distance to escape. However, a “personal distance” or “interpersonal distance” is also identified between two specimens of the same species, i.e., individuals who tolerate each other and coexist in a relatively limited territory, even if they belong to the animal kingdom. Equally, the study distinguishes a “social distance” that an individual maintains from other members of the group. To these observations, Hall adds effective distance measurements at which the sound of communication (human voice) is perceived and of the metric limits of visual acuity (at which certain details of facial expressions can be distinguished), marking several spatial thresholds that define relationships or interpersonal relationships. He thus launches the idea that all beings, including humans, have a territory adapted to their needs and that people possess the notion of individual space, with inner and outer, private and public areas. He also demonstrates the fact that these areas can be identified by effectively measuring the physical thresholds. This spatial framework of interpersonal relationships raises the question of it being transposed into images. How do those involved in these relationships see each other and what do they look like as mental visual representations? How does one person see another, located at the limit of these physical thresholds defined as distances of communication?

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I will illustrate the point of view of a camera positioned at certain communication distances from the elements in its visual field, interpreting the size of the shot (frame) as an audiovisual translation of the communication distances described by Hall.

Figure 1. The distances of communiation, after E.T. Hall

In The Hidden dimension, Hall outlines these spatial thresholds that translate, through their proportions, specific/different relationships between individuals and thus defining communication distances:

1. “Public distance” (over 3, 4 m.) At a distance of more than approximately 3 meters, the individual perceives a limited level of the interlocutors' details due to the fact that, at this distance, humans relate more to physical or natural space rather than to human interaction. This is the type of positioning in the case of a group of people. Here the individual is not engaged in a personal connection with others, and from this distance, human perceptual audiovisual parameters provide only general coordinates of the presence of others (actions and movements are visible but without the possibility of reading nuances of facial expression, gestures or gazes). In this situation, the person is in a large area/territory where he does not feel threatened due to the fact that there is enough room for maneuvering. It is, in a way, a transposition of the ethological animal research of the flight distance between individuals;

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that is to say, a space large enough so that, in case of aggression, the attacker is able to flee to safety. Hall positions this threshold as a type of activity specific to public space and sees it as a distance from the human community or “the distance at which the individual is protected and can become defensive if attacked... at this level we are close enough to follow the actions of the interlocutor, although we might miss behavioral details: facial expressions, direction of gaze etc.”. (Codoban, p. 7) What does the camera see at this distance from the elements in its field of view? From this position, the camera (equipped with a lens that has a focal length similar to the human eye) records that which cinematic language defines as the category of wide shot dimensions or, in more detail, the long shot and the full shot. Thus, we can identify a correspondent in the audio-visual language of the public distance of communication in the so called, Wide or Large Shots, with the differents sizes – the Full Shot, the Long Shot or Very Long Shot. These representations have the main purpose of locating and describing the individual in his natural physical environment.

2. “Social distance” (between 1,5 and 3 m.) The second physical threshold identified by Hall is somewhere between 1.5 and 3 meters, and defines the “social distance” of communication, due to the fact that within these physical coordinates individuals come into contact with each other through social rapports. It is the distance maintained by people who do not know each other, but who are still in the common inner or outer social universe. But what do two people look like, standing at this social distance of communication? What does the camera see at this distance from the subject? The visual answer is given by a representation in which the interlocutor's body is seen in its entirety. In this metric interval the image comprises the human body as a whole, with the support surface on which it is placed, up to a delimitation placed somewhere below the knee. The cinematographic code materializes these classifications under the titles of Medium Long Shot and Mid-Shot size. Thus, the transposition in filmic language of the image of the visual field from a social interaction, proven by a social distance of communication, is given by the size of the medium shot (with specific nuances, cowboy shot, medium long shot, etc.).

3. “Personal distance” (between 0,5 and 1 m.) This is the distance at which two people who know each other, who have something in common, dialogue, talk, discuss. It is the distance of friends, partners, confessions, or at the opposite pole, the distance of potentially aggressive or peaceful confrontation. “Personal distance” is both defining and emblematic of interpersonal communication. How do we see two people a meter away? What does the camera see at this distance from the subjects?

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The cinematic language reconstructs this positioning and physical distance through the Close-up (also Medium Close-up) representation, an element considered to be, along with the editing, one of the coagulating factors of the art of filmmaking. Close-up images are often the dramatic revelations of what is really happening behind first-hand appearances. You can see a person's face from a distance, sitting and conversing calmly. The Close-up image will show the trembling of his fingers… (Balázs, 1957, p. 60) The Close-up is the copy of the visual field of people standing face to face and it communicates, as the deepest expression of human interaction: The Close-up eliminates the frame between the spectacle and the spectator. Thus, we do not observe life but penetrate it. This penetration allows all intimacy. A face under the magnifying glass turned on all sides thus displays its fervent geography. (Aumont and Bergala, 2007, p. 122) Appearing as a result of the physical mobility of the Cine-eye, the close-up becomes the “soul of cinema” (Epstein) – the fermented element of assertion of the new language and form of artistic expression, by the simple fact that, by drawing the camera near on a Close- up, the human face can be seen from the same distance that people experience only in their close relationships.

4. “Intimate distance” (up to 0,5 m.) The intimate distance is the distance that people with a very strong emotional connection consent to. For example, the distance between mother and child, between husband and wife, between those who come into physical contact in one way or another. However, the same distance can be reached at the opposite pole of intimacy, forced or without consent, therefore the effect is obviously the opposite. Those at this distance can feel each other's breath and smell, there is also the possibility of tactile contact, and details are perceived visually. From an energetic point of view, the intimate distance describes the situation in which one enters someone's personal aura, the vital energetic field. Depending on the relationship with the other (consented/disputed), this type of distance can communicate threat and discomfort, when entering the space marked by this distance is not associated with a very close relationship (in the case of human congestion, elevator, bus). It can also communicate and inspire intimacy, when approaching someone at this distance is mutually accepted. This is the case of approaching a loved one, of a mother and her child, of acquaintances, or those getting to know each other (e.g., the gesture of embracing). This spatial framework of intimate relationships also raises the issue of image transposition. How do people see each other at an intimate distance? The imagistic answer to this question is the Extreme Close-up (or Big Close-up) because this is the way people who embrace see each other, this is the way a child sees his mother, and this is the way people perceive each other in a fight. The Extreme Close-up will

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place the viewer looking at the screen either in an intimate position or in a repulsed one towards the characters in the projection. In Betton's (1994) view, the Extreme Close-up is not only important as a significant fragment of the subject, but it is also revolutionary through the privileged “proximity and isolation” offered to the viewer. Furthermore, the selection of how great creators and theorists view the function of the film portrait comes to underline this privilege: In silent films, the expression of the physiognomy, isolated from its surroundings, seems to access a strange and new dimension, that of the soul. It reveals to us a new world, the world of microphysiognomy that otherwise could not be perceived by human eyes in everyday life. (pp. 39-41) Thus, the Extreme Close-up can be defined as a translator of intimate distance in audiovisual language. Therefore, the different distance of the camera in relation to the subject, which determines the size of the shot is not just a numerical scale, because there is a direct correspondence between the size of the shot and its dramatic significance by determining a certain psychological nature. The communication functions of the shot size can thus be found in those of the specific communication distances defined by the proxemics (intimate, personal, social and public distance). In the first films of all time, the distance between the camera and the subject was almost always the same and the framing always allowed people to be seen in their entirety. Very quickly, the idea of movement, approaching or moving away from the camera, arose. In consequence, the subjects would get lost in the scenery or, on the contrary, become very large only allowing details to be captured. In order to take into account these various possibilities and the connection between the subject and the camera, an empirical and crude typology was developed, called the scale of shot sizes. (Aumont, 1990, p. 116) However, this mobility of the camera did not generate, through the scale of shot sizes, only a list of labels, it actually created the possibility of putting the viewer face to face with the projected characters as in real life, depending on their relationships, on their motivations and desires, just as in the real-world people choose to approach or move away and implicitly to see themselves in a certain way. In conclusion, seen from this perspective, the shot size illustrates the elements described by proxemics as indicators of complex inter-human relations. As individuals communicate in human space through their territorial relationship, so is the filmic message equipped with an expressive arsenal offered by the scale of shot sizes, which, as we have seen, translate the functions of the distances of communication.

References: 1. AUMONT, Jacques (1990) L'Image. Paris: Ed. Nathan Université. 2. AUMONT, Jaques, BERGALA, Alain (2007) Estetica filmului. Cluj- Napoca: Ed. Ideea Design & Print.

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3. BALAZS, Bela (1957) Arta filmului. Bucureşti: Editura de Stat pentru Literatură şi Artă. 4. BETTON, Gérard (1994) Esthétique du cinéma. Paris: Presses Universitaires de France. 5. CODOBAN, Aurel (2014) Gesturi, Vorbe și Minciuni. Mic tratat de semiotică gestuală extinsă și aplicată. Cluj-Napoca: Editura Eikon. 6. CUREAN, Dan (2018) Text și imagine în mass-media. Contribuţii la o semiotică a discursului filmic. Cluj-Napoca: Editura Eikon. 7. ECO, Umberto (1970) “Sémiologie des messages visuels”, Communications, nr. 15/1970, pp. 11-51. 8. HALL, E. (1966) The Hidden Dimension, New York, NY: Doubleday. 9. HALL, E. (1980) The Silent Language. Wesport, Connecticut: Greenwood Press. 10. HALL, E.T. (1963) Proxemics: The Study of Man's Spacial Relations and Boundaries. New York: NY International Universities Press.

Dan Curean is an Associate Professor PhD at UBB Cluj-Faculty of Theater and Film, Cinematography and Media Department. He works in mass-media since 1990 as freelancer, but also for the Romanian Public Television (TVR) as cinematographer, producer and documentary filmmaker. He is a member of the Faculty of Theatre and Film at UBB, since its founding in 2005, and coordinates the Documentary Filmmaking Master Programme. He specializes in Film and Television Cinematography, Documentary Filmmaking and Media Formats, has collaborations with some of the major broadcasters in Europe and his filmography includes author documentary productions (scenario, directing, photography) multi-awarded at festivals in the country and Europe.

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Filmmaking on a Smartphone

Vadim STAVER UNATC “I.L. Caragiale" Bucharest, Romania [email protected]

Abstract: The article presents a primary exploration into the world of entry-level digital cinema, that has reached the hands of aspiring filmmakers, enthusiasts of the new minimalist wave, who are not ashamed to use their personal phones as professional digital video cameras. When I say “filmmakers” I do not mean “videographers”, as they are also known, as they are a completely different category of video content creators. Here we are talking about creators of fiction films, screenplays, actors, producers, all united under the same artistic goal. The concept is simple: if the chosen subjects are torn from the real life of the average man, then why not film with a simple camera, like the one we all carry in our pockets? Keywords: filmmaking, smartphone, technology, iPhone, anamorphic adaptor, post-production, cinematic. How to cite: STAVER , Vadim (2020) “Filmmaking on a Smartphone”, Concept 2(21), pp. 174-179.

Technology is rapidly advancing. What ten years ago was considered to be the field of science-fiction, we already use today as cutting-edge technology. At a time when a telephone was a large plastic object with a receiver and a rotary dial, and a camera was a difficult concept for the masses, we could not have imagined that we would end up talking and filming with a portable device thinner than a pack of cigarettes that we take out of our pockets and that we call today a mobile phone. This small device connects us to the world through the internet and brings cinema as a mass audio-visual art much closer to us. Although filming with such a device is in general predestined for the unprofessional area of the domestic user, the technology of these computer-phones called smartphones is playing an increasing role in the production, distribution and reception of new short and feature films. Even if filming with a mobile phone appears as a thoughtless gesture to a

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Research professional filmmaker, many filmmakers consider that it does not matter how they shoot, but the visual experience through which you have to surprise the viewer. Here, important names, such as Peter Greenaway, believe that the future of cinema no longer belongs to the word, but to the image. That we must set out from a visual, nonconformist perspective, to express ourselves strictly through image. And if image means smartphone, then why not? In 2015, Tangerine, directed by Sean Baker, became the first movie filmed on an iPhone that appeared at a prestigious film festival, namely at Sundance FF. This film, with a low budget of $ 100,000, impressed with the humor and honesty of its cinematic discourse. The main filming location for Tangerine was in Hollywood, California, on Christmas Eve 2013, and the production was completed on January 18, 2014. After

watching the iPhone experiments on Vimeo, Sean Baker and Radium Cheung (DP of the film), shot the material using three iPhone 5S. The money saved on filming equipment was used to pay for filming locations and bit parts. They used FiLMiC Pro, a video application (in order to control focus, aperture, and color temperature, as well as to capture videos at higher bit rates), and an anamorphic adapter from Moondog Labs (to capture widescreen). They also used Tiffen's Steadicam Smoothee to capture shots in slow motion. Baker managed to get some of the equipment for free after arriving at Moondog Labs, whose anamorphic adapters were still in their prototype stage (he received three pieces for shooting). For post-production, Baker used Final Cut Pro for a preliminary editing of the film and DaVinci Resolve for final editing and to correct the contrast and saturation. Tangerine presents a mixture of traditional codes and conventions associated with the typical film story, but through the eye of newer technical features specific to mobile devices such as: continuous shots, long tracking frames and manual operation of camera controls on a high-resolution video file format. The result is an impressive image on the screen, with unique characters and aesthetic of the screen – a hybrid of old and new methods of film storytelling. But, if we are talking about the presence of a smartphone in the production of a motion picture, we must go back in time about six years before Tangerine and turn our

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attention to independent cinema creations that set out from the beginning to break the patterns of the classic concept of filmmaking. Rage, a 2009 film by director Sally Potter, was the first feature film with a cinematography designed for the mobile phone and one that Rage (2009) symbiotically incorporated the mobile phone into production, distribution and consumption processes. Although the film itself was made using a conventional video camera, the mobile phone becomes not only a way of presenting the image, but an element of dramatic construction: each of the protagonists addresses a fictional camera operator who films each of the shots and reversed shots of the sequences using their own mobile phones. Rage was distributed simultaneously as a theatrical release and at the same time as a movie which was downloadable via Babelgum so that it could be watched on a mobile phone. The film presents itself as the cornerstone of a new cinema genre called naked cinema, according to the director, a kind of Dogma '95 reinterpreted from a new perspective specific to the 2000s. The launch of the iPad from Apple in April 2010 opened up other possibilities for digital cinema storytelling. The Silver Goat (2012), Aaron Brookner's film, was the first feature film to be created exclusively for the iPad, the first to be released as an app in the UK and a few other countries, and the first in the world to have an iPad-only premiere. This took place in a London Route Master bus that crossed many of the film's locations in the city, while members of the public watched the film on their individual iPads. Filmed in London over an 11-day period, with a Cannon 5D camera, The Silver Goat is a must-watch for anyone interested in making independent films, a story about comfort, nepotism, power struggles and questions about what is at stake in the art world, with Alexa Brown as Lydia Brass, actress and daughter of world-renowned playwright Sir Rowland Brass (Don McCorkindale), who has decided to leave the world of acting behind until she develops a relationship with an ambitious American playwright living in London (Tom Colley). After they get married, he begins to dominate her professionally, limiting her artistic freedom, and she finds herself gradually caught up in a psychological game between her father and her husband. The film has been downloaded and watched in over 25 countries, and the application has reached the top 15 in the UK. The first film in history that was entirely recorded on an iPhone was Night Fishing in 2011 by the South Korean brothers who signed under the name PARKing CHANce. They attached a 35 mm lens to an iPhone 4 in order to get a cinematic aspect. Night Fishing is

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Research based on the framing and language of the traditional film, avoiding features normally associated with portable recording, such as unstable images, camera shake, distorted and blurry sound. The film, a short film, won the Golden Bear trophy at the Berlin Film Festival in 2011. Based on funding from telecommunications giant KT worth $ 130,000, the film is apparently a showcase of the iPhone 4's technical capabilities, although the filmmakers attached Canon lenses directly to the phones used in filming and subjected the footage to an extensive and thorough post-production process. In any case, the end result is visually sumptuous and artistically bold: a satisfying addition to the Park brothers' filmography. Night Fishing tells the story of a fisherman who catches a fish that turns into a young woman who becomes alive. She starts talking to him about his long-lost daughter and we gradually discover that in fact the girl is a shaman who acts as a medium between the world of the living and the dead. Switching back and forth between black and white and color and featuring a fascinating UhUhBoo Project soundtrack (Sympathy for Mr. Vengeance), the film has a more sober and challenging tone than many of the other Park Brothers' films. The shamanistic image and themes are reflected in the previous works of acclaimed visual artist Park Chan-kyong, who also has another film, Anyang, Paradise City in the Bright Future section of the Rotterdam Film Festival. Another example is the 2013 APP or Android film by Dutch director Bobby Boermans, for which the audience needed to download the accompanying app, Iris, before entering the cinema and then was encouraged to interact with it in the cinema. A horror film in which an application takes over the phones of the main protagonists and of the public, alludes to the consequences of our new dependence on digital devices and its subversion in our private lives. After Anna (Hannah Hoekstra) drinks at a party, she wakes up with a hangover and a mysterious app called IRIS downloaded on her phone. At first, the app seems harmless, but soon IRIS starts to change Anna's life in more and more destructive ways, and she doesn't seem to be able to do anything to uninstall the app from her phone. As Anna desperately tries to get rid of IRIS and understand why she is being targeted, she discovers that she is in the middle of something much bigger than she initially expected. APP exemplifies how new forms of mobile cinema, through a selection of story, subject, and style, can explore the impact of computer-mediated communications on our daily lives. The consequences of mobile technologies on our daily lives are explicitly explored in #Starvecrow, considered to be “the first selfie film in the world”.

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James Carver's film is a mixture of improvised images, filmed entirely using the actors' mobile devices, with characters focusing their cameras on themselves and on eachother. Blurring reality with fiction, the improvised material is cut with images found from the actors' own mobile phone libraries and from their personal home video archives, culminating in over 70 hours of shots. This material was then extracted and assembled, and other semi-fiction scenes were filmed to create narratives in several dramaturgical streams, in an 85-minute feature film. It's a sick love story. #Starvecrow is the story of Ben and Jess. Ben is a strange, charming, aggressive and schizoid individual, a product of the digital age, a technology addict. He knows he has to film everything. Jess, on the other hand, has just come out of rehab. Their two worlds are dominated by each other, but Jess now needs space and time from him and is invited by her friends to their house in the forrest for the weekend. People arrive at the location and the party begins, but not all participants were on the guest list. #Starvecrow is a disturbing story about obsession, narcissism and complex relationships, in which friendships and families are irreversibly destroyed. Considered to be the first “selfie” movie in the world, #Starvecrow appears as a unique mix of “stolen” smartphone images and “pirated” CCTV footage. This style, along with the provocative themes of the film, offers an uncomfortable viewing experience and is an apologetic social commentary on the dark side of the mass adoption of new technologies, the ubiquitous self-documentation, self-surveillance, social voyeurism. Today, through the ubiquity of the smartphone, the behavior of a generation is recorded and made available to the public on social networks for the future audience. Through these social channels, lives can now be characterized, shaped and sometimes destroyed by naive behavior and petty crimes of the past, implications that we, as a society, must fully understand. As with all emerging forms of media, content and themes reflect and exemplify the tools for making them, ultimately creating new ways of storytelling, new ways of production and new types of audience involvement. As such, these examples of visionary pioneering smartphone films will no doubt retain their place as significant innovations in the history of cinema.

Online references: 1. EVANS, Sean (2016) #Starvecrow Review [Online]. Available at: https://www.backtothemovies.com/starvecrow-review (Accessed: 9 December 2020) 2. FLETCHER, Harry (2019) How the smartphone changed the face of cinema [Online]. Available at: https://www.standard.co.uk/culture/film/how-the-phone-changed- the-face-of-cinema-a4084631.html (Accessed: 9 December 2020)

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3. HALFYARD, Kurt (2011) Fantasia Review: Paranmanjang (aka Night Fishing) [Online]. Available at: http://www.rowthree.com/2011/07/18/fantasia-review- paranmanjang-aka-night-fishing (Accesed: 9 December 2020) 4. IMDB (2013) App [Online]. Available at: https://www.imdb.com/title/tt2536436, (Accessed: 9 December 2020) 5. JOHNS, Stephen (2012) The Silver Goat makes world history as first film to have iPad premiere [Online]. Available at: https://metro.co.uk/2012/05/10/the-silver-goat- makes-world-history-as-first-film-to-have-ipad-premiere-421552 (Accessed: 9 December 2020) 6. SHOARD, Catherine (2009) All the rage [Online]. Available at: https://www.theguardian.com/film/2009/feb/02/sally-potter-jude-law-rage (Accessed: 9 December 2020) 7. SINGAL, Nidhi (2013) A theatre in your Phone [Online]. Available at: https://www.businesstoday.in/magazine/mobiles/cinema-movie-on- smartphones/story/195130.html (Accessed: 9 December 2020) 8. ZOLLER SEITZ, Matt (2015) Tangerine [Online]. Available at: https://www.rogerebert.com/reviews/tangerine-2015 (Accessed: 9 December 2020)

Filmography: 1. #Starvecrow (2017) Directed by James Carver [Film] 2. APP (2013) Directed by Bobby Boermans [Film]. Amsterdam: 2CFilm, Just Bridge Entertainment, Just Film Distribution. 3. Night Fishing (2011) Directed by Chan-kyong Park & Chan-wook Park [Film]. Seoul: Moho Film. 4. Rage (2009) Directed by Sally Potter [Film]. London: Adventure Pictures & Vox3 Films. 5. Tangerine (2015) Directed by Sean Baker [Film]. Los Angeles: Duplass Brothers Productions. 6. The Silver Goat (2011) Directed by Aaron Brookner [Film]. London: Pinball London.

Vadim Staver is a sound engineer and a PhD student at UNATC “I.L. Caragiale” Bucharest. A graduate of UNATC, the Faculty of Film, Multimedia Department, he has more than twenty years of experience in the field of audio production, audio post-production and video editing. Over the years, he has collaborated with famous film directors from the country and abroad, such as: Malvina Urșianu, Anca Damian, Șerban Marinescu, Nicolae Mărgineanu or Paul Schrader and Francis Ford Coppola.

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Entrepreneurship and Management in Early American and French Cinemas. Comparative Study

Matei ŞOPTEREAN UNATC “I.L. Caragiale" Bucharest, Romania [email protected]

Abstract: The article is a research on the question of why American film entrepreneurship had a much higher success rate than even the birthplace of cinema, France. The financial investment and the production work, regardless under what name and to what extent was done, gave birth on the one hand to the star system, the studio system and the box office, while the country that gave us the forerunner of the documentary film – Lumière, and the first fictional director of the film world – Méliès, remained, for a while, behind. The industry had to deliver a salable product – the film, a product that, in turn, had to develop a prosperous industry under the seal of a judicious relationship between profitability and profit. The paper aims to present why alliances made in the US (between major producers, with major American industries, with major banks of the time) led – in economic terms – to much more than what happened in France, a country whose film industry seemed, less than thirty years after its birth, already worn out. The results of the undertaken documentation and research are presented in this article. Keywords: French cinema, American cinema, entrepreneurship, management, film industry, first cinema production companies, Nickleodeon, studio system, star system, box office, film d'auteur. How to cite: ȘOPTEREAN, Matei (2020) “Entrepreneurship and Management in Early American and French Cinemas. Comparative Study”, Concept 2(21), pp. 180-191.

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Entrepreneurship, according to all financial glossaries – the sum of all known definitions, is a process that consists in identifying and pursuing business opportunities, in order to capitalize on them. Starting from the idea that an entrepreneur runs a business, he or she, according to the market economy, is an economic agent with an active, innovative and visionary behavior that deliberately accepts financial risks in order to develop new projects. Joseph Schumpeter, considered by some to be a genius in economics in the twentieth century, believed that in entrepreneurship the notion of behavior means initiative, organization and reorganization of socio-economic mechanisms and acceptance of risk and failure. Management – from the Latin Magnum agere/to lead by hand – is the art of achieving something with others according to the definition given by Marry Follet. That is why management is the organizational function that ensures the efficient development of activities and that aims to achieve the maximum level of results through the optimal use of resources. The resources that a manager has at his disposal are time, talent, financial resources and human resources. If the product is the material good resulting from a work process – all objects and goods obtained in the production process and its administration involve development tactics and strategies that lead to increased demand for the respective product during its life cycle, and if the industry is a branch of national production and of the national economy which comprises all enterprises engaged in the production of work tools, the extraction of raw materials, materials and fuels and the further processing of resulted products, then entrepreneurship, management, product, industry are the quintessential terms to apply at the time of the birth of cinema, but also soon after, in the first years of the existence of film production, both in the USA and in other European countries. The subject of this article is to relate these terms in American cinema to, say, the forefront of European cinema, France. Of course, France did not represent all of Europe, but in those years, at the end of the 19th century, it represented the technical and cultural space that gave cinema to the world. Therefore, we aim to explain how initially a simple product subject to marketing – film – came to America as the ultimate product of entertainment – box office film, while, on the other side, in France, it developed, of course with exceptions, another line – the art film, a product not subject to commercial rigors, to that recipe imposed across the ocean. The article will try to make readers understand how an industry just born – cinema – determined two totally different types of financial reactions which, each in its own way, determined a different cinema state, influencing through commercial and artistic criteria the perception area of the cinema art. The reader is encouraged to understand how the American cinema of 1895-1927 led, through a formidable entrepreneurial commitment, to what was later called the Golden Years of Hollywood – 1927-1947 (according to other sources until the late '50s) while at the same time in Europe, more precisely in France, the managerial (not entrepreneurial) construction of the film (up to the limits of the appearance of sound) led to a certain crisis of the cinema product – as a relationship between supply

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and demand –, crisis solved only in the 50s, with the appearance of the New French Wave. I will try to explain why American entrepreneurship had a much higher success rate than even the country that gave birth to the cinema, France. The reader will hopefully understand to what extent the financial investment and the production work itself, no matter what it would be called and to what extent it was done, gave birth to the star system, studio system and box office while the country that gave us the forerunner of the documentary film – Lumière, and the first fictional director of the film world – Méliès, was left, for a while, many steps behind. Because an industry, namely the film industry had to deliver the salable product – the film, product, which, in turn, had to develop a prosperous industry under the seal of a judicious relationship between profitability and profit. After finishing the paper, readers should be able to understand why the alliances made in the USA (alliances between big producers, alliances with the big American industries, alliances with the important banks of the time) led – in economic terms – to something greater than what happened in France, the country whose cinematography seemed, less than thirty years after its birth, already tired. Tired to the limit of what a surplus of value means, be it absolute or relative. First, let's talk about the French film industry. Without trying to draw a history of the beginnings of French film, let's emphasize from the beginning the importance of the four big names to which French cinema (and not only) must be grateful: the Lumière Brothers, George Méliès, Gaumont and Pathé. From the beginning, we must emphasize that all of them are born in France. (it will be later discussed, how, paradoxically, another film company – less budgeted and with less commercial visibility – Film d'Art, will influence, from a certain point of view, the French cinema in the '20s -'40s much more than the first four names listed). Louis Lumière is the first, the one who animates photography using a device (for filming and for projection) called cinema. This invention was the materialization of a dream: that, after photography was invented somewhere in the 30s and 40s of the nineteenth century (by the French Joseph Nicephore Niepce and Louis Daguere), the movement of the image should be the next step. Therefore, cinema simply appeared not only as a technical invention, but also as a curiosity. In fact, the Lumière brothers owned a company that dealt exclusively with technical research projects. The cinema was such an invention (among other inventions). Through this invention, the world was discovered through motion. Consequently, shortly after this was done, Louis Lumière developed a network of operators who went all over the world to film... images so that they could later be projected in front of an increasingly large audience, more and more curious, more and more numerous... Obviously Lumière understood the nature of his discovery. What he did not understand was its phenomenon. When Méliès asked Antoine Lumière to sell him the patent for the cinema, the industrialist is said to have told him: “The invention is not for sale. To you it will be a ruin. The cinema can be exploited for some time as a scientific curiosity. But other than that, it has no future.” (Legrand, 1992, p. 45).

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Méliès is a magician, and in Paris at the end of the nineteenth century the number of theaters in which illusionism, magic, and conjuring were practiced, in relation to the number of cinemas, was in favor of the former. The Robert-Houdin Theater was one of the theaters of this kind in Paris. Here the master presented his complicated numbers of illusionism. The appearance of the film determined him to turn towards cinema to diversify and intensify his magic numbers. He soon started making movies. In 1897 he moved to Montreuil, a property he already owned, and built over an existing barn a film studio made entirely of glass and oriented so that it had more light. Here he will give life to his film dream worlds, from which the A Trip to the Moon (Le voyage dans la lune) made in 1902 stands out. Here, in Montreuil, he made all his films that later helped him to be regarded as the first film director in the history of cinema.

Méliès Montreuil Studio (@https://en.wikipedia.org/wiki/Georges_Méliès_filmography#/media/File:Melies's_Montreuil_studi o.jpg, see also John Frazer, Artificially Arranged Scenes: The Films of Georges Méliès [Boston: G.K. Hall & Co., 1979], p. 42)

Like the Lumière brothers, Leon Gaumont was also an inventor. Passionate about photography, he sold cameras, but starting 1895 he goes in the film business. He made his first productions in the company of Alice Guy-Blache – considered by some historians to be the world's first female director (and later the studio's production director until 1907) and began to exploit them. The same year, he founded the Gaumont Film Company, which became responsible for a large part of the films made in France, together with the Pathè company. Note that this company is the oldest film company in the world born before other studios such as: Pathè (1896), Nordisk Film (Sweden, 1896), Paramount (USA, 1912),

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Universal (USA, 1912) etc. In 1906 the company had a capital of 2,500,000 francs, money that is invested in the production of photo and video cameras and projectors. Profit is reinvested in film production. We should also add that, in order to better distribute his films, Gaumont builds Palace Clichy – a huge projection hall that could accommodate 4,000 spectators. Also, between 1905-1914 the Cite Elge studios were built in the town of La Villette, considered at that time the largest film studios in the world. Gaumont's three directors – Alice Guy, Louis Feuillade and Leonce Perret – all emigrated to America after 1914. The Pathè Freres (Pathè Brothers) company was founded a year after Gaumont, 1907, by the four brothers – Charles, Emile, Theophile and Jacques Pathè. As early as 1894, Charles Pathè opened a gramophone store and set up a phonograph factory near Paris. Following its success, he also expanded into the film business, selling mainly film equipment. In 1902 he acquired the Lumière brothers' patents and built a small studio for his own films. In the first years after 1900, they opened 200 cinemas in France and later expanded to Europe, the USA, Australia and Japan. Note that in 1910, the first Pathè film made in America appeared: The Girl from Montana. One thing is clear: perhaps more than film productions, Pathè also dominated the European camera and projector market in those years. And from there, the movie market... ECLAIRE is the name of the youngest French production company of the time. It appeared in 1907 under the leadership of Charles Jourjon. It will soon open branches in London, Madrid, Barcelona. The devastating fire in some of its studios in New-Jeresey will cause major damage. It will last on the market for a while, but far below the revenues of Gaumont or Pathè. Le Film d'Art is a company or, rather, a production company founded by a significant number of artists of the French Comedy – authors, actors, but also directors, meant to give – at first to French cinema, and then to the universal cinema – a certain aesthetic and cultural dignity separating it from the fairgrounds, an orientation that appeared immediately from the dawn of cinema. This type of cinema will undoubtedly remain a branch of theatre since most films were transpositions of plays on the cinema screen. Of course, the appeal made to writers such as Corneille, Racine, Moliere and the great actors of the time, the coherent stories, in a much superior cut, the theatrical language of the actors etc. led the film to cinematic elaborations far removed from the schemes of the past, far beyond fairground entertainment. Thus, through the infusion of literary substance, a cerebral, cultural and emotional cinema was born. Art film was born through management. It was this type of cinema that aroused the enthusiasm of the American Griffith or the Danish Dreyer. But this very orientation will betray the French cinema from the point of view of a certain box office. The French film will move away from an audience that was poorer, but bigger, in favor of a much more spiritualized one, but certainly less numerous. Let's see now what the situation was in the United States. In 1894, a year before the appearance of Lumiére's cinema, Edison Studious was born, a production company

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Research belonging to the inventor and entrepreneur – perhaps truly the first entrepreneur in the film industry – Thomas Edison. It later became the Edison Manufacturing Company. It will disappear in 1918, leaving behind over 1200 short films and 54 feature films. Note that Edwin S. Porter's The Great Train Robbery (1903) is made here – Biograph Company is born in 1895, becoming an active company until 1916. It was the first American company (founded by the Scottish emigrant William Kennedy Dickson, the inventor of the 35 mm film) which produced and broadcasted films (over 3000 short films and 12 feature films). It was later the production house of David Wark Griffith, Mary Pickford, Lilian Gish, and 14 years later, in 1909 - the Independent Moving Pictures Company (IMP) was born with Carl Laemmle as president. Adolph Zukor, in partnership with the Frohman brothers, famous theatre agents, founded the Famous Player Film Company in 1912. In the same year, Universal Studios was founded by the German Carl Laemmle and Pat Powers, but also Paramount Pictures, founded in Los Angeles by Adolph Zukor, William Wadsworth and Jesse L. Lasky. The year 1912 adds two more entrepreneurial events: Universal Manufacturing Corporation is born from Mutual Film Corporation and a few smaller companies. And also at that time, Mutual Film Corporation (consisting of several businessmen led by Harry E. Aitken) is born, which will later be absorbed (1918) by Film Booking Offices which in turn will become RKO Pictures. Let's just remember that the famous Keystone movies will be born here, and Charlie Chaplin will also produce one of the most wonderful comic series here.

Warner Bros. First National Studios (©www.alamy.com)

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Four years later, Zukor's Famous Players Film Company and Jesse L. Lasky Features Play Company formed the Famous Players-Lasky Corporation, a company that survived the American industry until 1933. In 1917, First National Exhibitor's Circuit Inc. was born, consisting of several companies that owned cinemas, which will soon become the largest chain of cinemas. The company was reincorporated two years later into Associated First National Theaters Inc and Associated First National Pictures Inc., becoming a major studio in the Hollywood film

industry. In 1928 the control of this company passed under the leadership of Warner Bros. The Warner brothers (Jack, Harry, Albert, Sam – Jewish Poles) created in 1918 the Warner Bros. studio, the third largest American studio after Paramount Pictures and Universal Studios, both born, as we have seen, in 1912. A year later, in 1919, the United Artists Corporation was born, made up of the legendary David Wark Griffith, Mary Pickford, Douglas Fairbanks and Charlie Chaplin. In 1920, Louis B. Mayer forms L.B. Mayer Production Inc. with a capital of 5 million dollars. Between 1922 and the dawn of the arrival of film sound, several entrepreneurial events took place. Thus, big companies such as Fox, Paramount, United Artists, Goldwin, First National create the Motion Pictures Producers and Distributors Association which will be led by tycoon Will H. Hays. The purpose of this vast merger was to promote the interest of the film industry and to raise the moral, professional and aesthetic standards of cinema. In 1927, after breaking away from Famous Players Lasky, Cecille B. De Mille became head of the Producers Distributing Corporation alongside Jeremiah Milkbank. A year later, RKO Radio Pictures formed the Keith-Albee-Orpheum Corporation and Film Booking Offices of America and was chaired by Belarusian emigrant David Sarnoff. Studios that were famous for their series of musical films (starring Ginger Rogers and Fred Astaire), for the hosted films starring Robert Mitchum and Cary Grant, for Citizen Kane (1941) and It's a wonderful life (1946), later noir films, etc. We were talking above about the fact that on the French territory the whole pleiad of producers, directors, but also actors, were largely French citizens and only tangentially we could talk about collaborations with film professionals from other countries. It was the French who went to other cinemas. And this starting with Lumiére's operators and ending, for the period we are referring to, with the Pathè brothers (culminating with the company's first film made in America, The Girl from Montana). The next ones are Ferdinand Zecca, Max Linder and a whole host of directors belonging mainly to Film d'Art - Maurice Tourneur, Leonce Perret and Emile Chautard who will form a true French colony in Hollywood spreading the healthy principles of the aesthetics of the art film company. Instead, we will not find major names in American cinema present in France, of course outside of film marketing. The American cinema was born through the overwhelming contribution of immigrants from all over the world. Without immigrants – producers, directors, actors, but also consumers, American cinema would not have looked like it does today. The village

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Research around which the great Hollywood will be born, located south of Los Angeles, already had, in 1900, according to stories, a post office, a newspaper, a hotel and two shops. Here is another story: It is said that an entrepreneur named H.J. Whitley was on his honeymoon, around 1886. On one of the hills in the area he saw an Indian carrying wood with a cart. More or less as a joke he asked him what he was doing. The man is said to have answered, I holly-wood, with the meaning of hauling wood. As a revelation, Whitley decided that the area he wanted to buy should be called Hollywood, holly representing England, and wood being the treasure of Scotland. Warner brothers, Albert Zukor, Louis B. Mayer, William Fox, Lewis Selznick and many other producers or artists, let's not forget Chaplin and, why not, the formidable jazzman Al Jolson, character of the first sound film The Jazz Singer (1927), came to the United States from Europe. Most came with the wave of immigrants from 1900 from Poland, Russia, Ukraine, Lithuania, Hungary. Of course, as the years passed this wave was joined by other European producers or filmmakers who were expelled with the outbreak of the First World War. Here, with the birth of cinema, with the growing popularity of film – at that time only the Biograph company (1895) was dominant on the market and was extremely popular throughout the American territory – more and more people were interested in cinema. Making movies was becoming a business. A bussines that demanded entrepreneurial scope. All these names we are talking about, and many others, have done pioneering work, an entrepreneurship with a certain visionary value. Through vision, courage, openness, intuition, work and, of course, dollars, many dollars, they invented (only entrepreneurs invent!) a product called film spectacle. A product that people seemed to need more and more. Of course, each company, among those listed (and many others not named here), had its own path, rise and development given by the circumstances of the time. Apart from Biograph and Edison's company, all the other major companies were born after 1910, after their presence in a single region led to the official birth of Hollywood. In fact, in 1910, the town of Los Angeles annexed Hollywood, encouraging and allowing the establishment of large companies and huge investments in the film industry. As a curiosity, in 1921, more than 80% of the film industry was located in L.A. It is said that L.A. was one of the few American cities that did not violently feel the economic crisis of the 1930s because of the film industry and the huge financial resources that came from it. The mild climate, extremely clear and long-lasting light, the city's opportunities (banks, booming oil industry, prosperous businesses, massive real estate investments, the numerous railroad junctions that connected this region with the rest of America) turned the place into a true El Dorado that many wanted to reach as soon as they passed the gates of Ellis Island, an island that since 1892 became a symbol of American immigration and the starting point of what became the American dream. European filmmakers turned to America both because of the security and freedom that Europe did not provide, and because of the rigors of the American production system, laws and professional rigors that America had developed before Europe.

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It's time to take the first entrepreneurial steps in the history of cinema. Let's remember nickelodeons. Historian Georges Sadoul argues in his history of cinema: In 1905, in Pittsburg, the capital of the Pennsylvania mining district, Hary P. Davis and John P. Harris, event organizers and property agents, rented a shop in a popular neighbourhood to present the film The Great Train Robbery. Soon, assaulted by the working public, this hall will have to give permanent performances, from 8 in the morning until 12 at night, each session lasting about half an hour. This Pittsburgh shack had a cinema-like importance comparable to that of the golden nugget found in 1847 by Johann Sutter near San Francisco. It signaled the chase after – not after gold, but after... nickel. For nickel is in America the name given to the five-cent piece, the modest price of entry into the new theatres. When, after the success in Pittsburg, these enterprises multiplied, they were called Nikel Odeons. The single price of admission to the film had been set at a very low rate, but the proceeds were immediately enormous, for a very small capital investment. Nickelodeons recruited their clientele from the neediest sections of society, especially among immigrants who at that time landed in the United States at a rate of over one million per year. These crowds did not know English. Most came from Central Europe. The theatre was of no interest to them. (Sadoul, 1961, p. 23) Of course, we also find out that Johann Sutter was a German immigrant, and the two innovators of the nickelodeons were also European immigrants. Pitssburg, the city on the East coast of the United States, proved to be the second largest gateway for the less privileged to America, becoming, through the level of those that remained in the various services offered, one of the most cosmopolitan places in the world. A real linguistic Babylon. Most of them did not know English, and in the fairs of the city you could hear all the languages of the Earth. Silent, nickel-priced film screenings spoke their language. The visual, devoid of the spoken sound, spread universal stories in front of them: adultery, love, betrayal, friendship, sadness, joy etc. They all understood these stories regardless of nation, ethnicity or race. These nickelodeons offered immigrants salvation by integrating them into a unique system of existence. We can say that, at least until around 1927, the year of the appearance of sound, the silence in movies was in fact the universal language of American cinema. And hence its rescue for a long time. The French cinema belonged to the French. The German one, to the Germans. And the Italian, to the Italians. The American cinema belonged to the world. This explains its formidable development, far superior (up to a certain date) to European cinema. Those who saw these films, and there were many, with an enterprising, heroic, visionary spirit, intuited that this world of film was, as I said before, a business. They immediately found out about the West Coast with that Hollywood El Dorado and went there. Sadoul is right: the pursuit of gold actually meant the pursuit of cinema. And tens of thousands went, some even on foot, to the sunny coasts of California, America's last stronghold, beyond which there was nothing left. Maybe just the Pacific... Charlie Chaplin talks about a meeting with the fabulous character of Scottish origin, Sir Thomas Johnstone Lipton, the creator of the Lipton tea brand. Chaplin will tell him:

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“Lipton, you came to America and you succeeded... so did I. I got here for the first time on a cattle ship. And then I said to myself: Next time I will come with my own yacht!” (Chaplin, 1973, p. 454) – typical entrepreneurial thinking! We were saying that the beginnings of American and French cinema contained those germs of development on different tendencies. We also mentioned that at the time the foundations are being laid for the entry of American cinema on the classic line, that of the Golden Age of Hollywood, but at the same time, we can see the successive crises of French cinema after the 1930s, crises partially solved in the 1950s. the years of setting up what was called the film d'auteur – the New French Wave. However, from this moment on, the two cinemas went one alongside each other, influencing each other. We say this because at that moment the visionary meeting between the two titans of the universal film, Francois Truffaut and Alfred Hitchcock takes place. The consequences will be huge. Before moving on, let's say, from what we previously observed, that the pioneers of American film are entrepreneurs (they practically took it from scratch by planting the cinema on a no man's land called Hollywood), while, interestingly, French cinema was never under the seal of entrepreneurship but only under that of management. If we research the development of French cinema infrastructure, we notice, from concrete examples called Lumière, Méliès, Gaumont, Pathè etc., that it has risen on something pre-existing, on something that requires organization, planning, profitability, aspects belonging to management. Let's give two examples: Méliès' cinema was born in a theatre. Access towards film was a managerial upgrade. Chaplin's cinema (also a man of the theatre) was born on sets built on location or improvised locations and was therefore born from nothing but his instinct as a brilliant entrepreneur (see his confessions from the book My Life in Pictures or Lilian Gish's observations from The movies, Mr. Griffith, and Me). And the examples can go on. Nickelodeon, a huge entrepreneurial phenomenon, eventually led to the birth of what was later called studio system and star system. While French theatre influenced the philosophy of French film (with all that meant: from actors to repertoire) pushing it, to a large extent, even before film d'auteur, towards a kind of intellectualism and culturalism from which, fortunately, it has yet to dettach from. Thomas Harper Ince lived only 44 years and was not only the pioneer of American film but, perhaps, as a silent film producer, director, screenwriter and actor, he was the first filmmaker in the true sense of the word. Being responsible for over 800 western films, he simply invented what we call movie production and, moreover, initiated the assembly line process by strongly emphasizing the huge role of the production process, as it is known today, even inventing trades without which a film would have been impossible to make, from drafting estimates to casting, organizing the production department, the departments that build the film – set design, cinematography, post-production. He was the first, and even before the birth of Hollywood, he set up film sets in Passadena, he was the one who thought

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of film as a product with everything that meant the laws of its sale. In this sense, he greatly influenced David Wark Griffith, with whom he collaborated for a short time. Of course, Ince's work was later known and taken over by all the great moguls in Hollywood. It is said that Ince also printed textbooks in this regard, as well as the first surrogate cutouts. With a thorough preparation you could easily reach the end of a film, with low costs and high productivity. Basically, Ince placed cinema, from the first years, on a professional level. As we have seen, the arrival of businessmen such as the future creators of large film production companies led to the expected recovery in American cinema. Through Ince and then through Griffith we came to the answer the question of how to make a film. Before that, they had to answer another much more burning question: how to build a company, especially since all these immigrants had no knowledge of cinema when they left Europe. Everything was built from scratch – perhaps the maximum definition of what is called entrepreneurship. Here is how the conclusion of this research can be briefly structured: • Entrepreneurship results of Hollywood producers: star system, studio system and box office. • The result of the management of the French producers: the art film.

References: 1. BERSTEIN, Steven (1998) Film production. Oxford: Focal Press. 2. CHAPLIN, Charlie (1973) Povestea vieții mele. București: ed. Muzicală a Uniunii Compozitorilor. 3. FORD, Charles (1972) Istoria Hollywoodului. București: Meridiane. 4. GISH, Lilian (1968) Filmele domnului Griffith și eu. București: Meridiane. 5. GODARD, Jean-Luc (1980) Introduction a une veritable histoire du cinema. Paris: Albatros. 6. JAKOB, Lewis (1955) The rise of the american films. New-York: Orion Press. 7. LEPROHON, Charles (9169) Maeștrii filmului francez. București: Meridiane. 8. LEGRAND, Jean (1992) Chronique du cinema. Paris: ed. France Loisirs. 9. LITTERA, George (2010) Istoria filmului universal, 1895-1945. București: UNATC Press. 10. MARIE, Michel (2010) Noul val francez. București: IBU Publishing. 11. PRICOP, Lucian (2008) Management în cinematografie. București: Tritonic Media. 12. SADOUL, George (1962) Istoria cinematografului universal. București: ed. Științifică. 13. STEVENS, George, Jr. (2012) Conversation at the American Film Institute with The Great Moviemakers. New York: Alfred A. Knopf.

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Filmography: 1. Citizen Kane (1941) Directed by Orson Welles [Film]. New York: RKO Radio Pictures. 2. It's a wonderful life (1946) Directed by Frank Capra [Film]. New York: RKO Radio Pictures. 3. Le voyage dans la lune (1902) Directed by Georges Méliès [Film]. Paris: Star Film Company. 4. The Girl from Montana (1907) Directed by G.M. Anderson [Film]. Chicago: Selig Polyscope Company. 5. The Great Train Robbery (1903) Directed by Edwin S. Porter [Film]. New York: Edison Manufacturing Company. 6. The Jazz Singer (1927) Directed by Alan Crosland [Film]. Burbank: Warner Bros.

Matei Șopterean is a cinematographer and a PhD student at “I.L. Caragiale” The National University of Theatre and Film in Bucharest. He graduated the M.A. at the Cinematography section and is responsible for the cinematography of over 25 fiction shorts. He has a vast experience in the production of TV commercials thanks to his afinity for inovative techniques for movie camera usage. For this reason, he is one of the few young cinematographers working in the field of Cinematography. As a Director of Photography, he worked for local productions and for foreign productions located in countries such as France, Spain and England, where he shot a short movie in collaboration with the London Film Shool, being selected on the long list of ten nominees for young cinematographers at the Bafta Festival. In 2017 he won the “Romanian Society of Cinematographers” award at 21st edition of the Cinemaiubit Festival.

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Playing with the Fire of Creation – Werner Herzog

Alina GRIGORE UNATC “I.L. Caragiale” Bucharest, Romania [email protected]

Abstract: The paper is a critical survey on how the self- analysis of the struggle between artist and creator, at the border between fiction and reality, is made in “Herzog on Herzog”, edited by Paul Cronin. I used content analysis as a method of research and that of breaking down the very roots of Werner Herzog's ideology on the act of creation. In addition to the above-mentioned book, further materials were included on which the same method of analysis was applied: 4 interviews with the unstoppable director, 6 films and one essay written by Herzog – “On the Absolute, the Sublime, and Ecstatic Truth”. The chosen interviews seemed to be the most relevant for the subject, and the films chosen for analysis are: “Fitzcarraldo”, “Grizzly Man”, “My Best Fiend”, “Fata Morgana”, “Into the Inferno” and “Encounters at the End of the World”. I have chosen the last five as they are narrated by the director himself and, thus, his opinions on the limits that human nature is daring to break seem even more pertinent. For “Fata Morgana”, I analyzed the original film as well as a version commented by the director himself. One idea seems to obsess the author: how far do you push the limits but especially what for? Keywords: Werner Herzog, film directing, Herzog on Herzog – Paul Cronin, Klaus Kinski. How to cite: GRIGORE, Alina (2020) “Playing with the Fire of Creation – Werner Herzog”, Concept 2(21), pp. 192-202.

The actor taking over the filmmaker Towards the end of the Grizzly Man documentary (Herzog, 2005), German director Werner Herzog reveals to us a tantrum of Timothy Treadwell1. The man is cursing an imaginary enemy which, in this case, was the park service of the natural bear preservation hosting him. During this tantrum, Grizzly Man does not forget to fix his hair for one of the takes (as he was trying to pull more alternatives of the episode), managing to let himself be

1 The name of the protagonist of Werner Herzog's documentary Grizzly Man.

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Research permeated, each time, by the same intensity of feeling. At 01:24:00, Werner Herzog describes Treadwell's rage as “almost incandescent, artistic” and follows with a commentary of significant value for the analysis of the director's creative mind: “The actor in his film has taken over the filmmaker. I have seen this madness before on a film set”. Knowing that Timothy is the actor/the artist/the lead and also the “filmmaker” of his own documentary materials, Herzog's comment becomes even more interesting. Given the relationship between Herzog and “his best fiend”, the actor Klaus Kinski2, you could easily conclude that Timothy could remind Herzog to some extent of his old friend. Perhaps even more interestingly to analyze is, in fact, what trait of the actor/character “Werner Herzog” in any of his film, what concealed (or not) detail of his mind had determined him to state that this was not the first time he had seen the “artist” possessing the filmmaker. Is it possible that you would be able to empathize with Treadwell's or Kinski's fit of rage without having a similar seed in you? Therefore, is it likely that in some way Herzog also feels that in his creative acts the artist has exceeded the filmmaker's duties? One of the clues that can help answer this question is the ship from Fitzcarraldo (Herzog, 1982). I generated a list of the first 150 most used words in “Herzog on Herzog” and the leading place in the Bavarian author's film titles category is occupied by “Fitzcarraldo” with 87 mentions, 17 of which appear in the author's questions, 7 in references and the rest of 63 are used by Herzog. The same title occupies position 36 in the list of the 150 most used words in the book. Around two million results are given in Google engine if you search for: “Werner Herzog ship mountain interview” (Werner Herzog, ship, mountain, interview). But no more than 5 of these results send you to relevant interviews with Herzog on this topic: • “The outlaw as revelator” – a conversation between Werner Herzog and Eric Weinstein – The Portal Podcast Episode 3, by Eric Weinstein (5 out of 7 occurrences) (Eric Weinstein, 2019) • “On the Absolute, the Sublime, and Ecstatic Truth” (“On the Absolute, the Sublime, and Ecstatic Truth | Arion,” n.d.), speech/essay by Werner Herzog -the text was originally delivered by Werner Herzog as a speech in Milano, Italy, following a screening of his film Lessons of Dark•ness on the fires in Kuwait (4 out of 4 occurrences) • “Werner Herzog has never thought a dog was cute” (Marchese, 2020), by David Marchese, in New York Times Magazine (1 out of 4 occurrences) • “Werner Herzog: 'The world reveals itself to those who travel on foot'“ (“Werner Herzog: 'The world reveals itself to those who travel on foot'“ n.d.) by Peter Gwin in National Geographic (0 out of 2 occurrences)

2 The actor with whom Herzog worked for various productions including Fitzcarraldo and Aguire, the Wrath of God

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• “The Last Word: Werner Herzog on the Beauty of 'Winnie the Pooh' and His Trump 'Fascination'“ (Newman and Newman, 2020) by Jason Newman in Rolling Stone (1 out of 1 occurrence) In relation to the word “madness” used in Herzog's commentary on Timothy, I will briefly mention that derivatives of the word “mad”, at least 23 in count, are found in the book and even more often in articles and interviews regarding the director in one degree or another. They are used by both the authors of the articles and the director himself, which suggests that there is a tendency to constantly perceive Herzog's actions as similar to acts on the verge of madness. If we analyze the context of the 63 “Fitzcarraldo” used by the director, we will notice that most of them are used in paragraphs in which he motivates the importance of carrying out the act of creation to the end by assuming all risks. In the articles listed above, the context remains the same. Some of these risks seem to outweigh any code of ethics in the film industry, but most of the times Herzog succeeds to evade public reproach bringing more than valid arguments while sometimes, in doing so, he loses track of his own theories about what does or doesn't become valuable in the creative act. Probably the best examples can be discovered in his film My best fiend.

The birth of the unlimited creator and Fata Morgana “'Signs of Life' seemed to pave the way for what happened in Fata Morgana and Fitzcarraldo and other films. Signs of Life started very unfortunately, [...] before we started shooting there was a military coup d'etat in Greece.” (Herzog and Cronin, 2002)

For Fata Morgana Herzog wanted to shoot a Science Fiction about extraterrestrials who arrive on a deserted Terra and instead, he himself culminated as an alien in the middle of the desert during the production of his own film. Fata Morgana does not have a conventional narrative structure and, as he admits, it is rather a collage of images that he felt he had to film and whose narrative thread was born in the editing studio. Herzog states that the movie does not intend to impose ideas or point something out but that out of all of his films this is clearly the one that needs the audience's additions the most. Hence, immediately after editing, he didn't even feel the need to show it to the world. The movie was, in fact, submitted in secret to Cannes by Lotte Eisner3 and Henri Anglois and was extremely well received by a fair segment of the audience, composed of youngsters hooked on or casually using narcotics. What the film came to be is, however, in total contrast to the experiences he and the film crew went through in order to capture those images, experiences that, he claims, have traumatized him for life and whose images frighten him to this day. It is probably for the first time we witness the artist taking over the director. In the African desert, Herzog was struck by the indifference of the universe and nature towards

3 The feminine voice narrating on the background of Fata Morgana

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Research man, and that of man towards values – concepts in which the director strongly believes, and that are often mentioned in his documentaries as well as in interviews. Nonetheless, the actors in Fata Morgana have taken control of the horror that the director had to face outside of the “film set” and it seems like the result throws us straight into the organicity of our own emotions reminding us of the oblivion of human creation. Yet, who are these actors in Fata Morgana? The man becomes an element of the image and the element becomes man, a perspective reinforced only by the viewer's perception. In Fata Morgana, as in the majority of his feature films, the man is at the root of the two elements that comprise the image: philosophy and eroticism. Herzog (or maybe the African desert, one of the two at least) manages to attribute human forms or feelings to elements of the desert and nature. As for eroticism, it is born organically in relation to anthropomorphism. The need for expression from a philosophical stance is found through verbalization. Before watching the version commented by the director, I watched the original Fata Morgana. In the 7th minute, we can see a beautiful long shot with sand dunes that are discovered in motion. Before I was even made aware of the director's own perspective, my initial perception about that shot - a perception not yet perverted by any rational thought, was one closely related to the concept of sensuality. Later, watching with the added comments, the author's words confirmed my sensation: “There was something so feminine about this landscape.” (Herzog, 1972) In his characteristic delicacy, Herzog calls eroticism “feminine”, matching the forms of the dunes to those of a human being, only this time the human being is, at last, a woman. And yet, any viewer would let their sight be aroused at the unveiling of the sand dunes resembling such a voluptuous succession of curves of the female body. Intentional or not, an image, a dune, a sign becomes a symbol of the erotic human. Anthropomorphism is born organically. The question is which came first: the egg or the chicken? The author or the viewer? Herzog does not say. He only states that it was an image they struggled to shoot for several days so that they can imprint on the camera movement the same smooth rhythm found in the images. In The Function of Film, Elie Faure signs the essay entitled “Tintoretto's Prediction” in which he draws an excellent parallel between the rhythm of the fine art Paradise and cinematography explaining that “...the background actively participates in the movement of forms, while, without ceasing, the movement of forms enters into the tragedy of the background...” (Faure, 2015) Furthermore, the critic encourages cinematography to strive for the same rhythm because “Tintoretto does not seek these balances of movement, but senses them.” Herzog also sensed the erotic and feminine rhythm of the dunes! How simple was the transfer of perception from him to the viewer! But who's playing this woman? Can we say that the actress is the African desert? Or that the planes in the first sequence are signs of the male erotic symbol that enters the African desert to break through the barriers of Fata Morgana and to proceed to the erotic act? Are airplanes, therefore, the main actors of the scene? Herzog seems to disregard this interpretation as he begins to verbalize the philosophical approach, he envisioned through the voice of Lotte H. Eisner, who quotes from the Book of Counsel passages from the creation

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myth of the Mayan civilization, Popol Vuh. (Edmonson, 1977) This post-Columbian bible tells of the countless attempts of the deities to create an evolved being, who has the ability to know, understand but especially worship the creators. Are Herzog's images therefore deliberately erotic or philosophical? Since he emphasizes his philosophical approach through verbalization and music, we can answer that the director wanted, rather, a kind of exposition of a religious philosophy. Still, by placing man in the center, even through anthropomorphism, he fails to escape the exposure of the most organic engine of creation: eroticism. In Herzog's works, the man as the main character in the act of creation is replaced by signs and symbols in images, the “human” actor is replaced by the “element of nature” actor. Purposely or not, Herzog challenges you to search. Herzog invites you to listen to a story and become inquisitive about the act of creation. He placed the focus, intently or else, on eroticism and aimed for a philosophical approach, at least in post-production. This actor takes over the director and instills in him the courage to push the search for the artistic act to its fatal limits. The clarification is given in Herzog on Herzog by what may be the first reference to the way in which the mind of the director can be monopolized by that of the artist, in this case, the mirage. The mirage becomes the artist who takes over the filmmaker. Commenting on how the conventional narrative thread and the initial script had perished from the first day of filming, Herzog adds: “The mirages that had taken hold of me and the visionary aspects of the desert landscape were so much more powerful than any single idea for the film I had previously had, so I junked the story, opened my eyes and ears, and just filmed the mirages of the desert.” (Herzog and Cronin, 2002) Perhaps this first contact of the director with the “demon of creation” in this instance, the mirage, was achieved not through a human actor but through the nature-actor, so as to pave the way for an extremely daring director whose creative endeavors have reached limits that often came close to the violation of any moral rules or even death itself although never crossed them. Herzog often pushed his team and his creative passion to the extremes, but somehow, he managed to go just as far as to not cross beyond the irremediable slander of his work.

A conscious fortitude to test the limits and ends of the world Having reached maturity, Herzog has learned with every feature film or documentary to go as far as the red line but never to cross it, not even to lightly step on it. Whether he filmed on the edge of an active volcano, in Antarctica (Herzog, 2008), in the African desert or in a park where Grizzly man was devoured by his dearest bear, Herzog's obsession has always been the edge of human courage but especially what it represents: a step in the evolution of knowledge or simply the unconsciousness of a mad man lacking respect for values? It was not curiosity that pushed him in these directions, but rather, a

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Research feeling of empathy with these characters who, in these instances, happen to be represented by people. The way he structures his ideas and even the tone of his voice prevents you from believing that Herzog manages to be impartial in any of the 4 documentaries, yet he does not seem to want that. He expresses his emotions and opinions without hesitation and challenges you to analyze every time if exceeding the limits means the courage to research or simply an unhealthy obsession of the explorer to achieve a goal at any cost. This obsession is sanctioned on occasion by the universe so ignorant of the needs of man to search and discover. In Grizzly Man, Herzog observes a creator not just obsessed with his own beliefs about nature, but also manipulated by his own emotions, unable to look at them objectively or justify them. We see a Timothy who strongly believes in a communion of man with nature, which he perceives in a sort of romantical and religious view as an almost spiritual parent whose harsh realities he refuses to acknowledge. More than once the director expresses his own opinions about nature, opinions that do not seem to be detached or cold or observational but rather in opposition to those of his hero. (“On the Absolute, the Sublime, and Ecstatic Truth | Arion,” n.d.) Herzog's lack of objectivity seems to start from the same place where Timothy's subjectivism starts. However, they seem to sit on opposite ends. If Timothy is convinced that nature embraces man, Herzog is convinced that man is an intruder in any of nature's representation and that, in turn, nature is not only indifferent but downright aggressive with the one who tries to conquer its mysteries and unknowns. Herzog's quotations, be them either his own or slightly modified (“On the Absolute, the Sublime, and Ecstatic Truth | Arion,” n.d.), about nature and the universe but especially about man's relationship with the two are already famous and, in one form or another, prevalent in almost all of his interviews. (Marchese, 2020) It is not just Timothy who seizes control, but also Herzog, who, often impressed by the drama of the stories, prefers to stress the man's negative relationship with nature or at least to document it as the main reason for human error. However, almost every elocution about his experiences with the ends of the planet or with the less welcoming corners of nature he seems almost unaware that in order to document such acts of recklessness he himself appeals to acts of courage close to the edges of recklessness – whether we see him within a second of being touched by a “drop” of volcanic magma, whether he ventures with all the precautions into the heart of the glaciers, Herzog brings, not only himself but the whole film crew in proximity to danger. Fortunately, what is very important to be specified is that he indeed almost always stops at the very limit and does not exceed it. Maybe just once, when he pointed his gun at Kinski in the last attempt to convince him to stay put and meet his contractual deeds. He does admit this rumor to be real.4 But how do you know exactly where the limit lies when it becomes so volatile when sitting on the edge of a volcano, for example?

4 In My best fiend Herzog admits to have pushed the limits to far in his relationship with Klaus Kinski

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Each time Herzog justifies his actions by making our acquaintance with his heroes who are slightly more adventurous than him and even seems to suggest that he, unlike these heroes, has learned to carefully explore the limits of the universe and man. In the 18th minute of Into the Inferno (Herzog, 2016), well dressed and with the joyful attitude of two children who just succeed to steal some apples from the forbidden fruit tree, Herzog and Clive Oppenheimer, a volcanologist from Cambridge University, sit at the edge of the fire chewing volcano (that occasionally spits reddish pieces out its mouth) while carrying the following dialogue: Herzog: “For me, there is no personal excitement to go down. There's a curiosity, yes, I would love to see it from a close-up. But since it is too dangerous it would be silly Clive: We have in a way similar… (views) […] and you ask yourself: 'Well is it worth dying to get this measurement. And the answer is no if you look at it in those terms.'“ These last words specified by Clive are a clue of the dialogue and the so lustful laughter of the two. Clive: “But you always have to evaluate how far are you going to take this risk. Even here the volcano could explode now and we could all be hit by one of these five- meter bombs.” Alas, there is a danger that Herzog is warned about just a few seconds after claiming that it would be silly to go even deeper into the volcano, and yet his reaction can only be that of a creator in love with his work. However, Werner in his next line of dialogue insists on obtaining from Clive the assurance that he is not crazy, and even more so, that he is the only filmmaker in contact with reality. Herzog: “I'm the only one in filmmaking who is clinically sane, taking all precautions.” And Clive responds by alluding to the dangers to which Werner and his heroes have been exposed to in the past: Clive: “Oh, absolutely. I mean you would not still be here if you were insane. You would have been consumed long ago by a pyroclastic current or a gas flare or a grizzly bear. So it's quite clear that you're healthy.” The sane/insane antonyms appear so many times in such a short but so necessary dialogue to demonstrate Herzog's need to justify his actions, actions already justified by his creative genius. And the dialogue can only end with the return of the two to their first meeting, when immediately after Herzog claims that it would be silly to do something that would endanger his life, the volcano drops a firebomb and their dialogue overturns all the feeling of security they had created before: Herzog: “That's a good swoosh.” Clive: “We're very blase about all of this.”

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Herzog: (and his heartwarming childish smile): “Yes, but let it come at us. We'll face it and step aside.” We could easily conclude from this dialogue that ironically but also absurdly Herzog dares to talk about caution while sitting in the proximity of death but we must not forget the fact that he is the author of this scene, thus the message that Herzog sends us might rather be: be careful, even now when we thought we had taken all the precautions and that we can be safe, nature can contradict you and then kill you. Immediately after this dialogue, Herzog introduces us to two other dramatic characters, for whom he shares the same respect and love that he shared for Timothy, thanks to the ounce videos they left behind: the couple Katia and Maurice Krafft, two French volcanologists who managed to capture “incredible images" with the moments of volcanic eruptions and are known for being the people who came closest to a river of lava. You recognize Herzog's love for this story because he surrounds it in classical music like every time greatness meets drama in his films. The moment ends on Giuseppe Verdi's Recordare Jesu Pie when Herzog reveals how the two perished, on the background of a collage of monumental images in which you see the French couple just a few meters from volcanic waves or ash eruptions, accompanied by the stamp of his passionate old grandfather like voice, that whispers to you a secret of the world: “They were both instantly killed by a pyroclastic flow in Japan together with 41 other people." (Herzog, 2016) The two are killed by an avalanche of overheated gases that has a speed of over 100 miles per hour and whose dramatic footage could easily be devoid of acoustic accompaniment. However, this is not a dramatic pleonasm but an artistic exposition of the whole being of the director.

In conclusion, let's take a ship to Herzog's creativity On page 19 of Herzog on Herzog, Paul Cronin warns the director that he has a reputation as a risk-taker, someone who goes to extremes. The first film that Herzog mentions in his defense is his most criticized Fitzcarraldo. (p. 33) The appearance of the word “Fitzcarraldo” more than 100 times cumulated in the book and his interviews are often just justifications in the face of the many accusations he has received over time, especially from the press but not only. From the punch he took in Munich for risking people's lives during production, to the absurd accusations of the press or political propagandists that the director has a connection to the oppressive military regime in the Peruvian jungle, Herzog tries to justify every obstacle that arose during the filming and every risk he voluntarily took to endanger his or others' lives. Herzog says he did not want to climb a boat up a mountain for the sake of realism. “There is a mysterious truth in what we did, and I wanted the audience in a position where they could trust their own eyes.” (Herzog and Cronin, 2002, p. 19) During the shooting of Fitzcarraldo, he took decisions, and some led to accidents for which he was blamed by the press: they cleared a few meters of jungle, two of the locals who

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were also figurative were killed by arrows by a group of tribal members, they forgot the director of photography on a rock for 24 hours and operated on an injured woman right at the shooting location because the nearest hospital was 150 kilometers away. He claims that he took every precaution every time and that he took into account the morality of his actions and decisions. From his stories, but especially from his obsession with mentioning Fitzcarraldo at every step, there is a need to justify something that seems to be an unassuming mistake, but it is perhaps the most intense moment in which “the actor has taken over the filmmaker” and this time Herzog has taken over Herzog: “I am a Conquistador of the Useless.” (Herzog, 2010) Herzog concludes his plea, which would later inspire the title of his book on the Fitzcarraldo experience. 3 ships climbed a hill with an inclination of 75%: • the real ship, the one dismantled and transported between 2 rivers for the purely advertising purpose of the “robber baron" Carlos Fermin Fitzcarraldo in 1893, • the ship from the fictional world of Brian Sweeney “Fitzcarraldo", the character whose name also gives the title of the film directed by Herzog • and last but not least the 3rd ship, Werner's ship that is easily confused with the other 2, a real ship that the director wanted to shoot on the same slope using a clever system of pulleys and refusing the help of special effects in the desire to create fiction while accurately preserving the facts of reality, an action that causes him to proclaim himself the “conqueror of the uselessness.” During the shooting of the film, one of the team members set fire to his wooden house so as to take revenge for the madness of having 700 Indians pull a boat on the mountain, his friend Klaus Kinski was about to give up and leave the plateau and investors had almost withdrawn their funds. Herzog claims that together with the engineer (who also gave up in the end), they finally managed to create a pulley system with which they could have boarded the ship with one finger, but that the reality had to be kept for the sake of the truth that delights the public eye. This ship becomes the bridge between fiction and reality, between those who believe and those who doubt the powers or madness of the acts of creation, the bridge between the actor that takes over the filmmaker. Yes, the word Fitzcarraldo in the title category is the most widely used title for any book or press article. Nevertheless, among the most frequent words in the most popular articles related to filmmaking are: “truth”, “real”, “film”, “life”, “sublime”, “world”. Also in Herzog on Herzog there are about the same words in the list of the most commonly used plus: “mountain”, “money”, “Kinski”, “important”. In relation to the creative genius that is Herzog, these words speak for themselves. Moreover, the moments of risk that the director assumes or are not constantly confessed just out of a need to morally justify himself but especially in close connection with his main idea about making films, an idea that he formulates and reformulates as a valued piece of advice for young filmmakers:

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“Go out to where the real world is, go work as a bouncer in a sex-club, a warden in a lunatic asylum or in a slaughterhouse. Walk on foot, learn languages, learn a craft or trade that has nothing to do with cinema. Filmmaking must have experience of life at its foundation. I know that so much of what is in my films is not just invention, it is very much life itself, my own life. […] The failure of the others was very significant: it dawned on me that organization and commitment were the only things that started and finished films, not money. When it came to Fitzcarraldo, it was not money that pulled that boat over the mountain, it was faith.” (Herzog and Cronin, 2002, p. 26)

References: 1. EDMONSON, M.S. (1977) The Book of Counsel: The Popol Vuh of the Quiche Maya of Guatemala. Tulane Univ Middle. 2. WEINSTEIN, Erin (2019) Werner Herzog on “The Portal”, Episode #003: “The Outlaw as Revelator”. 3. FAURE, Elie (2015) Fonction du cinema. 1st edition. ed. République des Lettres. 4. HERZOG, Werner (2016) Into the Inferno. Matter of Fact Media, Spring Films, Werner Herzog Filmproduktion. 5. HERZOG, Werner (2010) Conquest of the Useless: Reflections from the Making of Fitzcarraldo, Illustrated edition. ed. Ecco, New York, N.Y. 6. HERZOG, Werner, CRONIN, Paul, (2002) Herzog on Herzog, Faber and Faber, London; New York. 7. MARCHESE, D (2020) Werner Herzog Has Never Thought a Dog Was Cute. N. Y. Times.

Online references: 1. NEWMAN, J. (2020). The Last Word: Werner Herzog on the Beauty of “Winnie the Pooh” and His Trump “Fascination.” [Online]. Available at: www.rollingstone.com/movies/movie-features/werner-herzog-interview-last- word-fireball-1099668/ (Accessed: 31 January 2021) 2. HERZOG, Werner (2010) On the Absolute, the Sublime, and Ecstatic Truth [Online]. Available at: https://www.bu.edu/arion/on-the-absolute-the-sublime-and- ecstatic-truth/ (Accessed: 11 January 2021) 3. HERZOG, Werner (2020) “The world reveals itself to those who travel on foot” [Online]. Available at: https://www.nationalgeographic.com/travel/2020/08/werner- herzog-interview-on-bruce-chatwin-film-nomad/ (Accessed: 9 February 2021)

Filmography: 1. Encounters at the End of the World (2007) Directed by Werner Herzog [Documentary]. München: Werner Herzog Filmproduktion.

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2. Fata Morgana (1971) Directed by Werner Herzog [Film]. München: Werner Herzog Filmproduktion. 3. Fitzcarraldo (1982) Directed by Werner Herzog [Film]. München: Werner Herzog Filmproduktion, Pro-ject Filmproduktion, Filmverlag der Autoren. 4. Grizzly Man (2005) Directed by Werner Herzog [Documentary]. Lions Gate Films, Discovery Docs, Real Big Production. 5. Into the Inferno (2016). Directed by Werner Herzog [Documentary]. Matter of Fact Media, Spring Films, Werner Herzog Filmproduktion. 6. My Best Fiend (1997) Directed by Werner Herzog [Documentary]. München: Werner Herzog Filmproduktion.

Alina Grigore is a Phd student and a former undergrad of the Acting Faculty at UNATC, Bucharest. She is a Berlinale Talents alumnus for scriptwriter/director 2018, a LIM alumnus for scriptwriting, winner of New Director's New Films in Espigno Portugal. In 2011 Alina founded Inlight Center a film production company and an acting school that soon became an important research hub. This is the space where she and her students practice multiples methods for analyzing the stage process. As a result of this research Inlight co-produced “Illegitimate” that premiered at Berlin Film Festival and was awarded the C.I.C.A.E. award in Berlinale Film, section Forum, and Best Movie in Odessa Film Festival. She is in postproduction as a director with the feature film “Blue-Moon” and in preproduction with (WT) “Some Irrelevant Stories about Moms”.

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The Consumption of Cinema During the COVID-19 Pandemic

Andrei TACHE-CODREANU UNATC “I.L. Caragiale” Bucharest, Romania [email protected]

Abstract: Major changes have appeared in the consumption market of cinema in the context of the COVID-19 pandemic. Video on Demand platforms such as Netflix, HBO GO, Amazon Prime and Disney Plus have earned an even wider market share than before the pandemic has started, as the viewers adapted their way of consuming cinema. But the question that all of us is asking is: what will happen with the industry of cinema after our life gets back to normal? Will we return to our habits before the pandemic? Technology has become more and more accessible, so, even before 2020, cinemas have started to have difficulties in competing with VOD platforms. In this research paper I will be analysing the reason why people might return to the cinema after the pandemic is over, and one thing is certain: it is not a technology-related one or because film premieres are being seen first in cinemas. It is rather related to the atmosphere that is created in the cinema hall with hundreds of people experiencing the same story the same time, which is how cinema was aimed to be experienced by its inventors. Keywords: cinema, film, pandemic, COVID 19, Video on Demand, VOD, OTT, Netflix, HBO GO, Box Office, Amazon Prime, Disney Plus. How to cite: TACHE-CODREANU, Andrei (2020) “The Consumption of Cinema During the COVID-19 Pandemic”, Concept 2(21), pp. 203-215.

When the first restrictions related to the COVID-19 Pandemic have been given by the authorities in March 2020, I believe that no one was thinking that one year later the virus will be still surrounding us and our lives will simply adapt and move forward in the new conditions. And when I found out back then that me and my colleagues were in the impossibility to shoot our final degree films, I came to an end and started thinking about

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how could I perform my job further? But during the summer, when the number of daily cases had decreased, me and my colleagues were all able to shoot our films. But in my opinion, the next crucial question is: how are our movies going to be watched further? A film is considered a dual product, which is based equally on two sides: a creative one, which offers the artistic value of the final product and an empirical one (Kerrigan, Fraser, & Ozbilgin, 2004). And thanks to the last one, instituted by the industrial character which has been attributed to cinema for the first time by the American market (Balio, 1985), film had the fastest adaptation regarding its distribution during the Pandemic, unlike the rest of the industries that depended on the human contact. And all of this is thanks to the Video on Demand market, to platforms like Netflix, HBO GO, Amazon Prime, Disney Plus, which were prepared even before the Pandemic in order to fight for the market share of the classic movie theatre. This was the reason why people didn't miss cinema as they missed going to the theatre, opera house or a simple and risk-free dinner at a restaurant. I believe that one question that we are all asking ourselves is how movies are going to be watched after the pandemic? Will we return with the same relaxation in movie theatres? A study made on 1000 people from the US and posted by Marketwatch.com in May 2020 could answer our question.

Graph no 1 - Source: Marketwatch.com

70% of the respondents declared that, if it would be available at the same time as in movie theatres, they would prefer watching a movie premiere at their home, and even paying an equivalent price as the ticket from the movie theatre. The same study is showing us one more thing: 60% of the respondents said that they will be avoiding a good period of

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Graph no 2 - Source: Marketwatch.com

But how does the European market look like? A study made in April 2020 in Poland is showing us a set of information that could be more optimistic: 85% out of the 19,581 people that have been asked answered that they are planning to go to the cinema in the first two months after a possible restriction release, and 20% even declared that they are intending to go as soon as possible. However, I have calculated the number of daily cases of COVID-19 per one thousand citizens from each of the two mentioned countries and the following conclusions have been revealed: the US had at May 1st 2020 33,970 COVID-19 cases per day (0.1 cases per 1000 citizens) and on the other side Poland had 228 cases in the same day (0.006 cases per 1000 citizens) => 16.6 times less COVID-19 cases per 1000 citizens. We could therefore conclude that the polish people could have been less affected emotionally at that time by the effects of the pandemic.

Figure 1 - Source: Statista.com

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Polish people have been asked in the same study why they will be returning to the cinema after the pandemic is over, and 78% of them have responded that they will do it for the good atmosphere, and only 10% for the possibility of watching a film in a premiere and for the big screen. Therefore, we could conclude that the cinema has become for 78% of the respondents only a social activity, for the atmosphere it offers. People are able to watch nowadays the same movie a few weeks after its launch in cinemas, once the exclusivity contract for movie theatres expires. And the technical factor of the big screen of the film theatre is becoming less and less relevant as TV's and Home Cinema systems are becoming more and more affordable and capable to substitute a cinema hall for most people's desires.

And coming back to the US, I suggest analysing the number of tickets sold in cinemas starting from 1980 until 2020. We can see an overall increase until the year 2003 and after that moment the number of entries in cinemas has started to have an overall decrease.

Graph no 3 - Source: Statista.com

In comparison, I would propose studying the incomes of Netflix globally in the graph below, expressed in millions of dollars. We can observe a continuous increase which becomes stronger and stronger until the year 2019, when the last data was found. For the ones who don't know, the company has started its activity in 1997 by sending DVD's with movies to people's houses through postal services. It was not until 2007 when the technology was prepared in order to stream high quality films through the Internet, and that is the moment when Netflix has moved exclusively online.

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Graph no 4 - Source: Statista.com

Between the graph with the number of entrances in the US cinemas and the income of Netflix we can see a very interesting competition relationship: in 2012 we can see that the Netflix income has decreased significantly (graph no 4), but on the other hand we can see an important increase of the number of cinema entries in the same year (graph no 3). And in 2014, when cinemas had an abrupt decrease in tickets sold (graph no 3), at Netflix we are able to see a significant increase in its incomes compared to the last year (graph no 4). From this relationship we could say that these two industries are in a direct and continuous competition for gaining viewers, the movie theatre having ultimately a decrease tendency in its number of tickets sold, compared to the continuous increase of incomes for Netflix. And below we can observe the Netflix data for the first quarter of the year 2020, when the pandemic had just started: 15.8 million new subscribers, comparing to the first quarter of the year 2019, when they registered just under 10 million new subscription payers (graph no 5).

Graph no 5 - Source: Statista.com

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The last graph about the Video on Demand market refers to the expectations of its increase, the source being the website Statista.com. We can observe an ascendant curve that is almost reaching 1.5 billion users for all streaming platforms, starting from 1 billion in 2017. The biggest increase can be seen in the pandemic year 2020 (graph no 6).

Graph no 6 - Source: Statista.com

Continuing our study with the European market, the statistics are becoming more interesting. The number of tickets sold in European cinemas is in an overall increase (graph no 7), compared to the American market. But we still cannon predict what is going to happen with the market after the pandemic is over and the restrictions are gone, with people that out of commodity or fear maybe will choose to watch films further at their homes.

Graph no 7 – Source: Boxofficepro.com

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But how does the number of cinema entries look in Romania? In graph number 8 we can see a slight decrease tendency of the Box Office incomes, which has started in 2018. The overall decrease of cinema entries in Europe is reflecting also in Romania, but our market is not accordingly to the European one furthermore: the decrease continues in Romania also in the year 2019, when in the rest of the Europe the number of viewers in cinemas has overcome the record since 2005.

Graph no 8 - Source: Boxofficemojo.com

Further, I suggest analysing a study presented by Bold by Initiative, in which 1200 people from the urban area in Romania have been asked if they used Video on Demand platforms. Nearly 70% of them responded that they are using, all these numbers being recorded before the pandemic has started. Currently we can only assume that the number of users in Romania has increased, following the global trend presented earlier in this work. The same study reveals us that 46% of the respondents are using Netflix, 33% HBO GO and 21 % other platforms (graph no 9).

Graph no 9 - Source: Bold by Initiative

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A study published on the website culturadata.ro is presenting us something very interesting for our research: Romanian people from the urban and rural areas have been asked how often they have been to the cinema in the last 12 months, and only 2% of them responded that weekly. 11% have responded that they are going to the cinema monthly and 26% a few times a year or less. In the end, 61% of the people have responded that they haven't been to the cinema in the past year (graph no 10).

Graph no 10 - Source: Culturadata.ro

Another study, published by the euronews.com website, is helping us understand better the situation in Romania. The European country with the best attendance in movie theatres is France, where 29.3% of the respondents in the study have declared that they have been at least 4 times to the cinema in the year 2016. Romania is on the last but one place, with 7.1% of the respondents going at least 4 times to the cinema in 2016. The problem of boulevard cinemas is very well known in Romania, as most of them have been closed after the 1989 Revolution. The fight with the international cinema chains which are putting almost all their resources in screening blockbuster movies is a harsh and unforgiving one, boulevard cinemas being replaced with the ones in shopping malls. Here watching a film becomes almost exclusively a social activity, done between shopping, and the pure intention of going to the cinema in order to watch a film finds itself lost in this consumerism environment. But how does the number of VOD platforms users look in the rural area of Romania, an area where movie theatres are almost inexistent? A study made in 2018 and published on culturadata.ro is showing us the following data (graph no 11):

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Graph no 11 - Source: culturadata.ro

First, the percentage in 2018 of the users in the urban area was of 63%, from 69% in 2019 (in the study presented earlier in graph no 9). And out of the 37% which refers at the rural area, we can figure out the potential increase in this population segment, especially if we take into consideration the percentage of people that have declared in the same study that they are following daily at Television news, shows, films or series: 79%. It is interesting to point out that in this moment there are smart modules that are able to transform any old TV of up to 15 years into a smart TV that can screen content on Netflix, HBO GO or any other VOD service. And if we would analyse the graph no 12 (below), we can observe that 31% of the young population, between 18 and 29 years old, is watching movies or TV programs online, according to culturadata.ro, while only 6% of the population of 65 years or older are doing so. The new generations will surely be more accommodated with the online film consumption, so in 30 years from now the generation that I belong to at the moment (with a market share of 31%) will replace the actual seniors one, and the young ones that come from behind will surely be even more familiarized with watching films online. So, in a perspective look, we can predict an increase that is almost certain for the streaming platforms.

Graph no 12 - Source: culturadata.ro

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The tendency presented is also sustained by the theory introduced by the American sociologist Thorstin Welben, which is stating that the transformation of a society is determined by the change and evolution of technology. And as technology that surrounds us is constantly evolving, society feels a need to adapt, to be constantly updated with the new tendencies that surrounds us and ultimately changing our lives. This theory is known as technological determinism (Dr. Awasya & Patel, 2020).

More, the way in which films are promoted around us could determine also our tendency in the way we watch them. The marketing strategy of a cultural product has to be in a constant adaptation according to the requests of its environment (Enache, 2015), and considering the technological determinism, the environment in which films will make their path into being promoted will be in a constant change as technology evolves. As so, in the future the way in which we watch cinema and the way in which it is promoted as a cultural product will be influencing each other. In 2012, Lucian Pricop, Ada Solomon and Maxim Meca were writing in their book Marketing and Cinema, Art-Technic-State of Mind about the principal characteristics of cinema, and the last of the ideas mentioned was that the consumption of cinema has a collective and immaterial character (Pricop, Solomon, & Meca, 2012). Today, 9 years later, this theory seems to be changing slowly in our times, the modern spectator starting to consider more than ever a film as an immaterial product that is being watched at home and alone in most of the cases.

Conclusions So what do we know until now? That people have declared that they will be afraid to go in crowded places for a while, including movie theatres. In the USA, the number of cinema entries is in an overall decrease starting from 2003, a period when Netflix was developing as a company shipping DVD's to people's houses and introducing in 2007 its online streaming platform. With all of these into consideration, the number of spectators in Europe has been in an overall increase, reaching a record of tickets sold in the year 2019. However, no one can anticipate what is going to happen with this market after the pandemic. The movie theatres industry and the Video on Demand one are in a constant battle for spectators, the classic cinema hall being in an overall decrease tendency. At the other side, we know for sure that the VOD market has been in a constant growth that has been accelerated by the COVID-19 pandemic. Furthermore, it has a greater developing potential, as technical equipment has become more and more accessible. Would this mean that the classic movie theatre is about to disappear? Convenience or fear have made 70% of the people to prefer watching a movie premiere from home even after the restrictions are lifted, and the study from Poland is showing us that the reason for which people wish to return to movie theatres is the social aspect of it.

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About Romania, we can only assume that the number of viewers from the “virtual cinemas” is following the increased number tendency that is manifesting in the whole world, especially by considering that 61% of the Romanians haven't watched one single film in a cinema in 2018, as presented from the website Culturadata above in this research. More, Romania is on the penultimate place in Europe regarding the people's presence in movie theatres, in the year 2016 only 7.1% of the Romanians having been more than 4 times at a cinema, according to euronews.com. Technology is becoming more and more advanced, screens at our homes more and more generous and affordable, but the social part of the movie theatre, that magic that is happening in the same place where you and other dozens or hundreds of people are feeling in the same time, that is going to be irreplaceable. But for now we have to surpass the pandemic, and recently the World Health Organization has announced that we will be fighting with the SARS-CoV-2 at least until the end of 2021, and we cannot anticipate for now how we will feel in a cinema hall after this period. What we know for sure is that currently thanks to the technology, the technical experience of the movie theatre has been brought to our homes, and the idea of watching a movie premiere without having to leave our house and expose ourselves has become something normal. And as humanity finds itself at a turning point now, from a technology and a pandemic angle, we consider that that also the Cinema as we used to know it will experience important changes.

Cinema, even if it has gained millions of spectators, it has never been a performance! Only an illusion of it. The truth taken from the theatre has been added to the illusion pictured on a canvas. After the moment when sound appeared in cinema, suicides and bankruptcies happened. Chaplin even said back then that the cinema will die soon. It didn't. It only became a little lazier, in the zone of the cinema language, helped by the literal crutch – the dialogue! Sometimes present until saturation. Now the movie theatres are empty. Or with little spectators. The pandemic is invoked. The restrictions. The pandemic has only rushed a phenomenon that has already started to settle: the avalanche of new cinema forms aimed for the receiver. A modern receiver. One who wishes for 3D, 4D, who wants to find himself in virtual stories, only him, in a form of assumed autism. Nowadays we have another type of Spectator. And another type of Spectacle. And again something is dying in cinema! I am not pleading for conservatism, but I understand that the movie theatre will maybe remain only for premieres, special events, awards galas...then the Spectator will take refuge and will watch a movie on his mobile phone, on his way to work, or at home, in front of a giant TV, maybe accompanied by his friends or all by himself! The pandemic has actually rushed loneliness. The relentless alienation of the modern human. The way of empathy of the `70s, `80s, `90s has already gained the feeling of a museum! From the illusion on a canvas, modern cinema has offered to its viewer the

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good or the unfortunate change of he himself becoming an illusion! Let's watch carefully “The Purple Rose of Cairo”, the film by Woody Allen, and we will discover

the premonition of a genius filmmaker long before the technological siege. Prof. univ. dr. Laurențiu DAMIAN, 07.03.2021

References: 1. BALIO, T. (1985) The American Film Industry. Madison: University of Wisconsin Press. 2. DR. AWASYA, G., & Patel, M. K. (2020) OTT Viewership and Pandemic: A study on New Trends of online video content and cinema hall footfalls. Retrieved from researchgate.net: https://www.researchgate.net/profile/Gajendra-Awasya- 2/publication/349136247_OTT_Viewership_and_Pandemic_A_study_on_New_Tren ds_of_online_video_content_and_cinema_hall_footfalls/links/602231e692851c4ed 55b8eb9/OTT-Viewership-and-Pandemic-A-study-on-New-Tren 3. KERRIGAN, F., Fraser, P., & Ozbilgin, M. (2004) Arts Marketing. Oxford: Elsevier ButterWorth Heinemann. 4. PRICOP, L., Solomon, A., & Meca, M. (2012) Marketing şi cinema, Artă-Tehnică-Stare de spirit. Bucureşti: Tritonic

Online references: 1. Box Office Mojo (2021) Romanian Yearly Box Office [Online]. Available at https://www.boxofficemojo.com/year/?area=RO (Accessed: 8 February 2021) 2. Box Office Pro (2020) UNIC Reports Record 1.34 Billion Visits to European Cinemas in 2019 [Online]. Available at https://www.boxofficepro.com/unic-reports-record- 1-34-billion-visits-to-european-cinemas-in-2019/ (Accessed: 8 February 2021) 3. Euronews (2017) How frequently do Europeans go to cinema? [Online]. Available at https://www.euronews.com/2017/08/29/how-frequently-do-europeans-go-to- cinema (Accessed: 8 February 2021) 4. Institutul Național pentru Cercetare și Formare Culturală (2019) Barometrul de consum cultural 2018 [Online]. Available at: https://www.culturadata.ro/wp- content/uploads/2019/10/Barometrul-de-consum-cultural-2018-web.pdf (Accessed: 8 February 2021) 5. IQADS (2019) Studiu BOLD by Initiative: 7 din 10 români din mediul urban folosesc cel puțin un canal de video streaming pe bază de abonament [Online]. Available at: https://www.iqads.ro/articol/48474/studiu-bold-by-initiative-7-din-10-romani- din-mediul-urban-folosesc-cel-putin-un (Accessed: 8 February 2021) 6. LYN PESCE, Nicole (2020) 70% of people would rather watch movies at home, even if theaters reopen: survey [Online]. Available at https://www.marketwatch.com/story/70-of-people-would-rather-watch-movies- at-home-even-if-theaters-reopen-survey-2020-05-21 (Accessed: 8 February 2021)

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7. SAS, Adriana (2020) Share of people who plan to visit cinemas after their reopening due to the coronavirus (COVID-19) outbreak in Poland in 2020 [Online]. Available at :https://www.statista.com/statistics/1115876/poland-people-who-plan-to-visit- the-cinema-after-reopening-due-to-covid-19/ (Accessed: 8 February 2021) 8. SAS, Adriana (2021) Reasons for returning to the cinema after the coronavirus (COVID-19) epidemic in Poland in 2020 [Online]. Available at: https://www.statista.com/statistics/1115851/poland-visting-cinema-after-the- coronavirus-pandemic/ (Accessed: 8 February 2021) 9. STOLL, Julia (2021) Box office revenue in the United States and Canada from 1980 to 2020 [Online]. Available at https://www.statista.com/statistics/187069/north- american-box-office-gross-revenue-since-1980/ (Accessed: 8 February 2021) 10. STOLL, Julia (2021) Netflix's net income from 2000 to 2020 [Online]. Available at https://www.statista.com/statistics/272561/netflix-net-income/ (Accessed: 8 February 2021) 11. STOLL, Julia (2021) Number of movie tickets sold in the U.S. and Canada from 1980 to 2020 [Online]. Available at https://www.statista.com/statistics/187073/tickets-sold-at-the-north-american- box-office-since-1980/ (Accessed: 8 February 2021) 12. The Numbers (2020) Domestic Movie Theatrical Market Summary 1995 to 2021 [Online]. Available at: https://www.the-numbers.com/market/ (Accessed: 8 February 2021) 13. Wikipedia (2020) Netflix [Online]. Available at https://en.wikipedia.org/wiki/Netflix (Accessed: 8 February 2021)

Andrei Tache-Codreanu has graduated the Bachelor and the Master's degree in Film Directing at The “I.L. Caragiale” National University of Theatre and Film, in Bucharest, where he is currently in his first year of PhD studies in cinema. In 2020 he has also graduated the English studies of The Faculty of Marketing at the Academy of Economic Studies in Bucharest, and in 2017 he had graduated the classes of the FAMU Filmmaking Summer Campus in Prague. His student films, both documentaries and fiction, have been awarded in film festivals such as Mumbai Shorts International Film Festival, South-Eastern Europe Cinema Schools Festival, Hyperfest International Student Film Festival, Cinemaiubit International Student Film Festival. He is now in post-production with both his final master's degree film, a short fiction, and his new short independent documentary film.

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Studiu de caz privind evoluția estetică a noului cinema de la Marfa și banii la Aferim!

Valentin POJAR1 UNATC “I.L. Caragiale” Bucharest, Romania [email protected]

Abstract: The paper aims to analyse the aesthetic evolution of the Romanian New Wave genre, by examining two films at the opposite ends of its timeline. In the case of these films, the manifestation of beauty is not only an artistic expression method, but it also includes an affirmation of realistic elements, starting from the scenes selected and ending with the phenotype of the actor chosen to play the main character. Aesthetics, in fact, reaches its splendor only when the visual creativity is noticed, offering the viewers delight, but also a correspondent in reality. If “The Stuff and Dough” by Cristi Puiu is a “day- in- the- life look” at a group of young people living in a post-communist country still recovering, shot in a way that validates the catchphrase Romanian New Wave, “Aferim!”, directed by Radu Jude, marks a detachment from the previously explored contemporaneity, the directorial discourse focusing the viewer`s gaze on a historical moment in order to identify the possible acts of social injustice. Finally, the questions related to various historical or contemporary contexts give rise to a type of filmic communication within the society that produces communion on a human level. Keywords: aesthetics, Romanian New Wave, Cristi Puiu, Radu Jude, illustration of contemporaneity, historical investigation. How to cite: Pojar, Valentin (2020) “Studiu de caz privind evoluția estetică a noului cinema de la Marfa și banii la Aferim!”, Concept 2(21), pp. 216-226.

1 UNATC doctoral student Valentin Pojar fell victim to the COVID-19 pandemic before his article was published. Nevertheless, the Editorial Board of the CONCEPT academic journal strongly believes that the efforts of researchers should be continously promulgated and that, even after their death, researchers and their ideas should be remembered and the legacy of their work should continue.

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Introducere Estetica este în fapt un concept filozofic care are ca țintă principală examinarea plăcutului, agreabilului, plecând de la structura fizică, a ceea ce se vede în orice tip de artă și terminând cu văzutul nevăzut, un fel de emanație spirituală a frumosului. La sfârșit, acest „efort” de cercetare are ca punct final conceptualizarea frumosului nenatural, cel lucrat sintetic de mâinile și mințile creatoare ale oamenilor, precum și abstractizarea frumosului natural – un peisaj sau un apus de soare. Ca o concluzie, această aistheton (gr. estetică), realizează o cercetare mult mai profundă. Dacă arta propune o cercetare a obiectelor create de om, estetica formulează aserțiuni ce sunt instrumentate de simțuri. Estetica cercetează fenomenele artistice generate de arte: literatura, pictura, muzica, dansul, arhitectura... ulterior și filmul, care se afirmă ca artă și intră în atenția unor teoreticieni precum Siegfried Kracauer, Theodor Adorno și Guido Aristarco. Ei enunță un set de criterii care vor sta la baza filmelor de artă și nu numai. Prin urmare, orice lucrare ce provine din zona artelor, în cazul nostru filmul, va fi evaluată în baza diferitelor aspecte generate de: concept, acesta ținând de o reflectare corectă, neviciată a realității sau a unei ficţiuni ce are la bază o idee coerentă, de scopul demersului și, nu în ultimul rând, de cât de departe a ajuns ideea, respectiv mesajul, în mintea privitorului. Preferința creatorului în privinţa ideilor expuse în opera sa şi gradul diferit de atenţie acordat diverselor detalii caracteristice ce compun întregul, dau unicitatea unei opere de artă. În cazul filmelor noastre, manifestarea sensibilă sau nu a frumosului nu este doar o formă de exprimare artistică, ci aceasta include și o formă de afirmare a elementelor de natură realistă, pornind de la scenele alese și terminând cu fenotipul actorului selectat a interpreta personajul principal, astfel încât întregul angrenaj artistic să semene cât mai mult cu realitatea imediată. Unii ar spune că este vorba despre o imitare a obiectivului ce ține de vecinătatea imediată, alții aprobă hotărât că demersul este unul ce ține de o expresie independentă de subiectul (obiectul) aflat în realitatea momentului. Această formă de modelare a realității în cele mai crude detalii ale sale, unii experți au numit-o realism. În acest sens, există o judecată potrivit căreia estetica își atinge splendoarea numai atunci când este remarcată calitatea artei și mai cu seamă creativitatea vizuală, oferind astfel privitorilor încântare, dar și un corespondent în realitate.

Marfa și banii – o nouă estetică În anul 2001, la aproape 11 ani de la căderea regimului comunist, regizorul Cristi Puiu lansează filmul Marfa și banii, avându-l coscenarist pe Răzvan Rădulescu. Filmul are la bază un scenariu simplu, nu simplist, în care regizorul ne vorbește despre un tânăr din orașul Constanța, care își desfășoară propria afacere vânzând tot felul de lucruri la geamul apartamentului. Pentru ca afacerea să se dezvolte, acesta își dorește să se extindă, iar cea

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mai fericită modalitate de a face acest lucru este să-și cumpere un chioșc, dar pe moment acesta nu dispune de resursa financiară. Visul poate fi îndeplinit, însă, ca orice mare năzuință, implică un compromis. Un interlop local îi oferă o sumă importantă de bani pentru a realiza un trasport, aparent simplu: o geantă trebuie livrată la o adresă precisă din București. Din păcate, conținutul genții face ca aceasta să fie râvnită și de alte persoane. În final, personajul nostru realizează că prin gestul său interlopul nu i-a făcut un serviciu, ba mai mult, tânărul înțelege că și-a vândut conștiința. Mulți spun despre acest film că, pe lângă dialogul mult prea vulgar, trivial de-a dreptul pentru urechile românilor din acea vreme, prea multe lucruri nu se-ntâmplă în această peliculă. Înjurături „ca la ușa cortului” și mult exagerata filmare din mână pare că naște pentru unii spectatori stări continue de vertij. Însă, dacă este să privim mult mai atent în contextul filmului autohton de atunci, în care producțiile românești păreau a fi blocate, cu siguranță acesta poate fi considerat, chiar și printr-un limbaj mult prea indecent, o provocare cinematografică a acelor vremuri. Ne place sau nu, totuşi pelicula Marfa și banii a lansat o nouă estetică, respectiv un alt mod de a spune povestea. Filmul vorbește de la sine. Cadre simple, dar nevrotice ca urmare a filmării din mână, trase în priză directă, parcă în regim de urgență și cu „sirena pornită", fără prea multe artificii sau „substanțe" de înfrumusețare. Dialogurile sunt tăioase, parcă scuipă și la propriu și la figurat – a se vedea în acest sens reacțiile publicului pudic, nemulțumit de intonațiile sonore ce parcă băteau în timpan. Revin asupra imaginii dârdâite, zdruncinate, ce devine ea însăşi un personaj ce însuflețește involuntar cadrul, făcând ca realitatea să pară netrucată, deplin autentică. Este un „road movie” ce surprinde nanometric realitatea, iar noi, spectatorii, chiar și la 19 ani de la prima vizionare, rămânem „observatori” în aceeaşi măsură, martori ai unei întâmplări nemijlocite. Cât despre zicerea unora că tensiunea rămâne cu tine și că, după ce-l vizionezi, rămâi undeva suspendat deasupra propriei vieți, personal nu am cunoscut niciun fel de stare de imponderabilitate în acest sens. Ce am observat însă este că Marfa și banii sau „viața pe repede înainte într-o singură zi”, cum am spune, ne introduce grabnic în realitate, unde pulsul nu mai e același cu cel din fotoliul de dinaintea televizorului. Şi poate că acest lucru este suficient pentru a înțelege cum și ce a vrut să ne transmită autorul. Compoziția cadrelor, în mod evident, nu poate fi una elaborată, impresia lăsată este aceea a unui posibil reportaj. Prin urmare, filmarea din mână, ce uneori devine deranjantă, este atributul dominant al imaginii filmului, întrucât aceasta dă ritm filmului. Comportamentul personajelor este amplificat de acest joc al camerei, ceea ce nu e rău în economia timpului de filmare, însă credem că excesul este uneori în detrimentul artei, efectul putând fi invers, dând chiar senzaţia uneori că vedem un spectacol de stradă filmat/televizat. Exagerarea în orice domeniu, și mai ales în artă, ne pare o încercare de a „buzunări” cu precauție o filozofie care nu îți aparține. În cazul filmului Marfa și banii, poate

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Research că povestea trebuia construită cu măsură, astfel încât să crească gradual. Fără să fim pudici, căci ne-am ciocnit în viață deseori de dialoguri obsesiv triviale, în acest caz însă nu le-am găsit întotdeuna o justificare estetică. Există și păreri ce susțin că tocmai acest tip de dialog, vulgar, acid, fac ca filmul să fie viu; iată ce spune în acest sens Rareș Moldovan, critic de film la revista Echinox: În construcţia realismului minuţios din Marfa şi banii, dialogurile care însoţesc călătoria joacă rolul decisiv. Dacă Puiu ar fi ratat aici, întregul film n-ar fi rezistat. Însă filmul rezistă, şi, moment după moment, efectul de real se acumulează, se strâng efectele disparate ale replicilor şi situaţiilor şi se încheagă pentru a ţine ansamblul. La primă vedere, curgerea conversaţiei pare aleatorie, şi tocmai această aparentă lipsă de direcţie – asistată de anodinul subiectelor şi de impactul întregii „retorici” rutiere grobiene – imprimă filmului „naturaleţe” sau „naturalism” (Moldovan, 2010). Nu îl contrazicem pe Rareș Moldovan, căci afirmația sa conține un sâmbure de adevăr, însă credem că ar fi putut exista şi alte căi de a surprinde privitorul, căci, până la urmă, chiar și un mediu ostil, prieten cu suburbanul, ar fi putut fi redat fără a copia la extrem stereotipiile negative ale acelui segment social. Limbajul vulgar, firesc în anumite zone ale societății, se absoarbe în cenușiul cotidianului, în vreme ce, transpus filmic, devine șocant prin puterea de augmentare a rezonanței cuvintelor pe care o are ecranul. Principiul a fost probabil: acestea sunt vremurile, așa se vorbește; însă regizorul și scenaristul ar trebui să cerceteze mai atent problema expresiei verbale, încercând a găsi echilibrul între artă și vulgaritate. În continuare, Rareș Moldovan elogiază stilul filmului: (…) critica de film de la noi trebuie că înţelegea în bună măsură prin acest suflu un anume efect de realitate pe care filmul îl urmărea la toate nivelurile. Un filon care apăruse discret, de la Reconstituirea încoace, în filmele lui Pintilie, Danieliuc sau Caranfil, devenea pentru prima dată estetica dominantă a unui film, dusă până la capăt într-un mod absolut remarcabil (Moldovan, 2010). Pe de altă parte, notez ideea dialogului purtat la finalul proiecției filmului Marfa și banii în cadrul unui festival, între un celebru make-up artist din industria filmului internațional și o tânără regizoare, idee ce poate fi regăsită la o mare parte a publicului ce este atașat de filmele de dinaintea anului 1989, un public conservator, nepregătit însă la acea vreme pentru felul în care tinerii cineaști N.C.R. aveau să-și spună poveștile îndrăznețe. Make-up artistul, o persoană emanând stil şi rafinament artistic, dar și un subtil om de cultură, atrage atenția la finalul vizionării într-un mod delicat despre tirul violențelor verbale la care a fost supus pe timpul urmăririi filmului. Într-un mod plin de eleganță, acesta avea să facă o remarcă interesantă, comparând dialogurile triviale ale actorilor filmului cu un carusel veritabil ce l-a purtat către iad, lăsându-l acolo pe toată durata vizionării. La cealaltă extremă, unii spectatori, adepți ai tipului de cinema de dinaintea anului 1989, cu dialoguri cenzurate ce urmăreau „înnobilarea omului”, ar putea spune că din gura actorului nu trebuie să iasă niciun cuvânt urât, că povestea poate fi autentică și fără înjurături. Lucru numai parțial adevărat, căci trebuie găsit mai degrabă un echilibru între

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autenticitate și vulgaritate în favoarea expresivităţii artistice. Spre comparaţie, abuzul nudurilor în pictură, redând femeia, frumosul dar al naturii, nu au revoltat niciodată atât de tare. Răspunsul ar fi unul singur pentru spectatorii pudici, ce doresc mascarea limbajului deochiat, așa cum pe vremuri în pictură și sculpură s-a aplicat o ascundere a părților intime a corpului: Astea sunt vremurile! Evident, prin şocul şi senzaţia de oripilare oferite unei părţi a publicului, Cristi Puiu a și-a dorit ceea ce-şi propuneau suprarealiștii: „Să epatăm burghezul!” Dincolo de influența fraților Dardenne, Cristi Puiu a fost puternic marcat de filmele regizorului american John Cassavetes: (....) cel mai important reprezentant al cinematografului independent de la sfârșitul anilor 1950. Refuză stilul de lucru hollywoodian, adoptând tehnicile improvizației și ale ciné-vérité-ului, pentru a obține maximum de autenticiate în redarea relațiilor umane...(...) Tragicomediile sale sunt un tablou virulent al societății americane contemporane privite din perspectiva relațiilor umane. Înlocuiește intriga tradițională cu o succesiune de secvențe în care personajele se confruntă cu o serie de probleme, le rezolvă dar apar altele ș.a.m.d (Corciovescu și Rîpeanu, 2005, p. 106). Marfa și banii a fost realizat în condiții financiare precare. Și atunci, dar și acum, situaţia este aceeași: se doreşte realizarea cât mai multor filme de calitate cu cât mai puţini bani. Filmul, după cum se observă, nu are decoruri, iar editarea este una minimală favorizând cadrele lungi. Acum, la distanţa atâtor ani, filmul poartă amprenta unui document de epocă ce analizează atent perioada acelei haotice tranziții, în care tineri debusolați încercau să-și găsească un rost; în personaje se amestecă nevinovăția, superficialitatea, dar și perseverența; o intensă dorință de a se căpătui într-o lume în care se fac averi peste noapte, devalizând vechea proprietate de stat. Așa cum bine observă criticul de film Ken Fox, nimic special pentru cineaștii de peste graniță, însă un film cu o particularitate și un stil anume pentru România acelor vremuri: Filmul lui Puiu, este o privire a vieții de zi cu zi, a unui grup de tineri care trăiesc într-o țară care încă își revine din anii de prostă conducere și neglijare internațională, filmat cu un fel de manșetă, a cărei tăietură validează lozinca Noul Val Românesc (Fox, citat în Brătan, 2018)5. În fapt, dar și în drept, nu trebuie să-i răpim regizorului Criti Puiu meritul de a fi un fin observator al factorului uman, al comportamentului acestuia, înțelegând și interpretând deplin reacția tânărului român într-un stat post-comunist, unde economia de piață nu este un atribut de valoare, iar competitivitatea se găsește la geamul buticului, doar la nivel de speculă.

2 Fox, Ken, Tv guide, www.tvguide.com “Puiu’s film is a day-in-the-life look at a group of young people living in a country still recovering from years of misrule and international neglect, shot with the kind of off-the-cuff, jump-cut filled energy that validates the catchphrase Romanian New Wave.”

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Așa cum buticul este un magazin mic, ce propune spre vânzare diverse mărfuri, în general de serie mică, așa și pelicula Marfa și banii vinde povestea unei Românii mici, stăpânite de febra mărfurilor, unde ABC-ul economiei capitaliste este întemeiat de mardeiași, când tandri, când vulgari. Fără de excepție, Cristi Puiu este considerat deschizătorul de drum al N.C.R, impunându-se ca autor prin filmele ce au urmat – Moartea domnului Lăzărescu (2005), Aurora (2010), Sieranevada (2016), Malmkrog (2020); totodată, constatăm la ultimile două filme o înnoire tematică și prezența unui filon metafizic.

Aferim! – o desprindere de contemporaneitatea explorată anterior Cu trecerea anilor, cum era și firesc, Noul Val Românesc aduce și „evadări” din contemporaneitate – o firească regăsire a filmului istoric: Restul e tăcere, scenariul și regia Nae Caranfil (2007), și remarcabilul film Aferim!, în regia lui Radu Jude (2015). Acțiunea filmului are loc în prima jumătate a secolului al XIX-lea în Țara Românescă. Zapciul Costandin, pornește împreună cu feciorul său în căutarea, arestarea și înapoierea către jupân a unui sclav țigan fugit de pe moșie și despre care se crede că ar fi avut o aventură amoroasă chiar cu partenera de viață a stăpânului său. Filmul încearcă mai degrabă a reproduce atmosfera acelor vremuri, decât a construi în imagini un eveniment istoric. Momentul istoric ales, fără a fi strict precizat, este acela în care otomanii controlau încă regiunea. Acest film, poate fi așezat alături de „peliculele istorice” românești realizate înainte de anul 1989. Radu Jude urmărește în filmul său confruntarea cu tradiții statornice în societatea din Țările Române din secolul al XIX-lea. Regizorul lansează conştiinţei spectatoriale, prin intermediul personajului său Constandin, întrebarea: oare oamenii își vor aduce aminte peste 200 de ani de tot ceea ce a făcut el pentru ei? Căci, el afirmă: „Am netezit drumul” (Aferim!, 2015). Narațiunea utilizată de regizor este una lineară, atent creată, fără a se ramifica. Filmul se impune printr-o evidentă culoare istorică locală, limbajul este bogat în aforisme, majoritatea extrase din înțelepciunea populară, ce apar cu o ritmicitate binevenită. De fapt, Radu Jude atât prin formație, cât și prin preocupări, pune în valoare specificul, etnicitatea. Într-un splendid alb-negru, cu un aspect interesant pentru ochiul contemporanului antrenat doar în imagini în culori, operatorul de imagine – Marius Panduru – încearcă a recrea fotografia de secol XIX. De asemenea, decizia regizorului de a nu subtitra puținele dialoguri purtate de personaje în limba turcă și țigănească este o alegere înțeleaptă pentru „design-ul” vizual al peliculei, prin aceasta limbile distingându-se mult mai bine precum și ierarhiile. În ansamblu, filmul curge lin, uniform, punctul de vedere regizoral fiind limpede ca luciul unei ape. Costandin, cu a sa încredere în sine, și flăcăul (de asemenea un sclav fugit) ce îl urmează asemeni unei „cozi” pe tot parcursul peliculei oferă filmului stabilitate, acesta generând în cele din urmă conflictele cele mai importante.

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Curgerea cadrelor este domoală, spectatorul nu este „violentat” prin tăieturi de montaj spectaculoase. Prezența editorului de imagine este discretă. Putem afirma, fără a pătrunde în filozofia lucrurilor ce țin de subtextul filmului, că filmul are un reuşit filon dramatic, că emoționează. Urmărind pelicula, impresia spectatorului este că întreg filmul construiește o mare așteptare, ceva decisiv urmează a se întâmpla până la final. Această stare de așteptare, construită abil de către regizor, indică privitorului determinări ce au ca prim rol descoperirea caracterului, dar și starea de fapt din acele vremuri. În felul acesta, spectatorul rămâne țintuit în scaun până la final. Unii analiști de film afirmă că Aferim!, prin jocul anumitor personaje, dă impresia unei pelicule ce nu se încrede în propria-i poveste, însă tot ei completează că ceea ce o salvează este înțelepciunea cu care regizorul Radu Jude s-a inspirat din western-urile lui John Ford, care la rândul lor au inspirat western-urile Spaghetti, iar apoi multe alte filme contemporane. Pelicula pare a fi un drum inițiatic, lung, anevoios, ce nu dă impresia privitorului că regizorul se grăbește într-un fel a ajunge acolo, la finalul liniei. Scenele importante dau un sentiment prelungit la extrem, ce uneori îți poate aduce în minte cuvântul „inutil”, însă imediat acesta este suprimat de frumusețea peisajului, asta dacă nu ești interesat cumva de poveste. Până la urmă, acest peisaj nu este ales întâmplător, în fapt el descoperă singurătatea, timpul cu ale sale oscilații, de zi, de noapte, și, nu în ultimul rând, ideea de distanță, care pentru unii privitori contemporani ce rămân rezervaţi în privinţa peliculei, pare că nu se comunică, dar acest lucru se petrece mai degrabă deoarece aceştia sunt neracordați la istoria trecută sau mai recentă a neamului. Necunoscând sursa de stocare primară a filmului, cei lipsiţi de experienţă s-au aventurat în a afirma că digitalul deranjează enorm, mai ales atunci când se filmează în alb- negru, unde lipsa de culoare într-un asemenea context dă impresia că un filtru stă aruncat peste imagini, generând cadre asemănătoare cu fotografia digitală. Criticii s-au repliat când au aflat că s-a filmat pe peliculă Eastman 35 mm alb-negru. În acest sens, îi sfătuiesc pe cei ce încă nu iubesc pelicula, să privească umbrele, contrastele, liniile generate de operatorul de imagine Marius Panduru și, în cele din urmă, drama pe care o peliculă alb-negru o generează în ochii privitorului. Totuşi, în condițiile unei filmări pe suport negativ 35 mm alb-negru, s-ar putea ca filmările realizate la exterior, datorită luminii puternice (chiar și prin reținerea acesteia de către o farfală) “artisticul” alb-negru se poate pierde, se poate dizolva subtil în baia de lumină. Prea multă lumină disipă tonurile, contrastele, deci informația, iar scara griurilor își face apariția. Aceasta nu este în orice caz decât o simplă supoziție, nefiind noi înşine operator de imagine, ci un simplu pasionat al desenului în cărbune. Nu suntem de acord cu afirmația unor critici de film internaționali cum că utilizarea mijloacelor de exprimare alb-negru în filmele moderne este inutilă. Din contră, acolo unde are sens şi există justificat, această formă de expresie cinematografică poate fi utilizată cu mari beneficii artistice. Să ne amintim că în Lista lui Schindler, regizorul american Steven Spielberg a optat pentru o imagine alb-negru, pentru a reda o poveste plină de dramatism,

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Research de tragism. Cu toate disputele pe tema peliculei, fie alb-negru, fie color, filmul Aferim! este o excelentă realizare a cineastului Radu Jude; este fără doar și poate o peliculă-document ce ne vorbește despre tratamentul aplicat țiganilor în România secolului al XIX-lea, dar cred că, tangențial acesta atinge și tratamentele aplicate omului în general într-o Europă așa-zis modernă. Filmul este în fapt o sursă secundară de informație, prin care ne sunt relatate cu ajutorul imaginilor în mișcare momente de istorie. În cazul filmelor cu subiect istoric, abordarea „de jos” a „problemelor” națiunii, și nu „de sus”, așa cum se făcea înainte de 1989, pun în penumbră sentimentul național, ce înflăcărează privitorul, abordările celor două filme studiate punând pe planul doi sentimentul național. Nu trebuie uitat faptul că mesajul unui film poate fi influențat și de o agendă politică; discriminarea etnică în mod evident este de condamnat, dar astăzi se exagerează deseori aceste aspecte în ceea ce privește situația din România de azi, cât și din trecut. Filmul occidental a generat un mecanism de examinare la nivel teoretic a menținerii structurilor puterii hegemonice, fie ea rasială, etnică sau națională. Fiecare acțiune așa-zis secundară, și aici ne referim la fiecare fragment de istorie, conține în detalii, tratate mai mult sau mai puțin excesiv, tema comunității cu referire generală la viața socială şi, particulară, la viața individului aflat sub tot felul de constrângeri – politice, economice, filozofice sau, cum sunt cele din pelicula Aferim!, complicații ce țin de cultura și civilizația specifică unei etnii, dintr-o anumită perioadă istorică. Acest mod de a spune povestea permite spectatorului să-și îndrepte privirea asupra anumitor etape istorice pentru a identifica posibilele acte de injustiție pe care societatea, sau numai anumiți membri ai sistemului, le- au îndreptat împotriva semenilor, membri ai unui grup etnic. Pe alocuri, imaginea, dar și încadraturile tipic western-iene, au făcut ca filmul să inspire privitorului că, în cazul eroului principal, moartea sau cel puțin amenințarea acesteia urma să vină călare, prin acel grup restrâns de arnăuți, ce aveau misiunea, uneori oficială, alteori neoficială, de a urmări și prinde răufăcătorii. Cercetarea pare să fie cuvântul cheie, una venită din partea „poterei” ce trebuia să rezolve cazul, iar cealaltă venită din partea spectatorului ce vrea să înțeleagă contextul istoric presărat cu chestiuni etnice dificile. Acest tip de poveste accesează peste ani un timp istoric, permițând regizorului să „acționeze” asupra vremurilor, iar spectatorului să se lase purtat de poveste și de discursul indirect al regizorului.

Concluzie Teme precum cele ce-au inspirat pelicule ca Marfa și banii sau Aferim! ne îndrumă spre un considerent deloc banal și anume că momentele scrierii imaginii în timp și peste timp pot naște un anumit tip de gândire, prin care spectatorul la nivel de colectivitate poate realiza un veritabil contact social, renunțând a mai fi incomodat de prejudecăţi şi reticențe. Și totuși, aceste modalităţi filmice mai păstrează ideea ca filmul să fie făcut „la fel ca în viață”.

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Se pare că originile filozofice privind căutarea sensului operei de artă cinematografice conduc la ideea, pentru unii cineaști, că filmul trebuie să reflecte o realitate (prezentă sau istorică), ceea ce ne amintește de realismul bazinian. Filmele cu conținut istoric de dinainte de anul 1989 au fost realizate în anumite condiții economice, dar și de cenzură, însă, cu toate acestea, chiar și acum trezesc interesul publicului, similar cu cel determinat de cinematograful comercial din Occident. Mai mult decât atât, deschiderea relativă a României față de cultura populară occidentală din anii ’60 -’70 a oferit noi modele estetice și ideologice care au modelat filmul popular produs în ţară și au generat forme hibride care au combinat nevoile retorice ale regimului totalitar cu strategiile estetice de inspiraţie occidentală, destinate să distreze și să vândă. Un punct de vedere, întemeiat și bine exprimat despre pelicula Aferim!, aparține însuși regizorului Radu Jude care afirmă într-un interviu: Nu știu ce psiholog a spus că o persoană este sănătoasă psihic doar dacă știe de unde vine, unde este și încotro se îndreaptă. Cred că acest lucru se aplică și societăților, nu numai persoanelor. Societatea românească nu va fi cu adevărat sănătoasă până când nu își va înfrunta trecutul cu onestitate și luciditate – fie că este vorba de trecutul recent sau de la distanță. Filmul AFERIM! este o încercare de a privi trecutul, de a face o călătorie în mentalitățile de la începutul secolului al XIX-lea – toate imperfecțiunile epistemologice inerente unei astfel de întreprinderi incluse. Este evident că un astfel de efort ar fi lipsit de sens, nu ar trebui să credem că acest trecut obositor deține explicația pentru anumite probleme prezente. „Cercetăm fiecare perioadă în primul rând pentru promisiunile pe care le conține pentru perioada următoare”, spune Johan Huizinga. Mai mult decât orice, îmi doresc ca acest film să fie un stimul care face ca publicul să pună la îndoială într-un mod mai profund și mai sistematic problemele pe care am putut doar să le aduc în discuție. (2015)3 În cele din urmă, răsfrângerea întrebărilor legate de diverse contexte istorice sau contemporane, fâșii ale unor realităţi istorice de mult trecute sau prezente, naşte la nivelul comunității, respectiv societății, un tip de comuniune filmică.

3 Jude, Radu film awards statement european https://europeanfilmawards.eu: “I don’t know which psychologist said that a person is mentally healthy only if they know where they come from, where they are and where they want to go. I believe this applies to societies too, not only individuals. The Romanian society will not be truly healthy until it faces its past with honesty and lucidity, be it the recent or the remote past. The movie AFERIM! is an attempt to gaze into the past, to take a journey inside the mentalities of the beginning of the 19th century – all epistemological imperfections inherent to such an enterprise included. It is obvious that such an effort would be pointless should we not believe that this hazy past holds the explanation for certain present issues «We research each period firstly for the promises they contain for the following period» says Johan Huizinga. More than anything, I want this film to be a stimulus that makes the audience question in a deeper and more systematic way the issues I was only able to bring up.”

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References: 1. ARISTARCO, Guido (1965) Cinematografia ca artă (Istoria teoriilor filmului). București: Meridiane. 2. ARNHEIM, Rudolf (1957) Film as Art. Berkeley, Pacos: University of California Press. 3. CORCIOVESCU, Cristina, MIHĂILESCU, Magda (2011) Noul cinema românesc. De la tovarășul Ceaușescu la domnul Lăzărescu. București: Polirom. 4. CORCIOVESCU, Cristina, RÎPEANU, T. Bujor (2005) Lumea filmului. Dicționar de cineaști. București: Ed. Curtea Veche. 5. GORZO, Andrei (2012) Lucruri care nu pot fi spuse altfel. Un mod de a gândi cinemaul, de la André Bazin la Cristi Puiu. București: Humanitas. 6. Sadoul, George (1961) Istoria Cinematografului Mondial – de la origini până astăzi. București: Ed. Științifică. 7. SCHNEIDER, Steven Jay (2005) 1001 de filme de văzut într-o viață. București: Ed. RAO. 8. ȘERBAN, Alex. Lea (2009) 4 decenii, 3 ani și 2 luni cu filmul românesc. Iași: Polirom.

Online references: 1. BRĂTAN, Laurențiu (2018) Marfa și banii [online]. Available at: https://cinepub.ro/movie/marfa-si-banii/ (Accessed: 21 October 2020) 2. JUDE, Radu (2015) Directors Statement [online]. Available at: https://europeanfilmawards.eu/en_EN/film/aferim.3660 (Accessed: 21 October 2020) 3. MOLDOVAN, Rareș (2010) Firesc, prea firesc (Marfa şi banii 2001, r. Cristi Puiu) [online]. Available at: https://revistaechinox.ro/2010/10/firesc-prea-firesc- marfa-si-banii-2001-r-cristi-puiu/ (Accessed: 21 October 2020)

Filmography: 1. Aferim! (2015) Directed by Radu Jude [Film]. Bucharest: HI Film Productions. 2. Aurora (2010) Directed by Cristi Puiu [Film]. Bucharest: Mandragora. 3. Malmkrog (2020) Directed by Cristi Puiu [Film]. Bucharest: Mandragora. 4. Marfa și banii (2001) Directed by Cristi Puiu [Film]. Bucharest: Mandragora & RoFilms. 5. Moartea domnului Lăzărescu (2005) Directed by Cristi Puiu [Film]. Bucharest: Mandragora. 6. Restul e tăcere (2007) Directed by Nae Caranfil [Film]. Bucharest: Avrig Group, Domino Film, Realitatea Media. 7. Schindler's List (1993) Directed by Steven Spielberg [Film]. Universal Pictures & Amblin Entertainment. 8. Sieranevada (2016) Directed by Cristi Puiu [Film]. Bucharest: Mandragora.

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Valentin Pojar was a film and music producer and musician. He graduated with a Master's degree in film production from UNATC “I.L. Caragiale” in 2013, where he later became a doctoral student in Cinematography and Media (2017), concentrating his research on the “Visual-Aesthetic Impact on the Films of the New Romanian Cinema” (thesis coordinated by Professor Gheorghe Bălăşoiu, PhD). In 2013 he participated in the Making Waves Berlin international workshop. He was the producer of short films such as “Bread and Circus", “Fitting", “1969", “Funeral Services", and of the documentaries “Golden Middle Way" and “Heritage". He was the producer of commercials for I.P by Paris, Mineli, Sia, the Romanian Chamber of Commerce and Industry, Luftner Cruises, Allure, Tram 21. He collaborated as a musician with M.B.M. Records USA (New York).

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II Book Review

Simona Șomăcescu's Books Under the Ancient Precept:

„Beauty is Truth, Truth Beauty”

Not long ago, I was offered to read two books, in fact two textbooks, meant to fill a gap in our educational system in the field of classical dance. And, as I do not often come across specialized books (be they textbooks or teaching methods) intelligently written, I am very tempted to reproduce them here in their entirety, because they are the best I have read on this subject, unusually judicious, accurate and well written. But, as this is not possible, I will quote the author's point of view, as I could not paraphrase it more usefully:

Dance is not only an art, but also a discipline, just as pedagogy is not just a discipline, but also an art. However, in order to practice them, talent and, to the same extent, methodical training in an organized setting are needed.

I know I may be asked, what other books could I compare them to? Given the fact that, after the one authored in 1965 by Mrs. Esther Magyar-Gonda, Director of the Choreography High School at the time, nothing has been published in Romania until the books that are the subject of these lines. But I shouldnt, or perhaps I should mention that in other countries on the planet such as France, Russia, Italy, England, United States, etc., such books have continued to appear since the seventeenth century, with the founding of the Royal Academy of Dance in France by Louis XIV, and, therefore, were available scrolling through for those who were really interested. And so, after a few decades, the question asked at the beginning of my teaching career at the Choreography High School in Bucharest, "After which textbook is ballet taught?", received its answer, materialized in the two courses entitled: Methodology of Teaching Classical Dance. Course (2019) and Specialized Practice. Classical Dance. Course (2020), signed by Simona Șomăcescu and published at UNATC Press.

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Of course, everything I read in them, from language to terminology, from the basic movements of classical dance to the time and manner they should be taught, from the structuring of the Lesson in the two major parts: the first - movements and elements performed at the ballet barre, the second - movements and elements performed in the middle of the classroom (par terre, allegro and elements performed on pointes), from the resources needed for the admission exam to the vocational school, from the glossary of ballet, to the actual Lesson, from its duration to the fundamental notions of classical dance, from its movements and poses to the connecting steps, from jumps and turns to the role of the répétiteur and many more that readers will find in the two courses, I was familiar with, as I became acquainted with them, enriching my impressive alphabet of arts during my many years of teaching at the Choreography High School. As a matter of fact, they were and are known and mastered by those who teach this discipline. It's just that, if until a few years ago this transfer of science / art from teacher to student was ensured by the great ballet dancers, who in the meantime became Ballet Masters, trained according to the method of the excellent Vaganova Russian school, the need for specialized education was felt, especially in the training of teachers from an academic education system. I would like to mention in particular the structuring of the second course, which explicitly presents the ballet objectives, movements and elements to be taught each of the eight years of study, as well as a model dance lesson corresponding to each level. And although the Choreography department of UNATC “I.L. Caragiale” was born in the’ 90s, it was only in 2015 that this blessed project could be started, properly coordinated by Simona Șomăcescu and her work. From my point of view, the courses appeared at the right time, were written the right way, and by the right author. I say this because their writer has traveled and expressed herself performing so far in all the essential stages of classical dance, from high school dance student to first soloist of the Bucharest National Opera, from first soloist to first ballerina of the Romanian National Opera, from the guest dancer on the important stages of the world to the manager of the ONB Ballet Department, from high school teacher to university faculty, also adding each year to

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her vocational record a vast experience, absolutely necessary to write such textbooks. I must confess that reading them was a journey through time, browsing an album full of fragrances, wonders and evocative stories, because since I took my first steps in the Choreography High School, still synonymous for many generations with the Ilie Niculescu-Dorobanțiu house on Lieutenant Dumitru Lemnea Street – in itself a work of art, which reproduces on a smaller scale the castle of Blois of King Louis XII in the Loire Valley - in my free time or in the breaks between my piano lessons I watched fascinated from the balcony of the hall great, the physical modeling of the students, who under my eyes transformed from one month to another, becoming in no time dancers coveted by the greatest lyrical stages in the world. Good music, well sung by graceful répétiteurs, gestural elegance, the beauty of the width of movements during exercises, the splendor of the room, the exoticism of the teachers' language in French and Italian terms, which define movements and elements of ballet and music, respectively, all sprung from the album filled with miracles. And when reading each ballet term or the names of the steps between the various movements, I remembered in my visual memory what my soul memory never lost - the execution of the line, the performance and customization of certain soloists, famous names who once delighted our souls. I can only congratulate Simona Șomăcescu for the way she designed these two courses: scientifically, orderly, with the precision of a Swiss watch, but most of all for her cadence and poetry. Therefore, I hope that in the near future I will read a third course, in which she will plead in front of future teachers, this time about the emotional and spiritual training of pupils / students, training that so far fell within the responsibilities of the piano teacher, who, in addition to the instrument itself, in the classroom and with vocation, revealed to students-teachers or teachers-students - for what is a teacher but an eternal student - as much as possible from the infinite force of this sovereign of the colossus of feelings and emotions, MUSIC, the most faithful and generous partner of dance. It is just a suggestion. Doina MOGA Teacher, composer, author of books and art critic (music and ballet) Member of the Union of Romanian Composers and Musicologists [email protected]

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Radu Olăreanu –

14 steps of the Actor Character

Towards the Character… of the Spectator1

Because Michael Chekhov – the nephew of A. P. Chekhov – only tried to psychologize the physics of the stage act, he had to flee from Stalinism to the Free (but not for long…) World. And so, we wonder how much courage or despair a man of theatre would need, in the days of other neomaterialist and in-humanist dogmas, to spiritualize the issue of dramatic space, even proposing a metaphysics of it… And such an idealist with… a keen practical sense (!) deserves to be the author of the lines waiting to be read under the title The Actor, The Poetry of Human Knowledge by Radu Olăreanu from the University of Arts in Târgu Mureș. Unlike a plethora of famous interpretive recipes such as "do as I do", going in different steps from Stanislavski to Strasberg and from Meyerhold to Brook, we are proposed this time the first "14 steps" to recover the spiritual dimensions of theatre. And we use the plural in this case because its approach involves both the horizontal and vertical coordinates of this re-spiritualization. With the ability of the prose writer and the rigor of the psychologist, the author fluidizes his discourse accompanied by an "Actor Character" to whom to objectify his observations. From their implicit dialogue often memorable sentences will emerge that prove that theatre and its subjects must not protest, politicize or fanatize, but, on the contrary, defend with art and through art one of the last spaces of social convergence. And, suddenly, the theatrical space distances itself from the simplistic perception of more and more highly technological and deeply robotized “neo-primitives”: that of easy entertainment that can be easily marginalized, neglected and therefore underfunded. Or it is precisely the capacity for re-humanization that would be the main reason today for the theatre to survive. And such a stake is shaping up to be one of the utmost importance for the human who wants to remain a Human, and not to regress to the state of parasite too easily manipulated by the processor to which he is connected umbilically. A privileged means of this already "resistance" is undoubtedly the orientation of the Being towards the condition

1 Foreword to: Actorul, poezia cunoașterii umane by Radu Olăreanu (Associate Professor Habil. At the University of Arts in Târgu Mureș), (2020) Iaşi: Ed. „Artes”

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Book Review of Spectator, understood as a partner of the stage gesture. And it is precisely on this axis of affective intelligence that the author creates, not by chance, bridges of communication between the “Actor Character” and the one who becomes the Character… of the Spectator. And, while the i-libertary world is on a sustained offensive, there is a proper neutralization of the antibodies of the human. That is, even the arts that end up through the temptation of the box office betraying their condition and becoming against their nature agents of alienating the individual from the double human condition, terrestrial and celestial. So, it is no coincidence that The New e-media channels are invaded by indecent subversions with a claim to art, whose product fits perfectly in the pejorative senses of "channel". However, their threat should not be neglected, because they aim at dividing the human being towards the irrecoverable schizoid, both Here and Beyond. However, they are also opposed by the "14 steps" proposed by Radu Olăreanu from "Actor Character" to Character of the Spectator. And the 14 steps back and forth are lined up as if we were measuring the scene to see if we could fit in its opening the set… of words. This will give content to the actual process of "volumizing"2 the text, from reading with only mental projection to reading with concrete spacing in the three dimensions of the stage. * Instead of some circumstantial preliminaries, the author makes us witnesses to the outline of his… expeditionary body, consisting of the Author's Voice and the Actor Character (accompanied by ghostly readers). And they will have to descend like Ovid and Dante through the ditches of the acting subconscious. That is, where the ritual sacrifice of the Person for the metamorphosis of the Character takes place, which will become viable on stage only when it resonates with the compositions in the Spectator's consciousness (step 1). In this context, the theatrical act and the arch will unite the author, the performer and the spectator in a cultural subversion to any dehumanizing utopia. The route and quality of the theatrical fusion reaction will include: [...] the capacity of the playwright or the poet, to find the inexhaustible, but otherwise hard to gather resources, which are contained in our very existence, the one of now, of today, immediate, in order to succeed together, actor and spectator, to recover as much as possible from what we did not live, and most of all to understand why everything happens. The discovery of man is the fundamental requirement of the actor's art! (p. 18) But such a meta-communication cannot be established from the base height of the stage to an amorphous stall, any superiority complex on the part of the transmitter being able to generate only histrionism. In order to avoid it, a prior immersion of the Actor in the mental architecture of his communion is necessary (step 2). This will be followed by the activation of the imagination mechanism (step 3) at the highest degree of affective

2 See: Cristian Stamatoiu (2015) Istoria antropologică a activării reflexului teatral, Școala Ardeleană/Eikon, Cluj-Napoca și București, p. 10

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intelligence, so that the stage presence deeply sensitizes the receiver. But this address is paradoxical! While they are genetically obliged to address the entire audience face front, the actors must play supervised by the director so that, from the result towards the audience, everyone can select their own message, depending on the existential profile, culture and sensitivity… And, if the arc of communication is established, its receiver will be able to regain control (step 4) with his many questions and few answers. But, in order to generate such a mediation, the actor must possess, educate and use his talent in exactly the original sense of biblical "talent". The biblical meaning is not accidental here because the author develops a true metaphysics of the self-enrichment of the Actor, but also of his fellow man, by relating to a spirituality beyond a more or less sophisticated intellect. In a world of all the diminishing dialectical opposites, a globalization is looming which, instead of solidifying humanity in the face of its cosmic destiny, antagonizes it. And, even if the forms of confrontation have become soft, involving asymmetrical and unconventional confrontations, deeper and deeper faults blaze the anthroposphere. That is why the role beyond the… role of the actor is to unite civilizations (step 5). Not by erasing memory, but by highlighting the (underground) lines of force of the human, perceived as an interface between earth and celestial, between knowledge and existence (step 6). In order to acquire such an attribute, it is first necessary for the actor to perform a ruthless vivisection on himself. The surgical kit of spiritual self-dissection will contain the edges of "functions" such as: "intellectual", "emotional", "motor" and "instinctive" (step 7). Assumed, but publicly unconfessed, this analysis will lead to a natural and credible stage presence, which will cause, accompanied by a good dramatic text, the revelation of self-discovery by the Spectator. Of course, every rediscovery of the freedom to be yourself is a "case" determined by the most diverse experiences and accumulations. However, such a rediscovery-restitution is not amorphous either, it symmetrically involves equally painful delimitations at the level of the reborn consciousness of the Spectator who: [...] will succeed in another exceptional thing for him: to understand how much belongs to him from accepting a state of fact and how much results from actions taken on the basis of external stimuli. In other words, how much of the received emotion belongs to him and how much is the result of the collective emotion that was reflected on him (p. 87).

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Once clarified, the Being will be able to analyze its memory (step 8), in order to try to ask itself some questions that will become more important than the answer itself. And so, it will be much easier to outline the profile of the individual-spectator, that is, that of Man always having a double existential dimension. A material one - given by the Oedipal voice of the concrete being facing the Sphinx; and the other: of "an instrument by which the divine is heard" (p. 98). Contrary to the monolithic meaning of the term “memory” (step 9), Radu Olăreanu identifies its plateaus which, once united by affective rhizomes, generate a… conscious memory, which “… makes the necessary connection between past and present and can more objectively clarify the future” (p. 99). Consequently, we will move to an extended theory of… human relativity, since the time factor is also introduced in the Actor-Spectator equation (step 10). And it is not just a physical or relativizing perception (typical of man) on temporality, but a "Truth - Time" relationship. Here, the opposition between being and owning in a world mutilated by consumerism is contained, although we obviously moved from the era of abundance, to that of the scarcity of resources, including climate resources. Step 11 investigates affective intelligence at the level of true artistic consciousness, which is ultimately a tragic one, regardless of the cultivated dramatic genre. The analysis of the ways in which artistically metaphorized messages reach (if they reach…) the affective intelligence of the receiver is next, of course, as long as it exists at the moment of establishing the spiritual symbiosis. Such communication is welcomed for both terms of this type of communication: the receiver will nuance and deepen its existential marks, including those relating to himself, while the transmitter will recharge with the energy emanating from all the seats occupied in the theatre (step 12). And all this, only if the theatre performance respects its own artistic condition, not succumbing to the temptations of stage transfer of simple information, usually propaganda, versus metaphorical communication, the only one that can convince man of a Truth, as if those arguments would come from within: The theatre performance is not an exercise in which the actors show their skill with which they play, it does not have to prove anything to anyone. […] Man does not receive a lesson in the theatre hall, he comes into contact in the present with an entire series of verbal or non-verbal languages, able to bring him emotion, to stir up memories in him, to trigger curiosities about his present-day life, to understand the purpose of all who live at the same time as him. When he re-discovers himself, he will re-live everything differently, perhaps he will re-invent himself, if the story re-

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seen in another way will inspire him enough. […] Theatrical performance must aim at a qualitative change of man on the one hand and a continuous redefinition of the world always brought in the mirror of the present (pp. 133 -135). Far from being a harmful mystification and a romantic dream, the theatrical performance ennobles the human fiber (step 13) by finding the self in "all their art", until the individual is ready to assume the past of his predecessors, to understand his present and presence, becoming responsible towards his descendants of a fluid to unpredictable future. Both the Actor and his Spectator will benefit from reaching that state of grace. Because each of them will be able to face the most unforgiving, and, therefore, always avoided encounter: the encounter with their own truth, which only the mysticism of art (or the art of mysticism) can grope for now and which only Judgment will delimit, but it will be too late. Thus, the serious existential implications of the play in general, and, most of al, those of its particular case are highlighted: the stage play (step 14) in which: The actor never plays his own life because that does not interest anyone. In fact, he never plays anything. He exists in his roles, understanding more than others, feeling more than many, experiencing emotions in a special, but very human way (p. 160). And, symmetrically, the person of the Spectator should no longer play roles after leaving the theatre, although the spectacle of politically correct hypocrisy forces society precisely towards such a (non) meaning. The thunderbolt on the Actor-Spectator's nerves ends (without actually ending!) with a few other "Steps towards the end…" that imperceptably close the "chalk circle" of the demonstration on the stage board. In fact, it - the conclusion - is rooted in time in the echo of the 14 steps: If man can remember his divine essence, he has a chance to wake up. People hurt each other in a state of sleep. Some sleepers fight with other sleepers and in the end no one wins. The real value of man is in the state of awakening. The actor can wake him from time to time with the story told by the poet and relived on stage by the "Actor Character" through the craft of his art, if man constantly meets him in the sacred space of the theatre. By understanding his destiny, man can reach with time a higher level of self-knowledge and finally a total awakening. He will understand that remembering himself means awakening (pp. 101-102). * And when the media Moloch threatens globally to sterilize the soul, no matter where we stand when reading this book - as an actor or as "spectator" - we will have a slightly better chance for the individual within us… to "return" himself to himself!

Professor habil. Cristian STAMATOIU, PhD University of Arts in Târgu Mureş

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Mihaela Beţiu despre performanţa actorului

în spaţiul dintre normă şi abatere

Amplu documentat, scris într-un stil alert și accesibil, studiul Mihaelei Bețiu este o excelentă analiză istorică a artei actorului din perspectiva poeticilor normative care i-au marcat dezvoltarea și reconstituie, cu minuție și har, evoluția acesteia de la meșteșug la Artă. Pornind de la observația că „încălcarea normelor existente, abaterea de la regulile stabilite, echivalează, în fapt, cu apariția unor noi reguli care, generalizându-se prin imitație, influență și iradiere, își pierd caracterul de abateri și devin ele însele ceea ce au negat – norme” (p. 7), lucrarea Actorul între normă şi abatere, publicată la UNATC PRESS în 20201, urmărește etapele principale ale cristalizării principiilor și metodelor unei arte care, deși bimilenară, și-a câștigat cu greu statutul și recunoașterea. Cercetarea Mihaelei Bețiu își propune să răspundă unor întrebări fundamentale despre actor: „unde este locul lui între normă și abatere? Cum s-ar putea defini arta lui? Ce este normă în arta actorului și ce abatere? Ce tip de raport între normă și abatere dă performanța scenică?” (p. 13). Pentru a răspunde acestor interogații, autoarea urmărește de-a lungul unor perioade istorice semnificative, raportul dinamic și fecund dintre normă și abatere, dintre nevoia de regulă, de organizare internă proprie oricărei arte și nevoia de inovare și de exprimare liberă proprie marilor personalități, raport exprimat adesea prin opoziția dintre școală și geniul disruptiv, creator la rândul său, prin abaterea de la norma veche, de nouă școală. Acest tip de școală, bazat pe normele modelate de marile personalități artistice a creat așa numita pedagogie a modelului, folosită probabil de la începuturile teatrului profesionist până la apariția pedagogiei de tip stanislavskian. Studiul de față pune în evidență și cronologia principalelor evenimente și poetici teatrale care jalonează tranziția de la pedagogia modelului la pedagogia de tip stanislavskian. Raportul dinamic dintre normă și abatere este pus în lumină în contextul mai larg al marilor curente literare și al evenimetelor istorice majore care le-au potențat, context care facilitează înțelegerea profundă a spiralei evolutive pe care acest raport a generat-o în arta actorului.

1 Parte a colecţiei UNATC PRESS 2020, coordonate de prof. univ. dr. habil. Bogdana Darie, în cadrul Proiectului „Caravana UNATC Junior III” (cod CNFIS-FDI-2020-0301).

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Ceea ce ne propunem să demonstrăm în acest studiu este că Arta actorului este şi normă şi abatere. Actorul are nevoie de regulă pentru că, dând coerenţă talentului, aceasta îl introduce în intimitatea creaţiei şi are nevoie, în acelaşi timp, de libertatea care îi garantează amprenta personalităţii şi obţinerea spontaneităţii (p. 13). Ambițiosul demers al autoarei este structurat în trei mari capitole. Primul oferă o retrospectivă istorică asupra apariției și rolului profesioniștilor în teatru, cel de al doilea analizează teatrul între normă și abatere în epoca clasică, iluministă și romantică, iar cel de-al treilea capitol, Tendinţe în teatrul sfârşitului de sec. XIX şi începutului de sec. XX, oferă patru studii de caz relevante, atât pentru raportul dinamic dintre normă și abatere, cât și pentru înțelegerea celor două modele majore de trupă profesionistă apărute în această epocă. Primul capitol, organizat în patru subcapitole, urmărește o evoluție cronologică ce pleacă de la premisele antice și medievale ale redescoperirii clasicilor antici și continuă cu trei subcapitole dedicate unor perioade definitorii pentru coagularea conceptului de actor profesionist: Fenomenul Commedia dell`Arte, Shakespeare sau regula geniului, Cervantes şi Lope de Vega despre reguli şi actori. Aceste subcapitole, construite pe o bogată documentare, abundă de informaţii concise şi relevante, bine structurate, atent analizate, conținând de asemenea, ca întreaga lucrare, observaţii de mare subtilitate cu privire la relația dintre normă și abaterea generată de marii creatori, fie că vorbim de marii actori ai Commediei, de Shakespeare sau de Lope de Vega. În subcapitolul Premisele antice și medievale, este prezentat patul germinativ constituit de revalorizarea culturii greco-romane pentru apariția primelor forme de teatru profesionist în Europa. Contextul cultural și socio-politic al Evului Mediu târziu și al Renașterii este redat cu mare claritate, oferind cititorului un tablou cuprinzător al cristalizării normei celor trei unități, plecând de la redescoperirea regulilor de construcție dramatică ale lui Aristotel, dar și de la scrierile lui Horațiu, Quintilian și Cicero. Autoarea prezintă într-o manieră sintetică și reperele importante ale acestei cristalizări care sunt operele lui Bernardino Daniello, Julius Caesar Scaliger, Antonio Sebastiano Minturno și Lodovico Castelvetro, analizând atent contribuțiile acestor erudiți la crearea unei poetici coerente a artei dramatice. Subcapitolul cuprinde și o trecere în revistă a apariției primelor edificii teatrale din epocă, ca și a coagulării primelor trupe profesioniste din Europa. Subcapitolul dedicat Commediei dell’ Arte, excelent documentat, pune în evidență apariția normelor practicii teatrale în cadrul primei școli actoricești moderne. Apariția

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Book Review trupelor profesioniste, a primelor vedete, pentru care se scriu texte dedicate (Flaminia și Leone Aretino), amploarea și succesul fenomenului sunt redate într-un stil concis și alert. Autoarea decelează „trei reguli cu caracter funcțional și definitoriu: masca, improvizația și performanța” (p. 37) pe care le descrie cu minuțiozitate și rigoare, plecând de la celebra lucrare a lui Andrea Perucci, Despre arta reprezentaţiei dinainte gândite şi despre improvizaţie, considerată a fi primul manual cunoscut de arta actorului. Commedia impune, de asemenea, disciplina artistică drept normă generală și statuează două trăsături specifice importante: specificul de artă vie și Actorul Total, argumentează convingător și detaliat autoarea. Subcapitolele dedicate lui Shakespeare și secolului de aur spaniol, conțin ample referiri la climatul cultural și socio-politic care le-au generat și urmăresc cu subtilitate și inteligență parcursul relației dintre normă și abatere într-o epocă în care teatrul cunoaște o excepțională efervescență creatoare, manifestată atât prin apariția unor dramaturgi geniali, cât și prin proliferarea fără precedent a companiilor teatrale. Capitolul Shakepeare – regula geniului porneşte prin analiza importanţei covârşitoare pe care a avut-o geniul Elisabetei a II-a în impunerea economică şi comercială a Coroanei engleze în Europa şi în susţinerea artei şi continuă cu povestea dezvoltării teatrului iacobino-elisabetan. În 1594 lua naştere cea mai mare companie teatrală a vremii, Oamenii Lordului Şambelan, care avea parte de prezenţa celui care se va dovedi cel mai mare dramaturg al tuturor timpurilor. Asocierea dintre acesta şi marii actori James Burbage, tâmplarul care devine primul actor profesionist englez, fiind şi inventatorul dispozitivului scenic elisabetan, şi Richard Burbage, fiul lui James, actorul de geniu care va crea marile roluri din tragediile shakespeariene cu sinceritate, forţă şi adevăr istoric, va fi prolifică. Autoarea se opreşte în mod special asupra poeticii artei actorului pe care Shakespeare o prezintă atât în Hamlet, cât şi în Visul unei nopţi de vară. Celebra lecţie hamletiană pentru actori respecta precepte antice – regula mimesisului artistotelic şi pe cea a măsurii horaţiene, la care Shakespeare adaugă bunul- simţ creştinesc cerând actorului să nu-şi ofenseze cu urlete şi scălâmbăieli Creatorul care l- a dorit armonios. Cerinţa de a potrivi vorba cu fapta şi fapta cu vorba, se referă pe de o parte la măsură în gestică şi vorbire, dar şi la faptul că acestea trebuie să fie gândite, justificate, să se nască simultan, să exprime, aşa cum am spune astăzi, gândul şi interioritatea în mod organic. Expresivitatea scenică nu poate exista în afara unui control inteligent, iar inteligenţa corporală şi cea emoţională a actorului trebuie bine puse la lucru (p. 51). Aşadar, concluzionează Mihaela Beţiu, marele merit al lui Shakespeare este acela că, punând la dispoziţia actorilor partituri excelente şi coordonându-i cu fler de mare regizor, a imprimat artei actorului regula adevărului, a măsurii artistice şi a condus teatrul elisabetan în numai câţiva ani de la emfază la realism. Cercetarea continuă cu poeticile dedicate teatrului, dramaturgiei, deci şi artei actorului, şi organizatorilor de spectacole de

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către Cervantes (Pedro de Urdemalas, 1615) şi Lope de Vega (Arta nouă de a face comedii în zilele noastre, 1609).

Capitolul al doilea, Teatrul între Normă și Abatere în epoca clasică, iluministă și romantică, cuprinde șapte subcapitole centrate pe principalele perioade ale dezvoltării teatrului sub influența curentelor literare amintite în titlu, prin prisma tensiunii dinamice dintre poeticile normative și abaterile marilor personalități contestatare, generatoare la rândul lor de noi norme, respectiv: II.1.1 Clasicismul francez sau absolutizarea normei; II.1.2 Molière sau eliberarea creatoare; II.2 Denis Diderot sau raţionalizarea artei actorului; II.3 Scena franceză înainte şi după Revoluţia de la 1789; II.4 David Garrick – un „mare mistificator”?; II.5 Evoluţia genului comic – Carlo Goldoni sau reconfigurarea regulilor; II.6 Reguli antagonice pentru actori – Lessing şi Goethe, II.7 Victor Hugo – profeţia libertăţii şi reacţiunea geniului. În Clasicismul francez sau absolutizarea normei, autoarea analizează o perioadă de aproape două secole în care se cristalizează viziunea clasicistă asupra regulilor creației artistice. Opera și impactul marilor autori ai clasicismului, Racine și Corneille, asupra dezvoltării dramaturgiei franceze, dar și contextul socio-politic al epocii sunt de asemenea analizate minuțios, autoarea reușind să contureze cu pregnanță tabloul teatral efervescent al Parisului acelor timpuri. Subcapitolul conține și o trecere în revistă detaliată a primelor două trupe profesioniste franceze, al căror succes s-a bazat în bună măsură pe jocul retoric, grandilocvent al actorilor ca și pe decoruri somptuoase și elaborate. Un al doilea subcapitol îi este dedicat personalității lui Molière, unul dintre fondatorii teoriei moderne a artei actorului (p. 85), afirmație solid argumentată prin detalierea componentelor de gândire artistică formulate de marele dramaturg în Critica școlii nevestelor (1663) și Improvizația de la Versailles (1664). Subcapitolul cuprinde și o excelentă analiză a pedagogiei modelului desprinsă din scrierile lui Molière, analiză ce evidențiază atât punctele de convergență, cât și pe cele de ruptură față de normele clasicismului francez. În subcapitolul dedicat lui Diderot, autoarea face mai întâi o amplă analiză a Iluminismului și a contextului socio-politic care l-a generat. În acest context, teatrul își continuă căutările: Este „secolul comediei” pentru că cele mai mari reuşite le-a repurtat acest gen. În căutarea „verosimilului” scriitorii se vor întoarce spre singular, rar, original, vor prefera proza în locul versului, omul obişnuit în locul eroului, adică drama în locul tragediei, comedia de moravuri aceleia de caracter (p. 97). Analiza cuprinde și referiri la contribuţia la teoria teatrală a unor practicieni ca François Riccoboni şi Beaumarchais sau a unor teoreticieni ca Batteux sau Sainte-Albaine. Partea dedicată în mod explicit lui Diderot se concentrează, firesc, asupra celebrului paradox asupra actorului, conținut de lucrarea cu același nume. Autoarea pune în lumină cu subtilitate atât limitele poeticii lui Diderot, cât și elementele de progres reprezentat de

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Book Review apelul la raționalitatea actorului într-o epocă în care arta actorului era sufocată de patetism și grandilocvență. Subcapitolele următoare cuprind în ordine cronologică evoluția teatrului înainte și după revoluția de la 1789, epoca și influența marelui actor englez Garrick, evoluția genului comic italian modelat de celebra dispută dintre Goldoni și Gozzi, antagonismul regulilor formulate de Lessing și Goethe ajungând la furtuna romantică stârnită de Victor Hugo și discipolii săi. Analiza istorică pe tiparul unui adevărat tur de forță este de o excelentă calitate, argumentația este solid documentată, dar și originală, punând în evidență aspecte mai puțin cunoscute ale evoluției gândirii teatrale europene și urmărind cu acuratețe și subtilitate punctele de inflexiune ale raportului dintre normă și abatere în cristalizarea pedagogiei artei actorului. Ultimul capitol – Tendinţe în teatrul sfârşitului sec. XIX şi începutul sec. XX, oferă patru studii de caz relevante atât pentru situarea actorului între normă și abatere, cât și pentru înțelegerea celor două modele majore de trupă profesionistă apărute în această epocă, modele încă viabile și astăzi. Cele trei subcapitole corespunzătoare sunt: III.1 Teatrul de vedetă – Sarah Bernhardt; III.2 Teatrul grupului – Compania Meiningen şi André Antoine III.3 Eleonora Duse – precursoarea ansamblului şi primul mare actor al teatrului psihologic. Alegerea cazurilor studiate este inspirată și firească, fiecare reprezentând plenar tipologia vizată. Dacă teatrul vedetei este reprezentat la superlativ de glorioasa Sarah Bernhardt, compania Meiningen și Antoine sunt formulele cele mai importante de teatru al grupului din epocă, iar Duse reprezintă primul mare actor de factură stanislavskiană avant la lettre. Cele patru cazuri sunt studiate din perspectiva raportului dintre normă și abatere în arta actorului, raport pus în lumină de apelul la mărturiile contemporanilor prin care autoarea recompune cu meticulozitate de bijutier atât complexitatea personalităților celor două repere absolute ale artei actoricești – Sarah Bernhardt și Eleonora Duse, cât și rigoarea organizării ansamblului, disciplina artistică și coerența gândirii artistice presupuse de cele două mari proiecte de teatru colectiv studiate. Sunt, de asemenea, iarăşi puse în evidență cu multă finețe a analizei cele două abordări pedagogice – pedagogia modelului – reprezentată de Sarah Bernhardt și pedagogia de tip stanslavskian, bazată pe motivațiile psihologice ale personajului. Capitolul final încheie cu succes demonstrația că (...) arta actorului este simultan normă, abatere şi încă „ceva”. Actorul cu o natură bogată, ordonat de metodă, permiţându-şi abaterea creatoare şi având parte de strălucirea spontaneităţii, poate fi numit artist, minune, geniu pentru că este excepţional (termenul însuşi include sensul de „abatere”) (p. 17). Urmărind evoluția istorică a situării actorului în spaţiul dintre normă și abatere, studiul Mihaelei Bețiu este o contribuție originală și importantă la înțelegerea aprofundată a pedagogiei artei actorului, a curentelor de gândire care au modelat-o, dar și a provocărilor contemporane ce îi stau în față, o lectură consistentă și densă în informații, foarte utilă tuturor profesioniștilor din domeniul teatral, fie ei artiști, pedagogi sau studenți... şi poate

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că studenţilor-actori li se adresează autoarea mai mult, deoarece tipul de cercetare pe care- l face coroborează fericit analiza istorică cu indicaţiile marilor practicieni şi teoreticieni ai timpurilor „moderne” dedicate actorului, artei sale şi pedagogiei acesteia.

Lect. univ. dr. Ioana VISALON Universitatea „Dunărea de Jos” Galaţi, Facultatea de Teatru, Muzică şi Arte Plastice, Redactor-şef CercetArte [email protected]

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III Interview

„Toată viața m-am abătut de la șoseaua principală”

Interviu1 cu regizorul Radu Afrim

de lect. univ. dr. Călin Ciobotari

1 culegere și tehnoredactare de Andreea Rotaru

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Radu Afrim, one of the most important Romanian stage directors of the moment, talks in this interview about complicated relations between art and society, about how the pandemic era we are going through can generate new aesthetics, about how he feels, inside the act of creation, the growing economic crisis, but also the hard-to-define horizons of a problematic future. The influences of social networks in the emergence of aesthetic trends, the increasingly intense option for the image of the stage director as a writer, the delicate issue of the audience splitted between soft theatre and profound performances are collateral themes of a dialogue with document value.

Călin Ciobotari: Să contextualizăm discuția: ești la Iași unde montezi Maurice Maeterlinck. De unde relația ta cu acest autor? Din câte știu nu ai mai montat nimic de Maeterlinck…

Radu Afrim: Nu am mai montat nimic din acest autor, nu am mai montat de ceva timp teatru clasic. Este probabil actualizată relația mea cu simbolismul. Când am fost la Bruxelles în 1992 m-am apropiat de această zonă, de această estetică ușor morbidă, poetică, luminos- morbidă, un curent elevat și totodată foarte puțin social. Spuneam adeseori că nu există teatru care să nu fie social însă, de această dată, operând cu acest curent simbolist, pot spune că teatrul asocial există.

C.C.: Confirmi ceea ce bănuiam demult: ești simbolist până în măduva oaselor…

R.A.: Sunt simbolist acum, dar următorul proiect poate fi unul foarte social, dacă asta îmi doresc. Pentru mine e o pauză de teatru social, tocmai de aceea am ales Maeterlinck și arta simbolistă pentru că asta vreau în acest moment.

„Nu accept directive prin care să mi se spună că trebuie să fac piese de o anumită factură, într-un anumit mod.”

C.C.: Ai avut o postare pe Facebook zilele trecute în care vorbeai de un trend foarte puternic de stânga, „militant stângist”. Chiar există acest trend sau este o formă a ta de a „băga bățul în gard”?

R.A.: Da, există, însă pe mine mă enervează faptul că e un trend. Poate fi militantism de stânga, dar nu un trend și asta pentru că, în momentul în care devine trend, dispare sinceritatea ori dorința organică a artistului de a spune ceva ce-l doare. Societatea, în general, e plină de boli, de probleme, iar acest lucru este conștientizat. Eu vreau să văd artistul care mă emoționează, care să mă facă să-l cred că îl doare… Pe mine, ca spectator, trebuie să mă emoționeze, trebuie să-mi activeze creierul și inima, iar teatrul cu lozinci ridicate în scenă nu mă interesează.

C.C.: Impresia mea e că în afară de doi-trei critici care, probabil, noaptea dorm pe partea stângă, nu a mai încercat nimeni să impună explicit această mișcare în România.

R.A.: În lume, această mișcare este una foarte puternică, în România e mai mult o încăpățânare a unui grup de a spune că tot ce e de stânga e de valoare. În opinia mea, trebuie

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Interview să rămânem realiști, rezonabili, lucizi, dar mai ales să facem diferența între fals și obsesie reală, insomnie reală a artistului. Eu nu am întâlnit mulți artiști plini de cearcăne dimineața la repetiții din cauza foametei din lume sau a femeilor abuzate însă știu că vor fi luați în seamă dacă vor vorbi despre asta. Într-un fel, e bine și așa pentru că foarte puțini sunt cei ce detectează falsul și-atunci, decât să nu se vorbească despre aceste probleme, mai bine o faci chiar și la modul ușor ipocrit. Este bine să existe și la noi un teatru viu, un teatru social- politic însă nu accept directive prin care să mi se spună că trebuie să fac piese de o anumită factură, într-un anumit mod. Așa ceva, nu!

C.C.: Dar ți s-a cerut asta?

R.A.: Nu, însă ți se spune cumva indirect în momentul în care ești exclus ori cutare critic nu îți vine la premieră. E clar că îți transmite faptul că nu este interesat de mesajul tău. Sunt 20 de ani de când eu vorbesc despre lucruri care acum sunt la modă, iar aici mă refer la minorități, la femeile luptătoare și nedreptățite. În plus, nu mi-am propus să fiu de stânga, nu m-a interesat acest lucru pentru că regia și arta, în general, trebuie făcute de artiști.

C.C.: Din când în când îți mai iei câte o urecheală în spațiul public…

R.A.: Îmi luam chiar și atunci când făceam lucrurile astea cum nu se fac în Europa. Dacă ne raportăm la spectacolul „Despre oameni și cartofi”, l-am făcut pe limba mea, iar pe unii, ce nu aveau instrumentele necesare de încadrare, i-a enervat. Mă rog, a fost vorba despre o singură persoană care a spus că acest spectacol nu este OK tocmai pentru că i-am filmat pe acei oameni exact așa cum sunt ei, în mediul lor, anulând astfel esența documentarului. Tu, critic fiind, ești foarte atent la aceste aspecte, în schimb spectatorii nu sunt neapărat interesați.

C.C.: Într-adevăr, spectacolul stârnește o emoție imensă. Îl văzusem împreună cu Emil Coșeru, iar în momentul în care s-a terminat spectacolul simțeam acut nevoia să fim generoși, buni, căutam să facem acte caritabile, într-atât ne-a influențat acest spectacol.

R.A.: Da, în general artiștii sunt de stânga, dar în momentul în care îmi spun asta în fiecare zi, în momentul în care aud doar asta, îmi vine să trec pe partea cealaltă. Și… iată-mă pe partea cealaltă, în plin simbolism poetic…

C.C.: Poate fi și un fel de refugiu personal acest Maeterlinck?

R.A.: Nu, i-a venit rândul pur și simplu. Nu am de ce să mă refugiez, a fost un an ciudat în care am lucrat mult, patru spectacole. Două dintre ele sunt chiar foarte sociale, îndeosebi cel de la Craiova care este pe un text al unui poet – Dan Coman. Așadar, nu vreau să mă refugiez, e doar un moment pe care eu îl simt așa, ba mai mult, nu îmi doream ceva contemporan.

Arta ca oglindă, arta ca ieșire spre o altă lume…

C.C.: Consideri că această criză ce o traversăm și care are tot felul de efecte, inclusiv în plan economic, ne îndreaptă mai degrabă spre o zonă realistă în ceea ce privește arta sau, din contră, ne repune în fața opțiunii de a alege simbolismul ori alte formule de genul ăsta?

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R.A.: Există posibilitatea de a alege între cei care spun că arta este o ieșire spre o altă lume sau arta este o oglindă. Dacă eu, ca artist, nu mi-am făcut la începutul carierei mele un program de lungă durată pentru următorii 20, 30, 50 de ani, cât voi avea de lucrat ori de trăit, e clar că mă duc pe intuiție și pe suprafețe mai scurte. Cred în ambele variante și sunt artiști cărora li se potrivește foarte bine ideea de teatru ce oglindește strada în toate măruntaiele ei și lumea de care fugim, poate tocmai pentru a nu mai avea unde să fugim. Cât despre mine, sunt undeva la mijloc… până la un moment dat arăt strada după care deschid o ușă spre Dincolo. Cred că așa mă pot defini ca estetică, mesaj și atitudine. Nu am îmbrățișat niciuna din aceste două variante până la capăt, însă, mărturisesc, mi-ar plăcea mult să o îmbrășișez pe a doua, cea cu poarta spre Dincolo…

C.C.: Acea variantă poate spre 70 de ani….

R.A.: (Râde) Știi cum e? La 70 de ani îmbrățișezi actorul.

C.C.: Te vezi la 70 de ani?

R.A.: Făcând teatru ori altceva? Nu, închid ochii și văd ceva negru. Nu am cum să mă văd la 70 de ani pentru că nu am vocația viitorului apropiat sau îndepărtat, nu am avut-o niciodată.

C.C.: Ai gândul acesta al morții ori un anumit tip de relaționare cu moartea? E o constantă în

spectacolele tale discursul despre moarte…

R.A.: Da, categoric… Oricine are acest discurs, această familiarizare și când spun oricine mă refer la cei ce nu doresc să fie luați prin surprindere, cei care doresc ca acest moment să fie mai blând. Anul acesta s-a vorbit foarte mult despre moarte, s-a murit trist de mult în jurul nostru, moartea a fost foarte aproape de noi.

C.C.: Asta nu relaxează cumva relația cu moartea? Spre exemplu, în războaie, când îți mor în preajmă zeci de mii de oameni, moartea devine un eveniment banal.

R.A.: E adevărat, dar lasă mari traume, mai ales după ce trece războiul, șocul.

C.C.: Interesant e faptul că, uite, după războaie au apărut noi curente, spre exemplu existențialismul, teatrul absurdului. După acest COVID-19 crezi că se va mai naște un nou curent? E suficient de puternic ceea ce ni se întâmplă încât să modifice esteticile la modul viguros?

R.A.: Citisem zilele trecute, pe internet, un articol în care se vorbea despre schimbările survenite în teatru după un an de COVID-19. Nu cred că se va vedea o schimbare radicală în acest moment, poate e doar o schimbare de copertă, de suprafață.

C.C.: Însă ceva subteran ni se întâmplă totuși…

R.A.: Așa este, dar asta o vom vedea mai târziu, probabil o vor vedea cei care sunt interesați să vadă acest aspect, cei care nu vor dori să spună: „Gata! S-a terminat COVID, trecem la comedii, la divertisment, lumea trebuie înveselită” când, de fapt, în spatele acestor vorbe există trauma, prăpastia. Şi această deschidere de 30% - 50% a sălilor de teatru este un zâmbet scrâșnit, însă un compromis necesar, actorii țin să joace, dar se vede clar faptul că lucrurile nu sunt încă vindecate, că suntem pe panta descendentă a unui an teribil. În două din spectacolele mele lucrate anul trecut, vorbesc în mod direct despre acest virus. În cel de

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Interview la Craiova („Inimă și alte preparate din carne”) toate personajele sunt marcate, pentru că, atât acțiunea cât și spectacolul în sine, au fost create în această perioadă… ori nu te poţi preface că nu a existat ceva ce ne-a marcat într-atât viața reală. În spectacolul lucrat la Târgu-Mureș („Grand Hotel Pasărea Retro”) am încercat puțin umor negru pe acest subiect și asta pentru că deja eram cumva mai detașat.

C.C.: Cum ți s-a părut comportamentul spectatorului în acest an?

R.A.: Teatrul nu a avut prea mulți spectatori, mulți oameni își cumpărau bilete după care se anulau din cauza situației epidemiologice.

C.C.: Dar ai simțit o solidaritate reală între public, generic vorbind, și artist? La un moment dat se fracturase această relație. Mulți actori intraseră în șomaj tehnic sau în concedii forțate de odihnă, unii spectatori strigau că vor la teatru, alții păstrau o tăcere foarte densă. Este teatrul ceva necesar sau e doar un moft pentru vremuri bune?

R.A.: Multă lume a privit teatru online, alții mai norocoși au cumpărat bilete… Pentru unii chiar este un mod de a trăi, o dorință organică pe care eu nu o simt; nu sunt un mare consumator de teatru, dar pot să înțeleg anumiți spectatori care doresc să se întoarcă în sală.

C.C.: Sunt onești, chiar vor asta…

R.A.: Da, sunt onești pentru că acolo chiar se creează intimitatea, iar ei pot să facă ceea ce în viața reală nu ar putea. Tu, ca spectator, în momentul în care vii la teatru, poţi să vezi, să simți lucruri de care nu ai parte în viață, chiar dacă strada ți le arată. Sunt alții care citesc mult în metrou ori în alte locuri și o fac tocmai pentru că vor altceva, vor să vadă lumea, dar cea scrisă în cărți, nu cea de pe geamul metroului.

„Am nevoie de o lumină adevărată dintr-o lume adevărată.”

C.C.: În acest an a existat o tentație destul de manifestă a politicului, în România și nu numai, de a deprioritiza arta, instituțional vorbind, de a spune: „să lăsăm puțin deoparte cultura, sunt spitalele, zona educațională ce necesită o atenție sporită”. În felul acesta s-a creat un efect de derizoriu al artei, cel puțin în anumite segmente…

R.A.: Asta spune totul. Am putut înțelege faptul că nu sunt bani, iar acest lucru se simte acut. Toate decorurile avute în acest an au fost refăcute. Irina Moscu a refăcut decorul de la „Casa cu suricate”, la Târgu-Mureș am refăcut blocul din „Pasărea Retro”, iar textul scris pentru „Grand Hotel Pasărea Retro” are la bază tocmai această dorință de a refolosi. Nu este și nici nu trebuie să fie o jenă. La Sfântu Gheorge („Când coboară luna plină peste second hand”) au fost ceva bani veniți din Ungaria.

C.C.: Simți că revine peste noi minimalismul? Pe criterii economice…

R.A.: Asta a fost cândva.

C.C.: Sunt unii regizori ce regăsesc spațiul gol și teoriile legate de scenografiile minimaliste.

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R.A.: Am avut și eu trei spectacole cu decor și unul cu spațiul gol. Nu mă deranjează, însă ce sper e să nu devină iar o tendință. A cam trecut zona asta de minimalism, cel puțin în Europa, deși încă se impune acest lucru și în filme deopotrivă.

C.C.: Poate fi considerat tot un reflex de stânga?

R.A.: Categoric da! Orice înseamnă decor, ornament vine pe o treaptă absolut burgheză, „moșierească”, și atunci forma, în general, trece de dreapta în timp ce conținutul și ideea trebuie să fie de stânga. Eu am fost preocupat mereu de estetică, de felul în care arată un spectacol, de imagine, având la bază o formațiune vizuală, însă am fost pus și la index, iar dacă o anumită cronicăreasă nu are cultură vizuală, nu mă privește. Nu pot să renunț la tot ce am acumulat doar pentru că nu mai este la modă.

C.C.: Prin orașele în care montezi, ai obiceiul aceasta de a intra în ascunzișurile locului și de a simți un vibe profund al acelor spații prin fotografii…

R.A.: Toată viața m-am abătut de la șoseaua principală în sensul că nu mi se pare interesant să pozez fațadele mereu vizibile… Mai degrabă aleg să merg pe străduțe mici, neumblate.

C.C.: Există un Iași ascuns?

R.A.: Ascuns sporadic poate fi; între două lucruri urâte zărești o casă frumoasă, veche, care pentru unii poate fi rușinos de veche și de neglijată. Eu caut poezia și acolo… Poate dacă aș locui în acea casă n-aș mai lăsa-o să arate așa, însă, da, mă plimb mult și în acest fel descopăr. Şi Craiova e asemănătoare, monstruozități postcomuniste și ceva din lumea foarte veche.

C.C.: Te ajută în construcția spectacolului genul ăsta de abatere de la ulița principală pe care o practici în orașele respective?

R.A.: E o relaxare, o călătorie, aceste momente sunt singurele mele călătorii în afara luminilor de repetiție. Am nevoie de o lumină adevărată dintr-o lume adevărată și, chiar dacă nu sunt oameni prea mulți în excursiile mele, există spirite, emoții, mister, un anumit tip de atmosferă urbană care e specifică fiecărui oraș. Vin în fiecare iarnă aici și revăd aceleași străzi, însă de fiecare dată descopăr ceva nou.

C.C.: Ți se pare că există o specificitate a Iașului ori a orașelor, în general, sau e o discuție mai mult metaforică?

R.A.: Nu e deloc metaforică. Arhitectural vorbind, există o amprentă solidă a diferitelor influențe de aici, de la Iași, există o urmă vagă de Art Nouveau, un baroc, dar există și mahalaua pitorească care-mi place mult. De cele mai multe ori, până și în zonele mai puțin interesante poți găsi un aspect de viață plăcut, cum ar fi pisicile care sunt diferite față de cele din Craiova. Din păcate, nu am vreme să filmez cât mi-aș dori. În pandemie m-am ocupat mai mult de acest aspect, am montat, am filmat, lucru pe care nu-l făceam înainte. Spectacolul de la Craiova este 50% filmat la Dunăre, prin Jiu...

C.C.: Pe toată durata pandemiei, actorii au fost puși în situația de a încerca o reinventare mutându-se în online, jucând în online și comportându-se ca și cum ar fi pe scena reală. Cum ți s-a părut această încercare a actorului de a se salva?

R.A.: Unii au fost empatici, am râs la glumele lor, alții au fost ridicoli pentru că au fost puși într-o situație ridicolă. Sunt două variante: cei care au făcut asta de bunăvoie și cei care au

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Interview fost împinși de instituție. Una e să îți arăți casa, să te filmezi pe canapea, să te duci în camera cealaltă, lucru ce mi se pare stupid, ridicol. Cu totul altceva e să spui o poezie proastă...

C.C.: A mai fost un reflex riscant, acela de a umbla în lada bunicii cu filmări de altădată din zestrea teatrelor, și de a le etala ca pe sfinte moaște. Senzația mea e că teatrele își aduceau un deserviciu major.

R.A.: Din păcate, nu am putut opri acest lucru nici măcar eu, cu anumite spectacole lucrate de mine, a căror filmare nu a fost una tocmai profesionistă. Altele au fost foarte bine filmate, îndeosebi cele din teatrele care au știut întotdeauna să facă acest lucru. Spre exemplu, la Timișoara, spectacolul „Fetița din bolul peștelui auriu” este foarte bine filmat, e ca un film.

C.C.: La fel „Pasărea Retro”…

R.A.: Da, și acest spectacol, însă eu mă refer la cele vechi, din lada cu zestre, mi-a fost groază că s-au dat unele prost filmate și atunci nici nu am anunțat, nu din cauza filmării neapărat, ci pentru că acele spectacole nu mai stăteau în picioare. Când spun acest lucru, nu mă refer la greșelile tinereții, toți am avut, doar că nu îmi place să vorbesc despre trecutul meu creativ. Consider că mi-a mâncat o bună parte din viața reală, îl urăsc pentru asta, iar eu nu sunt genul de regizor care să spună că „…acum 50 de ani am făcut un spectacol genial, uitați- vă la el”. În mod cert, nu are cum să mai fie genial.

C.C.: Da, însă nici nu îl poți nega…

R.A.: Ba da, eu am dreptul să fac acest lucru. Voi nu, însă eu da. Nu poți ști niciodată ce simte un om față de produsul lui. Mi-e greu să-mi privesc CV-ul, nu pot face acest lucru și mă bucur mult că la un moment dat directorii teatrelor ucid spectacolele.

C.C.: E un sentiment de ușurare atunci când îți moare un spectacol?

R.A.: În acel moment nu, mi se pare încă tânăr, ucis pe nedrept pentru că îmi doresc ca un spectacol să trăiască atât cât să fie văzut, să fie umblat prin turnee și festivaluri.

„…dacă aș avea mai mult timp, Doamne, cât aș scrie!”

C.C.: Care este cel mai vizionat spectacol al tău?

R.A.: Acum cu difuzările online cred că „Pasărea Retro se lovește de bloc și cade pe asfaltul fierbinte”, apoi „Pădurea spânzuraților” de la Teatrul Național București. Oameni care nu auziseră de mine au fost interesați să vadă acest spectacol, iar mai apoi au fost descumpăniți după ce-au văzut „Trei surori”, lucrat tot la TNB. Sper ca aceste spectacole să fie reluate cât mai rapid pentru că ele se bucură de un public numeros.

C.C.: Un spectacol de care mie mi-e foarte dor e „Năpasta”…

R.A.: Da, din păcate acest spectacol nu mai poate fi jucat, deși acum ar fi foarte bun, foarte actual. Totuși, parcă nu aș mai dori să fie reluat… Spun asta deoarece am încercat de atâtea ori să-l reluăm și am eșuat, încât nu mai vreau. Este o enigmă faptul că a avut o viață atât de scurtă și nu vreau să mai dezgrop stări.

C.C.: Ai deschis acum un alt subiect de discuție cu „Grand Hotel Pasărea Retro”, ideea de continuare a unui spectacol, acest „Grand Hotel” de la Târgu-Mureș continuând spectacolul „Pasărea Retro”. E prima continuare pe care o faci, de unde această nevoie?

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R.A.: Când lucram la „Pasărea Retro” mi-am spus că, după, aș vrea să fac ceva și despre anii `80. Între timp mi s-a părut stupid pentru că lumea nu face diferența între acești ani, `70, `80, ceea ce e o greșeală imensă, diferența este una foarte mare atât din punct de vedere social, cât și muzical, politic...

C.C.: Da, în anii `80 se pierduse cumva poezia, seninătatea…

R.A.: Eram și mai mari și, oricum, pentru mine acei ani nu mai reprezentau timpul petrecut în fața blocului, ci erau cu totul alte interese, eram adolescenți. Apoi mi-am zis că nici anii `90 nu sunt potriviți, nu aveau o anumită culoare pentru mine așa că, iată, am adus acțiunea direct în prezent și în felul acesta s-a născut „Grand Hotel Pasărea Retro”.

C.C.: Ai mai simțit această nevoie de continuare la vreun alt spectacol de-al tău?

R.A.: Nu, doar că aveam încă de scris la „Pasărea Retro”. Dacă nu aș fi avut ce scrie, dacă nu aș fi simțit acest lucru, cu siguranță aș fi pus altceva; cu această trupă de la Târgu-Mureș poți să lucrezi orice, sunt foarte buni.

C.C.: A început să-ți placă să scrii…

R.A.: Da, dacă aș avea mai mult timp, Doamne, cât aș scrie, dar tot în timp ce lucrez și nu acasă. În perioada pandemiei nu am putut să fac acest lucru.

C.C.: Ai și tentația romanului?

R.A.: Nu, pentru că vreau să am feedback și vreau să văd dacă ține ceea ce am scris. Mi-e foarte teamă să scriu într-un jurnal și după, poate cândva, cineva îl va citi. Mi se tot cer scenarii pentru publicare, dar încă nu mi se par a fi pregătite pentru a fi citite fără o proiecție vizuală.

C.C.: Te revendici dintr-un anumit tip de dramaturgie sau te simți pe cont propriu în ceea ce scrii?

R.A.: Este posibil să fie un amestec din tot ceea ce citesc fără să-mi dau seama și asta pentru că citesc foarte mult teatru contemporan. Cred că, inevitabil, intră nu neapărat fraze din piesele respective, dar tipul discursului, stilistica, da. Nu-mi este teamă să scriu un monolog poetic pentru că în acest moment în Europa se scrie astfel, chiar dacă e un soi de poezie politică.

C.C.: Oricum, ești greu încadrabil din punct de vedere textual. E o formă de hibriditate foarte seducătoare.

R.A.: Mi se par destul de populare textele mele, nu cred că sunt elitiste. Cred că pot avea acces la scriitura mea diverse tipuri intelectuale, sociale de oameni. Nu au un caracter respingător, nici măcar dur, iar tipul meu de umor e, în mod cert, unul foarte personal.

C.C.: Îmbraci întotdeauna acest umor într-o crustă poetică.

R.A.: (Râde) Și-atunci nu mai râde nimeni…

C.C.: Râde, dar într-un anumit mod ce te ferește, cred, de riscul comercialului.

R.A.: În puținele dăți când intru în sălile de teatru și văd oameni tăvălindu-se de râs, iar eu nu râd, sunt sigur că ceva cu mine nu e în regulă.

C.C.: Iar vina este a ta.

R.A.: Este vina mea, nu poate fi a celor 500 de oameni din sală.

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C.C.: Ce relație mai avem cu râsul, Radu?

R.A.: Se râde mult, mai mult în online.

C.C.: Ți se pare un râs terapeutic ori e un râs onest?

R.A.: Depinde de vârstă. Nu poți spune că adolescenții au un râs terapeutic.

C.C.: Mulți manageri din teatrul românesc vor comedie, vor să vândă bilete și-atunci e un interes economic ori e ceva organic asumat că poporul român e un popor comic?

R.A.: Eu am observat oameni foarte sobri, dramaturgi care sunt fericiți atunci când scot o frază comică. Când au dat lovitura cu o frază într-un spectacol de o tristețe infinită… La un moment dat, un actor spune o replică plină de umor, iar sala râde… Într-atât de fericiți sunt acei oameni! Pur și simplu te uiți la chipul lor și se luminează brusc. Nu mă refer aici la comediile tâmpite, alea nu, discutăm despre o rază, un zâmbet într-un ocean de tristețe, astea mi se par interesante. Oricine trebuie să aibă puțin umor...

C.C.: Ce crezi că are suficientă forță azi pentru a modifica ceva în artă? Un grup de oameni, anumite întâmplări sociale ale unei comunități ori ale unui continent, trenduri ce devin tot mai puternice?

R.A.: Din păcate noi nu am generat trenduri, ci mai degrabă am copiat un trend european. În acest moment rețelele de socializare generează trenduri, însă nu neapărat culturale. Cât despre cele din urmă, uite, Mircea Cărtărescu este în trend de ani de zile, deși este lovit sub centură periodic.

C.C.: Așadar, rețelele de socializare ar putea fi un factor important, puternic de impunere a tendințelor.

R.A.: Da, pentru a-l prețui pe Brâncuși a trebuit ca acesta să aibă o retrospectivă mare la Paris sau la Berlin, iar mai apoi să fie confirmat de Irina Rimes la noi în țară. În aceste condiții am conștientizat că Brâncuși este într-adevăr bun. Astea sunt vremurile și nu avem ce face. Nu avem manageri PR suficient de pregătiți, iar acest lucru reprezintă o altă suferință a mea, de când am început regia.

C.C.: “Creatori de conținut” – sintagmă pe care ai ironizat-o la un moment dat pe Facebook.

R.A.: Se pare că a avut popularitate acea postare, însă e foarte ciudat să vezi oameni simpli, normali, care își introduc în vocabular acest compozit. Cu siguranță este ceva împrumutat din engleză, dar asta nu mă interesează, pentru mine nu înseamnă nimic.

C.C.: Rămâi foarte prezent pe Facebook, intri în dialog cu oamenii, ești activ. Reprezintă asta o felie a realității?

R.A.: Asta e noua realitate pentru că realitatea pe care o știam noi nu mai există. În curând, nu se va mai pune nicio graniță între realitatea virtuală și cea reală. Că ne place, că nu ne place, nu avem ce face. Sunt din ce în ce mai mulți oameni crescuți cu device-urile în mână.

C.C.: Este posibilă, deci, o disoluție a realității?

R.A.: Ar fi multe de câștigat, altele de pierdut, dar unde este bine, trebuie să fie și rău. Personal, nu am nimic împotrivă, dar nici nu mai pot fi pe locomotiva acestor noi modalități de comunicare.

C.C.: Te învinovățești uneori că pierzi prea mult timp pe rețelele de socializare?

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R.A.: Să știi că nu pierd mult timp, chiar dacă, aparent, așa pare. De obicei seara când ajung acasă vreau să văd ce mai face lumea. Ori dimineața, la cafea...

C.C.: O altă problemă e că am început să ne certăm pe Facebook, să rupem relații cu oameni de care eram apropiați. Să ne dăm block…

R.A.: Iar după trei ani dai unblock și s-a rezolvat problema, eu așa am procedat. Mi se dă block, mi se cere din nou prietenia, chiar și eu fac acest lucru și sunt conștient că este o formă de infantilism, dar o practic.

C.C.: Poate fi un joc social?

R.A.: Este un joc social în care am intrat foarte adânc și e luat foarte în serios.

C.C.: Este, să admitem, și o formă de promovare reală a spectacolelor.

R.A.: Asta e partea pozitivă cu atât mai mult cu cât nu există încă o structură foarte bine pusă la punct pentru promovare în teatre.

Călin Ciobotari (n. 1979) este cadru didactic și conducător de doctorat la Facultatea de Teatru a Universității Naţionale de Arte „George Enescu” Iași. Este profesor asociat al Facultății de Filosofie și Științe Social- Politice de la Universitatea „Alexandru Ioan Cuza” Iași. Membru al Asociației Internaționale a Criticilor de Teatru, al Uniunii Teatrale din România și al Uniunii Scriitorilor din România, este autor a peste douăzeci de cărți și a aproximativ o mie de articole (publicistică, studii, cronici teatrale etc.). Este redactor-șef al revistei „Dacia literară” și director al Școlii Doctorale de Teatru a UNAGE Iași. Este realizator și prezentator al emisiunii „Scena” (Apollonia Tv Iași). În 2019 i s-a decernat Premiul UNITER pentru Critică de Teatru. În 2020 a fost unul dintre cei trei directori și selecționeri ai Festivalului Național de Teatru.

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Interview

”All my life, I`ve stayed away from the main road.”

Interview1 with director Radu Afrim

by Lecturer Călin Ciobotari, PhD

1 Translated by Teodora Medeleanu

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Radu Afrim, one of the most important Romanian stage directors of the moment, talks in this interview about complicated relations between art and society, about how the pandemic era we are going through can generate new aesthetics, about how he feels, inside the act of creation, the growing economic crisis, but also the hard-to-define horizons of a problematic future. The influences of social networks in the emergence of aesthetic trends, the increasingly intense option for the image of the stage director as a writer, the delicate issue of the audience splitted between soft theatre and profound performances are collateral themes of a dialogue with document value.

Călin Ciobotari: Let`s contextualize the discussion – you are in Iași, where you are staging Maurice Maeterlinck. Whence your relation with this playwright? As far as I know, you haven`t staged Maeterlinck before…

Radu Afrim: I haven`t staged anything by this author before; I haven`t staged classic theatre in a while. It is, probably, due to the fact that I`ve given a refresh to my relation with Symbolism. When I went to Brussels, in 1992, I got close to this type of theatre, to this slightly morbid, poetical, luminously-morbid aesthetic, a refined, yet not very social movement. I had often said that there is no theatre to not be social, but, this time, working with this Symbolist movement, I can say that asocial theatre does exist.

C.C.: You strengthen what I have suspected for a long time: you are Symbolist to the bone…

R.A.: I am Symbolist now, but the next project will be a very social one, if this is what I have in mind. For me, this is a break taken from social theatre; this is why I chose Maeterlinck and Symbolist art – this is what I want at this very moment.

”I do not consent to directives telling me I must stage plays of a certain kind, in a certain manner”

C.C.: You had a post of Facebook where you mentioned a very strong left-wing trend, “left-wing activism”. Does this trend actually exist or was it just one of your ways to provoke?

R.A.: Yes, it exists, but I am annoyed by the fact that it is a trend. It can be left-wing activism, but not a trend, and this because, when it becomes a trend, the honesty or the artist`s inherent desire to speak about something that ails him vanishes. Society, generally, has a lot of illnesses, of problems, and this aspect is clearly visible. I want to see the artist who moves me, who makes me believe he is hurting… When I am in the audience, I have to be moved, bewildered, to have my mind and heart awakened, and the theatre where slogans are raised on the stage does not interest me.

C.C.: My feeling is that, apart from 2, 3 critics who, probably, sleep on the left side, no one tried to explicitly impose this movement in Romania.

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R.A.: Abroad, this movement is a very strong one; in Romania, this is more of an obstinance of a specific group to say that everything left-wing is valuable. Personally, I believe that we have to stay realist, reasonable, lucid, and, more than this, to be able to tell the difference between a fake and a real obsession, real unrest of the artist. I haven`t met many artists with bags under their eyes during morning rehearsals because of the famine in the world or because women are abused, but I know they are aware they will be given attention if they speak about it. In a way, this is good, as there are not many people who can distinguish the fake from the authentic and, this being the case, it is better to address these issues with slight hypocrisy than to not even mention them. It is good for us to have a theatre that is alive, a social, political theatre, but I do not consent to directives telling me I must stage plays of a certain kind, in a certain manner. This, not!

C.C.: But have you been asked to do so?

R.A.: No; however, you are told this, somewhat indirectly, when you are excluded, or a certain critic does not come to your opening night. It is clear that you are being told your message does not interest them. For 20 years I`ve been approaching subjects that are fashionable now, and, by this, I mean the minorities, the strong, yet aggrieved women. Moreover, I never intended to be left-wing, as directing, and art, generally speaking, should be done by artists.

C.C.: From time to time, you are given set-downs in the public space…

R.A.: I was given set-downs even when I was doing these things as they are not done in Europe. If we are to relate to the production Of Men and Potatoes, I did it using my language, at my own risk, and some, who did not have the precise tools to frame it, were annoyed by it. Anyway, there was only one person who said that the show was not OK, simply because I had filmed those people exactly the way they were, in their environment, thus cancelling the essence of the documentary. You, as a critic, are very attentive to those aspects, however, the audiences are not necessary interested.

C.C.: Indeed, the show awakens deep feelings. I saw it alongside Emil Coșeru, and, the moment it was over, we felt the need to be selfless, kind, good, we were looking around trying to find ways to be charitable, we had been influenced to such an extent.

R.A.: Yes, generally speaking artists are left-wing, but, once I tell myself this every day, once I only hear this, I feel the need to cross to the other side. And… look at me on this other side, amidst poetic Symbolism…

C.C.: Can this Maeterlinck also be considered as a personal refuge?

R.A.: No; it simply was his turn. I don`t have a reason to seek refuge; it was a strange year, I worked a lot – four productions. Two of them are very social, actually, especially the one from Craiova, which is on a text by a poet (Dan Coman). This being said, I do not want to take shelter, it simply is a moment that I feel this way, and, moreover, I did not want something contemporary.

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Art as a mirror, as an escape to another world…

C.C.: Do you believe that this crisis we are living through right now and that has all kinds of consequences, including on an economic level, can point us towards a realist approach to art or, on the contrary, can make us, once again, have to choose Symbolism or other such forms?

R.A.: There is the possibility of choosing between those who say that art is an escape to another world, and those who say that art is a mirror. If I, as an artist, did not make, at the beginning of my career, a plan for the next 20, 30, 50 years I`ll work or live, it is clear that I base myself on intuition, and, therefore, try to cover smaller areas. I believe in both choices, and there are artists who are fitted perfectly by the idea that theatre holds the mirror up to nature in all its aspects, and the world we are running away from, possibly in order to not have where to run to anymore. As for me, I am somewhere in the middle… up to an extent, I point towards the society, but, after that, I open a door to help us see Beyond. I think this is how I can define myself in terms of aesthetic, message, and attitude. I didn`t fully embrace any of those choices, although, I admit, I`d like to embrace the latter, the one with the gate that helps us see Beyond…

C.C.: That choice maybe when you are close to 70…

R.A.: (Laughs) You know? At 70 you embrace the actor.

C.C.: Do you see yourself at 70?

R.A.: Making theatre or… do you mean something else? No; I close my eyes and see something dark. I cannot see myself at 70, as I cannot see in the near or the remote future; I never could.

C.C.: Do you think of death or do you have a certain manner of relating to death? It is a constant in your productions, the discourse on death…

R.A.: Yes, definitely… Anyone has this discourse, this way of getting familiar with it; and when I say anyone, I make reference to those who don’t want to be taken by surprise, to those who wish this moment were as peaceful as possible. This year has been very rich in discussions on death, many have died, death has been very close.

C.C.: Does this not, somehow, loosen our relationship with death? For example, during wartime, when tens of thousands of people die around you, death itself becomes a trivial event.

R.A.: It is true, but it leaves great trauma behind, even when you get over the initial shock.

C.C.: It is interesting that, after wars, movements sprung up, such as Existentialism, the Theatre of the Absurd. Do you think that, after this Covid-19, a new movement will emerge? Is what`s going on right now strong enough to vigorously modify the aesthetics?

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R.A.: I read the other day, on the internet, an article on the changes occurring in theatre after a year of COVID-19. I don’t think there will be a radical change right now, maybe a simple change of cover, only on the surface.

C.C.: But there is something happening to us beneath the surface, though…

R.A.: It is true, but this will be obvious later, for those who will be interested in seeing this aspect, and who will not want to say ”Enough! Enough with COVID, let`s move to comedies, to entertainment, the world needs to be cheered up”, when, in fact, behind these words there is the trauma, the abyss. And opening theatres at 30% - 50% of their capacity is a forced smile, although a necessary compromise. The actors want to play, but it is clear that the situation is not fully cured, that we are on the downward path of a terrible year. In two of the productions I staged last year, I openly talk about this virus. In the one from Craiova (Heart and Other Meat Products), all the characters are hallmarked by it, because the plot, as well as the production in itself were created during that period of time, and no one can pretend something that scarred our real lives in such a way didn’t exist. In the show I staged in Târgu Mureș (Grand Hotel Retro Bird), I tried to insert some dark humor on this subject, and this because I was somehow detached.

C.C.: How did you perceive the audiences` behavior this year?

R.A.: Theatre did not have great audiences, many people bought tickets, but the shows were cancelled shortly after that, because of the situation caused by the pandemic.

C.C.: But have you ever felt a real solidarity between the audience, generally speaking, and the artist? At one point, this relationship had been fractured. Many actors were on technical unemployment or on forced leave; some spectators were crying out that they want to go to the theatre, while others were keeping terribly quiet. Is theatre actually necessary or is it simply a caprice during the good times? R.A.: Many people watched online streamings, others, luckier, bought tickets… For some, it actually is a way of life, an inherent desire I do not feel; I am not a big theatre-goer, but I can understand certain people who want to go back in the theatre hall.

C.C.: They are honest, they really want this…

R.A.: Yes, they are honest, as there really is set up an intimacy, and they are allowed to do what they, in their real lives, cannot. As a spectator, when you go to the theatre, you can see, feel things you don’t normally get to, in life, even if the world shows them to you. There are others, who read a lot on the subway or in certain other places, and they do that as they want something different, they want to see the world, but the one written in books, not the one that can be seen through the subway windows.

”I need a real light, from a real world.”

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C.C.: This year, there has been a very clear tentation of the political spheres, in Romania and not only, to neglect the art, institutionally speaking, to say ”let`s set culture aside for a bit, there are the hospitals, the education system that need to be in focus”. This way, art has been plunged into ridiculousness, at least sometimes…

R.A.: This says it all. I understood that there is not enough money, and this feeling is intense. All the sets from this year had been re-made. Irina Moscu rebuilt the set for The House with the Meerkats, in Târgu Mureș we had to make the block from The Retro Bird once again, and the play written for Grand Hotel Retro Bird is based exactly on this desire – the desire to reuse. It is not and must not be a problem. At the Sfântu Gheorge Theatre (When the Full Moon Goes Down on A Thrift Shop) we had some money from Hungary.

C.C.: Do you feel that minimalism is making a comeback? For financial reasons…

R.A.: This was once.

C.C.: There are some directors who rediscover the empty space and the theories on minimalist set designs.

R.A.: I myself had three productions with this kind of set design and one using the empty space. It does not bother me, but I hope it will not become a trend. This inclination to minimalism is over, at least in Europe, although it is still imposed in cinema.

C.C.: Can this also be considered a left-wing reflex?

R.A.: Certainly yes! Anything that can be considered as setting, ornament has bourgeois roots; the shape, generally speaking, can be perceived as having a right-wing origin, therefore, the idea must be of left-wing decent. I had constantly been preoccupied with the aesthetic, with the way a production looks, with the image, as I have a mostly visual background, but I have been put on the shelf, and, if a certain columnist lacks visual culture, it does not concern me. I cannot give up everything I`ve accumulated simply because it is no longer fashionable.

C.C.: In the cities you work in, you have this habit of entering its stashes and of feeling their profound vibe through photographs…

R.A.: All my life, I`ve stayed away from the main road, in the way that I don’t find interesting posting the always visible facades… I`d rather wander off the beaten track.

C.C.: Is there a hidden Iași?

R.A.: Sporadically hidden, yes, in the way that between two ugly buildings, there is a beautiful, old house, that, for some, can be embarrassingly old and neglected. I look for poetry in that place, too… Perhaps, if I were to live in that house, I wouldn’t let it look like that, yet, I wander a lot and, therefore, discover. Craiova is similar – post-communist monstrosities and something that belongs in the very old world.

C.C.: Does this sort of wandering away from the main road in those cities help you in building the production?

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R.A.: It is a manner of relaxation, of travelling, these moments are my only journeys outside the limelight during rehearsals. I need a real light, from a real world, and even if I don’t see many people during my trips, there are spirits, thrills, mystery, a certain type of urban atmosphere, specific to each and every city. I come here every winter and I see the same streets again, but every time I discover something new.

C.C.: Do you think there is a peculiarity of Iași or of cities, generally speaking, or is it more of a metaphorical debate?

R.A.: It is not at all metaphorical. Architecturally speaking, there is a solid imprint of the different influences found around here, in Iași – there is a vague trace of Art Nouveau, a little bit of Baroque, but there are also the picturesque outskirts that I like a lot. Most of the time, even in the less interesting areas you can find one pleasurable aspect of life, such as the cats, that are different form the ones in Craiova. Unfortunately, I don’t have enough time to film as much as I`d like to. During the lockdown, I busied myself more with this aspect – I edited, I filmed, thing I hadn’t done before. The production from Craiova is 50% filmed by the Danube, through by the Jiu…

C.C.: During the lockdown, the actors were faced with having to reinvent themselves by moving online, acting online, and behaving as if they had been on the real stage. How did you find this endeavor of the actors to save themselves?

R.A.: Some were lovable, I laughed at their jokes; others were ridiculous, because they had been put in a ridiculous situation. There were two types – those who did this willingly, and those who were made to do so by an institution. It is one thing to show your house, to film yourself on the couch, to go to another room – I personally find this stupid, ridiculous –, and a completely different one to recite a bad poem…

C.C.: There had also been another risky reflex – searching in grandma`s old recordings trousseau and to parade with them as with holy relics. My feeling is that theatres did themselves a great disservice.

R.A.: Unfortunately, not even I could stop this, in the case of some of the productions I directed and whose recordings were not the most professional. Others were very well filmed, especially those of the theatres that always knew they should do this. For example, at the Timișoara theatre, The Girl from the Goldfish`s Bowl is very well recorded, it is like a motion picture.

C.C.: Same with The Retro Bird…

R.A.: Indeed, but I am talking about the old ones, the ones from the trousseau – I was terrified that some very poorly recorded ones were broadcasted, and I hadn’t even posted about it. Not necessary because of the recording, but because those productions were no longer valid. Although everybody has their own, I don’t like talking about my early career mistakes, I don’t like talking about my creative past. I feel it has consumed a great part of

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my real life, I hate it for this, and I am not the type of theatre-maker to say ”… 50 years ago I directed this brilliant production, go watch it”. Certainly, it can no longer be brilliant.

C.C.: Yes, although you cannot deny it…

R.A.: Yes, you can. I am allowed to do this. You`re not – yet, I am. You can never know how somebody feels about their product. I find it hard to look at my resume, I cannot do this and I am happy to see that, at one point, theatre managers kill productions.

C.C.: Do you feel at ease when one of your productions dies?

R.A.: Then, no. I still see it as young, unjustly killed, as I wish a production lives as much as it needs, in order to be seen, to tour and to take part in festivals.

”…if I had more time, God, how much I`d write!”

C.C.: Which one is your most viewed production?

R.A.: Now that theatres broadcast online, I think it is The Retro Bird Hits the Block and Falls on the Hot Pavement, then Forest of the Hanged, from The National Theatre Bucharest. People who didn’t hear about me were interested in seeing this production, and eventually, were disconcerted after watching Three Sisters, also at the NTB. I hope these shows will be resumed as soon as possible, as they have very numerous audiences.

C.C.: A production I miss very much is Calamity…

R.A.: Yes. Unfortunately, this production can no longer be staged, although it would be very good now, it would be very timely. However, I don’t think I`d want it to be resumed… I say this since we tried so many times to bring it back on the stage, and we failed; I don’t want that anymore. It is a mystery how could it have such a short life, and I don’t want to bring back certain feelings.

C.C.: You tapped a new subject with Grand Hotel Retro Bird – the idea of staging a sequel, this Grand Hotel from Târgu Mureș following the story from The Retro Bird. It is the first sequel you staged; where did this need come from?

R.A.: When I was working at The Retro Bird, I told myself that, afterwards, I wanted to do something about the `80s. Meanwhile, I thought it was foolish that people did not make any distinction between these decades, the `70s and the `80s, which is a terrible mistake – the difference is a great one, not only when it comes to the society, but also from the perspective of the music, of the politics of that time…

C.C.: Yes, in the `80s, the poetry, the serenity had somehow been lost…

R.A.: We were older then, and… Anyway, for me, these years no longer stood for the free time spent outside, as there were completely different interests – we were teenagers. And then, I told myself that the `90s were not right eighter – they`re faded, for me, so, yes, I

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C.C.: Have you felt the need for a sequel to any other of your productions?

R.A.: No. I still had a story to tell. If I hadn’t had anything to write, if I hadn’t felt this, I certainly would have staged something else. With this ensemble from Târgu Mureș you can work on anything, they are very good.

C.C.: You started to like writing, didn’t you?

R.A.: Yes; if I had more time, God, how much I`d write! But while I`m working, not while I`m at home. During lockdown I couldn’t.

C.C.: Do you also feel tempted to try writing novels?

R.A.: No, because I want to receive a feed-back, and I want to see if what I wrote is valid. I am afraid of keeping a journal that, someday, someone might read. I keep on getting asked to write scripts in order to publish them, but I still don’t see them as being ready to be read without projecting it visually.

C.C.: Do you see your roots in a certain kind of playwriting or do you feel on your own in your literary works?

R.A.: There is a possibility that I unconsciously blend elements from everything I read, and this is due to the fact that I read a lot of contemporary theatre. I believe that, inevitably, not necessary phrases from those plays, but the discourse, the stylistic can get in my writing. I am not afraid to write a poetical monologue, as the trend in Europe is right now, even if it is a sort of political poetry.

C.C.: You are, anyways, difficult to be situated, when it comes to your writings. It is a very seductive hybridity.

R.A.: I find my texts to be quite popular, I don’t find them elitist. I believe it can be approached by various types of people, both intellectually and socially speaking. They are not of a repulsive nature, not even of a brutal one, and my humor certainly is very personal.

C.C.: Your humor is always appareled in a poetic shell.

R.A.: (Laughs) And that`s why no one laughs anymore…

C.C.: They laugh, but in a manner that protects you, I believe, from the risk of becoming commercial.

R.A.: In the few times I enter a theatre hall and see people laughing their eyes out, but I am not laughing, I am sure there is something wrong with me.

C.C.: And the fault is yours.

R.A.: It is my fault; it cannot be of those 500 people in the auditorium.

C.C.: What kind of relation do we have with laughter now, Radu?

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R.A.: We still laugh a lot, mostly online.

C.C.: Do you see is as a therapeutic type of laugher, or as an honest one?

R.A.: It depends on the age. It cannot be said that teenagers laugh therapeutically.

C.C.: Many Romanian theatre managers want comedy; they want to sell tickets. Can we, therefore, consider it as a financial reason or is it something inherently embedded in our minds that the Romanian people is drawn towards humor?

R.A.: I noticed very sober people, playwrights who are happy when they draw up a funny phrase, when they hit the right note in a production of an infinite sadness... At one moment, an actor says a very humorous line and the entire audience laughs… Those people are so happy! You just look at their face and see it brightening up. I`m not talking about the stupid comedies, not those, I`m talking about a ray, a smile in an ocean of sadness, those are interesting to me. Everyone should have a little bit of humor…

C.C.: What do you think is strong enough, today, to change something in art? A group of people, certain social events happening in a specific community or on a continent, trends that become stronger and stronger?

R.A.: Unfortunately, we hadn’t generated trends, but copied European ones. Right now, social media generates trends, although not necessarily cultural ones. As to the latter, look, Mircea Cărtărescu has been trending for years, even though he is struck below the belt from time to time.

C.C.: Therefore, social media can be considered an important, a strong factor in enforcing what can become mainstream.

R.A.: Yes. In order for us to appreciate Brâncuși, he had to have a grand retrospective exhibition in Paris or in Berlin, and, subsequently, to receive Irina Rimes` confirmation here. Only this way did we realize that Brâncuși actually was good. These are the times we live in, and there`s nothing we can do about it. We lack adequately prepared PR managers, and this is another one of my distresses, since when I started directing.

C.C.: Content creators, a syntagm your once bantered on Facebook.

R.A.: It seems that my post was very popular back then, but, still, it strange to see normal, ordinary people inserting this composite in their vocabulary. It certainly is something we borrowed from English, but this does not concern me, it doesn’t mean anything.

C.C.: You are a constant presence on Facebook, you engage in debates with people, you are active. Is it one of the facets of reality?

R.A.: This is the new reality, as the one we knew no longer exists. Soon, there will be no boundary between the virtual worlds and reality. Regardless whether we like it or not, there is nothing we can do about it; there are more and more people brought up with devices in their hands.

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C.C.: Is, therefore, a dissolution of reality possible?

R.A.: There would be many things to be won, some others to be lost, but where there is good, there must also be something bad. Personally, I don’t have anything against it, but I can no longer keep in the line with these means of communication.

C.C.: Do you sometimes blame yourself that you waste too much time on social media?

R.A.: You should know that I don’t waste a lot of time, although, apparently, this is the case. Usually, in the afternoon, when I get home, I want to see what people are doing. Or in the morning, when I`m drinking my coffee…

C.C.: Another problem is that we started to argue on Facebook, to break the relationships we had with people we used to be close to. To block one another…

R.A.: And, after three years, you unblock them, and the problem is solved. This is what I did. I got blocked, I received a friend request once again; even I do this, and I am aware it is infantile, but I still practice it.

C.C.: Can it be considered a social game?

R.A.: It is a social game in which we got in very deeply and that we take very seriously.

C.C.: It is, we have to admit, an actual form of promoting productions.

R.A.: This is the positive aspect, especially because theatres still don’t have an actual strategy for promoting productions.

Călin Ciobotari (b. 1979) is a professor and doctoral supervisor at the Faculty of Theatre of the ”George Enescu” University of Arts, Iași. He is an adjunct professor at the Faculty of Philosophy and Social-Political Sciences of the ”Alexandru Ioan Cuza" University of Iași. Member of the International Association of Theatre Critics, of the Romanian Theatre Union and of the Romanian Writers' Union, he is the author of over twenty books and about a thousand articles (journalism, studies, theatre critique etc.). He is the editor-in-chief of the Dacia literary journal and Director of the Theatre Doctoral School of UNAGE Iași. He is the creator and presenter of ”Scena" (Apollonia Tv Iași). In 2019 he was awarded the UNITER Prize for Theatre Critique. In 2020 he was one of the three directors and programmers of the National Theatre Festival.

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„Sunt mici revoluții care ar putea fi făcute care ne-ar ajuta pe toți să nu rămânem în negura timpului.”

Interviu cu regizorul Andrei Măjeri

de Ironiţa Coruţi

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Andrei Măjeri este un tânăr regizor de teatru, care a colaborat începând cu anul 2014 cu numeroase teatre din România, atât din zona publică, cât și din cea independentă: Teatrul Național „Lucian Blaga" Cluj-Napoca, Teatrul Național „Marin Sorescu" Craiova, Teatrul Național „I.L. Caragiale" București, Teatrul Național „Aureliu Manea" Turda, Teatrul Municipal din Baia Mare, Teatrul Dramatic „Elvira Godeanu" din Târgu-Jiu și Apollo111, București. Este absolvent al programului de regie din cadrul Facultății de Teatru și Film, Universitatea „Babeș-Bolyai" din Cluj-Napoca – acolo unde a ales să-și continue pregătirea academică prin urmarea studiilor universitare de doctorat. El a inclus în proiectele sale mulți tineri artiști pe care i-a ajutat astfel să se integreze în mediul teatral profesionist, dând dovadă prin activitatea sa regizorală de o dorință constantă de a experimenta, de a explora şi de un real talent pedagogic. Astfel, Andrei Măjeri este un spirit inovator, care caută în permanență noi forme artistice de exprimare și care ar putea oferi o perspectivă interesantă asupra modului în care teatrul se manifestă momentan și asupra direcției în care acesta se îndreaptă.

I.C.: Ești un spirit inovator și se poate remarca cu ușurință diversitatea stilistică a spectacolelor tale. Ce zonă simți că încă nu ai explorat suficient?

A.M.: O zonă care explorează mai mult intimitatea, emoția relațiilor. Cred că am explorat-o acum cu spectacolul Toate lucrurile pe care mi le-a luat Alois, de la Reactor. Am mai testat-o în vreo două spectacole, dar de regulă m-au atras construcțiile complexe, scenele mari, spectacole cu multă lume. Încerc să ating tot felul de zone, cu riscurile de rigoare.

„Dacă nu există o nevoie care să vină din sală către scenă și invers, nu se instalează nimic și receptezi sec, iar actorii simt la rândul lor că nu primesc nimic.”

I.C.: Spectacolul „Medea's Boys", montat la Apollo111, a fost invitat în cadrul multor festivaluri de profil din țară, dar a ajuns să fie jucat și peste hotare. Din punctul tău de vedere, a existat o diferență în modul în care a fost primit de către public în străinătate?

A.M.: Am putut cunoaște doar publicul de festival, care bănuiesc că, la fel ca la noi, e alcătuit cel puțin în proporție de 50% din specialiști. Nu neapărat cel mai sincer public. Spectacolul a fost însă primit foarte bine. Am avut și reprezentații foarte bune, și mai puțin bune. De exemplu, când am jucat în Serbia prima oară – unde merg și săptămâna viitoare într-un juriu – s-au legat toate, a fost foarte bine. Am jucat în Serbia ulterior, la două luni jumătate, într- un alt teatru, unde mi s-a părut că am avut una dintre cele mai proaste reprezentații. Depinde de noi: de actori, de cum se repetă în ziua respectivă și de energia pe care o aducem. Totuși, uneori depinde și de spectatori. Cred cu tărie că teatrul e cu du-te-vino. Dacă nu există o nevoie care să vină din sală către scenă și invers, nu se instalează nimic și receptezi sec, iar actorii simt la rândul lor că nu primesc nimic.

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I.C.: Cum te raportezi la acest sentiment de validare? Este el benefic evoluției tale profesionale sau poate deveni o capcană pe care ai grijă să o eviți?

A.M.: Spectacolele mai mici s-au plimbat mai mult și, poate, mi-au adus un grad mai mare de vizibilitate. Mă refer la cele de la Apollo111: Pulverizare și Medea’s Boys. Topurile mele intime nu sunt neapărat aceleași cu cele ale receptării. Nu știm de ce ține succesul unui spectacol. Uneori, pur și simplu, de un vibe care se creează în jurul lui. Medea’s Boys a avut, aș putea spune, fani – oameni care au revenit la spectacol de 7-8 ori din varii motive. A avut succes în festivaluri, iar acest lucru ne-a bucurat foarte mult. Unele ne-au adus participarea în majoritatea celorlalte festivaluri, mai ales festivalul TESZT al Teatrului Maghiar din Timișoara. Au invitat numeroși selecționeri din alte părți, care au vizionat acolo spectacolul și astfel, am fost chemați. Mi se pare extraordinar ca un festival să funcționeze ca o bursă către alte festivaluri. În plus, este un spectacol pe care l-am putut juca într-o mulțime de spații: de la spații în care abia am încăput cu decorul (care nu e foarte mare), până la scene foarte mari în care ni se părea că suntem mult prea mici. Raportând succesul Medea’s Boys cu alte spectacole ale mele, sigur că am unele regrete, cum ar fi Nuntă însângerată sau Meșterul Manole. Aceste producții s-au blocat la sediu și nu din dorința mea sau a scenografilor, pentru că noi le-am gândit ușor de demontat și de transportat, ci dintr-o comoditate a producătorilor. La premieră, eu cedez drepturile mele teatrului respectiv și pot doar să sugerez un festival sau altul. Dacă se întâmplă să apară o invitație într-un festival poate se duc, dar am întâmpinat și refuzuri – chiar la spectacole care erau ușor de transportat – pe motivații de genul: sunt obosiți mașiniștii, avem și alte festivaluri. Poate e mai bine să faci spectacole la care intuiești de la început că vor avea șansa să nu moară la sediu, decât să faci unele în care investești enorm de mult și degeaba. Mă pregătesc cu luni de zile înainte. Sunt un workaholic, dar am trăit și multe dezamăgiri. Naști ceva, dai copilul cuiva care nu are grijă de el. Dacă publicul nu îl primește, îți este mai ușor să accepți că a fost o încercare, dar când feedback-ul este pozitiv și totuși, teatrul respectiv nu se comportă frumos cu spectacolul, mă doare. La Apollo111 a fost un mediu prietenesc, cu o infrastructură mai mică. Acolo au fost primele mele spectacole în mediul independent.

„Mi s-a părut important să mă expun la generații diferite, cu riscurile de rigoare, dar chiar am învățat enorm.”

I.C.: Ne poți prezenta topul tău intim și ce anume te face să simți aceste spectacole mai apropiate ție?

A.M.: Din fiecare am păstrat foarte multe lucruri, având șansa să lucrez de fiecare dată cu actorii pe care mi i-am dorit. Aud de multe ori în breaslă că sunt sugerați anumiți actori. Eu nu am avut acest ghinion, niciodată. Am avut libertatea de a lucra cu cine mi-am dorit și am lucrat cu actori mari. Mi s-a părut important să mă expun la generații diferite, cu riscurile de rigoare, dar chiar am învățat enorm. Revenind la top, pot spune că foarte drag mi-a fost

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Interview să lucrez la Meșterul Manole, chiar dacă acum îi găsesc multe hibe. E normal, cu cât te îndepărtezi de spectacol, îți dai seama ce ai fi putut face mai bine. Totodată, Nuntă însângerată, spectacol montat la Teatrul Național din Craiova a fost o experiență fructuoasă. Lucrând pentru a doua oară în acel teatru, m-am simțit foarte bine la repetiții, dar finalizarea spectacolului cumva m-a și rupt de teatrul din Craiova. Este singurul meu spectacol pe care nu l-am mai văzut de la premieră, deși îl consider unul dintre cele mai coerente. M-am simțit foarte bine să lucrez la Teatrul Municipal Baia Mare – Dragă doamnă profesoară. E un spectacol mai mic, cu 5 personaje, dar acolo l-am descoperit pe Eduard Trifa, căruia i-am propus să vină în București la casting-ul de la Medea’s Boys. A ajuns să joace în spectacol, apoi s-a mutat aici și ulterior a fost angajat la Odeon. A avut un parcurs foarte bun, fiind un om extraordinar și un actor foarte bun.

„Profesionalismul conduce, de fapt, la o lejeritate mai mare.”

I.C.: Referitor tot la depășirea granițelor culturale, ai întâmpinat vreo dificultate în procesul de lucru montând spectacolul „Las Meninas" la Teatrul Maghiar de Stat din Cluj din pricina diferenței lingvistice? Ce provocări a lansat pentru tine acest proiect?

A.M.: Am avut această temere, pentru că nu mai lucrasem niciodată într-o altă limbă, fiind și una pe care nu o vorbesc. A dispărut teama după două-trei zile. Am avut un asistent de regie, actor în Teatrul Maghiar. Tot timpul aveam textul atât în limba română, cât și în maghiară, și traduceam mot-à-mot din originalul spaniol, apoi ne povesteam unii altora topica din limba respectivă și diferențele care intervin într-o traducere – care e și o trădare, într-un fel, a originalului. Astfel, această frică a dispărut foarte repede, datorită faptului că m-am întâlnit cu o trupă extraordinară. Ne-am înțeles foarte bine, având și suport tehnic extrem de profesionist, cu ateliere extraordinare. Spectacolul este produs în totalitate în teatru, nefiind totuși o producție foarte mare. După ce am lucrat la Teatrul Maghiar, am rămas cu un gust amar, o părere de rău și întrebându-mă foarte mult de ce nu există acest gen de profesionalism și în teatrele noastre. Profesionalismul conduce, de fapt, la o lejeritate mai mare. Am constatat că actorii respectivi repetă mai puțin, mașiniștii de asemenea, pentru că sunt foarte serioși, responsabili și atenți. Am învățat încă o lecție despre lejeritate la Teatrul Maghiar, când în prima săptămână repetam 4h- 4h:30. După 2-3 zile, am îndrăznit să pun întrebarea: „Dar voi așa repetați aici? Eu sunt obișnuit să repet douăsprezece ore”. Și mi-a răspuns o actriță, pe care o iubesc foarte mult și cu care am colaborat și la ultimul spectacol de la Reactor: „Andrei, dacă nu ne convingi în trei ore, nu ne vei convinge nici în zece”. Avea dreptate, de fapt, pentru că eu mergeam acasă, îmi pregăteam decupajul pentru a doua zi, iar ei erau bine pregătiți tot timpul, cu textul învățat, încălziți etc. Nu existau timpi morți. Eu sunt tot timpul cu o oră mai devreme la repetiții și detest trecerea anemică de la civilie la scenă. Revenind, experiența de la Teatrul Maghiar a fost top of the top.

I.C.: Ce crezi că îi lipsește teatrului românesc?

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A.M.: Teatrul Maghiar (râde). Nu pot spune ce îi lipsește teatrului românesc, căci fiecare are dorințe și nevoi diferite, însă mie îmi lipsește un schimb de păreri mai frecvent între tinerii regizori, între regizori și teatrologi, între actori și teatrologi, între actori și regizori – dincolo de cafeluțele, parti-pris-urile și cele trei beri din Bikers. Mă refer realmente la o platformă de dialog, la o curiozitate față de diferențele dintre noi. Eu sunt foarte curios în ce-i privește pe colegii mei, atunci când fac ceva ce eu n-aș putea, dar în același timp mi se pare interesant. De asemenea, atunci când abordează o zonă la care nu m-aș fi gândit niciodată. Nu îmi place să merg la teatru să văd lucruri pe care le-aș fi făcut eu. Nu există o dorință de dialog. Se mimează acest aspect pe la câte un premiu, pe la câte o gală. Mimăm o prietenie generalizată care, de fapt, implică o lipsă de păreri. Eu sunt un om care își asumă părerile, chiar dacă mi-am închis foarte multe uși astfel. Am sindromul justițiarului. Am intrat în conflicte în apărarea altor oameni, dar mi-am dat seama de-a lungul timpului că, mai ales actorii, unde se scuipă, acolo se și pupă a doua zi.

I.C.: Tot în Cluj ai absolvit programul de regie al Facultății de Teatru și Film, în cadrul căreia îți continui acum studiile doctorale. De-a lungul carierei însă, ai colaborat cu actori provenind din același mediu, dar și cu mulți actori din scena bucureșteană. Ai sesizat vreo diferență în metoda de lucru între cele două școli de actorie?

A.M.: Există diferențe, dar nu sunt neapărat acelea clișeice: Cluj este școala centrată pe tehnică, iar București școala adevărului profund. Am întâlnit actori absolvenți de București care sunt extrem de formaliști, și actori absolvenți de Cluj care joacă la micul adevăr. Totodată, în cadrul acestor școli regăsim o divizare care depinde de profesorul la care ai absolvit. La Cluj, eu pot să îmi dau seama cine a absolvit la doamna Miriam Cuibus, la Miklós Bács sau la Ionuț Caras, fiindcă nu e același lucru. Inevitabil, maestrul te atinge într-un fel. Unii nu sunt compatibili deloc, ceea ce este normal; e imposibil să te întâlnești realmente cu o grupă de 20 de oameni. Mi se pare că sunt prea mulți și că facultățile au devenit piscine suprapopulate de pești foarte grași, dar fără suficienți pescari. E un domeniu foarte mic, sunt puține teatre de stat, iar mediul independent este pe cât de ofertant la nivel de descoperire, pe atât de irelevant la nivel de survival. Revenind, sunt diferențe, le observ, dar nu cred că prefer ceva anume. Când m-am mutat în București, acum câțiva ani, m-a incitat foarte mult să lucrez cu actori de la UNATC, căci mi se părea că voi descoperi ceva diferit, dar diferențele nu sunt atât de mari. Am montat acum Kilometrul Zero/The Revolution Project la Odeon – un

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Interview text poematic destul de greu de asumat, fragmentar, care nu poate fi jucat decât în plin. Mi- am dorit să am în distribuție patru actori de facturi diferite, știind că este un spectacol în care oamenii își aleg: „mie nu mi-a plăcut X deloc, mie mi-a plăcut Z foarte mult”. Am primit feedback-uri diferite de la oameni care au stat unul lângă celălalt și mă bucură, căci mă sperie unanimitatea.

I.C.: Cum resimți emoția unei premiere acum, în context pandemic și după o lungă pauză?

A.M.: Cu vârsta, credeam că o voi resimți mai puțin, dar am mari emoții la premieră, pentru că spectacolul se îndepărtează. Am tendința de a reveni des la spectacole. Pentru Kilometrul zero, știm deja ce vrem să tăiem pentru reprezentațiile următoare. Ne vin idei, simțim lucruri din partea spectatorilor. M-a bucurat foarte mult un anumit tip de feedback, pe care l-am primit după premiera de duminică, și anume că mi-au scris câțiva oameni că i-a emoționat faptul că și actorii purtau mască – aspect la care noi nu ne-am gândit. Decizia de a purta mască e o decizie strict legată de sănătate, nu e vreun concept regizoral. Mi s-a părut inedită remarca.

I.C.: Repetițiile au început online. Cum a fost să transpui atmosfera unei repetiții în format digital?

A.M.: Groaznic. Atât.

„...este foarte important ca un spectacol să lase o portiță deschisă de dialog, de contradicții, de hate or love.”

I.C.: La începutul spectacolului, Ioana Bugarin adresează colegilor de cabină următoarea întrebare: în ce măsură putem compara lupta împotriva sistemului comunist cu situația actuală? Tu cum ai descrie această paralelă?

A.M.: Nu cred că teatrul trebuie să ofere răspunsuri. Cred că spectacolele care oferă răspunsuri sunt teziste, prezintă concluzii preștiute ale creatorilor, care nu au descoperit, de fapt, nimic în procesul de lucru. Poți realmente întâlni oameni în procesul de lucru, cu care s-ar putea să rămâi prieten. Uneori nu se întâmplă, alteori te resemnezi. Se lansează întrebări puternice în spectacol, căci abordează un subiect „strong”, pe care textul îl tratează imaginativ, cu scopul de a te invita la o cercetare a evenimentului. Nu e un spectacol documentar, dar mi s-a părut important să aduc pe scenă acest text după ce am văzut spectacolul-lectură al Savianei Stănescu, de la Arcub. Aproape toată lumea din acea sală a rămas la Q&A, ceea ce nu se întâmplă prea des. Mi s-a părut extrem de

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puternic faptul că lumea simțea să completeze cu propriile experiențe. Consider că este foarte important ca un spectacol să lase o portiță deschisă de dialog, de contradicții, de hate or love. Sigur că există paralele, revenind la întrebarea ta, legate de un grad de tensiune care a existat atunci și care există acum, dar care nu sunt neapărat comparabile. Acum trăim o situație la nivel global, care ține de o pandemie, în timp ce atunci era vorba despre un eveniment care se manifesta în țara noastră, dar și în restul Europei, care ținea de o schimbare politică majoră. La noi, nu întâmplător, a fost una sângeroasă și de tristă amintire. La fiecare Crăciun al copilăriei mele am văzut execuția la TV și am copilărit cu acest imaginar. Știm că a existat, că suntem liberi și că există mai multe partide politice de atunci, cam atât. Acea lecție pe care nu mai apucai să o parcurgi la istorie, pentru că erai în luna iunie, concentrat pe teza la română și vacanță.

I.C.: Ai revitalizat texte clasice, aducându-le într-o formă inedită mai aproape de publicul secolulul XXI. Îți dorești să continui în această direcție?

A.M.: Foarte mult, mă interesează teribil de mult să lucrez pe texte clasice. Voi avea o premieră la Apollo111. Este primul meu Shakespeare și am ales Richard III. Mi-am dorit să montez primul Shakespeare în jurul vârstei de 30 de ani și primul Cehov pe la 35. Mi-am setat aceste target-uri. Am ales să încep cu Richard III, pentru că aveam o idee, sper că una care și funcționează. Totodată, sunt foarte atras de tragediile antice. Am proiecte pe 7-8 dintre ele, prin urmare aștept cu nerăbdare ca directorii de teatre să mă invite să montez tragedii. Chiar și când am propus Medea’s Boys la Apollo111, au fost destul de șocați de faptul că voiam să montez o tragedie într-un spațiu independent. Cu tot respectul față de teatrele în care am lucrat, din punctul meu de vedere, nu există politici repertoriale. Eu nu am simțit nicăieri o politică repertorială care să mă pună în situația de a mă adapta. Mi-ar plăcea să regăsesc ceva legat de o coerență, măcar stilistică – pe care am simțit-o la Reactor recent. Există departamente de PR și de secretariat literar foarte delăsătoare și vina nu este doar a lor, este o vină comună. Cred că acolo ar putea fi un creuzet de explozie, mai ales acum, în contextul pandemiei, căci am avut acces la spectacole dinafară, la modalități de promovare, la afișe, la caiete program – dacă mai sunt relevante caietele program. Cred că sunt mici revoluții care ar putea fi făcute și care ne-ar ajuta pe toți să nu rămânem în negura timpului.

I.C.: „Amplexus sau Ultima îmbrățișare", montat la Teatrul Dramatic „Elvira Godeanu” din Târgu-Jiu, pornește de la un text ce îți aparține. Cum se împacă statutul de dramaturg cu cel de regizor sau în ce mod s-a schimbat relația cu propriul text în momentul în care a trebuit să îl abordezi din postura de regizor?

A.M.: Voi începe prin a spune, deloc modest, că eu consider Amplexus sau Ultima îmbrățișare ca fiind cel mai matur spectacol al meu. N-aș zice cel mai bun, căci nu putem defini cu exactitate ce înseamnă „bun”. L-am montat într-un teatru mic, un teatru puțin cunoscut, care la premiera spectacolului invita printre primele dăți cronicari importanți să scrie. Dar e primul teatru în care am intrat vreodată, eu făcând liceul în Târgu-Jiu, un teatru în care nu

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Interview mai fusesem de vreo opt ani. Am lucrat chiar cu Simona Urs, cu care eu am făcut cursuri de teatru în liceu și datorită căreia eu fac teatru. A fost minunată această întâlnire ca un arc în timp, după zece ani. E foarte personal, iar din postura de regizor, am tratat textul ca pe oricare altul. Am completat cu anumite lucruri, m-am dedublat perfect. Inițial, am propus textul cu un nume fictiv, pentru a nu influența alegerea sa. Managerul a hotărât să îl aducem pe scenă și abia ulterior am spus că îmi aparține. Am considerat că e mai fair astfel. Sunt doar 3 roluri, textul e foarte personal pentru că el se bazează pe relația cu părinții mei, acest trio pe care îl formăm, deși este extrem de ficționalizat: acțiunea se petrece în Suedia, în viitor. Bref, pot afirma că relația dintre regizor și dramaturg a fost una extraordinară.

„E o lecție pe care o descopăr în fiecare zi, pentru că uneori, deși o știu, e ca și cum aș uita-o: să nu mă las influențat de efectul de culise, de latura orgoliilor, conflictelor inerente la lucru.”

I.C.: Care este cea mai importantă lecție de regie pe care ai descoperit-o de unul singur?

A.M.: E o lecție pe care o descopăr în fiecare zi, pentru că uneori, deși o știu, e ca și cum aș uita-o: să nu mă las influențat de efectul de culise, de latura orgoliilor, conflictelor inerente la lucru. Știu că am ales această meserie, putând să fac multe alte lucruri, fără falsă modestie. Am știut că dacă aleg să o fac în plin, cu sacrificiile de rigoare, îmi va ocupa cel mai mult timp din viață, mai mult decât orice. O fac uneori până la limita bolnăvicioasă și foarte greu pot să pun stop. Noroc că am prieteni care îmi mai atrag atenția. Îmi e foarte drag teatrul și e ca în dragoste: cu suferințe majore, care te fac să slăbești 9 kg din cauza stresului, dar și cu bucurii majore – venind chiar de la același spectacol, pe care îl vezi azi, îl vezi mâine și se schimbă. Fenomenul de liveness îmi place foarte mult; este ceva ce încerci să controlezi, dar nu poți, de fapt.

I.C.: Revenind la anii de studenție: cât de mult crezi că s-a schimbat viziunea despre teatru a studentului Andrei Măjeri față de momentul actual?

A.M.: Îmi e tare frică de stil, iar dizertația mea era tocmai despre acest subiect: Premisele eșecului: începutul de carieră artistică. Cu siguranță că avem manierisme, pentru că optăm să nu facem într-un anumit fel. Cum facem... facem diferit în funcție de textul pe care îl alegem, de oamenii cu care lucrăm. Inevitabil se produc anumite repetiții. Eu încerc să fiu foarte atent la a nu relua în spectacole gesturi majore pe care le-am folosit în construcția altor spectacole. Mai degrabă au sesizat cronicari, prieteni sau oameni care mi-au văzut mai multe spectacole repetitivități stilistice, cum ar fi faptul că am folosit elemente legate de sport în unele spectacole – poate dintr-o frustrare a mea că sunt sedentar. M-am expus la dramaturgie extremă, de genul Rodrigo García, montând la Teatrul Național din Cluj Agamemnon și Moarte și reîncarnare într-un cowboy – texte fără personaje, cu dicteu automat – sau textul Alexandrei Badea, Pulverizare. Sunt texte extrem de dificile la nivel de structură, dar care mie mi-au dat o libertate regizorală extraordinară. Recunosc că mi-a fost frică de narative. Nu mă consider un regizor de poveste, pentru că văd teatrul mai pâlpâitor,

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mai flash-uit. Mă plictisesc, intuiesc foarte repede poveștile, mă las cu greu cuprins de povești. Poate din acest motiv, în Cluj am revenit la o poveste, m-am lăsat cuprins de ea și am făcut astfel încât să nu fiu dominat de formă, de construcție, de ceea ce mie îmi e ușor. Sunt mândru că, uneori, între spectacole, pot pune stop. Atunci mă întreb ce îmi doresc de la următorul, ce încerc să câștig prin el, ce descopăr eu ca artist. Poate nu descoperi nimic sau ieși mai confuz decât ai intrat în spectacolul respectiv, dar uneori se întâmplă ca din ciocnirile frumoase cu anumiți oameni, care te destabilizează, să ai mici revelații, care au fost acolo, în fața ta, tot timpul.

I.C.: Ai lansat recent propriul site, unde regăsim o arhivă detaliată a spectacolelor tale, dar și un blog cu gânduri personale. Cum a pornit ideea acestui blog?

A.M.: Mai am anumite puseuri nocturne de scriere pe Facebook; m-am gândit, totuși, să le centralizez undeva. Am avut și foarte mult timp în lockdown. Părea că lumea va ieși extrem de schimbată din acest lockdown, facând o sumedenie de lucruri și având foarte multe noi skills-uri; nu puteam rămâne în urmă. Am repetat pentru un spectacol, care nu a avut încă premiera – Sirene, apoi am repetat puțin pentru Kilometrul zero, am avut câteva lecturi. Mi- am pregătit două scenografii pentru proiecte viitoare, am scris pentru teza de doctorat… Site-ul era o dorință mai veche, dar mă speria ideea că va trebui să selectez poze, să caut cronici. Și a durat mult acest proces de centralizare, am lucrat timp de două luni, deși implementarea propriu-zisă a site-ului probabil nu a durat atât de mult. Totodată, mi-am dat seama de calitatea slabă a înregistrărilor care se fac în teatre, deși de fiecare dată atingeam acest subiect înainte de premieră. În afară de Nuntă însângerată, unde am o filmare bună, căci a fost realizată de TVR, am înregistrări deloc satisfăcătoare ale spectacolelor. Mi-am dat seama foarte mult de aceste neajunsuri, iar un moment precum o pandemie ne arată cât de puțin credităm aceste lucruri și cât de importante sunt, de fapt, pentru că rămân ca mărturii într-o artă a clipei. Mă bucur că am lansat site-ul, a fost foate bine receptat și am multe gânduri cu el. Ar fi ideal să am o frecvență de o postare pe săptămână, dar, inevitabil, sunt două pe lună. Ele rămân în sfera teatrului, dar nu în mod direct. Nu sunt o analiză a spectacolelor mele, lucru pe care l-am evitat și în lucrarea de doctorat. Nu mi-am dorit să scriu o teză de doctorat despre cariera mea de practician – m- aș fi plictisit teribil – ci să cercetez ceva. Pe blog postez gânduri de-ale mele legate de niște gesturi, accidente, evenimente, trăiri, concluzii după anumite repetiții, din procesul de lucru, ceva ce am citit și mi-a deschis un gând...

I.C.: Ai dat dovadă fără îndoială de o personalitate puternică și vocală ori de câte ori a fost nevoie. Prin urmare, ce sfaturi ai pentru tinerii artiști care încă nu și-au găsit o voce?

A.M.: Nici eu nu cred că mi-am găsit o voce, însă pot spune ce mi-a lipsit mie în acest proces, și anume un mentor. Nu am avut unul la regie, nici la licență, nici la master, unde mi se părea că discursul profesorilor mei se epuiza după o săptămână de școală. Nu mă interesa acel feedback care îmi impunea să fac într-un anumit fel, ci genul de feedback care m-ar fi putut învăța cum să îmi perfecționez tehnica, pe care încă nu o aveam, facând totuși ceea ce

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Interview simțeam eu că trebuie să fac. Nu am avut parte de el, ceea ce m-a durut. Din acest motiv am ales să nu lucrez după licență, ci după cinci ani, când am absolvit și programul de masterat. A fost totuși o persoană de care m-am agățat foarte mult și de la care am învățat cel mai mult în ceea ce ține de tehnică, de construcție, de lucrul cu actorul, de gust, poate. Cred că mi-a influențat foarte mult și gustul de scenă, de lectură, gustul vizual într-un anumit fel – pe care eu îl aveam, căci am făcut și pictură înainte. M-a interesat foarte mult zona sculpturii și a picturii. Persoana respectivă este doamna Miriam Cuibus, profesoară la Cluj, care avea clasa de actorie în paralel cu clasa mea de regie și la cursurile căreia mergeam. Mi-a văzut toate examenele încă din anul I și, ulterior, am lucrat de trei ori într-un teatru profesionist cu dumneaei, în postura de actriță. Am păstrat legătura chiar și acum, în perioada lockdown- ului; am avut un schimb de mail-uri despre spectacole la care ne mai uităm, ce mai citim. Mi se pare extraordinar, căci este atât o diferență de vârstă între noi, cât și o diferență majoră de know how. Pentru mine, doamna Miriam este ceea ce înseamnă un „artist” și năzuiesc să ajung la 50% din ceea oferă dumneaei studenților și inclusiv mie, prin rigoarea pe care o are, prin simțul ludic pe care l-a amplificat odată cu vârsta, prin seriozitatea de la scenă, procesul de lucru, trimiterile, atenția estetică pe gest, dar fără a deveni calofilă... Am învățat atâtea lucruri de la doamna Miriam încât, inevitabil, o consider un mentor. Asta le-aș dori tuturor tinerilor care vor să facă artă, nu numai teatru: să găsească pe cineva față de care să se poată și poziționa, ceea ce înseamnă ca la un moment dat să constate „Nu mai gândim la fel, dar te apreciez la fel de mult în continuare.” La mine a venit dintr-o lipsă și această descoperire a fost de neprețuit.

Ironița Coruți este absolventă a programului de studii în Teatrologie (Management cultural, Jurnalism teatral), Facultatea de Teatru, UNATC „I.L. Caragiale” Bucureşti, colaborator al Teatrului „Ion Creangă”, al Teatrului „Masca” şi al revistei academice CONCEPT.

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”There are small revolutions that could be made and that could help us all not to remain in the darkness of time.”

Interview1 with stage director Andrei Măjeri

by Ironiţa Coruţi

1 Translated by Roberta Bucura

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Andrei Măjeri is a young theater director, who has collaborated since 2014 with numerous theaters in Romania, both in the public and independent areas: ”Lucian Blaga" National Theatre Cluj-Napoca, ”Marin Sorescu" National Theatre Craiova, National Theatre ”I.L. Caragiale" Bucharest, ”Aureliu Manea" National Theatre Turda, Baia Mare Municipal Theatre, ”Elvira Godeanu" Dramatic Theater from Târgu-Jiu and ”Apollo111", Bucharest. He is a graduate of the directing program within the Faculty of Theatre and Film, University ”Babeș- Bolyai" from Cluj-Napoca – where he chose to continue his academic training by pursuing doctoral studies. He included in his projects many young artists whom he helped to integrate in the professional theatrical environment, demonstrating through his directing activity a constant desire to experiment, to explore and a real pedagogical talent. Thus, Andrei Măjeri is an innovative spirit, who is constantly looking for new artistic forms of expression and who could offer an interesting perspective on the way theatre manifests itself at this point and on the direction it is heading.

I.C.: You are an innovative spirit and one can easily notice the stylistic diversity of your shows. What is the area that you feel you haven`t fully explored yet?

A.M: An area that explores the intimacy, the emotion of relationships more. I think I approached it with my show Toate lucrurile pe care mi le-a luat Alois2, staged at Reactor. I have tasted this area before in a couple of performances, but I am normally drawn to complex constructions, to big stages, to performances that involve lots of people. I try to approach different areas, with all the risks it may take.

I.C.: ”Medea`s Boys” staged at Apollo111, was invited to be part of various festivals in the field from our country, but it was also played abroad. From your point of view, was there a difference in the way your performance was received by the foreign audience?

”If there is not a need that comes from the audience towards the stage and the other way round, you cannot have something lasting and one perceives everything dryly, and the actors feel they do not receive anything in return.”

A.M: I could only get acquainted with the festival audience which, I suppose, is made up of 50% specialists, as it happens in our country. Not necessarily the most honest audience. Nonetheless, the performance was received very well. We had good shows as well as not- so-good ones. For instance, when we performed in Serbia the first time – the country I am going to the next week, as part of a jury – everything went smoothly. After two months, we performed in Serbia, in another theatre, where I felt we had one of our worst performances. It is all up to us: up to the actors, up to how we rehearse that day and up to the energy we

2 In English ”All things Alois took from me”

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bring. However, sometimes it is all up to the audience. I strongly believe that when we talk about theatre, it is a ”touch-and-go” affair. If there is not a need that comes from the audience towards the stage and the other way round, you cannot have something lasting and one perceives everything dryly, and the actors feel they do not receive anything in return.

I.C: What is your approach to this sense of validation? Is it beneficial to your professional evolution or could it become a trap that you take care to avoid?

A.M: Smaller performances went to several countries and maybe that brought me a higher degree of visibility. I am talking about the ones staged at Apollo111: Pulverizare3 and Medea`s Boys. My personal hierarchy is not necessarily the same with the audience`s. We don`t know what the success of a performance is made of. Sometimes is all about a vibe that is generated around it. I would say Medea`s Boys had fans – people that would come to see it 7-8 times, for various reasons. It enjoyed a great success, and this brought us lots of joy. Some of the performances made us attend other festivals, especially TESZT festival of The Hungarian Theatre of Timişoara. They invited various selectors from other places, people who watched the performance there and consequently we were selected. I think it is extraordinary that such a festival could be like a scholarship to other festivals. Moreover, it is a performance that we were able to play in lots of venues: from spaces where we could hardly fit the set (which is not very big), to very large stages where we had the impression we are too small. Comparing the success of Medea`s Boys to other performances I made, I can admit I have some regrets, for sure, for example Nuntă însângerată4 or Meșterul Manole5… These productions were blocked in the headquarter and this not because I or the stage designers wanted to, we projected them to be easy to assemble and move, but because the producers showed a certain convenience. When we have the premiere, I give up my rights to the said theatre and I can only suggest a festival or another. If it happens to have an invitation to a festival maybe the theatre accepts it, but I stumbled upon refusals as well – even when it came to performances that were easy to move – and the justifications were: the stagehand team is tired, we have other festivals. Maybe it is better to do a performance for which you have an intuition that is not going to die at the headquarter, rather than do some in which you invest enormously and for nothing. I get prepared months ahead. I am a workaholic, but I have experienced a lot of disappointments as well. You ”give birth” to something and you give your child to someone that does not take care of him. If the audience does not receive it, it is easier to accept that it was a try, but when the feedback is a positive one and nonetheless the said theatre does not treat the show well, it is something painful for me. There, I had my first performances staged in an independent theatre.

3 In English ”Pulverisation” 4 In English ”Blood wedding” 5 In English ”The Master builder Manole”

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”I considered important to expose myself to different generations, with all the risks that something like that entailed, but I truly learned enormously.”

I.C: Could you tell us your personal hierarchy and what is that makes those performances closer to your heart?

A.M: Every time, there were several things, having the opportunity to work every time with the actors that I genuinely wanted. I have heard several times in our artistic guild that you are suggested to use certain actors. I have never had such a misfortune, not once. I had the freedom to work with whom I wanted, and I worked with great actors. I considered important to expose myself to different generations, with all the risks that something like that entailed, but I truly learned enormously. Going back to my hierarchy, I can say it was a pleasure to work at Meșterul Manole, even though now I can see its flaws. It is normal, the more distance you take from the performance, the more you realize you could have done things better. At the same time, Nuntă însângerată, the performance staged at The National Theatre of Craiova was a productive experience. It was the second time working for that theatre, and I had a good time at the rehearsals, but its completion somehow broke me away from the theatre of Craiova. It is my only performance that I have not seen again since the premiere, although I consider it to be one of the most coherent. I had a great time working at The Municipal Theatre in Baia Mare – for Dragă doamnă profesoară6. It is a smaller performance, with 5 characters, but there I found Eduard Trifa, to whom I proposed to come to Bucharest to Medeas`s Boys casting. He got to play in it, and then he moved here and subsequently he got hired at Odeon Theatre. He had a very good professional journey; he is an extraordinary human being and a very good actor.

I.C: When it come to surpassing the cultural boarders, have you ever stumbled upon any difficulty when it came to the staging of ”Las Meninas” at the Hungarian Theatre of Cluj due to the linguistics difference? What were the challenges for this project?

”Professionalism makes us more comfortable.”

A.M: I had this fear because I had never worked in another language, because I do not speak that language. After two- three days that fear had disappeared. I had an assistant’s director who was an actor at the Hungarian Theatre. All the time I had the text both in Romanian and Hungarian and we were translating word by word from the

6 In English ”Dear teacher”

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Spanish original, then we would explain to one another the syntax in that language and the differences that occur in a translation – that is, in a certain way, a disloyalty from the original. In this way, the fear quickly disappeared because I met an extraordinary team. We got along very well, we had a professional technical support, with amazing studios. The performance is produced entirely in the theatre, without being a noticeably big production. After working at the Hungarian Theatre, I had a ”bitter taste”, a regret and I keep asking myself why there is not this kind of professionalism in our theaters. Professionalism makes us more comfortable. I realized that those actors rehearse less, that same goes the stage crew, because they are all very earnest, accountable and thoughtful. There is another lesson about comfort that I learned in the Hungarian National Theatre, when, in the first week, we would rehearse 4h- 4:30h per day. After 2-3 days I dared to ask the question: ”Is this the way you rehearse here? I am used to rehearse for twelve hours.” And one of the actresses whom I greatly love and with whom I collaborated for my performance at Reactor responded: ”Andrei, if you do not win us over in three hours, you will not win us over in ten either.” Actually, she was right, because I would go back home and get my part ready for the next day and they were well prepared the whole time, knowing their part by heart, having their warmups done. There were not downtimes. I always go one hour earlier to a rehearsal and I cannot bear the plain transition from civilian life to being on stage. Going back to our subject, the experience I had at the Hungarian Theatre was top of the top.

I.C: What do you think the Romanian theatre lacks?

A.M: The Hungarian Theatre (laughs). I cannot say what the Romanian theatre lacks, because everyone has different desires and needs, but I personally lack a more frequent exchange of point of views between actors and directors – beyond the coffees we drink together, the parti-pris and the three beers we drink at Bikers7. I am talking about a true platform for dialogue, about a certain curiosity regarding our differences. I am very curious when it comes to my colleagues when they do something I am not capable of doing, but that I find interesting at the same time. It goes the same when they approach an area that I would have never thought of. There is no desire for dialogue. This aspect is only simulated when there is an award ceremony or a gala. We simulate a generalized friendship which stands for a lack of beliefs, actually. I am that kind of man who stands up for his beliefs, even though this attitude closed some doors for me. I like to take justice into my own hands. I came into conflict to defend other people, but I realized that especially when it comes to actors, they are two faced: one day they hate you, the other they love you.

I.C: In Cluj, you also graduated with a master’s degree in directing at the University of Theatre and Film, where you currently continue your doctoral studies. But, throughout your career, you have collaborated with actors that shared the same background, as well as actors from

7 A restaurant near UNATC in Bucharest.

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Bucharest. Have you noticed any difference between the working method of the two drama schools?

A.M: There are differences, but not necessarily the cliche one would expect: Cluj is a school focused on technique and Bucharest is the school of profound truth. I have met actors who got their degree from the school of Bucharest and who are extremely formalist, as well as actors from Cluj who play being true to themselves. At the same time, within these schools we find a classification that depends upon the professor you had. At Cluj, I can easily tell who was in Miriam Cuibus`s class, or Miklós Bács` or Ionuț Caras`, because it is not the same thing. One cannot avoid this; your mentor influences you in a specific way. Some of them are not compatible at all, which is completely normal; it is impossible to really get along with a group of 20 people. It seems to me that they are too many and that faculties have become pools that are overpopulated with shoals of fat fish but without enough fishermen. It is a small field, there are few state theatres, and the independent environment is as tempting when it comes to its level of discovery, as irrelevant to the survival level. As I was saying, there are differences, I can see them, but I do not believe I prefer anything. When I moved to Bucharest some years ago, I was overly excited to work with actors from UNATC, because I thought I would discover something different, but there are not great differences. I have just staged Kilometrul Zero/The Revolution Project8 at Odeon – a poetic text, hard to undertake, fragmented, which can be played only at its fullest. I wanted to cast in my distribution four actors with different personalities, keeping in mind that this is a show where people get to make their choice: ”I really disliked X, I loved Z”. I received different feedbacks from people who sat right to each-other, and this truly makes me happy, because unanimity scares me.

I.C: How is the emotion of a premiere now, in the context of the pandemic and following a long break?

A.M: With age, I thought I would feel it less, but I still experience great emotions at the premiere, because the performance drifts away. I tend to come back often to my performances. For Kilometrul Zero, I already knew what we wanted to cut for the November performances. We come up with ideas, we feel things from our audience. A certain kind of feedback made me happy, namely that some people wrote to me that they were moved because the actors were wearing a mask as well – a matter we had not thought of. The decision of wearing a mask is strictly related to the health issue, it is not a directorial idea. The observation seemed to me one of a kind.

I.C: The rehearsals started online. How was it for you to transpose the atmosphere of a rehearsal in the digital form?

A.M: Horrible. That is all.

8 In English ”Kilometer Zero/ The Revolution Project”.

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”…it is important for a performance to let an open door for dialogue, for contradictions, for hate or love.”

I.C: At the beginning of the show, Ioana Bugarin asks her wardrobe colleagues the following question: to what extent can we compare the fight against the communist system with the current situation? How would you describe such a parallel?

A.M: I do not believe theatre is supposed to give answers. I believe the performances which give answers defend a thesis, they give already-known conclusions of their creators who did not discover anything in their working process. You can truly encounter people in this process, and you can become friends with them. Sometimes this does not happen, other times you resign yourself. Powerful questions are being asked in a performance, because it approaches a ”strong” subject which is treated by the text in an imaginative manner, in the aim of inviting you to do a research of the event. It is not a documentary show, but it seemed important to me to embody this text on the stage after seeing the reading-performance of Saviana Stanescu at Arcub. Almost everybody in that room stayed for the Q&A session, which almost never happens. It seemed enormously powerful to me that people felt the need to talk about their experience. I think it is important for a performance to let an open door for dialogue, for contradictions, for hate or love. Coming back to your question, of course there are parallels concerning a certain degree of tension that was present at that moment and that continues to make its presence felt, but which are not necessarily comparable. Now we are living a world-wide situation that concerns a pandemic, whereas at that moment, it was an event in our country, as well as in the rest of Europe, that was about a major political change. In our country, and it was not an accidentally, it was a bloodthirsty and regrettable situation. In my childhood, for every Christmas I would see the execution on television, and I grew up with this picture. We know that was true, we know we are free and that there are several political parties ever since, but that is all. It was that chapter in the schoolbook that the high-school students would not have the chance to read because it was already June, and they were focused on the exams for Romanian language class and afterwards on the holidays.

I.C.: You have revitalized classical texts, bringing them into a unique form, closer to the 21st century. Do you want to go further in this direction?

A.M: Yes, strongly, I am over the top interested to work on classical texts. I am going to have a premiere at Apollo111. It is my first Shakespeare, and I chose Richard III. I wanted to put on my first Shakespeare around the age of 30 and my first Chekov around 35. I have set myself these targets. I have chosen to start with Richard III because I had an idea, hopefully one that works. At the same time, I am drawn to ancient tragedies. Even when I proposed Medea’s Boys at Apollo111, people there were shocked with me staging a tragedy in an independent space. With all due respect for the theatres I worked in, from my point of view, their policies concerning the repertoire are non-existent. I have never seen such a policy

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Interview that could put me into the position of adapting myself. I would be glad to find anything regarding the coherence, at least the stylistic one – that I have recently felt at Reactor. There are PR and literary secretariat departments that are very uninvolved, and it is not completely their fault, it is a commune fault. I think there could be melting pots of explosion, especially now, in pandemic context, because we had access to foreign performances, to ways of promoting, to posters, to booklets – if there is any relevance to them anymore. I think there are small revolutions that could be made and that could help us all not to remain in the darkness of time.

I.C: ”Amplexus sau Ultima îmbrățișare”9 staged at The Dramatic Theatre of Târgu-Jiu is based on one of your texts. Is there a compatibility between being a playwright and a director or in what way has your approach to your own text changed when you had to be the director of it?

A.M: I will start by saying, without any modesty, that I consider Amplexus sau Ultima îmbrățișare as my most mature performance. I would not say ”the best” because we cannot say what exactly ”the best” means. I have staged it in a small theatre, a theatre hardly known which, at the premiere of my performance, was inviting for the first time major critics to write about it. But it is the first theatre I set my foot in, I went to the high-school in Târgu-Jiu, but I had not been in that theatre for 8 years. I worked with Simona Urs herself, who was my drama teacher during high-school and thanks to whom I am now doing theatre. This encounter like an arch over the time was wonderful, after ten years. It is something deeply personal, and being a director, I approach my text as any other text. I filled in some things, I perfectly managed to ”dualize” myself. At the beginning, I suggested a fabricated name because I did not want to influence in anyway people`s choice. The manager decided to bring it on stage and only later I confessed it was mine. I thought it was fairer this way. There are only 3 parts, the text is very personal because it relies on my relationship with my parents, on this trio we form, although the text is extremely fictionalized: the action takes part in Sweden, in the future. Briefly, I can say that the relationship between the director and the playwright was amazing.

”It is a lesson I am discovering daily, because sometimes, although I know it, it is as I forgot it: not to let myself get influenced by pride, by inherent conflicts when I work.”

9 In English ”Amplexus or The Last Embrace”

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I.C: Which is the most important directing lesson you discovered by yourself?

A.M: It is a lesson I am discovering daily, because sometimes, although I know it, it is as I forgot it: not to let myself get influenced by pride, by inherent conflicts when I work. I chose this profession, knowing there were lots of things I could have done, without any false modesty. I knew that if I chose to do it, I would do it full, with all the necessary sacrifices, it would take up most of my time, more than any other thing in my life. I do it sometimes up to a sickening limit and I can hardly put an end to it. I am lucky because I have friends that make me aware of it. Theatre is close to my heart and it is like being in love: with humongous sufferings, that make you lose 9 kilos, but that also brings you great joy – coming back home from the same performance you see today, you see it the next day and it is a different one. I love this phenomenon of ”liveness”; it is something you try to control, but it is actually out of your control.

I.C.: Coming back to your student life: how much do you think the theatre perspective of student Andrei Măjeri changed compared to the current moment?

A.M: I fear the style, and my master dissertation was about this topic: ”The premises of failure: the beginning of artistic career”. It is certain we have our mannerism because we choose not to do something in a certain way… The way we do it... we do it differently depending on the text we chose; on the people we work with. Unavoidable, we repeat ourselves in a certain degree. I try to pay more attention not to repeat in a performance the major gestures I used in the other performances. Rather the critics, some of my friends or people who saw my performances noticed stylistic repetitiveness, such as me using sport-related elements – maybe out of my frustration that I`m sedentary. I exposed myself to external dramaturgy, sort of Rodrigo Garcia, by putting on Agamemnon and Moarte și reîncarnare într-un cowboy10 at The National Theatre of Cluj – texts without characters, with an automatic dictation – or Alexandra Badea`s text, Pulverizare. These are extremely difficult texts on a structural level, but which gave me an extraordinary directorial freedom. I admit I feared the narrative bits. I do not think of myself as a story-telling director, because I consider theatre more flickering, more like a flash. I get bored, I can easily guess the story, stories can hardly get to me. Maybe it is because of that reason, in Cluj I came back to a story, I let myself get caught by it and I did it so that I would not be dominated by the form, by the construction, by everything easy for me. I am proud that, sometimes, between performances, I can stop. At that moment, I ask myself what I want from the next one, what am I trying to win through it, what am I discovering as an artist. Maybe you do not discover anything, or you get out of it more confused than you entered in the said performance, but sometimes, from that

10 In English ”Death and Reincarnation as a Cowboy”

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Interview beautiful clashes with certain people, who sweep you over, you have little epiphanies, which were there all the time, just in front of you.

I.C: You lunched your own website, where we can find a detailed archive of your performances, as well as a blog with your personal thoughts. How this blog idea started?

A.M: I happen to experience several nocturnal urges to write on my facebook; however, I thought I might centralize them somewhere. Also, I had a lot of free time during the lockdown. It seemed that people would get out of this lockdown extremely changed, doing lots of things and acquiring lots of skills; I could not lag. I rehearsed for a show which has not had the premiere yet – Sirene11, then we rehearsed for Kilometrul zero, we did some readings. I prepared myself two scenography alternatives for future projects, I wrote on my doctoral thesis… The website was an older desire, but I was scared by the idea that I had to select photos, to look up for reviews. And this process of centralizing took time, I worked two months, although the website implementation itself did not take that long. At the same time, I realized how poorly executed the recordings in the theatres are, although I would get to this subject before the premiere. Beside Nuntă însângerată from which I have a good recording, because it was done at TVR12, I do not have any pleasing recordings of my shows. I truly realized these shortcomings, and a moment like a pandemic shows us how little credit we give to those things and how important they actually are, because they are evidence for an art of the moment. I am happy I lunched the website; it was well received, and I have plans for it. Ideally, I should post one a week but, unavoidably, there are two a month. They stay in the theatrical sphere, but not directly. They are not an analysis of my performances, and I avoided that in my doctoral thesis as well. I did`nt want to write a thesis about my career as a practitioner – I would have been extremely bored – I wanted to make a research about something. On the blog I post my own thoughts about some gestures, accidents, events, emotions, conclusions after some rehearsals, from the working process, something that I read and made me think of something…

I.C: Every time it was needed, you proved without a shadow of a doubt that you have a strong and outspoken personality. Therefore, what would be your advice for young artists who have not found a voice yet.

A.M: I do not think I found my voice just yet, but I can say what I lacked in this process, and that is a mentor. I did`nt have one for directing classes, not when I was doing my bachelor`s degree or even my master, where I had the impression that the professors would expose all their ideas within one week time. I was not interested in that kind of feedback which forced me to do things in a certain manner, but that feedback that would had been able to teach me how to improve my technique, which, at that time, I had not had and all that by doing what

11 In English ”Mermaids” 12 Romanian public Television

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I thought it was right to do. I did not have the chance to have that mentor, and that hurt me. That it why I chose not to work after getting my bachelor’s degree, but only after five years, when I had my master’s degree. But there was a person I got attached to very much and who taught me a lot concerning the technique, the construction, the work with the actor, the taste, maybe. I think this person influenced my taste regarding the stage, the reading, the visual taste in a certain way – taste that I already had, because I studied it beforehand. I was really interested in sculpture and painting. The person I am talking about is Madam Miriam Cuibus, professor in Cluj, who used to have her acting classes at the same time I was having my directorial classes and I used to go to hers. She saw all my exams from the first year and afterwards I worked three times in a professional theatre with her as an actress. We kept in touch even now during the lockdown; we exchanged mails about the performances we were watching, about what we were reading. It seems extraordinary to me, because there is an age gap between us, as well as a big difference about the ”know how”. For me, Madam Miriam is what one would call ”an artist” and I hope to get to reach 50% of what she offers to the students, myself included, through her rigorousness, her playful sense she enhanced with age, her seriousness on stage, the working process, her references, her aesthetic attention on the gesture but without becoming too aesthetic-centered... I learned so much from Madam Miriam, that I inevitably consider her a mentor. I would wish to all young persons who want to do art, not only theatre: to find someone in front of which you can be your own person, which means that, from a moment on, they will acknowledge ”We do not think the same anymore, but I appreciate you just such as much in the future.” All this came to me because I was lacking something, and this discovery was priceless.

Ironiţa Coruţi is a graduate of the Theatre Studies and Cultural Management Department of the Faculty of Theatre, UNATC ”I.L. Caragiale“ Bucharest, collaborator of the ”Ion Creangă” and ”Masca” Theatres and the CONCEPT academic journal.

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