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New Perspectives Celebrating the Centenary of Modern Romania (1918-2018)

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New Perspectives Celebrating the Centenary of Modern Romania (1918-2018) STUDIA UNIVERSITATIS BABEȘ-18 BOLYAI /201 Romanian Theatre – New Perspectives Celebrating the Centenary of Modern Romania (1918-2018) STUDIA UNIVERSITATIS BABEŞ-BOLYAI DRAMATICA 1/2018 March STUDIA UNIVERSITATIS BABEŞ-BOLYAI DRAMATICA EDITOR-IN-CHIEF: ŞTEFANA POP-CURŞEU, Babeș-Bolyai University, Cluj-Napoca HONORIFIC BOARD: GEORGE BANU, Université Paris 3-Sorbonne Nouvelle ION VARTIC, Babeș-Bolyai University, Cluj-Napoca MICHAEL PAGE, Calvin College EDITORIAL BOARD: LIVIU MALIŢA, Babeș-Bolyai University, Cluj-Napoca ANCA MĂNIUȚIU, Babeș-Bolyai University, Cluj-Napoca MIRUNA RUNCAN, Babeș-Bolyai University, Cluj-Napoca LAURA PAVEL-TEUTIȘAN, Babeș-Bolyai University, Cluj-Napoca VISKY ANDRÁS, Babeș-Bolyai University, Cluj-Napoca ANDREA TOMPA, Babeș-Bolyai University, Cluj-Napoca IOAN POP-CURŞEU, Babeş-Bolyai University, Cluj-Napoca DELIA ENYEDI, Babeș-Bolyai University, Cluj-Napoca RALUCA SAS-MARINESCU, Babeș-Bolyai University, Cluj-Napoca ANCA HAŢIEGAN, Babeş-Bolyai University, Cluj-Napoca MIHAI PEDESTRU, Babeș-Bolyai University, Cluj-Napoca INTERNATIONAL REFEREES: DOMNICA RĂDULESCU, Washington and Lee University PETER P. MÜLLER, University of Pécs TOM SELLAR, Editor of Theatre Journal, Duke University Press, Yale University JEAN-PIERRE SARRAZAC, Université Paris 3-Sorbonne Nouvelle GILLES DECLERCQ, Université Paris 3-Sorbonne Nouvelle PATRIZIA LOMBARDO, Geneva University LAURA CARETTI, Università degli Studi di Siena LIVIU DOSPINESCU, Université Laval, Québec ISSUE EDITORS (1/2018): ANCA HAŢIEGAN, ŞTEFANA POP-CURŞEU and MIHAI PEDESTRU, Babeş- Bolyai University, Cluj-Napoca SECRETARY OF THE EDITORIAL BOARD: MIHAI PEDESTRU, Babeş-Bolyai University, Cluj-Napoca EDITORIAL OFFICE: 4th Kogălniceanu Street, Cluj-Napoca, Romania, Phone: +40 264 590066, Web site: http://studia.ubbcluj.ro/serii/dramatica, Contact: [email protected] Cover design by Constantin Daniel Rosenthal, “Romania Breaking off Her Chains on the Field of Liberty” (1848) STUDIA UBB EDITORIAL OFFICE: B.P. Hasdeu no. 51, 400371 Cluj-Napoca, Romania, Phone + 40 264 405352, [email protected] YEAR Volume 63 (LXIII) 2018 MONTH MARCH ISSUE 1 PUBLISHED ONLINE: 2018-03-30 PUBLISHED PRINT: 2018-03-30 ISSUE DOI:10.24193/subbdrama.2018.1 Special Thematic Issue: Romanian Theatre – New Perspectives Celebrating the Centenary of Modern Romania (1918-2018) ISSUE EDITORS: Anca Haţiegan, Ştefana Pop-Curșeu and Mihai Pedestru CONTENT / SOMMAIRE FOREWORD by Anca HAŢIEGAN ................................................................................. 7 STUDIES AND ARTICLES Ștefana POP-CURŞEU, Un jeu théâtral traditionnel roumain au carrefour des cultures (est-) européennes: Irozii – les Hérodes / A Traditional Romanian Theatrical Performance at the Crossroads of (East-) European Cultures: Irozii - The Herods Play .................................................................................................. 25 Anca HAŢIEGAN, The Theatrical Christening of Romania ...................................... 61 Justin CEUCA, Zaharia Bârsan and the Establishment of the National Theatre in Cluj ........................................................................................................................ 91 Delia ENYEDI, Written on the Walls: The Hungarian-Romanian Transfer of the National Theatre Building from Kolozsvár/Cluj ................................................. 107 Oana ILIE, The Story of a Story: The Grigoriu Theatre Company ............................ 121 Ion CAZABAN, Aesthetic Perspectives in Romanian Theatre at the End of the First World War .................................................................................................. 145 CONTENTS OF STUDIA UBB DRAMATICA, LXIII, 1, 2018 Florin FAIFER, Alexandru Davila – The Project as Work of Art. The Father Complex ............................................................................................................... 163 Lucian SINIGAGLIA, Marietta Anca. A Portrait of a Lady .................................... 177 Ursula WITTSTOCK, Perpetuation or Decline? The German Theatre in Sibiu at the Turning Point 1918 ....................................................................................... 193 Cristian GROSU, The Image of History in Matei Vișniec’s Dramaturgy ................ 205 Oltița CÎNTEC, Theatre for Young Audience. Romanian Landscape ....................... 217 Miruna RUNCAN, Romanian Theatre as Public Service. A Critical Perspective of the Last Decades .................................................................................................. 227 INTERVIEW Elise WILK, Interview with Alina Nelega, Dramatic Author, Professor and Tutor of the Playwriting MA at the University of Arts in Tîrgu-Mureș .................... 243 PERFORMANCE AND BOOK REVIEWS Anda CADARIU, “Us and Them” – A Transylvanian Story in Three Chapters (Performance review: 20/20, written and directed by Gianina Cărbunariu, a production of Yorick Studio, Tîrgu-Mureş, and of Double Bind, a performance by Alina Nelega and Kincses Réka) ........................................ 253 Anca HAŢIEGAN, Lucian Blaga as Visionary but Unfortunate Playwright (Book review: Doina Modola, Lucian Blaga și teatrul. Jocurile dramei. Tulburarea apelor, Fapta, Daria, Înviere [Lucian Blaga and the Theatre. Drama Games. Whirling Waters, The Deed, Daria, Resurrection], Bucharest: Editura Anima, 2017; Lucian Blaga și teatrul. Riscurile avangardei [Lucian Blaga and the Theatre. The Risks of the Avant-garde], Bucharest: Editura Anima, 2003; Lucian Blaga și teatrul. Insurgentul. Memorii. Publicistică. Eseuri [Lucian Blaga and the Theatre. The Insurgent. Memoirs. Journalism. Essays], Bucharest: Editura Anima, 1999) .............................................................................................................. 263 Crenguța MANEA, Les âges du Théâtre National de Yassy, (Book review: Ştefan Oprea, Vârstele Scenei [The Ages of the Stage], Iași, Junimea Publishing House, 2016) ........................................................................................................................................... 269 Alex TEODORESCU: Liviu Ciulei – WANTED At Home and Abroad (Book review: Florica Ichim, Anca Mocanu (eds.), Liviu Ciulei acasă și-n lume [Liviu Ciulei Home and Abroad], Bucharest: Fundația Culturală “Camil Petrescu”, Revista “Teatrul azi”, 2016) ....................................................................... 273 6 STUDIA UBB DRAMATICA, LXIII, 1, 2018, p. 7 - 22 (Recommended Citation) DOI:10.24193/subbdrama.2018.1.01 Foreword Anniversary of Romanian Theatre. Brief Retrospect. ANCA HAŢIEGAN1 Abstract: The paper presents the history of Romanian theatre, beginning with the creation of the first Romanian itinerant theatre company, at the middle of the 18th century, to the present. It is intended as a foreword and a chronological framework to this special issue of Studia UBB Dramatica. Keywords: history, Romanian, theatre, union, centenary The year 2018 is the centenary of the union of Transylvania, Banat, as well as of Bessarabia and North Bukovina with the Kingdom of Romania. The “Great Union” at the end of the First World War, as known in Romanian historiography, crowned the Romanians’ movements of national and cultural emancipation from the ward of the Habsburg Monarchy (followed by the Austro-Hungarian Empire), of the Ottoman and Russian Empires, movements initiated in the second half of the 18th century and intensified in the 19th. Given the celebration of the centenary of the Great Union, we intend to dedicate an issue of the journal Studia Dramatica to Romanian theatre, which we seek to revisit not only festively, but also critically. The history of Romanian theatre is slightly longer than one century: the first Romanian itinerant theatre company was created by several Transylvanian students, from Blaj, at the middle of the 18th century, the century of the first attempts to create dramatic texts in Romanian. The first theatre shows in Romanian, in Moldavia and Wallachia, were performed in 1816, respectively 1. Anca Hațiegan: Faculty of Theatre and Television, Babeş-Bolyai University, Cluj-Napoca, Romania. [email protected]. Paper translated from Romanian by Magda Iftene. ANCA HAŢIEGAN 1819. (We mean the first theatre shows in the modern sense of the word – and not the theatrical performances typical to traditional cultures or the medieval forms of entertainment, which continued to be present in the aforementioned period). In the fourth decade of the 19th century, professional Romanian theatre was established, by the foundation of the first theatrical education institutions in Romanian, at Bucharest and Iasi – the capitals of the two principalities Wallachia and Moldavia, which, by the union of 1859 (“Small Union”), were the nucleus of the modern Romanian state. The first national Romanian theatres appeared in the same places; this phenomenon foreshadowed, to some extent, the proclamation of Romania’s independence (the name “Romania” was officially adopted by the United Principalities by the Constitution of 1866). The declaration of independence occurred in 1877, at the beginning of the Russo-Turkish war, during which the Romanians fought on Russia’s side, obtaining the release from Ottoman suzerainty. Romanian theatre had seen some significant developments since the beginning of the century, owing to playwrights Vasile Alecsandri and Bogdan Petriceicu Hasdeu and to some actors such as Costache Caragiali, Matei Millo, Teodor Teodorini, Mihail Pascaly, Eufrosina Popescu or Fanny Tardini.
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