STUDIA UNIVERSITATIS BABEȘ-120 BOLYAI /20 Images of Witchcraft: Theatre, Cinema, Visual & Performing Arts STUDIA UNIVERSITATIS BABEŞ‐BOLYAI DRAMATICA 1/2020 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 LAURA CARETTI, Università degli Studi di Siena LIVIU DOSPINESCU, Université Laval, Québec ISSUE EDITORS (1/2020): IOAN POP‐CURŞEU, Babeş‐Bolyai University, Cluj‐Napoca DELIA ENYEDI, Babeș‐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] Acknowledgements: This special issue was realized in a grant of the Ministry of Education and Research, UEFISCDI PN‐III‐P1‐1.1‐TE‐2016‐ 0067, contract number 135/2018, under the title Iconography of Witchcraft, an Anthropological Approach: Cinema, Theatre, Visual Arts, project manager Ioan Pop‐Curşeu. Photo Cover by Daria Ioan STUDIA UBB EDITORIAL OFFICE: B.P. Hasdeu no. 51, 400371 Cluj‐Napoca, Romania, Phone + 40 264 405352, [email protected] YEAR Volume 65 (LXV) 2020 MONTH MARCH ISSUE 1 PUBLISHED ONLINE: 2020‐03‐30 PUBLISHED PRINT: 2020‐03‐30 ISSUE DOI: 10.24193/subbdrama.2020.1 Special Thematic Issue Images of Witchcraft: Theatre, Cinema, Visual & Performing Arts Issue Editors: Ioan Pop‐Curșeu, Delia Enyedi CONTENT / SOMMAIRE Ioan POP‐CURȘEU, Foreword ............................................................................................ 7 THEATRE AND PERFORMANCE Ioan POP‐CURȘEU, Ștefana POP‐CURȘEU, The Mask of the Witch: from Ritual to Carnival and Theatre ............................................................................................... 17 Alexandra JELER, The Weird Sisters. Historical‐Religious Genealogies .......................... 51 Elisabeth LACOMBE, Milk, Blood and Gall: Witches’ Bodily Fluids efrom th Treatise to the English Stage ...................................................................................................... 69 Turkan YILMAZ, The Clash between the Utopian World of the Witches and the Dystopian Society of Humankind in “The Witch” and “Macbeth” ............................ 91 Pierre PHILIPPE‐MEDEN, « Le Diable » de Rita Renoir (1972). Ethnoscénologie d’un mimodrame porno‐sataniste / “The Devil” by Rita Renoir (1972): Ethnoscenology of a Satanic Porn Mime Drama ................................................................................. 109 Suzana MARJANIĆ, Witch(craft) Subversion in Live Events (Performance Art) in Croatia: From Art to Everyday Praxis ....................................................................... 131 CONTENTS OF STUDIA UBB DRAMATICA, LXV, 1, 2020 Ophélie NAESSENS, Artistes visuelles et sorcellerie : de la magie comme instrument créatif de lutte politique / Visual Artists and Witchcraft: Magic as a Creative Tool for Political Struggle .................................................................................................. 153 Konstanza GEORGAKAKI, « Les sorcières de Smyrne » sur la scène contemporaine / ʺThe Witches of Smyrna” on the Contemporary Stage ............................................. 173 CINEMA, TELEVISION, VISUAL ARTS Delia ENYEDI, Screenwritten Spells: Portrayals of the Witch in Early Cinema ..................... 191 David MELBYE, Mainstream Satanic Cinema in the Seventies: A Generational Crisis of Assimilation ............................................................................................................... 203 Willem de BLÉCOURT, “Sabrina, You’re Not Yourself.” The Borrowings of Sabrina Spellman ..................................................................................................................... 227 Alex McCANN, “Bewitched:” Between Housewifery and Emancipation................................... 245 Till R. KUHNLE, « Glissements progressifs du plaisir » : érotisme, kitsch et sorcellerie chez Alain Robbe‐Grillet / “Successive Slidings of Pleasure”: Eroticism, Kitsch and Witchcraft in Alain Robbe‐Grillet’s Work ................................................................. 261 Claudia NEGREA, Representations of Witches in the Coming‐of‐Age Subgenre ................... 277 Daria IOAN, Changing Faces of Witches in Contemporary Photography ................................... 291 Rebeca DOGARU, Femininity, Transgression and the Gothic: The Witches of Cradle of Filth ........................................................................................................................ 311 PERFORMANCE AND BOOK REVIEWS Ioan POP‐CURȘEU, Images de la sorcellerie dans le théâtre roumain contemporain (Performance review: Sânziana și Pepelea, by Vasile Alecsandri (director A. Dabija, National Theatre in Cluj – 2013); Țiganiada by Ion Budai‐Deleanu (director A. Dabija, National Theatre in Cluj – 2018); Romacen – Vremea vrăjitoarei (director Tina Turnheim, Andrei Mureșanu Theatre, Sfântu‐Gheorghe – 2019); Macbeth by Giuseppe Verdi (director Rareș Trifan, National Opera in Cluj – 2019)) ................... 327 Ioan POP‐CURȘEU, Un voyage historique dans le monde fascinant des images de la sorcellerie (Book review: The Oxford Illustrated History of Witchcraft and Magic, Edited by Owen Davies. Oxford: Oxford University Press, 2017) ........................... 339 6 STUDIA UBB DRAMATICA, LXV, 1, 2020, p. 7 ‐ 13 (Recommended Citation) Foreword IOAN POP‐CURȘEU* This special issue of Studia UBB Dramatica is devoted to a research topic developed in a project supported by the Ministry of Education and Research, in a grant UEFISCDI PN‐III‐P1‐1.1‐TE‐2016‐0067, contract number 135/2018, with the title Iconography of Witchcraft, an Anthropological Approach: Cinema, Theatre, Visual Arts (IWACTA). In the Romanian cultural context, the implementation of the project seemed very important from a scientific and institutional point of view, by its possibilities of making some significant contributions to the field of visual anthropology. The research team, composed by Ioan Pop‐Curșeu, Delia Enyedi, Daria Ioan, Rareș Stoica and Valer Cosma, intended to analyze how the witch was represented in cinema, theatre, visual arts, and how the fascinating iconography of witchcraft was related to complex socio‐cultural structures, practices and interactions. In this respect, we built complex repertories of movies, theatrical shows and visual representations of witches in cultural spaces all over the world. We worked on iconographical typologies, trying to understand what determines the apparition and development of such typologies, by using a very strict historicist approach that took into account all the details of the studied phenomena. It is true that the scientific approaches to witchcraft, asl a socia and cultural phenomenon, are very complex and that many aspects have been addressed and systematized by previous researches, as shown in some works * Associate Professor, Babeș‐Bolyai University, Cluj‐Napoca, Romania. [email protected] IOAN POP‐CURȘEU with an encyclopedic profile.1 Nonetheless, there are still many aspects to be discovered and analyzed. For example, the iconography of witchcraft has been a main research topic for Charles Zika, but only regarding the 16th‐17th centuries and the images in the limited sense of the word (paintings, engravings, drawings).2 The theatrical iconography of the witch, not very often addressed by researchers, deserves a better scientific place, because the theatre was a great reservoir of socio‐cultural representations of witchcraft, for example in Elizabethan England – as shown by Diane Purkiss.3 But, besides Shakespeare and Elizabethan dramatists, there are still many aspects to be discovered in the multi‐layered link between theatre and witchcraft. During the implementation of the project, the IWACTA research team organized an international conference, at the Faculty of Theatre and Film, Babeș‐Bolyai, Cluj‐Napoca, between the 17th and the 19th of October 2019. We tried to bring together eminent scholars of witchcraft, Ph.D. students, visual artists and performers who presented their researches to a large and very interested audience. The participants came from 15 different countries (including Romania) and most of the continents were represented in Cluj: Europe, Africa, Australia, North America… The papers presented at the IWACTA conference were stimulating and solid, so our research team was able