studia universitatis babeÅ â bolyai dramatica teatru, film, media 2

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OZANA BUDĂU, Le detour par ailleurs culturel du texte indien. Le Mahabharata de Peter Brook ................................................................................................ 111 PAULA MĂHĂLEAN, Despre acting power de Robert Cohen.............................. 125 RALUCA SAS-MARINESCU, Teatrul şi relaŃiile publice, azi ................................ 131 INTERVIU CRISTIAN RUSU, Space and Body. An Interview With the Stage Director Marc Bogaerts,......................................................................................................... 145 RECENZII, CRONICI, COMENTARII OZANA BUDAU, L’acteur est son corps dans la mise en scène de Robert Wilson : Quartett de Heiner Muller ......................................................................................... 153 SMARANDA BOLOVAN, Recitirea mitului în spectacolul OEDIP Rege de Mihai MăniuŃiu.............................................................................................................................156 NARCISA PINTEA, Absurdul în viziunea lui Dabija: Omul cu valize de Eugen Ionescu ..162 MIHAI GĂDĂLEAN, Scrisoarea şi Tompa ............................................................ 168 PAULA MĂHĂLEAN, Apocalypto - judecăŃi contemporane din perspective subiective 172 MIHAT KONRAD, Darwin’s: Adaptation ........................................................................ 177 ROBERT ERDOS, Alfred Hitchcock’s ROPE................................................................ 179 CODIN SEBASTIAN POP, Şi dacă ne-am aminti de…Braveheart............................. 182 FLORIAN RAREŞ TILEAGĂ Pianista. Între Jelinek şi Haneke ................................... 186
STUDIA UNIVERSITATIS BABEŞ-BOLYAI, DRAMATICA, LI, 2, 2006 POSTCOMMUNIST ROMANIAN PLAYWRITING - DISTANTIATION AND POLEMICAL COUNTERTEXT LAURA PAVEL ABSTRACT. The constant rewriting of mystifying utopias that belong to totalitarian era still has, today, an ethically and militant-politically role, to a certain extent expiatory, equally for historians, anthropologists, history-psychologists, specialists in imagology, sociologists and artists. The estrangement, distantiation, i.e. Verfremdungseffekt, in a post Brechtian sense, as well as the demystification done by current playwriting is an aesthetic strategy. One that bears with intended extra-aesthetic effects. A goal is that of redifining our ethnical, political and social identity, as reflected in the public conscience. The present essay advances several hypotheses on the Romanian “political” theatre and its alienation effect, taking under analytical scrutiny a few plays written after 1989 by some of the most important contemporary and present-day Romanian dramatists. Among the utopical practices that came one after the other in time, the totalitarian society utopia, characteristic both to the modern and “recent” man, produced the imaginary recipe for an idealized future. It associated itself to an empty rethoric, the one of the inflationistic political discourse, that censured and mystified the “real” reality’s data. Utopical imagination implies, according to the philosopher of the imaginary Jean-Jacques Wunenburger, an experience of taming the possible 1 . Through the utopical type of thinking, the individual pulls himself out of history and projects for himself an impervious world, or a perfect society, closed to the decay of temporality, to the arbitrary fluctuations of a common historical society. Fictionalizing and idealizing the past within ideological and fictional texts of former communist era is now being denounced and de-mythologized, but is it ever going to be enough? In this sense, the postutopian discourse after the fall of the Berlin wall, that is after 1989, stands for a polemical, ideological and aestethic countertext. The constant rewriting of mystifying utopias that belong to totalitarian era still has, today, an ethically and militant-politically role, to a certain extent expiatory, equally for historians, anthropologists, history-psychologists, specialists in imagology, sociologists and artists. The estrangement, distantiation, i.e. Verfremdungseffekt, in a post Brechtian sense, as well as the demystification done by current playwriting is an aesthetic strategy. One that bears with intended extra-aesthetic effects. A goal is that of redifining our ethnical, 1 Jean-Jaques Wunenburger, Utopia sau criza imaginarului [Utopia or the Crisis of Imaginary], translated into Romanian by Tudor Ionescu, Cluj-Napoca, Dacia Publishing House, 2001, p.93.
Page 2 and 3: COMITETUL DE REDACłIE AL SERIEI ST
Page 6 and 7: LAURA PAVEL political and social id
Page 8 and 9: LAURA PAVEL identity, are all set u
Page 10 and 11: LAURA PAVEL is a play in a play...
Page 12 and 13: LAURA PAVEL given by Corneille hims
Page 14 and 15: STUDIA UNIVERSITATIS BABEŞ-BOLYAI,
Page 16 and 17: MODEL ŞI MIMESIS EMMA BOVARY - DOA
Page 36 and 37: MIKLÓS BÁCS există om, observa P
Page 38 and 39: MIKLÓS BÁCS Personajul „Mai în
Page 40 and 41: MIKLÓS BÁCS Fantezia creatoare a
Page 42 and 43: MIKLÓS BÁCS 2) de a distorsiona o
Page 44 and 45: MIKLÓS BÁCS a face cu procesul de
Page 46 and 47: MIKLÓS BÁCS ca şi teoria roluril
Page 48 and 49: MIKLÓS BÁCS ca încarnare a cuvâ
Page 50 and 51: MIRUNA RUNCAN a writer and also a d
Page 52 and 53: MIRUNA RUNCAN Chekhov and Beckett.
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MIRUNA RUNCAN Grotowski dreamed abo
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MIRUNA RUNCAN status. First of all
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MIRUNA RUNCAN human daily life, ind
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STUDIA UNIVERSITATIS BABEŞ-BOLYAI,
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ANTONIN ARTAUD ŞI TEATRUL PUR desf
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ANTONIN ARTAUD ŞI TEATRUL PUR de e
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ANTONIN ARTAUD ŞI TEATRUL PUR mani
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ANTONIN ARTAUD ŞI TEATRUL PUR fiin
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ANTONIN ARTAUD ŞI TEATRUL PUR lumi
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GRAMATICA COMMEDIEI DELL’ARTE Pri
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GRAMATICA COMMEDIEI DELL’ARTE coa
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GRAMATICA COMMEDIEI DELL’ARTE Sol
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NEW EDUCATIONAL PRACTICES IN VISUAL
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NEW EDUCATIONAL PRACTICES IN VISUAL
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THE EMERGENCE OF NEW MEDIA AND THE
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FLORIAN-RAREŞ TILEAGĂ de serviciu
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FLORIAN-RAREŞ TILEAGĂ textului 10
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FLORIAN-RAREŞ TILEAGĂ cum indică
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FLORIAN-RAREŞ TILEAGĂ dominarea p
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FLORIAN-RAREŞ TILEAGĂ specificit
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FLORIAN-RAREŞ TILEAGĂ Trilogia co
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LE DETOUR PAR L’AILLEURS CULTUREL
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PAULA MĂHĂLEAN Mai întîi, la su
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PAULA MĂHĂLEAN acŃiuni precedent
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PAULA MĂHĂLEAN Manualul lui Cohen
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CRISTIAN RUSU want to express that
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CRISTIAN RUSU CR: Because it’s a
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CRISTIAN RUSU flying over the stage
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CRISTIAN RUSU MB: I think it’s po
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R E C E N Z I I affirmait G. Craig
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R E C E N Z I I Recitirea mitului
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R E C E N Z I I de el în universul
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R E C E N Z I I în raport cu divin
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R E C E N Z I I Absurdul în viziun
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R E C E N Z I I au fost întrupate
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R E C E N Z I I află într-o lume
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R E C E N Z I I Scrisoarea,”Pompa
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R E C E N Z I I Uzitate şi uzate,
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R E C E N Z I I Apocalypto - judec
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R E C E N Z I I Gibson pare atunci
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R E C E N Z I I să izvorască din
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R E C E N Z I I celor trei timpi ai
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R E C E N Z I I apartament cu o ase
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R E C E N Z I I Şi dacă ne-am ami
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R E C E N Z I I anumite convenŃii,
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R E C E N Z I I Pianista. Între Je
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R E C E N Z I I când Erika e filma
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studia universitatis babeÅ â bolyai dramatica teatru, film, media 2

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