Theatrical Colloquia最新文献

{"title":"The Spacing of a Message","authors":"A. Ciobotaru, Carmen-Monica Mihalache","doi":"10.35218/tco.2022.12.1.08","DOIUrl":"https://doi.org/10.35218/tco.2022.12.1.08","url":null,"abstract":"In the 21st century, during the pandemic, as in any other time, people choose keywords to quash their anxieties, to ferment their uneasiness, to free themselves. We build bridges between the art of theater, physics and psychology, with the help of which to cancel the imposed distances, with variable dimensions – from 1.5 m to the... social ones. Appearance and resilience tend to measure our ability to withstand the unexpected closings and openings of theatrical encounters; in fact, they become ways of reflecting the dimension of each artist's desire to get involved, to express themselves, to respond to the needs of those around them - as each knows best, each with his craft. In this context, the definition of the theory of emerging evolution offers us a new perspective on creativity; the hybrid formulas of “theater-filming”, whatever the attached concept would be, carry with them the vibration of the “spontaneous and the unpredictable”. Applied theater is no exception. With or without dolls, it offers the chance for quick reformulations, focusing on the need of the receiver and the transmission of a message. Thus, The inner tree (Copacul interior) was transformed from an applicative theater show into a challenge in which artistic research took concrete forms. Firstly: message spacing; the road to the public passed through the narrowness of the camera lens. Unexpectedly, unlooked for, the dream meeting could only be fulfilled in digitized formulas. This perspective allows us to notice the opportunity of the unpredictable, which of the relationship body - puppet - projection has become a formula for training creativity, for reformulating stage expressiveness; this time art humbly serves the message.","PeriodicalId":326041,"journal":{"name":"Theatrical Colloquia","volume":"7 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-05-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"120866322","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Theatre as a Public Service. Tendencies and Relevance","authors":"G. Costin","doi":"10.35218/tco.2022.12.1.21","DOIUrl":"https://doi.org/10.35218/tco.2022.12.1.21","url":null,"abstract":"The article is an analysis of recent studies of non-governmental organizations (World Economic Forum) which have generated cultural strategies and which are today influencing the relationship between the society and the forms that organize and finance culture. The article also analyses the way in which the cultural strategies generated by these studies are manifesting themselves in the theatrical landscape in Romania: the polarization of the theatrical speech, the standardization of the means of expressing messages on the stage and the offensive brought by the non-governmental organizations. Starting from the context aforementioned, we need a research regarding the way ideological trends are influencing the way we represent things on the stage and are modifying the axiology of the theatre. I’m talking about notions that are necessary to establish a frame and some standards of evaluation regarding the theatrical domain: competence and relevance. How are they defined? How and who can measure them? It is also of utter importance to analyze the terms and notions that are used in the recent and most acid critic reviews of the theatre productions in Romania: independent theatre, state financed theatre, gigantic productions, alternative spaces, the under-financing of the cultural sector, management, cultural management experts, etc. Last but not least, the article mentions the way in which some of the most influent characters involved in the theatre world of the 20th century have looked to what is the problematics of researching the theatrical act: Ariane Mnouchkine and Peter Brook. Is there innovation in a multi-millennial art? Is theatre something else than an art of the present which is serving the city? We are crossing a period of time in which, also due to the restrictions generated by the pandemics, it was debated in the public space (and the authorities have encouraged that idea) to move the theatre in the on line. Starting from the premise that the theatre without an audience stops being theatre, I will analyze, in the context described earlier, the relationship between theatre and the new trends in the Euro-Atlantic culture: progressivism and digitalization.","PeriodicalId":326041,"journal":{"name":"Theatrical Colloquia","volume":"20 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-05-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"123379220","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Ionesco Obsessions in Scenic Imagery Signed Gábor Tompa","authors":"Tamara Constantinescu","doi":"10.35218/tco.2022.12.1.07","DOIUrl":"https://doi.org/10.35218/tco.2022.12.1.07","url":null,"abstract":"Among the reference creators in the Romanian theatrical space, but also internationally, the director Gábor Tompa had a constant attraction for the aesthetics of Eugene Ionescu's texts, which strongly influenced his path of perfection and ranking among the most important directors. In 1992, at the Hungarian Theater of Cluj, Gábor Tompa staged the memorable theater play The Bald Soprano, a performance that will represent one of the pillars of his later career. Then, in 2003, the theater performance elaborated by Gábor Tompa using the text Jacques or the Obedience, at the Hungarian Theater of Cluj, can be called a total one, in which the decryption of the Ionescian message was done with a lot of fantasy and suggestive black humor. In 2014, he rebuilt the The New Tenant on the stage of Nottara Theater in Bucharest. The staging was well received by the general public, but also by the theater people, also appreciated by the selection among the best performances in prestigious festivals of 2014. At the beginning of 2020, Rhinoceros appears to Gábor Tompa as an extremely percussive text, which determines its staging at the Mihai Eminescu National Theater of Timişoara, enjoying an authentic success. Until now, the stage imagery signed by Gábor Tompa, will remain a reference page of theatrical constructions and Eugene Ionesco's texts, real revelations, owning well-articulated messages on stage, reflecting socio-human realities and concurrently, a real urge to reflect.","PeriodicalId":326041,"journal":{"name":"Theatrical Colloquia","volume":"134 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-05-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"127361054","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"The Experience of the Space of Representation and The Distances of Manipulations. Views and Movements of Living Bodies - Puppets - Virtual or Electronic Objects and Bodies","authors":"Françoise Flabat","doi":"10.35218/tco.2022.12.1.02","DOIUrl":"https://doi.org/10.35218/tco.2022.12.1.02","url":null,"abstract":"Remembering the essential relationship that exists between the public and the stage in the time of the theatrical performance with traditional puppetry, and the triangulation of the relationship between the viewer and the actor with the puppet object, it is the experience space and distances of play and movement between the living and the inert which are revisited. The contribution of digital arts and the use of technologies in puppet works reveal new original and innovative forms that disturb the landmarks, the presence of living, virtual or robotic bodies. An intuitive text based on a curious need to question the connections between digital arts and the arts of puppetry.","PeriodicalId":326041,"journal":{"name":"Theatrical Colloquia","volume":"70 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-05-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"128882819","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"… and All Men and Women Are Critics or Criticism in a Mirage-Universe","authors":"K. Stefanova","doi":"10.35218/tco.2022.12.1.01","DOIUrl":"https://doi.org/10.35218/tco.2022.12.1.01","url":null,"abstract":"This text/speech is an attempt to provoke discussion or at least thoughts regarding the increasing omnipresence of the false in our reality – something which results in sort of a theatricality in a negative connotation of the word. A theatricality that has always accompanied imposters and surrounded the production of copycats/fake stuff, both in life and in art, especially in comedy. Yet, the false pretending so masterfully to stand for the genuine has for some time already started to be more and more an object of worry and concern rather than of ridicule. Among the most worrying of its many manifestations has been the feeling that we, as human beings, are getting closer and closer, that we are having the world at our fingertips. One of the saddest illusions we so easily succumb to. For, in effect, we have been getting more and more estranged. During the last two years, when we needed to keep a distance and closeness was so much missed, sometimes I thought why we were not as indignant at and horrified by the invisible distancing taking ground between us long time before the pandemic. The centrifugal motion on so many levels has been getting frighteningly strong for a long time already: we have been kind of flying away from each other, mistaking communication for communion, having our bodies touch a lot but less and less experiencing the elevating feeling of our souls embrace. So much so that, I dare say, for many years before the pandemic we have been living in a time of a new Big Bang. Only it is a Big Bang that is taking place not somewhere in the universe but within the mankind itself; a Big Bang that is already happening within our own selves too – within the single human being, since we often start to question our innate sense of what is good or bad, and to what extent something is good or bad. It is like the increasing outside chaos is getting to creep inside us, throwing into disarray our inner moral magnet, that invisible thing that holds us as humanity. Isn’t the mass erosion of criteria a result exactly of an eroding of our innate criteria? How have theatre and criticism been affected by this dwelling of ours in sort of a mirage-universe? How have they responded to the different faces of the false? While trying to open a conversation on this topic, I’ll also try to outline the evolving response of the critics and the search for possible ways-out en route back to the genuine.","PeriodicalId":326041,"journal":{"name":"Theatrical Colloquia","volume":"9 3 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-05-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"134333290","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Literary and Theatrical Resilience: Quixote, from Classic and (Post)Modern Character, to Syndrome","authors":"Ana-Magdalena Petraru","doi":"10.35218/tco.2022.12.1.06","DOIUrl":"https://doi.org/10.35218/tco.2022.12.1.06","url":null,"abstract":"A classic character brought to myth rank, Cervantes’s Quixote was tackled philosophically, by Miguel de Unamuno in his essay Vida de Don Quixote y Sancho, 1905 on the realm of Spanish literature; we have been recently amazed from a postmodern, even postcolonial perspective, by Salman Rushie (Quichotte, 2019) and dramatically on the stage of the National Theatre of Iași by Carmen Dominte who initially proposed The Quixote Syndrome (2021) as a theatrical performance meant to be read. Without dealing with the adaptations in various arts (Minkus’s ballet), we will study the resilience of a character with reference to the above texts and what was left of it on stage with insights into adaptation theory and theatrical interpretation in the context of pandemic distancing.","PeriodicalId":326041,"journal":{"name":"Theatrical Colloquia","volume":"36 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-05-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"116129640","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Claus Guth and The Inverted Dioramas","authors":"C. Avram","doi":"10.35218/tco.2022.12.1.12","DOIUrl":"https://doi.org/10.35218/tco.2022.12.1.12","url":null,"abstract":"This article focuses on the directorial aesthetics of Claus Guth, an artist that specialises in reinterpreting the lyric creations of the great opera houses worldwide. Disengaging or maybe understanding hidden meanings of the librettos and musical scores, speculating and reinventing the characters’ stories, the German director gives birth to new realities which mold to the original ones, transfiguring them in unexpected ways. The Messiah oratory by Georg Friedrich Händel is a good example, because the incoherent libretto that servs as foundation to the baroque composition is enriched by Claus Guth through a salutary intervention, in which the director questions matters such as religiosity and the intimate beliefs of the contemporary man. Similarly, other works I debate upon in this article test the limits of perception of the audience, not necesarrily because they are right or wrong interpretations, but rather because they tend to become possible points of view in understanding the characters, which are dislocated from their usual world and transported into another in which, with irony and humor, they are forced to reinvent themselves.","PeriodicalId":326041,"journal":{"name":"Theatrical Colloquia","volume":"31 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-05-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"123277353","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Breathing and The Voice Practices on Stage","authors":"Anca Similar","doi":"10.35218/tco.2022.12.1.15","DOIUrl":"https://doi.org/10.35218/tco.2022.12.1.15","url":null,"abstract":"In this article we examine breathing as a basic principle that lies in a better understanding of voice production both in art and in life. Breathing provides an essential key not only for our being, but also for our communicative function. Once we admit the breath in consciousness, we become aware that it is no longer just a psycho-physical phenomenon but it is a subject to social and cultural values. Therefore, the conscious use and management of breathing, especially in terms of an individual's ability to express himself, provides an essential key not only for our being, but also for our communicative function, which is fundamental in theater. Breathing is transformative. An actor's craft is not exclusively an art of breathing, but breathing is the basic action that supports the art of an actor who transforms for each role. Voice is significant to the theater in the same way that it is significant to life itself, and breathing is the relationship and a constant exchange between us and the world. Respiration, therefore, is the relationship of the experiential body to the world. Breathing is the fundamental element necessary to be conscious as an actor, as a human being.","PeriodicalId":326041,"journal":{"name":"Theatrical Colloquia","volume":"10 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-05-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"131165229","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"The beauty of choreographic genius – Oleg Danovski, proponent of the national ballet repertoire","authors":"Geta-Violeta Răvdan","doi":"10.2478/tco-2021-0022","DOIUrl":"https://doi.org/10.2478/tco-2021-0022","url":null,"abstract":"Abstract A prominent figure in national ballet, Oleg Danovski is one of the personalities of 20th century ballet. He gave the world a vast repertoire consisting of classical, neoclassical, modern ballets, Romanian ballets, and divertimentos for operas. Despite his success with classical ballet staging that would make him famous abroad, the choreographer also turned his attention to folklore, by addressing specific local themes. Thus, through this desire to study and stylize the folk dance, he brought an important contribution to the Romanian cultivated dance, from which the image of the Romanian character dance would stem. He was devoted to the idea of Romanian ballet theater and he advocated for original music for ballet, a national repertoire and the development of the Romanian ballet school. His Romanian creations are precious pages of the history of Romanian ballet that should not be forgotten, and that have enormously contributed to the enrichment of the original choreographic repertoire.","PeriodicalId":326041,"journal":{"name":"Theatrical Colloquia","volume":"110 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-11-26","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"125235462","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Towards an Aesthetic of „Straniety” in Postmodern and Contemporary Dance","authors":"Alba Simina Stanciu","doi":"10.2478/tco-2021-0019","DOIUrl":"https://doi.org/10.2478/tco-2021-0019","url":null,"abstract":"Abstract The complicated physiognomy of dance in the XX-th and XXI-th century obviously exeedes the stable marks of „beauty” as an aesthetic category, by extending the limits of imaginary and techniques of artistic productions beyond any restraints. Both form and artistic expressions become suitable for specific interpretations, through the instruments and postmodern categories. The argumentation frequently refer to three moments of avantgardes, swiftly mentioning the reform’s beginings on the european artistic environment as a starting point, and underlying the Black Montain College phenomenon, and its consequences through the 80-ties and after. The fluctuations of artistic objectives are also “organized” having a starting point two texts with an essential theoretical value, No Manifesto (Yvonne Reiner) and Yes Manifesto (Mette Ingvarsen) which permit the systematization of the dance creators’s “attitude”, underline the philosophical ideas contained by image, which generate the postmodern „straniety”.","PeriodicalId":326041,"journal":{"name":"Theatrical Colloquia","volume":"3 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-11-26","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"115029786","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}