From its beginnings, the theatre's existence has been marked by its sense and meaning. However, most of the time, in everyday discourse, as well as in critical discourse, the two terms are used with the same meaning. Depending on the study directions specific to linguistics (traditional, pragmatic, discursive, structural, etc.), semiotics, aesthetics, and philosophy, the translations we use for sense and meaning differ, overlap, replace each other, intertwine or noticeably distance themselves. We attempt to outline some of the features of sense and meaning in the context of the performing arts and an artistic “conduct” that gives theatre both the depths of being and an ontological value.
{"title":"Sens și semnificație în arta teatrului","authors":"Sabin Sabadoș","doi":"10.46522/ct.2023.01.09","DOIUrl":"https://doi.org/10.46522/ct.2023.01.09","url":null,"abstract":"From its beginnings, the theatre's existence has been marked by its sense and meaning. However, most of the time, in everyday discourse, as well as in critical discourse, the two terms are used with the same meaning. Depending on the study directions specific to linguistics (traditional, pragmatic, discursive, structural, etc.), semiotics, aesthetics, and philosophy, the translations we use for sense and meaning differ, overlap, replace each other, intertwine or noticeably distance themselves. We attempt to outline some of the features of sense and meaning in the context of the performing arts and an artistic “conduct” that gives theatre both the depths of being and an ontological value.","PeriodicalId":475910,"journal":{"name":"Cercetări teatrale","volume":"273 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135595612","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}
Loin du désir de rendre le corps toujours plus efficace, certains artistes reviennent sur la vulnérabilité et la contingence du corps. Ils mettent l’accent sur la rencontre du corps avec les matières premières et bousculent les impératifs de la performance. J’analyserai trois types de temporalités « dissidentes » calquées sur le corps de l’artiste. Premièrement, la temporalité de l’échec. Dans P.P.P., Phia Ménard jongle avec des boules de glace. Ce matériau « non jonglable » fait écho à un corps transgenre, en pleine transition sexuelle, et donc en dehors des normes de genre dominantes. La temporalité est saccadée, incertaine et parfois répétitive. La deuxième temporalité que j’analyserai est la vitesse extrême dans Feu inextinguible de Cassils. L’artiste utilise des techniques de cascades pour s’immoler sur scène pendant quatorze secondes. La performance vise à dénoncer le traitement superficiel de la violence dans les médias. La troisième temporalité est l’extrême lenteur. Je donnerai l’exemple de Tiresias, de Cassils, où l’artiste transgenre et non binaire appuie son buste nu contre un torse de glace pendant quatre heures. Un second exemple sera celui de Whitewashing où Rébecca Chaillon lave son corps noir à l’eau de Javel pour dénoncer le racisme systémique. Une transformation du corps s’opère, même si celle-ci reste imperceptible pendant la représentation.
{"title":"Temporalites corporelles : un contre-pouvoir ?","authors":"Mélissa Bertrand","doi":"10.46522/ct.2023.s1.11","DOIUrl":"https://doi.org/10.46522/ct.2023.s1.11","url":null,"abstract":"Loin du désir de rendre le corps toujours plus efficace, certains artistes reviennent sur la vulnérabilité et la contingence du corps. Ils mettent l’accent sur la rencontre du corps avec les matières premières et bousculent les impératifs de la performance. J’analyserai trois types de temporalités « dissidentes » calquées sur le corps de l’artiste. Premièrement, la temporalité de l’échec. Dans P.P.P., Phia Ménard jongle avec des boules de glace. Ce matériau « non jonglable » fait écho à un corps transgenre, en pleine transition sexuelle, et donc en dehors des normes de genre dominantes. La temporalité est saccadée, incertaine et parfois répétitive. La deuxième temporalité que j’analyserai est la vitesse extrême dans Feu inextinguible de Cassils. L’artiste utilise des techniques de cascades pour s’immoler sur scène pendant quatorze secondes. La performance vise à dénoncer le traitement superficiel de la violence dans les médias. La troisième temporalité est l’extrême lenteur. Je donnerai l’exemple de Tiresias, de Cassils, où l’artiste transgenre et non binaire appuie son buste nu contre un torse de glace pendant quatre heures. Un second exemple sera celui de Whitewashing où Rébecca Chaillon lave son corps noir à l’eau de Javel pour dénoncer le racisme systémique. Une transformation du corps s’opère, même si celle-ci reste imperceptible pendant la représentation.","PeriodicalId":475910,"journal":{"name":"Cercetări teatrale","volume":"27 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135311153","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}
This study centers upon Martyr, a Marius von Mayenburg play, staged in 2014 at the National Theatre in Târgu-Mureș by the Romanian theatre director Theodor-Cristian Popescu. Using specific artistic tools, the director manages to transform a closed play into an open work of art. The result can be classified as an efficient performance. Confronting this performance with the local theatrical environment, the result cannot be considered a cultural success.
这项研究以2014年在罗马尼亚剧院导演西奥多-克里斯蒂安·波佩斯库(Theodor-Cristian Popescu)的国家剧院上演的马里乌斯·冯·马耶伯格(Marius von Mayenburg)的戏剧《殉道者》(Martyr)为中心。导演运用特定的艺术工具，将一个封闭的戏剧变成了一个开放的艺术作品。结果可以归类为高效的性能。与当地的戏剧环境相比，这个结果不能被认为是文化上的成功。
{"title":"Volum","authors":"Raluca Blaga","doi":"10.46522/ct.2023.01.08","DOIUrl":"https://doi.org/10.46522/ct.2023.01.08","url":null,"abstract":"This study centers upon Martyr, a Marius von Mayenburg play, staged in 2014 at the National Theatre in Târgu-Mureș by the Romanian theatre director Theodor-Cristian Popescu. Using specific artistic tools, the director manages to transform a closed play into an open work of art. The result can be classified as an efficient performance. Confronting this performance with the local theatrical environment, the result cannot be considered a cultural success.","PeriodicalId":475910,"journal":{"name":"Cercetări teatrale","volume":"22 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135595947","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}
"Abrudan, Ioan, Premise și repere ale culturii manageriale românești, Cluj-Napoca, Editura Dacia, 1999. Burdus, Eugen, Management comparat internațional, București, Editura Economică, 2004. Daft, Richard; Marcic, Dorothy, Understanding Management, Nelson Education, 2016. Hofstede, Geert, „Cultural constraints in management theories“, în Academy of Management Executive, vol. 7, 1993, pp. 81-94. Huțu, Carmen Aida, Cultură organizațională și transfer de tehnologie, București, Editura Economică, 1999. Huțu, Carmen Aida, Metode de cercetare în studiile organizaționale, Iași, Editura Venus, 2001. McDaniel, Nello; Thorn, George, Toward a New Arts Order, New York, ARTS Action Issues, 1993. Roche, Nancy; Whitehead, Jaan (coord.), The Art of Governance, Theatre Communications Group, 2005."
"Abrudan, Ioan, Premise and landmarks of Romanian managerial culture, Cluj-Napoca, Dacia Publishing House, 1999. Burdus, Eugen, Management comparat international, Bucharest, Editura Economică, 2004.Burdus, Eugen, Management comparat international, Bucharest, Editura Economică, 2004.Daft，Richard；Marcic，Dorothy，Understanding Management，Nelson Education，2016。Hofstede, Geert, "Cultural constraints in management theories", in Academy of Management Executive, vol. 7, 1993, pp.Huțu, Carmen Aida, Organizational culture and technology transfer, Bucharest, Editura Economică, 1999.Huțu, Carmen Aida, Metode de cercetare în studii organizaționale, Iași, Editura Venus, 2001.McDaniel, Nello; Thorn, George, Toward a New Arts Order, New York, ARTS Action Issues, 1993.Roche, Nancy; Whitehead, Jaan (coord.), The Art of Governance, Theatre Communications Group, 2005."
{"title":"Teatru și management teatral","authors":"Minodora Codarcea","doi":"10.46522/ct.2023.01.11","DOIUrl":"https://doi.org/10.46522/ct.2023.01.11","url":null,"abstract":"\"Abrudan, Ioan, Premise și repere ale culturii manageriale românești, Cluj-Napoca, Editura Dacia, 1999. Burdus, Eugen, Management comparat internațional, București, Editura Economică, 2004. Daft, Richard; Marcic, Dorothy, Understanding Management, Nelson Education, 2016. Hofstede, Geert, „Cultural constraints in management theories“, în Academy of Management Executive, vol. 7, 1993, pp. 81-94. Huțu, Carmen Aida, Cultură organizațională și transfer de tehnologie, București, Editura Economică, 1999. Huțu, Carmen Aida, Metode de cercetare în studiile organizaționale, Iași, Editura Venus, 2001. McDaniel, Nello; Thorn, George, Toward a New Arts Order, New York, ARTS Action Issues, 1993. Roche, Nancy; Whitehead, Jaan (coord.), The Art of Governance, Theatre Communications Group, 2005.\"","PeriodicalId":475910,"journal":{"name":"Cercetări teatrale","volume":"31 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135596982","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}
Starting from the written word, we can discuss a word spoken by the actor on stage that goes beyond the level of perfected sound and ends up being emitted with an inner meaning. Thus, the viewer enjoys a soundscape enriched by meaning. What happens, however, when nonverbal elements do not validate this word? How do we explain and solve unintended communication in order to reach effective communication?
{"title":"Corp și cuvânt. Echilibru între instrumentele verbale și nonverbale","authors":"Cătălina-Elena Mihăilă","doi":"10.46522/ct.2023.01.05","DOIUrl":"https://doi.org/10.46522/ct.2023.01.05","url":null,"abstract":"Starting from the written word, we can discuss a word spoken by the actor on stage that goes beyond the level of perfected sound and ends up being emitted with an inner meaning. Thus, the viewer enjoys a soundscape enriched by meaning. What happens, however, when nonverbal elements do not validate this word? How do we explain and solve unintended communication in order to reach effective communication?","PeriodicalId":475910,"journal":{"name":"Cercetări teatrale","volume":"29 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135595620","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}
This present study focuses on “The Company Thanks” (“Die Firma Dankt”), a performance produced by Radu Stanca National Theatre from Sibiu and directed by TheodorCristian Popescu. The premiere took place in 2015, but the performance did not get any critical attention. Therefore, this paper aims to reveal the specific directorial mechanisms used to stage Lutz Hübner’s play.
本研究的重点是“公司感谢”(“Die Firma Dankt”)，这是一部由锡比乌的Radu stanka国家剧院制作，由西奥多·克里斯蒂安·波佩斯库执导的演出。该剧于2015年首演，但并未引起评论界的关注。因此，本文旨在揭示卢茨·赫伯纳戏剧上演的具体导演机制。
{"title":"Ritm","authors":"Raluca Blaga","doi":"10.46522/ct.2023.01.07","DOIUrl":"https://doi.org/10.46522/ct.2023.01.07","url":null,"abstract":"This present study focuses on “The Company Thanks” (“Die Firma Dankt”), a performance produced by Radu Stanca National Theatre from Sibiu and directed by TheodorCristian Popescu. The premiere took place in 2015, but the performance did not get any critical attention. Therefore, this paper aims to reveal the specific directorial mechanisms used to stage Lutz Hübner’s play.","PeriodicalId":475910,"journal":{"name":"Cercetări teatrale","volume":"66 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135596977","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}
Performing art has been known in Egypt since the dawn of history, or better, since the time of the pharaohs. It is a reality that no one can deny. But some realities create discord between historians, such as the one we discuss in this article which is expressed in the following question: Did ancient Egypt know the theater? In order to be able to give an exact answer to this question and make the reality indisputable, it was, therefore, necessary to leaf through history trying to bring out the opinions and contradictory opinions, the opinions which are for this reality affirming that the theater was born in Egypt and developed in Greece and those who claim that the theater is a creation of Greek genius. In this article, we will therefore attempt to highlight this discord that existed between historians before discovering the roots of this reality by resorting to specific historical and archaeological clues and to articulate the characteristics of the theater at this time, the interest of the contemporary Egyptian state towards the buildings in which the shows of this period were played, as well as the interest of certain modern Egyptian playwrights for the aspects of pharaonic life of which they are the source of inspiration for some of their works.
{"title":"Începuturile teatrului în Egiptul antic","authors":"Tarik Abou Soughaire","doi":"10.46522/ct.2023.01.04","DOIUrl":"https://doi.org/10.46522/ct.2023.01.04","url":null,"abstract":"Performing art has been known in Egypt since the dawn of history, or better, since the time of the pharaohs. It is a reality that no one can deny. But some realities create discord between historians, such as the one we discuss in this article which is expressed in the following question: Did ancient Egypt know the theater? In order to be able to give an exact answer to this question and make the reality indisputable, it was, therefore, necessary to leaf through history trying to bring out the opinions and contradictory opinions, the opinions which are for this reality affirming that the theater was born in Egypt and developed in Greece and those who claim that the theater is a creation of Greek genius. In this article, we will therefore attempt to highlight this discord that existed between historians before discovering the roots of this reality by resorting to specific historical and archaeological clues and to articulate the characteristics of the theater at this time, the interest of the contemporary Egyptian state towards the buildings in which the shows of this period were played, as well as the interest of certain modern Egyptian playwrights for the aspects of pharaonic life of which they are the source of inspiration for some of their works.","PeriodicalId":475910,"journal":{"name":"Cercetări teatrale","volume":"11 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135596965","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}
"The Theatre of the Future” is a phrase present in the vast majority of theatrical theories that had the ambition to contribute to the renewed process of dramatic art at the beginning of the 20th century. Theoreticians and practitioners of the theatre wanted to restore the dignity of this art, redefining the condition and function of the actor, imagining the most effective ways of training him, promoting the emancipation of the stage director, seen as an indispensable factor of cohesion between spectacular elements; they redefined the framework and function of the performance that they imagined as an instrument of education, emancipation, even enlightenment and spiritual “salvation”, wanting also to liberate the theatrical creation from the submission to the dramatic author and the commercial servitude. If the first part of this article referred to the meeting, which, transcending time and space, put Mircea Eliade and Gordon Craig in a dialogue on the new dramaturgy and the experimental theatre, this second part brings into discussion their conception of the nature and aim of the theatre and about the ideal actor.
{"title":"Mircea Eliade în dialog „prin timp“ cu Edward Gordon Craig și/sau „Teatrul Viitorului“ ca o „Fata Morgana“","authors":"Anca-Daniela Mihuț","doi":"10.46522/ct.2023.01.02","DOIUrl":"https://doi.org/10.46522/ct.2023.01.02","url":null,"abstract":"\"The Theatre of the Future” is a phrase present in the vast majority of theatrical theories that had the ambition to contribute to the renewed process of dramatic art at the beginning of the 20th century. Theoreticians and practitioners of the theatre wanted to restore the dignity of this art, redefining the condition and function of the actor, imagining the most effective ways of training him, promoting the emancipation of the stage director, seen as an indispensable factor of cohesion between spectacular elements; they redefined the framework and function of the performance that they imagined as an instrument of education, emancipation, even enlightenment and spiritual “salvation”, wanting also to liberate the theatrical creation from the submission to the dramatic author and the commercial servitude. If the first part of this article referred to the meeting, which, transcending time and space, put Mircea Eliade and Gordon Craig in a dialogue on the new dramaturgy and the experimental theatre, this second part brings into discussion their conception of the nature and aim of the theatre and about the ideal actor.","PeriodicalId":475910,"journal":{"name":"Cercetări teatrale","volume":"1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135596968","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}
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