FORMS OF DIONYSIAN EXALTATION IN LUCIAN BLAGA’S DRAMATURGY
FORMS OF DIONYSIAN EXALTATION IN LUCIAN BLAGA’S DRAMATURGY

Summary/Abstract: The current study reveals the identity concept found in Blaga’s dramaturgy, which corresponds to the individualizing mode of “formative longing”. Therefore, the human creation is under the aegis of freedom. At the same time, the elemental mode identifies itself with the divine creation. The study also reflects the various forms of Dionysian exaltation, starting with the Orphic individuality. A mythical character, Orpheus, enters the world of essences by descending into Hell. His self-image is formed by relating himself to a system of values that he loses the moment he turns his head after Eurydice (duality). Blaga’s dramaturgical characters, the same as Orpheus, being unable to overcome their passion, are in a low zone of truth and cosmic harmony. We can consider that Eurydice’s death is similar, in the Orphic myth, to the death of Shiva’s lover, a deity akin to Dionysian. Shiva symbolised the principle of totality, of antagonisms. Through exaltation, the limits of reason were eliminated, and man no longer felt alone and confined, but free and in solidarity with people and nature, as a manifestation of Divinity. The merging of individualities in the Great Union, through the energy of dance, implies a negation of these individualities. Thus, the participants in its celebration “dissolved through the union with the God.” Unlike this perspective, Blaga’s pantheism, in interference with the Orphic meaning on the body as a prison, entails a state of cosmic loneliness (and singularity).

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