LUCIAN BLAGA ŞI RECONSIDERAREA INCONŞTIENTULUI ÎN „JOCUL DRAMATIC” EXPRESIONIST „IVANCA”
Lucian Blaga and the Reconsidering of the Unconscious in the Expressionist Drama ‘Ivanca’

Summary/Abstract: Styling in art has both the lure and the hazard to oscillate between the achievement through the aesthetic sublime and the unfulfillment in the marginal areas of the aesthetic that bear the name kitsch. A cycle of intellectual concerns of the author Lucian Blaga are embodied in the existential obsessions of the characters of the drama “Ivanca” in such a way that the artistic transfiguration at an elevated level makes easy way for the conceptual and formal schematization, with uncertain outcomes. The essential features of the new drama do not produce intellectual or artistic revelations, they are not outposts of a bridgehead but suggest a lonely dead end, an itinerary that may be interesting for its path, but is also surprising for its incapacity to find a different solution of the resolution, other than conventional patterns. “The deed” of Luca the painter may be accounted for positive constraint of the hence enlightened obsessions. “The deed” of the playwright Lucian Blaga looks more like a stalemate. The three cardinal points of the drama are three slices of life that make up a personality: Luca the painter, The Father, Ivanca. It would be an error to account any of the three protagonists a viable autonomous ontology. Hypostasis of a tout ensemble, the three fragments make up a puzzle. The Father and Ivanca act for the vitals, they are shades of the profound diapason that circumscribes human individual. The superficies shell, apparent and fake, is embodied by Luca the painter. The metaphysical (or, more prosaic, psychoanalytical) essence is to be the final value of two antagonistic powers that do not balance out each other in the end. The centrifugal power of the painter who is lingering while brushing up (a way of evasion after all) is transfixed in a silent facing with the centripetal power of the other two fragments of being. The Father and Ivanca seem to carry it off well, outnumbering the young artist by their innate way of self-being. Luca the painter is tormented and alone on the rampart of a face-off where he infers the falsehood of his undertaking, of his stand and of his resources. Thus the nature of the painter experiences an ever increasing stress, up to the incumbency of an identity implosion. This institutes the necessity to commit the redemptional and illuminating deed, a unique resolution to surmount the existential impasse.

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