LE « BON GOUT » AU TRAVAIL. DE L’ESTHETIQUE AU TEMPS DU COMMUNISME : LE CAS DE ION BIBERI
“GOOD TASTE” AT WORK. AESTHETICS IN THE TIME OF COMMUNISM: THE CASE OF ION BIBERI

Summary/Abstract: “Good Taste” at Work. Aesthetics in the Time of Communism: The Case of Ion Biberi. This papers aims to discuss, within a more general frame, is a reflection, the way the intellectuals consecrated during the interwar period deal with the aesthetic phenomenon after the establishment of Communism. Even though the aesthetic point of view is not fully abandoned under totalitarianism, any re-emergence implies, in a way or another, a corruption or even a mutation. The present analysis builds around a case study, that is, Ion Biberi’s effort in the early 70’ to take back a critical discourse crediting the values of style and showing an interest in defining ways of existence through art’s mediation. After he delineated, in the 30’, a somatic frame for the coordinates of individual stylistics – his analysis tackling with the forms of corporeal expressivity as well as their ongoing variation, the communist 70s’ encourage him to define a collective stylistics. This is conceived as a form of collective emotion, shared and unique, named by the critic “starea de mulțime” (crowd state). His texts (Poezia, mod de existență; Arta de a scrie și de a vorbi în public; Arta de a trăi) imagine the possibility to correlate the process of demographic amassment with that of mass aestheticizing. In order to discover a practical facet of this relationship, Biberi turns to three types of instruments, which should function, in his opinion, as “active principles”: “poetry in action/ motion”, “good taste”, and “apprenticeship”.

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