Cultural Journalist Eminescu and the Theatre from Bucharest
Cultural Journalist Eminescu and the Theatre from Bucharest

Summary/Abstract: Eminescian cultural journalism means to dedicate several articles to literature, language, folklore, theater, religion, education and culture. In this paper, I pointed out that, of the 20 items about theater, 11 are dramatic chronics and 9 are theatrical dissertations. Like inter-war Camil Petrescu, the journalist Eminescu exceeded in the 8th and 9th decades of the nineteenth century and reviewed the status on all facets of this art of Thalia. From the hottest actors, performers game, fame authors, director role - intrinsic problems - from economic and sociological literature, such as salaries, the attitude of theatrical heads (anagers) public empathy. Success depends not only on the performance on stage or the sounds of the playwright - among those approached by the journalist: Sophocles, Hugo, Scribe, G. Sand, Shakespeare, Gogol; the great interpreters of the time, Millo, Eufrosinia Popescu, Petre Velescu can have moments of apathy, which would seriously damage public success. So there may be less visible factors in scenic representation of a dramatic work. Polyphonic journalist by vocation, Eminescu sensed the thorny issues in theater and objectivity made him take matters into his own hands, regardless of the consequences. Criticism in socio-political area was manifested in the theater area, the targets being artists, designers, directors... The dramatic analyst never spared anyone, not even the president of the Theatre Committee, Ion Ghica. Disavowed demanding cultural journalist, the columnist impugned order and stunned the cultural world of the time with the vastness of his knowledge in comedy, tragedy, drama. Eminescu had sufficient documentation about French, German, and even American theater! He was intrigued that we still hadn’t had a national repertoire - I flaw unsolved by Kogalniceanu's and Alecsandri’s forty-eighters. Moreover, sarcastic theatric commentator every now and then showed by a kind of tabula rasa that very few actors would be credited as a professional in his opinion: Alecsandri, Hasdeu, Deparateanu. He omitted himself, supreme proof of modesty. Eminescian theatrical publicity catches the eye with the deep views, by drilling haze layers of text, and by alert, concise and elastic phrasing, not once connotative, aphoristic. There is even a study where Eminescu can afford a theatrical bet. In general, he remains a vigilant theater analyst, perhaps the most active of his period, being a forerunner to Nicolae Filimon.

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