O TEORIE A MINCIUNII

Author(s): Alexandru Vlad / Language(s): Romanian Issue: 1/2012

The actor must be aware that the to use actually means to communicate, which indicates the requirement to take account of meaning that gets the message. Thus, before use, the actor is forced to understand. “... Semiotics is, in principle, the discipline studying everything which can be used to lie. If something can not be used to lie, then it can not be used either to tell the truth: in fact, it can`t be used to say anything” says Umberto Eco. We can extract from this the following observation: semiology study for the actor becomes an indispensable tool to help spreading the truth.

JOCURILE TEATRALE CA METODA DE DEZVOLTARE A PERSONALITATII COPILULUI – CAPRICIU SAU NECESITATE?

Author(s): Mirela Dragu / Language(s): Romanian Issue: 1/2012

Theatrical activity as extracurricular or extraprofessional can be extremely beneficial for both children and adults. It can provide balance, can bring harmony at a psychophysical level, leads to self-discovery, eliminates mechanisms already in place, developing communication skills... But all this can only be obtained if the method is a professional one, based on true competences in theatrical pedagogy, on the desire for direct and continuous experimentation, on respect and responsibility toward the individual, whatever his age. Empirically practiced, theater becomes an additional source of stress, mechanization, isolation and it`s losing the extraordinary educational, therapeutic and fun part.

BOB FOSSE – CREATIVITATE SI INSPIRATIE

Author(s): Monica Ciută / Language(s): Romanian Issue: 1/2012

This article is a tribute to creator Bob Fosse. The attempt to almost anatomically dissect his genius talent comes from the author's need - a representative of a growing field (Romanian music theatre) - to identify techniques, personality and education references in and for this creative field. The need for true artistic models renders imperative the existence of such observers that identify, understand and then share their knowledge bringing to the fore the existence and creation of undisputed artistic entities in time and space.

HAMLET ÎN REGIA LUI ANTOINE VITEZ

Author(s): Monique Borie / Language(s): Romanian Issue: 1/2012

Hamlet, directed by Antoine Vitez to Théâtre National de Chaillot din Paris (1982), is part of a larger project, through which the director defines his vision of theater. He sees in Shakespeare's play an outline of all possible situations of History and from Family. From here - the option to an empty stage, as a mental space, a white sheet where only bodies and voices of actors draw scenery. In his view, drama allows the dead to return with us, provided that they embody. And if the sovereignty of this art is the ability to represent te nonrepresentable, the embodiment of the ghost it`s becoming his directing translation.

VOCEA UMANA SI PROPRIILE SOLUTII DE VINDECARE PRIN SUNETE

Author(s): Mihai Bisericanu / Language(s): Romanian Issue: 1/2012

Following research conducted for my PhD thesis, I found very interesting material related to certain less known characteristics of the human voice, so I decided to make a brief presentation in the Addendum of the thesis. It's about Voice therapy, related to the healing power of words, more precisely the sounds emitted by the human voice. Things long known and used in Tibetan or Yoga practices and later scientifically proven, especially by the Austrian Leser-Lasario, who gave it his name after healing himself using this method. The voice professional needs to acknowledge the existence of these techniques in order to fully understand the role of sound vibrations outside and inside the body. Also, the resonance phenomenon takes on new connotations, amplifying its area of influence, in terms of this therapy. Here's how, beyond resonance with the Cosmos, or the public, we can speak of an inner body resonance of the performer, better yet a Self Resonance. Where we can go, which are boundaries that can be overcomed through awareness and application of these methods remains to be proven by future generations.

PERMANENTE ALE DANSULUI MODERN

Author(s): Raluca Ianegic / Language(s): Romanian Issue: 1/2012

The essay „Standing of Modern Dance” investigates aspects of the modern dance origins in stage formulas and their relation to new, to avant-garde.

ROLUL PEDAGOGIEI TEATRALE ÎN FORMAREA PERSONALITATII STUDENTULUI-ACTOR

Author(s): Florin Toma / Language(s): Romanian Issue: 1/2012

The present article aims to illustrate the specific ways in which theatrical pedagogy builds the student-actor's personality. The education process of the drama school has two important sides: instruction and education. By instruction the future student-actor gets to see beyond what is seen, to hear beyond what is heard and understand beyond words and through education he improves his biophysical and psychological potential seen as a whole, thus preparing to respond to unpredictable demands which he will encounter both in life and theatre. Being oriented towards self-knowledge, not only knowledge, theatrical education outperforms the traditional education, by developing the individual in a group, helping to develop his capacity to work and function effectively in a team.

IMPORTANTA AUTODISTRIBUIRII ÎN EXERCITIILE DE LA CLASA

Author(s): Mircea Gheorghiu / Language(s): Romanian Issue: 1/2012

The teacher should help students to discover their own truths. Only what is subjectively violent, unpredictable and paradoxical is truly dramatic and creative. Professor truths must never be imposed because they do not necessarily coincide with his student`s truths.

LEPAGE LA WENDAKE: O “FURTUNA” ÎN AER LIBER

Author(s): Michel Vaïs / Language(s): Romanian Issue: 1/2012

For its third staging of the Storm, Robert Lepage has decided to work in the open, in a site in the heart of a forest, part of the Indian village of Wendake, near Quebec City. It highlights some links between Shakespeare and the Huron Wendat, through the great English actor Edmund Kean, who spent a year in this Indian village in 1825.

DESPRE DRAGOSTE SI CUTREMUR. O MEDITATIE DESPRE SHAKESPEARE SI JAPONIA DUPA DEZASTRUL NATURAL DIN 11 MARTIE 2011

Author(s): Manabu Noda / Language(s): Romanian Issue: 1/2012

After the gigantic earthquake that hit the Tohoku area of Japan on March 11, 2011, Japanese theatre makers faced the dilemma of having to give shape to two totally contradictory things: a longing for an end, a closure, on the one hand, and the lingering sense of anxiety, just like the ongoing and unending process of nuclear disaster, on the other. Although Shakespeare productions in Japan were slow in responding to this call, Yukio Ninagawa managed to tackle this in his production of Shakespeare’s Cymbeline (April 2012) through the use of a pine tree on the stage. The paper discusses how his pine tree came to bear double meaning by examining the references it makes to the so-called “miraculous pine tree” in Rikuzen Takata, a town which was devastated by the 3/11 tsunami, and the noh play Matsukaze.

Lucrând cu Richard Schechner. Iocastele

Author(s): Saviana Stănescu / Language(s): Romanian Issue: 1/2013

Saviana Stănescu describes the process of working with director Richard Schechner (as a writer-inresidence) for „YokastaS” and „YokastaS Redux”, a production that re-imagines the story of Oedipus from Yokasta's perspective. The text/show was developed at NYU and performed at La MaMa Theatre in New York. The essay is followed by an interview with Richard Schechner on topics such as: performance, performance studies, professordirector balance, process-oriented work, re-imagining the classics, environmental theatre, performing culture, identity and biography.

Argument pentru pedagogia teatrală

Author(s): Lenuş Moraru / Language(s): Romanian Issue: 1/2013

Theatre regarded as a pedagogical activity requires additional conditions to other disciplines, its redefinition in relation to the instruments it uses - emotion, game, personality - is closely linked to its primary objective. That is to educate youth in the spirit of a cultural act that can arouse interest and actively involve them in the learning process, which, unlike other study subjects, directly affects them.

Omul obişnuit în situaţii normale

Author(s): Ion Mircioagă / Language(s): Romanian Issue: 1/2013

Most of the Romanian contemporary drama deals with ordinary people being in ordinary situations. This paper aims to reveal some of the characteristics of such plays. The author tries to define a subtype of theatrical realism, (he calls it kitchen-realism), and emphasises the importance of the concept of “world stage”. The research of the histrionic dimension of the man is essential in order to understand reality, and to analyse theatrical realism. Finally, two dangers are noted that accompany the excessive concern for the common man and normal situations.

911, Artă de avangardă?

Author(s): Richard Schechner / Language(s): Romanian Issue: 1/2013

Almost as they were occurring, the 9/11 attacks were marketed as popular entertainment. The TV presentations of the 9/11 attacks soon took on the qualities of a made-for-TV drama series. Each of the networks found a melodramatic title for their coverage of the attacks and the consequent events. The program titles, the style of presenting the news, the sequencing of advertising and news items, showed how television, more than the other media, marketed 9/11 and the second Iraq War as a made-for-television series. When on September 16 avantgarde composer Karlheinz Stockhausen called the destruction of the World Trade Towers: „The greatest work of art imaginable for the whole cosmos” his remark was greeted by rage and disgust. Was the attack art? Or was it just using strategies adapted from art? I believe that the attack can be understood as the actualization of some key ideas driving a lot of avantgarde art. The attack was in direct succession to anarchist and futurist actions and manifestos. 9/11 was „bad art” in the ethical and moral sense, „illegal art” from the point of view of American law. Is this kind of analysis perverse, doing dishonor to the dead and injured? Does it grant the jihadists much more than they deserve? Terrorism, at the scale of 9/11, works like art more on states of mind and feeling than on physical destruction. Or, if you will, the destruction is the means toward the end of creating terror, which is a state of mind.

Ana-Maria Nistor - Cele mai frumoase 100 de piese de teatru povestite pe scurt

Author(s): Alina Epângeac / Language(s): Romanian Issue: 1/2013

Creativitatea în învăţământ

Author(s): Cosmin Brehuţă / Language(s): Romanian Issue: 1/2013

What is intelligence? What is creativity? What is the relationship and the educational process between them? Here are a few questions around which the article revolves without claiming to offer concrete solutions, but rather to encourage us to search, to research, to find answers that we can assume and to implement them as soon as possible, from the desire to provide a greater variety to the general or vocational education framework.

Diferenţe între formă şi fond

Author(s): Anca Iliese / Language(s): Romanian Issue: 1/2013

Any teacher should understand and appraise the properties of experiential learning. For the acting teacher, this approach to the education process of the drama school is essential, for it has to do with both the personal and the professional aspects of the student’s growth. As regards the acting workshop, creating significant learning experiences, implies avoiding the How, working with The Point of Concentration, the abolishment of the approval/disapproval tyranny and, by doing so, nurturing the essential coordinate in the work of the student-actor: pursuing the process, not the success. Acting training should therefore imply theater games, improvisation and avoid any type of activity that works against the enunciated principles. Immitation of a given model should have nothing to do with the workshop and stage exposure must be seen as a learning experience and nothing more.

Povestea - o constantă negociere şi renegociere a eului

Author(s): Oana Borş / Language(s): Romanian Issue: 1/2013

The „story” of the Balkans is a saga of Eastern Europe. The ethnic-conflicts were always present between mix-nations who have lived here for centuries across their history. We were contemporary to the last explosion of Europe’s power keg, as the Balkans were called. But, in modern times, the sense of conflict is unacceptable to a certain part of today's society. In the literary world, there was a virulent attack against the ongoing tension. This is also the attitude developed by Goran Stefanovsky in his dramaturgical triptych: Sarajevo, Hotel Europa and Ex-Yu. The Macedonian author speaks about trauma, post-trauma and the attempt to reconciliation. In a world where the individual stories are crippled or changed from their original meaning, „a question always comes up”, says Stefanovski, using one of his character‘s voice: „If my father is part of one nation and my mother is part of a second nation which is in conflict with the first, then who am I?”

Privire asupra pedagogiei teatrale preuniversitare

Author(s): Irina Scutariu / Language(s): Romanian Issue: 1/2013

Choosing a life path becomes a situation designed to close or open roads, dreams, hopes. Pre-university pedagogy is the training phase that should follow working principles that are objective and appropriate to the individual stage of adolescent development. This form of education should activate, individually and collectively, potential artistic skills. The judging experience at a National Olympics in acting, for the past two years, has lead me to a number of comments and suggestions that may be useful to pre-university professors in this field.

Actorul-motor sau actorul-piesă de schimb

Author(s): Dana Rotaru / Language(s): Romanian Issue: 1/2013

The paper is following the process of delivering the creator of theatre, paying particularly close attention to the process of schooling the nowadays actor, whose attributes aim at: unique, individuality, personality. This process equally implicates both the students and the pedagogue, in their journey to accomplish the goal of an acting class: the training of the actor. In the authour’s point of view, these two parties are developing specific approaches turning into professional, interrelated, unique relationships. Due to the nature of their encounter, this is an act of creation. The paper proposes a possible path into reaching the very critical, essential steps that are to make the difference between The Engine-Actor and The Spare Part-Actor, as they are articulated in the title of this paper.