Ipostaze ale puterii în dramaturgia lui Romulus Guga

Abstract

Hypostases of Power in Romulus Guga's Dramaturgy
Between 1964 and 1971, society seemed to breathe the air of normalcy again and it was a period of cultural openness. National values of culture are rediscovered and revalued, and intellectual contacts with the Western world are resumed. Compared to the decade of proletarianism, the relaxation was obvious. A Decree of the Council of State in May 1975 ordered the establishment of the Press and Printing Committee, so that only two years later, in 1977 (Decree no. 427), censorship was abolished as an institution, but not eliminated. The censorship measures, official or by recommendations (received despite the legal dissolution of the General Directorate of Press and Printing) were carried out until 1989.
The playwrights had to present, in an artistic package, the political program of the communists. The themes were necessarily "topical", ideologically inspired, promoting the perfect face of the model communist and urging militant attitudes.
Romulus Guga asserted himself one by one, with pregnancy and brilliance, as a poet, prose writer and playwright. His plays have a direct openness to politics and have enjoyed the support of the public and critics. He believed in philosophical theater and understood art as the “arm of politics”. Guga's theater is a way of looking at the human condition in relation to the not once aggressive history. The leitmotif of his dramatic creation is formed, precisely because of this, by freedom - the supreme good and the superior form of assertion of dignity.