UArtPress

A néző szerepe

Zsolt Harsányi — 2024-11-28

The Role of the Audience
Harsányi Zsolt's book deals with the aesthetic analysis of theatrical reception, the spectator, and the audience. His perspective is already noteworthy, as it draws on both his personal experiences as an actor and director, as well as contemporary theatre theory. His well-grounded thematic approach, both conceptually and experientially, is explored in four chapters. In the first chapter, he traces the historical changes in the position and role of the spectator, focusing on key moments in the over 2,500-year history of theatrical art. In the second chapter, he examines the mechanisms that regulate the reception process. According to his view, a theatrical performance must always enable the spectator to become the constitutive, meaning-making subject of the aesthetic experience. He delves deeply into the analysis of illusion, identification, performance reading, and interpretation, as well as the processes that regulate the structuring of the spectator's attention, the psychology of creation and reception, and the logic of taste and memory. In the third chapter, he innovatively integrates sociological studies of the audience and spectators into the field of theatre research. In the fourth chapter, he analyzes themes of identity, transformation, and boundary crossing in the context of contemporary innovative trends that place the spectator at the centre of the events. I hope Harsányi Zsolt's groundbreaking book will be effectively incorporated into the field of theatre research and education.

Professor PhD Béres András

Blocajele actorului. Tehnici și metode în dezvoltarea creativității scenice

Elena Purea — 2024-11-10

Actor’s Blockages. Techniques and Methods for Developing Creativity on Stage
The focus of this research is on the early period in the formation of the actor, due to the diverse and intense ways in which these blocks manifest themselves, taking into account the major, long-term negative consequences appearing when no action is concerning them.

Devised színházi törekvések az ezredforduló utani erdélyi

Ramona Gecse — 2024-11-08

Devised Theatrical Endeavours in Transylvanian Hungarian Theatre After the Turn of the Millennium

It took more than three decades for new theatrical styles, forms and genres to appear in the practice of Hungarian theatre in Romania, which broke the traditional theatrical hierarchy (text-director-actor), dared to use spaces outside the theatre, involved the audience in the creative process and force spectators to look at theatrical art from a different perspective.

My thesis examines the non-traditional, complex theatrical performances of the post-millennium period, of the last twenty years, which have been created partly or entirely through devised theatre methods by Hungarian theatre projects in Romania, at the same time, I ask the question to what extent it is possible to break out of the cultural rules and the theatrical framework accepted by the social consensus: how do theatre institutions, audiences and critics receive these experiments?

Undoubtedly, after the turn of the millennium, there were and still are several efforts in Transylvanian Hungarian theatre life, both within and outside the institutional framework, which tried to override the logocentric and directorial-authority-centred conception of theatrical performance, typical of official theatre (stone theatre)^[1], in the creation of which the actor participated as co-creator of the performance, and not only as executor of the director's ideas. The extent to which these attempts were successful, and to what extent the concepts of devised theatre were realised in them, I intend to assess, document and analyse by analysing the individual performances.

I have a degree in acting, and I participated in the creation of the performances and projects analysed in the second part of my thesis, as a full-fledged creator, so I also tried to show aspects of these processes that those who were not part of the creative team could not see as much. My main objective was to research some exemplary Hungarian theatre projects in Romania over the last twenty years, based on personal experience, but also informed by theoretical and scientific methods and literature, which departed from the logocentric and directorial authoritarianism of the stone theatre, outside and inside institutional structures.

I describe and analyse all these phenomena through the theatrical concepts used in the devised theatre method. I aim to prove that the performances I have highlighted, which move away from the logocentric and directorial-authority-centred theatre model and are created in an unconventional space, are of pioneering importance, and help to bring Hungarian theatre in Romania up to date with Western European theatrical trends, which we have missed for historical and political reasons that have also determined theatre creation.

Dramaturgia liminalității: de la rescrierea ritualului la rescrierea piesei

Maria Manolescu — 2024-11-06

The Dramaturgy of Liminality: from Rewriting Ritual to the Rewriting of the Play
Born out of my need, as a playwright, to move beyond the usual dichotomies between structure and content, naive and sentimental, dramatic and post-dramatic and all the rest, the concept of dramaturgy of liminality recovers liminality - which has become almost the norm in performance - for the less normative use of playwrights. The paper starts from an anthropological understanding of liminality (Arnold van Gennep and Victor Turner, but also contemporary sociologists and anthropologists such as Arpad Szakolczai and Bjørn Thomassen), visits the rich career this term had made in performing arts, through the relationship between ritual and drama (Victor Turner, Richard Schechner, Jon McKenzie, Erika Fischer-Lichte) and explores structural insights and specific elements of ritual (Roland Grimes) that can help a writer, in my opinion, to conceptualize and write a dramatic text, or - of utmost importance in the economy and spirit of this paper, and in a progressive and feminist spirit - rewrite a canonical text. Understanding the specifics of narratives of passage, I then propose four tools of the dramaturgy of liminality, borrowed from psychoanalysis, philosophy and cognitive science: the mechanisms of dream work, theorized by Freud, conceptual metaphor (George Lakoff and Mark Johnson), becoming- (Deleuze and Guattari, Rosi Braidotti) and conceptual blending (Gilles Fauconnier and Mark Turner). Using these tools, I analyse the structure and meaning of my dramatic texts and dramatic rewrites, or the ones belonging to extremely diverse authors (from Euripides, Ibsen and Martin Crimp to Caryl Churchill, Marina Carr and Rachel Cusk), in an attempt to demonstrate how, by using these four tools, we can metamorphose material taken from reality, imagination or other dramatic texts in the process of writing or rewriting texts based on a dramaturgy of liminality.

Helyspecifikus színházi tér- és látványolvasatok

Imola Csizmadia — 2024-11-05

Site-specific Theatrical Space and Visual Readings
The defining discourse of the present research reflects on the theatrical phenomenon, which means the release of the performance from the box stage into the real, “free”, that is environmental (physical or “found”) (life)-space. This “shift” of representation from traditional (perspective stage) space to a concrete, artistically neutral context - has clear consequences regarding both space use and spectacle, and last but not least, reception.
Thus, we are looking at a phenomenon that shows specific problems of local or environmental-specific performances, such as the principle of transparency, the framework, the gesture of persuasion, the intrusion of the real, the problem with the spectator, etc. The book examines the range of these phenomena through three local space-specific lectures.
The first part reflects up to a chapter on issues such as the spatial experience of contemporary site- or environment-specific lectures. The spatial-forming principle and practice of representation, the (contemporary) spatial form, such as the peculiarity and mode of operation of the environmental space. The topic covered in the first part also leads to problems that are strongly emphasized related to the limit of representation. The discussion of the framework is summed up in the assumption that it is the (additional) element of representation that determines the further direction of the investigation. The dissertation confirms however that it is the framework that results in shifts that change the essence of the performance/work. In fact when the framework is missing, then both the artificial unity and the structure become uncertain.
At the forefront of the second part of the dissertation and the assessment of descriptive analysis, the phenomena are related to the visuality of site-specific representations. Visual reading of environmental performances, such as street theatre or various performance-type performances, needs to be interpreted, since the specificity of that “visual sphere” or material requires the recipient, in contrast to the traditional way of communicating, to make a paradoxical reading that assumes the spectator orders the view to the performance without being marked or marked in an “aesthetic framework”. This concluding part of the research is therefore entirely subordinated to the imaging analysis of environmental performances and the understanding of the logic and dramaturgy of image or visual creation.

Ghid experiențial de creație conștientă. Forme de cunoaștere unitară în flux

Alina Herescu — 2024-10-28

Experiential Guide to the Conscious Creation. Forms of Unitary Knowledge in Flux
This book completes and experientially anchors my research into the meaning of conscious creation and unified knowledge through transdisciplinarity.
As experience gives the measure of knowledge, I propose a puzzle of experiential methods and landmarks that can guide any theatre, art and life creator towards freedom and fulfilment, which I call the process of creative perlaboration.
I propose ways that lead the creator/pedagogue towards his becoming into the essence through a conscious creation process, as well as of the receiver in the pose of co-creator, through creative development, and authenticity, in an intra and interconnected process.
The work has an open character, not only as a vision, but also in its openness to perpetual transformation and evolution. It does not offer recipes but only inspires, and opens new perspectives, which generates an expansion of perception and implicitly, of the consciousness and the conscience.

„Kezdetté teszi önmagát”. Tanulmányok Ungvári Zrínyi Ildikó tiszteletére

Magdolna Jákfalvi — 2024-10-14

Ildikó Ungvári Zrínyi recognizes the possibilities of freedom inherent in art when she discovers the anthropological and spatial moments of the body on stage. In her books and lectures, she persistently reveals the intertwining of gesture aesthetics, performance and speech, and creates a Transylvanian school of theatre anthropology almost imperceptibly. Imperceptibly, we say, because the result of education is built over decades, unnoticed, with the spoken, repeated, retold and corrected sentences of students and colleagues. Ildikó Ungvári Zrínyi steadfastly shaped the order of science that carries out the act of creation with the gesture of statement. With this volume, she is greeted on her 65th birthday by her friends, colleagues and students.

Analize Philther asupra teatrului maghiar din România

Albert Mária — 2024-10-10

Albert Mária, Boros Kinga, Jákfalvi Magdolna, Kékesi Kun Árpád ed.

Philther-Studies on the Hungarian Theatre in Romania
For a decade and half, the editors and authors of this volume have conducted their research in the field of theatre history, which, through the study of the history of Hungarian theatre in Romania, directs the readers’ attention to the interactions and connections between Romanian and Hungarian theatrical trends, primarily to how Romanian directors have influenced Hungarian theatrical expression starting with the 1960’s, but also to how Hungarian language performances have become a part of Romanian theatrical discourse. The title of the volume Philther Analyses about the Hungarian Theatre in Romania suggests eventually that when the flow of history forces two nations to share a common destiny, the enmity and conflict between them will have to be replaced sooner or later by mutual acceptance, and that the power of art, and especially that of theatre, may have a major contribution in this difficult process.

Co-Publisher: Cluj University Press

Javítgatott kiadás

Kinga Boros — 2024-10-10

Revised Edition
The starting point: in 2015, I got my PhD and returned from maternity leave to academia. “Revised Edition” is a selection of works from these past ten years: essays on theatre performances, explorations of the past and the present of Hungarian theater in Romania, and theoretical reflections on my own work as a theatrologist. The works were born as response to conference calls or editorial invitations – for me, writing is a way to engage in conversations with fellow professionals, to ask questions, to reflect on my own opinions. To revise myself, without the pressure of reaching a final version. What do these ten years of “shuttling” between university and theater, between archives and festivals, between Budapest and Bucharest reveal? First of all, the horizon and the space of movement of a Hungarian theatrologist from Romania.

Scenografi(c)a creației conștiente între esență și personalizare

Alina Herescu — 2024-08-01

Scenography of Conscious Creation Between Essence and Personalization
A transdisciplinary approach, that reveals new perspectives through which scenography, theatre become meta-arts, systems of knowledge through conscious creation – the generator of creative collaboration. The main coordinates are essentialization and personalization, and the final goal is the realization of the unity of knowledge, a necessity in personal and extended evolution.

Între artă și dictatură. Documente privind viața teatrală în perioada Ceaușescu. vol I. 1965-1971

Csaba Zoltán Novák — 2024-05-29

Between Art and Dictatorship. Documents on Theatrical Life During the Ceausescu Period, vol I. 1965-1971

The book presents and processes documents, and historical sources from the Ceaușescu regime, the first phase (1965-1971) and takes as its point of reference the PCR policy towards the arts and theatre, considering the ideological context and the relations and interactions between political factors and theatre. We aim to present several types of documents that testify to the ideological pressure on the arts, and this review is carried out through the prism of the political and historical documents.

We present documents relating to the stages of ideological development, the effect on cultural life, the attitude of the party leadership towards the intelligentsia and the theatre, how the RCP handled the issue of culture, censorship, ideological influence (direct and indirect), political activity in theatre life (through the establishment of the RCP's grassroots organisations), ideological language, etc. - thus documents relating to the interference of the theatre with the political and ideological factor.

A vásári bábjátékhősök játékhagyománya a 19. és a 20. században (Vitéz László és Paprika Jancsi)

Dezideriu Bonczidai — 2024-02-03

In the last decade, we have witnessed a marked increase in interest in fair puppetry. Fair puppetry has become a fascinating topic from a scholarly point of view, and, as an inseparable part of this, the processing and making accessible of the material and intellectual heritage of the significant puppeteer dynasties generates new questions. Typically, two dominant approaches and trends can be observed: one part of the research examines the topic from the European roots and the other deals with the segments of the Hungarian fair puppetry traditions. The lack of systematization of the different approaches and the cultural, historical and social factors that influenced the development, consolidation and transmission of fair puppetry is a shortcoming of the trends. The research follows the tendency of the study of Hungarian fair puppetry throughout the analysis of the history of the development of the puppet figure of Vitéz László, taking into account the segments of the tradition and cultural, historical and social factors. The research methodology follows the holistic approach of taking into account the social, historical and cultural factors of the given period because this allows a deeper contextual interpretation of the history of the development of the fair hand puppets.

Perspectives

Éva Patkó — 2023-12-22

In Perspectives, theatre director and pedagogue Éva Patkó offers a director's analysis of contemporary Romanian theatre's distinct artistic, institutional, and sociopolitical practices. Focused primarily on the rise of post-dramatic dramaturgies on Romania's post-communist stages, Patkó draws on her experience directing and collaborating with several of the country's foremost playwrights as she attends to the evolving intersections of text and performance in the region. Through essays, private directing journals, and practical exercises for the rehearsal room, Patkó invites us to peer inside the mind of a director steeped in Romania's theatre traditions and emergent aesthetics, as well as the pressing cultural issues that define its current complexion. By turns scholarly and personal, analytical, and creative, Patkó's book is for both researchers and practitioners. Not only does Patkó shed light on the recent past of Romanian theatre, but she, with the spirit of a thoughtful innovator, strategizes for its imminent future.

Evan Hill

Teatrul laborator - o metodă şi un mod de viaţă

Bianca Holobuț — 2023-11-22

Laboratory Theater - a Method and a Way of Life
A living testimony directly from the Laboratory for those interested in discovering the mysteries of this type of Theatre. A kind of logbook attempting to portray two distinct theatrical experiences - from Eastern and Western Europe - in a narrative as close to the truth as possible. Although it offers some answers, it is a work that raises more questions about the artist's condition today.

Limbajul comediilor lui Caragiale de la text la scenă

Cristian Stamatoiu — 2023-11-13

The language of Caragiale's comedies from text to stage. (Critical repertoire for the Director's Notebook and all performers of the Caragiale repertoire)
The stylistic analysis of the comic language will highlight the role of stylistic deviations from the literary norm in characterising Caragiale's characters. The approach of a psycholinguistic nature will facilitate the translation of the comic sense from the text to the stage performance, revealing a problematic preconscious that the characters would like to abstract from internally and mask it from the others.
Through this "Repertoire", the literary secretaries and directors will be able to update their visions about Caragiale so that the actors can embody it credibly, and the translators transpose it into other languages, all these results being applauded (or not) by a maybe well-informed Receivers. That is why we aim to provide an accessible approach for creating a director's book and related stage interpretations.
Beyond the specialized aspects, the work will be addressed to anyone: pupil/student, or already: teacher, philologist, sociologist, philosopher, psychologist, anthropologist (of culture), historian, journalist (undercover or not), political analyst, engineer, doctor, architect, financier, diplomat, manager, broker, gamer, influencer, worker, farmer, etc., even reaching some politicians, but also other functional illiterates. All of them being: "Romanians, more or less honest" (Nae Cațavencu, in: A Stormy Night, III, 14, 8).

A félig kötött formájú (FKF) szöveges rögtönzés gyakorlati haszna a beszédoktatásban

Júlia Gyéresi — 2023-11-03

The Importance of Half-Bound-Form Textual Improvisation (HBFTI) in Speak Learning
The half-bound-form textual improvisation (HBFTI) offers a chance for the practical examination of the process of sound production, the conscious perception of muscle activities that take place during the articulation of speech sounds and for experiencing the possibility of creative thought. The combined use of the Alexander technique, sphincter gymnastics and vocal therapy multiplies the effectiveness of speech training: it maintains a dynamic state in the body and it enables loose, cramp-free voicing. The set of increasingly complex exercises in HBFTI creates a balance of challenge and ability and aids the coordinated functioning of action and intellect. The set of rules is straightforward, and the goal is attained when a new body of speech is created; this can either be a sequence of words, a personal account using five words given or even a fictional story. If it succeeds, feedback is entirely positive from both acting students and teachers, which benefits the confidence of the author of the body of speech. Personality development and voice development interact with each other: as confidence increases, the capacity for resonance increases as well. Constant control: checking posture, balancing out muscle functions, precision of pronunciation, and the grammatically correct and phonologically nuanced formulation of the body of speech created; all these aid in maintaining awareness of ourselves and guarantee that we will preserve the state of active attention. HBFTI exercises harmonize the state of intellectual readiness with the set of requirements involved in teaching phonation. Their didactic, technical and creatological usefulness comes to light when performing the exercises.

Polemici

Iosif Blaga — 2023-09-10

Polemics

edited, introductory study and notes by Tiberius Vasiniuc

The never-ending rivalry between Iosif Blaga and Ghiță Pop made possible the Polemics published in this volume, which can be considered a kind of addendum to the Theory of Drama (1900). Despite some conceptual clumsiness and the somewhat irreverent tone of the two, the Polemics from this edition can contribute to a better understanding of the maturation process of the Romanian aesthetic discourse at the confluence between the 19th and 20th centuries. At the same time, a perspective is offered on the European aesthetic traditions with which Iosif Blaga and Ghiță Pop became familiar and on how they interpreted them in the Romanian context.

Improvizația ca geneză în arta actorului

Ecaterina Căpraru — 2023-03-15

O incursiune interdisciplinară (improvizație, arta actorului de teatru, dans, mișcare scenică) în câteva dintre cele mai semnificative ”metode” de întruchipare a personajelor de teatru ne ajută să decriptăm sensurile și semnificațiile învățăturilor unor mari personalități teatrale, ideea de corp fiind fundamentul oricărei creații umane, în toate domeniile. Acest volum este o încercare de analiză multidisciplinară, în care sunt îngemănate mai multe discipline: improvizație scenică, arta actorului de teatru, expresivitate și mișcare scenică, dans, balet, toate în vederea argumentării teatralității limbajului scenic.

Hei, dud(e)! Strategiile absenței în opera lui Samuel Beckett

Ștefan Roman — 2022-11-22

Hey, dud(e)! Strategies of Absence in Samuel Beckett's Writings
The book seeks to distance the reception of Beckettian writings from the canon that consecrated them, namely that of the theatre of the absurd. Using instruments of theology, philosophy, and art philosophy, the author brings back to the discussion the significant elements of the Irish writers' work: that of poetics and that of Gnostic thought. Ultimately, Beckett maintains a constant and often tense dialogue with the Holy Books in his writings. At the same time, he cultivates an ambiguity of expression that approaches the paradox, if not of faith, at least of religious feeling.
The present volume proposes an immersion into the depths of being, constantly oscillating between reason and faith, possible and the impossible, presence and absence, depths which are insurmountable in the existential destiny of any of us.

Az alkalmazott zene hermeneutikája

Csaba Boros — 2022-11-05

The Hermeneutics of Applied Music
This study is the result of many years of scientific research and experience as a composer. The aim of the research was that the exploration of self-immolating applied music would contribute to the complex examination of the results of contemporary theater science, and to the scientific analysis of the (sound) layers of the past. I tried to outline a synthesis that starts from the premise that music is a specific signal network created in the dramatic process, and that this signal network is the interpretation of space, dramatic text, acting and presence, a mise en scene if you like in the sense of a broader understanding. I borrowed this method of understanding that can move a wide spectrum from philosophical hermeneutics, and since it is a relatively unexplored research field, the attempt to read music and/or applied music hermeneutically, can also be interpreted as a language-searching and language-creating exercise. The hermeneutical approach to music places the understanding by hearing, the meanings represented by the musical language and the function of application as the object of scientific research. Within a performance, we can understand music from different perspectives: as a quality that carries an effective approach, as a specific function or as legible sound content. The extent to which the music is used outlines the composer's creative and compositional method so that through the music we can also gain insight into the inner processes of creation. In a theater performance, music is a symbolic and language-creating phenomenon. We can aim the understanding this language with the specific method of hermeneutics. With this method, we can take a closer look at many details that, at first sight/listening, where reflection is only possible based on our perceived aesthetic experience behind the harmony of the music and the performance. By examining the discourse between musical texts and forms of expression, we can find perspectives that can be both historical, i.e. tradition-based, and text-centred, or linguistic, in theatre theory.

Vocația excelenței - Béres András - A kiválóság dicsérete

Erzsébet Bob Fülöp — 2022-11-01

The Vocation of Excellence - Béres András
Volume dedicated to the eighteenth birthday of the teacher and art philosopher Béres András.

Caragiale mosolya

Ion Luca Caragiale — 2022-10-31

Caragiale’s Smile
The volume contains the complete dramatic works of I.L. Caragiale in the Hungarian translation of theatre director Attila Seprődi Kiss. Alongside the translations of A Lost Letter (O scrisoare pierdută), A Stormy Night (O noapte furtunoasă), and The Carnival (D-ale carnavalului) , the volume contains the one-act play Leonida Face to Face with Reactionism (Conu Leonida față cu reacțiunea), the drama Scourge (Năpasta) and the monologue 1st of April (1 aprilie).

Cuvântul rostit de actor pe scenă – Ființare, Identitate, Conectare

Cătălina Mihăilă — 2022-10-31

Cartea reprezintă un demers al cuvântului rostit de actor pe scenă, pornind de la cuvântul originar și până la cuvântul conectat și validat de laboratorul lăuntric al artistului dramatic și de celelalte instrumente de expresie și expresivitate. Lucrarea poate fi privită ca un manual de utilizare a cuvântului care nu este doar pronunțat, ci rostit.

Coeditor: Presa Universitară Clujeană

Teatrul pentru publicul tânăr în România

Elise Wilk — 2022-10-31

Volumul „Teatrul pentru publicul tânăr în România” constituie prima cercetare a fenomenului teatral pentru adolescenți (14-18 ani) de pe scenele românești și își propune o radiografiere a unui fenomen relativ nou, aflat, în România, încă în faza de pionierat.

A musical műfajának esztétikai és pedagógiai vetületei

Strausz Imre-István — 2022-10-31

" Scientific literature does not indulge us with textbooks on musicals: the genre still bears the stigma of frivolous audience-baiting and pure commercial expediency even in these times of the cultural and theatrical canons, and the relativization of the ‘elite’ and ‘popular’. It is therefore welcome that Imre István Strausz does not focus on extremely popular and less well-known musicals in terms of the genre in a general informative way, nor on the historical orientation of serious approaches to the genre, but on dissecting their aesthetic creation, researching the components of their mode of action. The reader will recognize it is about a genre that enforces theatrical aspects to the core, which, due to its difference from distinctly dramatically grounded and text-centered modes of impact, meets a harsh reception by those who still understand theatre as drama. Its mastering, therefore, has an important place and role in the acting training, and this is the process that this book presents."

(Árpád Kékesi Kun)

Nagyváradi magyar színháztörténet 1950–1990. Philther-elemzések

Magdolna Jákfalvi — 2022-10-11

Istoria teatrului maghiar din Oradea 1950–1990. Analize Philther
Studiile Philther incluse în volum vizează patru decenii din istoria teatrului profesional de limbă maghiară din Oradea: era de aur a operetei în orașul numit și Parisul de pe malul râului Peța, respectiv perioada de glorie a stilului liric-oratoric reprezentat de către regizorul principal al teatrului, Szabó József.

Coeditor: Teatrul Szigligeti din Oradea, EME (Societatea Muzeului Ardelean)

Satisfacția studenților din cadrul Universității de Arte din Târgu Mureș

Traian Moldovan — 2022-09-22

Student Satisfaction at the University of Arts Târgu Mureș

The research initiated within the Theatrical and Multimedia Research Institute aimed to evaluate the degree of satisfaction of students and the perception of teaching staff regarding the services offered by the University of Arts Târgu-Mureș and the quality of study programs.

Nebunul din noi. Prolegomene la o istorie antropologică a bufonului

Lia Conțiu — 2022-07-11

The Fool Within Ourselves. Prolegomena to an Anthropological History of the Jester
The volume proposes both a historical perspective on the fool in his various poses but also an analysis of dimensions that open up new meanings regarding the art of theater. Jesters have appeared and still appear in history, culture and literature in many forms, which either provoke laughter or force us to answer uncomfortable questions. Even if we try to decipher and include the fool in a clear category, he slips through our fingers and, laughing, turns his mirror to the audience: after all, what is madness and who is the fool?

Öleljük meg egymást

Patrice Pavis — 2021-12-30

Let’s Embrace Each Another
UArtPress - Lector
Patrice Pavis (1947) is a world-renowned theater theorist, author of more than ten volumes, and a professor at major universities. His Dictionary of Theatre has been translated into more than thirty languages. He has also been writing theatrical plays since the 2000s, and in 2021 his novel Poème toi-même was published. The volume, translated by theatre director Éva Patkó, contains adaptations of the major Chekhov plays.

Plays:
Vania and Her (Vania et elle),
A Visit to the Hospital (Visite à l'hôpital)
Let`s Embrace in the Cherry Orchard (Embrassons nous dans la cerisaie)
My Three Sisters (Mes trois sœurs)

Színházi nevelés Erdélyben

Etelka Bálint — 2021-12-28

A könyv első összeírása az elmúlt negyedszázad azon erdélyi törekvéseinek, amelyek a színházi nevelés fogalma alá csoportosíthatóak. A kutatás megerősítése annak, hogy a színházi nevelés képes újraértelmezni és újjáteremteni az oktató-nevelő munka kereteit, és konstruktívabb, kooperatívabb szemléletet biztosítani tanár és diák számára egyaránt, ezzel is hozzájárulva a kompetenciaalapú tanulás és oktatás sikeréhez. A könyv előkészület és helyzetjelentés. Alapkutatási, összegző feladatot lát el a színháztudomány területén, és öt fejezetben, a színházelmélet és az előadáselemzés felől is megközelítve taglalja színház és nevelés kapcsolatát.

Kényelmetlen színház. A politikai tartalomtól az észlelés politikájáig

Kinga Boros — 2021-12-28

Uncomfortable Theatre. From the Political Content to the Politics of Perception
The book's title is a metaphor created from the author's desire to capture contemporary performances that bring the spectator into an identity crisis. The book confronts contemporary Hungarian and Romanian theatre with the definition of politics articulated by the German theatreologist Hans-Thies Lehmann: "The politics of theatre is the politics of perception. (...) What can also be called the aesthetics of responsibility." (Lehmann 2009:224). In addition to Lehmann and Erika Fischer-Lichte, philosophers Hans-Georg Gadamer, Jacques Rancière and Alain Badiou provide the most important pillars in the analysis of the performances chosen by the author. Using their studies as tools, the author enquires chapters of 20th-century theatre history: the political theatre of Erwin Piscator and Bertolt Brecht, the surveillance and censorship of the communist period, and the response of art to these threats. The case study of the discussions after the critical rehearsals in the Hungarian State Theatre in Sfântu-Gheorghe during the sixties, seventies and eighties brings to light documents and correlations that were unknown before. Contemporary performance analyses include the first performance that thematized Hungarian-Romanian coexistence with the participation of Hungarian and Romanian actors, Gianina Cărbunariu's "20/20", a production in which the book's author worked as assistant dramaturg and translator.

Trilogia dramatică 2+1

Stamatoiu Cristian — 2021-09-05

The Dramatic Trilogy 2+1 is a collection of two plays and a collage. The plays metaphorically approach moments in our contemporary history related to 1989 and the next era. The collage capitalizes on fragments from the work of I. L. Caragiale, highlighting the persistence of the same deficient language in the second-hand newspapers of the nineteenth century, to postmodern e-media.

Test – hatalom – intézmény

Beatrix Kricsfalusi ed. — 2021-06-25

Body – Power –Institution. The Structural Changes of the Theatrical Public Sphere in Transylvania
It is evidence for Theatre Studies researchers, that the hierarchical structures of East-European dictatorial regimes are reproduced by the institutional model of Regietheater, which uses their power structures and, very often, their means. Theatrical forms articulated in the period of dictatorial one-party regimes are evidently surrounded by secret, vagueness, non-disclosure and realities suppressed by power – today’s political and moral scandals result from those times. The starting point of our research can be defined from the perspective of contemporary theatre structures: we must discover the nature of this heritage -- what kind of moral, aesthetical, theatre pedagogical and power systems determine the „industry” and practice of theatre, and its public sphere. Our research aims for mapping the less investigated realm of Transylvanian (Hungarian) theatre practice: the structural changes of Transylvanian theatre institutions, the relation of art and power, as well as the theatrical regulation and nursing of the body, in the field of theatre, puppet theatre, theatre and dance pedagogy, as well as the amateur theatre. We follow these topics and track the changes of structure of the theatrical public sphere at the time when repertory theatres were (re)founded, in 1945-49 and after the political turn in 1990. The team of teachers and doctoral students at the University of Arts Targu-Mures is joined by researchers from Hungary, implementing comparative practices.

Szerep a színészben – a színész munkája a repertoár-színházban

Katalin Berekméri — 2020-12-27

Role in the Actor – The Work of the Actor in Repertory Theatre
The book examines the making of an actor and the unpredictable process of staying in the field from the viewpoint of the author’s personal career and pedagogical experience. The ideas are organized from the assertion that it is impossible to define exactly who will become an actor, who will stay in the field, and what sacrifices are required to do so, no matter how much the pedagogy of the field might wish for a rational approach.
The author tries to formulate an answer that is based on the experience determined by the existing and unlikely professional opportunities from the perspective of the acting student at the University of Arts in Târgu-Mureș and the work in Hungarian-language repertory theatre companies in Transylvania.
The focus is on the actor's work, first of all the mechanisms of character construction, the formation of the understanding of the role in performances, the conditions and possibilities of repertory theatre; it also aims to identify the influences the actor faces in this professional environment, trying to mark those revelations generating changes in the actor's mentality and value system which, although specific, can nevertheless be considered typical throughout the actor's existence defined by a professional tradition.

Nézővé válni

Imola Nagy — 2020-12-15

Aria cercetării pe care se bazează această lucrare de studii teatrale cuprinde analiza proceselor de percepție în teatrul contemporan, precum și identificarea acelor experiențe teatrale care sunt în mod expres specifice teatrului contemporan. Lucrarea, pe baza tematizării statutului spectatorului, urmărește descrierea cât mai complexă a următoarelor procese și fenomene: văzul, perceperea atmosferei, sonoritatea, procesele formării sinelui și a subiectivității spectatorului. Metodologia generală a cercetării este de natură fenomenologică, cu o orientație interdisciplinară pronunțată. Pe parcursul lucrării sunt aduse în prim plan acele teorii teatrale și fenomenologice, care au repoziționat centrul de greutatea al studiilor de pe analiza structurii speculare a percepției estetice pe cea legată de rezonant a și procesualitatea acesteia. Capitolele lucrării sunt ordonate după cerințele firești ale logicii implicației: încercarea de a depăși bidimensionalitatea imaginii a condus la punerea în discuție a problemelor atmosferei, prin care se realizează o legătură densă între spectatori și imagini. A fost apoi tematizată sonoritatea, care la rândul ei a direcționat studiile spre analiza sistematică a problemelor formării subiectului și a subiectivării traumatice. Cercetarea sinelui – implicit prin utilizarea conceptelor și concepțiilor psihanaliticii – a pus în evidență mecanismele memoriei. În fine, conceptul de subiectivare traumatică este un rezultat al fructificării acestor concepte teoretice și al analizei experienței profesionale, dobândite ca observator sistematic al spectacolelor teatrale.

Lucrarea conturează un parcurs posibil al procesului de percepere al spectacolului teatral contemporan. Subiectivarea traumatică este descrisă ca un proces care se întâmplă în spațiul interacțiunii dintre actor și spectator.

Lucrarea este varianta redactată a tezei de doctorat a autoarei, condusă de Dr. prof.univ. Béres András și susținută cu succes la Școala Doctorală a Universității de Arte din Tg-Mureș.

Perspectiva broaștei

Ioan Bocoș — 2020-07-10

Absurdul realist şi decorul ca personaj la Ioan Bocoş
Oraşul în care s-a zburlit piatra sau Călătoria titirezului nebun
Zidul
Cel ce-a văzut
Gnomeea
Umbra
Perspectiva broaştei

Hétköznapi emberek: drámák

Gianina Cărbunariu — 2020-06-12

Common People. Plays
The DramArt series wishes to promote contemporary plays with the help of translations. In this first volume we publish five dramatic texts by Gianina Cărbunariu, translated into Hungarian by Csűrös Réka and patkó Éva, with a preface by Botos Kinga. Hungarian readers have now the opportunity to meet an author whose texts do not start from the loneliness of the writer’s desk to proceed then towards publishers, editors and the stage. They are born and modelled by the interaction between the living reality of everyday life and the process of theatrical creation. This is a dialogue in which partners change, very much like in the case of successful translations. A text which finds its home in another language will not only bring otherness closer, but it will also have an impact on the languages involved. With the following Romanian, English and Hungarian volumes of this series we wish to contribute to the dialogue between cultures, languages and theatrical conceptions. The publication was financed by the Communitas Foundation and supported by the Studium Prospero Foundation.

Principii de etică şi integritate în arta spectacolului şi în cercetarea artistică

Tiberius Vasiniuc — 2020-05-14

Principles of Ethics And Integrity in Performing Arts and Artistic Research
This volume discusses those notions, theories and concepts that can raise questions about both the place that ethics plays in relation to the performing arts and aesthetics, and the way in which researchers and practitioners of the performing arts can connect their own moral principles to the norms, customs and, especially, deontology unanimously accepted. The dispute over the definition of ethics, on the one hand, and morality, on the other, forces us to understand that we have at our horizon the immutable laws of Mankind, but also the rules and social norms, assumed by each of them and last but not least, morality, which dictates how our own beliefs and "laws" meet those of our fellow men. The volume was funded by an FDI project.