Cărțile mele, Cărți

The Stage and the Carnival

Romanian Theatre after Censorship

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The articles, essays and researches in this volume have been written during the last ten years (1990-2000). Some of them are papers presented at various European meetings of theatre professionals, others are points of view on what’s going on in Romanian theatre after censorship. This is an issue addressed to by many in both Eastern and Western Europe. The consequences of censorship and the influence of its patterns cover over forty years and are still a matter to debate, to research, to talk about.

It’s not so easy as you can find out by yourselves when reading these pages. The Fall of the Wall meant not only the regaining of freedom for countries and people in Central and Eastern Europe but also the start to a new era. Freedom can be won or lost but also wasted through a strenuous process of trying to answer the many questions raised by the past you have lived in while you also have to look for a future. But the present is always at stake, caught in between.

The task of the future historian of Romanian theatre is more difficult as there’s little evidence of what it was and a lack of motivation to research what it is. Theatre criticism in Romania is confined by the seduction of journalism nowadays and very few attempts have been made to offer a wider perspective on an artistic phenomenon that would make use of sociology, politology, anthropology, and history of theatre. Theatre is still a kind of a cultural ghetto where only some young artists are trying to escape from. This is explained by the strong influence of theatre education based on Stanislavskian training of the actors – still the only method in use -, by directors’ theatrical discourse based on the need to continuously motivate the story of the performance – the audience is viewed as an audience of a storyteller -, by the old fashioned infrastructure of the theatre institutions: they keep the ancient model of a repertory theatre where the place for experiment and dynamics of nurturing the younger artists and writers is still very limited.

These pages are a kind of a critical look at the multiple facets of a changing time in Romania. A time where modernity is challenged by the revelations of the communist past and the need to shape a European future. Postmodernism looks like a promise: you need time for it. […]


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