See Istoria literaturii române: De la creaţia populai la postmodernism by Dumitru Micu. Bucharest: ROM Scarlat, Mircea, Istoria poeziei româneşti, 4 vols. See Istoria literaturu Române: De la creatia populará la postmodernism by Dumitru Micu. ROM Scarlat, Mircea, Istoria poeziei româneşti, 4 vols. 8 feb. Printre numele cu rezonanţă în istoria literaturii române se numără şi cel A căutat să mă cunoască, mi-a mulţumit şi mi-a cerut nişte poezii, pe.

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Italians speak Magyar language and in scenes filmed in Budapest they describe Italy. The set designer Cristina Pepino created the sets for most of your productions. The performers accept the message of the aria, but their civilian postures and costumes communicate a rather passive, even dedramatised attitude to the formal Romantic character of the aria.

Loneliness among the crowd. Obviously, what matters is the quality of the acting or of the handling.

It is revealed though that he does nothing else but sells illusions, a thing that under the sign of Aristophanes equates the hoax. But when he found himself talking directly to the audience in Brecht’s Man Is Man, the next play Judith directed him in, he heard what Brecht was saying through him and who he was: The mixture with dance means new investments of theatricality in the technical repertory of scenical movement and scenic expressivity.

Did you see their early works?

INTERVIU Augusta Lazarov: „A fost chimie între mine şi Valeriu“ |

He was a student of philosophy. It was more a personal revolution that was going on. Relatively easy, as the actor Claudiu Pintican, the manager of the theatre, had ixtoria decided to include a performance on this subject during the theatre season and I was asked to get involved and direct the play. Theatricality appears as result of both dialogue and antagonistic relationships between forms, movements, scenical actions.

Greek imrcea Yorgos Lanthimos’s second feature- length film Alpeis The Alps begins with a sequence of rhythm gymnastics on a classical-music background an excerpt from Carl Orff’s Carmina Burana.


The base structure is, this time, a cube with translucent walls, between these walls being girders on which the unfortunate ones are writhing. Because of this, I wanted to have the puppeteers interpret their own vocal parts.

The Bashful Paradigm (Matilda)

This kind of theatre is an area opened ppoeziei brand new formal, textual, scenography manipulations, all those in a process the principal cause of which is the revelation of the problematics the young people confront with, during the beginning of the 21st century.

Even if it has a purpose, this path has no other end than the biological one. When I started poziei animation performances, there was a rather usual practice of entirely recording the soundtrack. Then, I very gradually got to know Judith and Poezidi. I have learnt that the most dangerous thing in the theatre is having prejudices. Did your career as a theatre critic in New York temper your desire to be an artist? The textual substance of this type of theatre and its repository passed several evolution stages.

Reuniune PSD acum 3 zile. Throughout your career, you have staged an impressive number of plays, so what is the message your productions carry in this respect?

The play’s solistic moments favour demonstrations of corporeal mime which sustain the theatricality of performance. Summing-up with suspense And, after all, scarlwt should we talk today about utopia in theatre? Almost immediately it was obvious that this was something I could do.

The literature distinguishes response arrangements and forms of aggression, classyfying them according to the age of those involved, their status and rules accepted in society. In New York and U.

INTERVIU Augusta Lazarov: „A fost chimie între mine şi Valeriu“

Just as Wagner aimed to amplify mirce multiply the layers of a dramatic opera. What made you leave New York? You have had a great contribution by writing reviews about them in The Village Voice. Along these forms of representation, a dramatic literature has been developed for children and youth, in order to expose mirrored characters of full-grown heroes who recall their childhood.

Adrian Roman, how would you describe yourself to our readers in Romania, who did not have a chance to see your performances live? Without having the pretention to consume such a rich subject, I isotria set a purpose offering a theatrical frame of a dramatic and spectacular reality which could not be ignored any more, neither by the performance world, nor by the public and the theatre and scenography passionate public. The young wife will meet her lover only to convince herself that all her love and gratitude belong, in fact, to her husband.

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How did you meet Joseph Chaikin? The uselessness of social gestures, of educational programs, of finding a isforia in life, all this daily monstrous machinery culminates, in this whole lucid scarlatt process, into an explosion of lights and noises which shortcircuits the atmosphere around the stage. Radu Penciulescu would emphasize not the creativity, but rather the truthfulness of acting, psychological realism, and the actuality of the message. However, disjunction romanesfi them: There was a whole wave of it, of not doing plays, just creating things.

I am but one of the puppeteers in Romania.

By melting the metalic core of the old culture, can the alchemist with the name of director obtain once again the desired gold? Animation theatre has been around for several millennia. These dancers performed on stage at the premiere and also held a workshop to prepare the dancers of the Baia Mare Theatre for the following shows.

Yann Verburgh is the creator of an honest theatre, in-yer-face theatre, which does not dissimulate the reality, just interrogates it. From the shiny decor, to the gorgeous, expensive and trendy clothes, like the showbiz characters, all is meant to captivate and put you away from yourself.

The Bashful Paradigm (Matilda) | BDD-A | Diacronia

Keeping balance is essential;company’s exposure scaelat violence through performances theater, film, etc. And on the topic of audiences, those consisting of children are extraordinary.

Are the oriental choreography elements related in any way to your own Indian experience? Ar putea, dar nu o fac.