21 October| 12:00 – FNT HUB, Arce Hall
Debate starting from “Theatre in Diorama. The Discourse of Theatre Criticism in Communism. The Fluctuant Thaw 1956-1964”, a book by Miruna Runcan (Tracus Arte Publishing House, 2019) and from “Theatre.ro 30 – new names”, a book by Oltiţa Cîntec (bilingual edition, Timpul Publishing House, 2019)
„The discourses of criticism do not depend solely on the aesthetics (hegemonic or emergent) or the production modalities of the space and time in which they were written, but, first and foremost, they depend on the landscape of dominant political ideas, on the power relations considered at the moment when the value judgements are worded. From this point of view, critical discourse, even when it is not (or not aimed at being) an inwardly normative one, intentionally or unintentionally unveils its axiological, ideological roots, as well as, in parallel, the aesthetic references that are exposed in the bones and flesh of the critical argumentation.”– Miruna Runcan
„In respect to a historical scale, 30 years do not seem too much. Specialized encyclopaedias record conflicts that had durations longer than that! Still, from a personal point of view, the 30 years that have passed since the turning point events of 1989 are the equivalent of biological and professional maturity. We, as individuals, do not dispose of such generous temporal dimensions as history; we dispose of the limited time of our own biographies; 30 years means a significant chunk of that. To me, this was one of the reasons that made me think it was almost mandatory to conscript my colleagues and cast the spotlights of theoretical analysis onto the new names that rose in the theatre zone, under conditions of freedom. (…) The Romanian context has been, all through these years, subject to unpredictability, instability and the unforeseeable. We had to persevere in imposing each smallest change which could shake inertia and stagnation aside. The last three decades could find neither the pace for the transformation that Romania actually needed, nor the best direction to take for its citizens. This volume is not a polemic one, but rather a group portrait of the ones who managed to find the path to progress in the art that they dedicated themselves to, through all that they imagined for the stage. This is what the book you are holding in your hands is all about.” – Oltiţa Cîntec
Contributors – Oltița Cîntec, Oana Cristea-Grigorescu, Silvia Dumitrache, Cristian Gheorghe, Ramona Iacobuțe, Cristina Modreanu, Pompilius Onofrei, Mirella Patureau, Emma Pedestru, Luana Pleșea, Iulia Popovici, Cristina Rusiecki, Oana Stoica, Daniela Șilindean, Ilinca Urmuzache, Irina Wolf, Irina Zlotea