class="">Theatre and Zeitgeist

I consider George Banu’s most recent book, Theatre and Zeitgeist (Junimea Publishing House, Iași, 2021), a charming and an especially provocative set of „theory miniatures” that values all epistemic advantages, as well as the advantages given by the concentration in fragments, advantages felt even before the German pre-romantics, by Montaigne and Pascal, and taken to fruition at the beginning of the 80s in a superb book by Roland Barthes, a large number of references to the year 1968.

…The critic took on the role of the companion, exerting what he himself calls a proximity critique; he problem- and regret free accepted the role of Peer Gynt, still having nurtured the ambition of having seen all performances. Such, let’s say, sanitary, intellectually- professional hygienic cautiousness, allowed him not to be an indifferent spectator, to constantly and deliberately remain the professional who knows that “the will to welcome or not to welcome theatre is the main criteria” of the profession, that that ensures the subtlety, the joy and the pleasure of the “regularly experienced fever of intensity”.

Mircea Morariu – contributors.ro