{"id":52890,"date":"2021-10-28T13:13:55","date_gmt":"2021-10-28T11:13:55","guid":{"rendered":"https:\/\/fnt.ro\/2021\/teatru-in-diorame-discursul-criticii-teatrale-in-comunism-amagitoarea-primavara-1965-1977\/"},"modified":"2021-11-10T18:33:44","modified_gmt":"2021-11-10T16:33:44","slug":"theatre-in-dioramas-the-discourse-of-theatre-criticism-under-communism-the-deceptive-spring-1965-1977","status":"publish","type":"post","link":"https:\/\/fnt.ro\/2021\/en\/theatre-in-dioramas-the-discourse-of-theatre-criticism-under-communism-the-deceptive-spring-1965-1977\/","title":{"rendered":"Theatre in Dioramas. The Discourse of Theatre Criticism under Communism. The Deceptive Spring 1965-1977"},"content":{"rendered":"<p><div id=\"blog-header\" class=\"fusion-fullwidth fullwidth-box hundred-percent-fullwidth non-hundred-percent-height-scrolling\"  style='background-color: rgba(255,255,255,0);background-position: center center;background-repeat: no-repeat;padding-top:0px;padding-right:0px;padding-bottom:0px;padding-left:0px;'><div class=\"fusion-builder-row fusion-row \"><div  class=\"fusion-layout-column fusion_builder_column fusion_builder_column_1_1  fusion-one-full fusion-column-first fusion-column-last sub-header-fisa 1_1\"  style='margin-top:0px;margin-bottom:20px;'>\n\t\t\t\t\t<div class=\"fusion-column-wrapper\" style=\"padding: 0px 0px 0px 0px;background-position:left top;background-repeat:no-repeat;-webkit-background-size:cover;-moz-background-size:cover;-o-background-size:cover;background-size:cover;\"  data-bg-url=\"\">\n\t\t\t\t\t\t<div class=\"fusion-text\"><div style=\"padding: 56.25% 0 0 0; position: relative;\"><iframe style=\"position: absolute; top: 0; left: 0; width: 100%; height: 100%;\" title=\"Teatru &amp;icirc;n diorame Discursul criticii teatrale &amp;icirc;n comunism\" src=\"https:\/\/player.vimeo.com\/video\/641447944?h=d0b6e93912&amp;badge=0&amp;autopause=0&amp;player_id=0&amp;app_id=58479\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"><\/iframe><\/div>\n<p><script src=\"https:\/\/player.vimeo.com\/api\/player.js\"><\/script><\/p>\n<\/div><div class=\"fusion-clearfix\"><\/div>\n\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div><div  class=\"fusion-layout-column fusion_builder_column fusion_builder_column_1_2  fusion-one-half fusion-column-first first fusion-column-no-min-height 1_2\"  style='margin-top:0px;margin-bottom:0px;width:48%; margin-right: 4%;'>\n\t\t\t\t\t<div class=\"fusion-column-wrapper\" style=\"padding: 0px 0px 0px 0px;background-position:left top;background-repeat:no-repeat;-webkit-background-size:cover;-moz-background-size:cover;-o-background-size:cover;background-size:cover;\"  data-bg-url=\"\">\n\t\t\t\t\t\t<div class=\"fusion-text\"><img width=\"815\" height=\"500\" src=\"https:\/\/fnt.ro\/2021\/wp-content\/uploads\/2021\/10\/Template-carte-FNTasadd-31.jpg\" class=\"attachment-post-thumbnail size-post-thumbnail wp-post-image\" alt=\"Teatru \u00een diorame. Discursul criticii teatrale \u00een comunism. Viscolul 1978-1989\" loading=\"lazy\" srcset=\"https:\/\/fnt.ro\/2021\/wp-content\/uploads\/2021\/10\/Template-carte-FNTasadd-31-200x123.jpg 200w, https:\/\/fnt.ro\/2021\/wp-content\/uploads\/2021\/10\/Template-carte-FNTasadd-31-300x184.jpg 300w, https:\/\/fnt.ro\/2021\/wp-content\/uploads\/2021\/10\/Template-carte-FNTasadd-31-400x245.jpg 400w, https:\/\/fnt.ro\/2021\/wp-content\/uploads\/2021\/10\/Template-carte-FNTasadd-31-600x368.jpg 600w, https:\/\/fnt.ro\/2021\/wp-content\/uploads\/2021\/10\/Template-carte-FNTasadd-31-768x471.jpg 768w, https:\/\/fnt.ro\/2021\/wp-content\/uploads\/2021\/10\/Template-carte-FNTasadd-31-800x491.jpg 800w, https:\/\/fnt.ro\/2021\/wp-content\/uploads\/2021\/10\/Template-carte-FNTasadd-31.jpg 815w\" sizes=\"(max-width: 815px) 100vw, 815px\" \/>\n<\/div><div class=\"fusion-clearfix\"><\/div>\n\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div><div  class=\"fusion-layout-column fusion_builder_column fusion_builder_column_1_2  fusion-one-half fusion-column-last second fusion-column-no-min-height 1_2\"  style='margin-top:0px;margin-bottom:0px;width:48%'>\n\t\t\t\t\t<div class=\"fusion-column-wrapper\" style=\"padding: 0px 0px 0px 0px;background-position:left top;background-repeat:no-repeat;-webkit-background-size:cover;-moz-background-size:cover;-o-background-size:cover;background-size:cover;\"  data-bg-url=\"\">\n\t\t\t\t\t\t<div class=\"fusion-text\"><ul id=\"gallery-count\"><li><a class=\"galerie-foto\" href=\"#galerie-foto\">Photo Gallery (  1 )<\/a><\/li><li><a class=\"galerie-video\" href=\"#galerie-video\">Video Gallery ( 1 )<\/a><\/li><\/ul>\n<\/div><div class=\"fusion-sep-clear\"><\/div><div class=\"fusion-separator fusion-full-width-sep sep-none\" style=\"margin-left: auto;margin-right: auto;margin-top:25px;margin-bottom:25px;\"><\/div><div class=\"fusion-text\"><h2><span style=\"color: #000000;\"><span style=\"font-family: Raleway, serif;\"><span style=\"font-size: x-large;\"><span lang=\"en-GB\">by Miruna Runcan<\/span><\/span><\/span><\/span><\/h2>\n<h2><span style=\"color: #000000;\"><span style=\"font-family: Raleway, serif;\"><span style=\"font-size: x-large;\"><span lang=\"en-GB\">Tracus Arte Publishing House, 2020<\/span><\/span><\/span><\/span><\/h2>\n<h2><span style=\"color: #000000;\"><span style=\"font-family: Raleway, serif;\"><span style=\"font-size: x-large;\"><span lang=\"en-GB\">Price: 45,00 ron<\/span><\/span><\/span><\/span><\/h2>\n<h2><span style=\"color: #000000;\"><span style=\"font-family: Raleway, serif;\"><span style=\"font-size: x-large;\"><span lang=\"en-GB\"><b>The book can be purchased here:<\/b><\/span><\/span><\/span><\/span><\/h2>\n<h2><span style=\"color: #000000;\"><span style=\"font-family: Raleway, serif;\"><span style=\"font-size: x-large;\"><span lang=\"en-GB\">Online bookshops: edituratracusarte.ro, Libr\u0103rie.Net, EMAG, Elefant ONLINE, Libris.ro<\/span><\/span><\/span><\/span><\/h2>\n<h2><span style=\"color: #000000;\"><span style=\"font-family: Raleway, serif;\"><span style=\"font-size: x-large;\"><span lang=\"en-GB\">C\u0103rture\u0219ti, Humanitas, Librarium bookshops<\/span><\/span><\/span><\/span><\/h2>\n<\/div><div class=\"fusion-builder-row fusion-builder-row-inner fusion-row \"><div  class=\"fusion-layout-column fusion_builder_column fusion_builder_column_2_5  fusion-two-fifth fusion-column-first 2_5\"  style='margin-top: 0px;margin-bottom: 20px;width:40%;width:calc(40% - ( ( 4% ) * 0.4 ) );margin-right:4%;'><div class=\"fusion-column-wrapper\" style=\"padding: 0px 0px 0px 0px;background-position:left top;background-repeat:no-repeat;-webkit-background-size:cover;-moz-background-size:cover;-o-background-size:cover;background-size:cover;\"  data-bg-url=\"\"><div class=\"fusion-button-wrapper fusion-alignleft\"><style type=\"text\/css\" scoped=\"scoped\">.fusion-button.button-1 .fusion-button-text, .fusion-button.button-1 i {color:#ffffff;}.fusion-button.button-1 {border-width:1px;border-color:#ffffff;}.fusion-button.button-1 .fusion-button-icon-divider{border-color:#ffffff;}.fusion-button.button-1:hover .fusion-button-text, .fusion-button.button-1:hover i,.fusion-button.button-1:focus .fusion-button-text, .fusion-button.button-1:focus i,.fusion-button.button-1:active .fusion-button-text, .fusion-button.button-1:active{color:#000000;}.fusion-button.button-1:hover, .fusion-button.button-1:focus, .fusion-button.button-1:active{border-width:1px;border-color:#000000;}.fusion-button.button-1:hover .fusion-button-icon-divider, .fusion-button.button-1:hover .fusion-button-icon-divider, .fusion-button.button-1:active .fusion-button-icon-divider{border-color:#000000;}.fusion-button.button-1{background: #fdb910;}.fusion-button.button-1:hover,.button-1:focus,.fusion-button.button-1:active{background: rgba(255,255,255,0);}.fusion-button.button-1{width:auto;}<\/style><a class=\"fusion-button button-flat fusion-button-round button-large button-custom button-1\" target=\"_blank\" rel=\"noopener noreferrer\" href=\"https:\/\/edituratracusarte.ro\/produs\/teatru-in-diorame-discursul-criticii-teatrale-in-comunism-amagitoarea-primavara-1965-1977-miruna-runcan\/\"><span class=\"fusion-button-text\">Press here to purchase the book<\/span><\/a><\/div><\/div><\/div><\/div><div class=\"fusion-clearfix\"><\/div>\n\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div><\/div><\/div><div class=\"fusion-fullwidth fullwidth-box post_content nonhundred-percent-fullwidth non-hundred-percent-height-scrolling\"  style='background-color: rgba(255,255,255,0);background-position: center center;background-repeat: no-repeat;padding-top:0px;padding-right:0px;padding-bottom:0px;padding-left:0px;margin-top: 30px;'><div class=\"fusion-builder-row fusion-row \"><div  class=\"fusion-layout-column fusion_builder_column fusion_builder_column_1_3  fusion-one-third fusion-column-first first 1_3\"  style='margin-top:0px;margin-bottom:20px;width:33.33%;width:calc(33.33% - ( ( 4% ) * 0.3333 ) );margin-right: 4%;'>\n\t\t\t\t\t<div class=\"fusion-column-wrapper\" style=\"padding: 0px 0px 0px 0px;background-position:left top;background-repeat:no-repeat;-webkit-background-size:cover;-moz-background-size:cover;-o-background-size:cover;background-size:cover;\"  data-bg-url=\"\">\n\t\t\t\t\t\t<div class=\"fusion-text\"><p><span class=\"categorie\"><\/span><\/p>\n<\/div><div class=\"fusion-text\"><\/div><div class=\"fusion-clearfix\"><\/div>\n\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div><div  class=\"fusion-layout-column fusion_builder_column fusion_builder_column_1_2  fusion-one-half fusion-column-last second 1_2\"  style='margin-top:0px;margin-bottom:20px;width:50%;width:calc(50% - ( ( 4% ) * 0.5 ) );'>\n\t\t\t\t\t<div class=\"fusion-column-wrapper\" style=\"padding: 15px 0px 0px 0px;background-position:left top;background-repeat:no-repeat;-webkit-background-size:cover;-moz-background-size:cover;-o-background-size:cover;background-size:cover;\"  data-bg-url=\"\">\n\t\t\t\t\t\t<div class=\"fusion-text\"><p>Theatre in Dioramas. The Discourse of Theatre Criticism under Communism was conceived to cover three distinct time spans, in three separate tomes: 1956-1964 \u2013the so- called Khrushchevian thawing, very turbulent for us and corresponding to an accelerated professionalisation of the theatre critique; 1965-1977 \u2013 covering a peak in theatrical production as well as in international exposure, despite the fact that we were dealing here with two distinct eras of the Ceau\u0219escu regime, and, finally,1978-1989 \u2013 the late Ceau\u0219escu era, featuring the most drastical limitations in politics, economy and cultural life.<\/p>\n<p><em>Miruna Runcan<\/em><\/p>\n<p>To the party apparatus in the socialist era, any journalist, writer, worker in the field of culture, the critic, including the theatre critic is seen, first of all, as a propagandist activist, and only secondary as a professional in the field. &#8211; carries out its activity. Its primary duty, from the point of view of the establishment, is to implement the party&#8217;s policy. The critic knows this even before getting employed in a media institution (being a party member becomes, after 1968, an almost obligatory condition for being employed in any kind of media; it is extremely rare for a worker in the press or publishing houses to succeed evading such an obligation), and the apparatus takes care to refresh its memory cyclically, with each change in political discourse and praxis. On the other hand, looking from both directions, the editorial office and from the point of view of the critic himself, his basic duty is to reflect, interrogate and evaluate, and, in some cases, even to prospect \/ project the theatrical life in the environment with its local, national or international specific.<\/p>\n<p>It\u2019s easy to observe how the theatre critic, like any other intellectual or artist of the time, is forced to somehow reconcile the pressure of party directives with the provocative, constant and natural tension, coming from the professional corpus of which he is part and which should, ideally, represent him honestly and according to their own values \u200b\u200band knowledge interests. It&#8217;s a not at all comfortable triangulation, let&#8217;s face it [\u2026]. After 1964, a pact between artists, critics and their specialized public is established: that of avoiding, as much as possible, propagandistic discourse for the benefit of marked aesthetic structures, of a modernist type, with marks of a critique of the system slipping in, at times, perceived by both parties as signals of dissent. Some will be censored, others will not. As quiet, as solemn and stable, this pact manages to produce a broad consensus in cultural communication and, specifically, in theatrical communication, which will directly involve theater critics of all ages &#8211; but creating some islands of traditionalist-retrograde opposition as well, as we shall see. Paradoxically, the constant and exhausting siege produced by Ceau\u0219escu\u2019s \u201ccultural revolution\u201d, after 1971, with its absolute peak from 1974 to 1977 (congresses of the Council of Socialist Culture and Education, the invention of the \u201cC\u00e2ntarea Rom\u00e2niei\/ Praising Romania\u201d Festival), has the perverse effect of cementing this consensus regarding the autonomy of aesthetics.<\/p>\n<p><em>Miruna Runcan<\/em><\/p>\n<\/div><div class=\"fusion-text\">\n<\/div><div class=\"share-box fusion-sharing-box boxed-icons\" style=\"background-color:#ffffff;\"><h4 class=\"tagline\" style=\"color:#333333;\">Share: <\/h4><div class=\"fusion-social-networks boxed-icons\"><a class=\"fusion-social-network-icon fusion-tooltip fusion-facebook fusion-icon-facebook\" href=\"https:\/\/www.facebook.com\/sharer.php?u=&amp;t=\" target=\"_blank\" style=\"color:#ffffff;background-color:#fdb910;border-color:#fdb910;border-radius:4px;\" data-placement=\"top\" data-title=\"Facebook\" title=\"Facebook\" aria-label=\"Facebook\" data-toggle=\"tooltip\"><\/a><a class=\"fusion-social-network-icon fusion-tooltip fusion-twitter fusion-icon-twitter\" href=\"https:\/\/twitter.com\/share?text=&amp;url=\" target=\"_blank\" rel=\"noopener noreferrer\" style=\"color:#ffffff;background-color:#fdb910;border-color:#fdb910;border-radius:4px;\" data-placement=\"top\" data-title=\"Twitter\" title=\"Twitter\" aria-label=\"Twitter\" data-toggle=\"tooltip\"><\/a><a class=\"fusion-social-network-icon fusion-tooltip fusion-linkedin fusion-icon-linkedin\" href=\"https:\/\/www.linkedin.com\/shareArticle?mini=true&amp;url=&amp;title=&amp;summary=\" target=\"_blank\" rel=\"noopener noreferrer\" style=\"color:#ffffff;background-color:#fdb910;border-color:#fdb910;border-radius:4px;\" data-placement=\"top\" data-title=\"LinkedIn\" title=\"LinkedIn\" aria-label=\"LinkedIn\" data-toggle=\"tooltip\"><\/a><a class=\"fusion-social-network-icon fusion-tooltip fusion-reddit fusion-icon-reddit\" href=\"http:\/\/reddit.com\/submit?url=&amp;title=\" target=\"_blank\" rel=\"noopener noreferrer\" style=\"color:#ffffff;background-color:#fdb910;border-color:#fdb910;border-radius:4px;\" data-placement=\"top\" data-title=\"Reddit\" title=\"Reddit\" aria-label=\"Reddit\" data-toggle=\"tooltip\"><\/a><a class=\"fusion-social-network-icon fusion-tooltip fusion-googleplus fusion-icon-googleplus\" onclick=\"javascript:window.open(this.href,&#039;&#039;, &#039;menubar=no,toolbar=no,resizable=yes,scrollbars=yes,height=600,width=600&#039;);return false;\" href=\"https:\/\/plus.google.com\/share?url=\" target=\"_blank\" rel=\"noopener noreferrer\" style=\"color:#ffffff;background-color:#fdb910;border-color:#fdb910;border-radius:4px;\" data-placement=\"top\" data-title=\"Google+\" title=\"Google+\" aria-label=\"Google+\" data-toggle=\"tooltip\"><\/a><a class=\"fusion-social-network-icon fusion-tooltip fusion-tumblr fusion-icon-tumblr\" href=\"http:\/\/www.tumblr.com\/share\/link?url=&amp;name=&amp;description=\" target=\"_blank\" rel=\"noopener noreferrer\" style=\"color:#ffffff;background-color:#fdb910;border-color:#fdb910;border-radius:4px;\" data-placement=\"top\" data-title=\"Tumblr\" title=\"Tumblr\" aria-label=\"Tumblr\" data-toggle=\"tooltip\"><\/a><a class=\"fusion-social-network-icon fusion-tooltip fusion-pinterest fusion-icon-pinterest\" href=\"http:\/\/pinterest.com\/pin\/create\/button\/?url=&amp;description=&amp;media=\" target=\"_blank\" rel=\"noopener noreferrer\" style=\"color:#ffffff;background-color:#fdb910;border-color:#fdb910;border-radius:4px;\" data-placement=\"top\" data-title=\"Pinterest\" title=\"Pinterest\" aria-label=\"Pinterest\" data-toggle=\"tooltip\"><\/a><a class=\"fusion-social-network-icon fusion-tooltip fusion-vk fusion-icon-vk\" href=\"http:\/\/vkontakte.ru\/share.php?url=&amp;title=&amp;description=\" target=\"_blank\" rel=\"noopener noreferrer\" style=\"color:#ffffff;background-color:#fdb910;border-color:#fdb910;border-radius:4px;\" data-placement=\"top\" data-title=\"Vk\" title=\"Vk\" aria-label=\"Vk\" data-toggle=\"tooltip\"><\/a><a class=\"fusion-social-network-icon fusion-tooltip fusion-mail fusion-icon-mail\" href=\"mailto:?subject=&amp;body=\" target=\"_self\" style=\"color:#ffffff;background-color:#fdb910;border-color:#fdb910;border-radius:4px;\" data-placement=\"top\" data-title=\"Mail\" title=\"Mail\" aria-label=\"Mail\" data-toggle=\"tooltip\"><\/a><\/div><\/div><div class=\"fusion-clearfix\"><\/div>\n\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div><\/div><\/div><\/p>\n","protected":false},"excerpt":{"rendered":"","protected":false},"author":17,"featured_media":49146,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_mi_skip_tracking":false},"categories":[11045],"tags":[],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v17.5 - https:\/\/yoast.com\/wordpress\/plugins\/seo\/ -->\n<title>Theatre in Dioramas. 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