{"id":52897,"date":"2021-10-28T13:13:39","date_gmt":"2021-10-28T11:13:39","guid":{"rendered":"https:\/\/fnt.ro\/2021\/teatru-in-diorame-discursul-criticii-teatrale-in-comunism-viscolul-1978-1989\/"},"modified":"2021-11-10T19:36:40","modified_gmt":"2021-11-10T17:36:40","slug":"theatre-in-dioramas-the-discourse-of-theatre-critique-in-communism-the-blizzard-1978-1989","status":"publish","type":"post","link":"https:\/\/fnt.ro\/2021\/en\/theatre-in-dioramas-the-discourse-of-theatre-critique-in-communism-the-blizzard-1978-1989\/","title":{"rendered":"Theatre in Dioramas. The Discourse of Theatre Critique in Communism. The Blizzard 1978-1989"},"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: 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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-viscolul-1978-1989-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 drastic limitations in politics, economy and cultural life. This is why the last tome is titled \u201eThe Blizzard 1978-1989\u201d.<\/p>\n<p><em>Miruna Runcan<\/em><\/p>\n<p>The most complicated thing, at the end of this journey, trying to offer an evolutionary sketch of the Romanian theatre criticism during over thirty years, is to avoid sentimentalism. Because practicing the profession, in its various hypostases, lifelong, it\u2019s difficult to tame and control the affective reactions, with their entire, so colourful spectrum. However, the effort of a reflective distance is one that needs to be assumed [\u2026] A first possible conclusion would be that, after the 1956-1964 complex debates on the functions and responsibilities of criticism, debates dominated, as we have seen, by the directors working on reteatralization, journalistic criticism will become, throughout the period studied, if not a generator, then in any case a canon propagator in terms of theatrical stylistics and aesthetics coagulated unitarily around 1970. Asking theatre criticism, 1960s, for a refinement of an evaluation system (and an appropriate empathic discourse) with a modernist-innovative vocation, which clearly separates routine theatrical production from exceptional achievements, the directors preoccupied by reteatralization determined, without necessarily wanting it, the establishment of a target spectacular model, a maximalist one (combining sophisticated hermeneutics of dramaturgical material, with cultural intertextuality and visual -symbolic treatment, with multiple meanings); a model that has affected for decades both the evaluation perspectives and the actual discourse of the critique.<\/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 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