Macbeth: spectacolul ca oglindă sau Osul de sepie penciulescian
In 2013, when I published "Prințul minor", a book that was the result of my doctoral research on Radu Penciulescu’s theatrical activity, as director and as professor, the conclusions were supported only by the reviews published in the period when he had put plays on stage and by the meetin...
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| Format: | Article |
| Language: | deu |
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Publishing House of the Romanian Academy
2017-12-01
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| Series: | Studii si Cercetari de Istoria Artei : Teatru, Muzică, Cinematografie |
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| Online Access: | http://www.scia.istoria-artei.ro/resources/2016-2017/Art%2016-Badea.pdf |
| Summary: | In 2013, when I published "Prințul minor", a book that was the result of my doctoral research on Radu Penciulescu’s theatrical activity, as director and as professor, the conclusions were supported only by the reviews published in the period when he had put plays on stage and by the meetings I had with the teacher-director. It may be argued that, in the short history of the theatrical play in Romania, there is no other period more interesting and happier than the one followed by the premiere of W. Shakespeare’s "King Lear" on 30 October 1970. In my opinion, that moment related to a potential renewal of Romanian theatre, and, perhaps, of the European one. With his proposal, Radu Penciulescu, who had left the management of The Small Theatre (Teatrul Mic) two years before, opened a working and debate platform based on the idea that human solidarity may grow in the preparation of the stage play and, most importantly, he paved the way to considering creation as performance matter. |
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| ISSN: | 0039-3991 2067-5119 |