Two Theatrical Paradigms: Communism and Post-December Reality
Tendencies in the Evolution of the Present Day Theatrical Phenomenon
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This paper was born out of the simple desire to analyse some of the transformations undergone by Romanian theatre during the last decades, transformations associated with the change in political regime, as well as with the influence from Occidental theatrical paradigms. The motivation of this undertaking resides in the experience as an actor, but also as a passionate reader and theatre spectator. Finding that the analysis of the dramaturgic post-'89 orientation combined with a contrastive approach of communist and post-communist dramaturgy has occupied a rather modest place in the pursuits of ...
This paper was born out of the simple desire to analyse some of the transformations undergone by Romanian theatre during the last decades, transformations associated with the change in political regime, as well as with the influence from Occidental theatrical paradigms. The motivation of this undertaking resides in the experience as an actor, but also as a passionate reader and theatre spectator. Finding that the analysis of the dramaturgic post-'89 orientation combined with a contrastive approach of communist and post-communist dramaturgy has occupied a rather modest place in the pursuits of theatre exegetes so far, I have decided to dedicate a thorough study to theatrical avatars of the communist and post-communist period. In addition, I would like to point out that it is likely for theatre to also gradually transform into what culture has become everywhere: a particular business, a matter of personal initiative, subject to all the benefits and downfalls inherent in any activity performed in our pluralist society.
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