„We Have to Name a Museum Guard and That Guard Is the Director"
The interview realized by Sándor Koros-Fekete intends to present the works of French theatre director, actor and dramatist Roger Planchon for the Hungarian public. Related to the presentation of Ionesco's drama, Amédée ou comment s'en débarrasser having its first night at Cluj on the 4th november 2008, Planchon analyses the future of the theatre in Europe and predicts the return of the text-theatre. He reveals some autobiographical aspects of his activity: his friendship with Brecht and his role played in the renewal of the French theatre.
Theatrical Spaces of Experience
As an encompassing topography of the post-modern viewer's experience, the study analyses different conceptual and practical relationships between vision and space, choosing specific examples from recent Hungarian and Romanian theatrical representations – among others from the works of László Bocsárdi, Silviu PurcÄ?rete and Gábor Tompa. Its historico-theoretical survey of con-temporary visual culture proceeds from the concepts of place, surveillance and image, in order to describe the space of the theatre as heterotopia and coexistence between different kinds of spaces, which involve a special anthropology of our receptor senses.
The Birthplace of Athenian Tragedy
Moving beyond the text of the preserved tragedies, the study offers a philological reconstruction, also based on archaeological research, of the spatial configuration surrounding ancient Greek tragedy as a cultural institution and of its interdependence with the cults of Athens. The theatre of Dionysus in Athens, a paradigmatic theatrical space of the Western culture, is presented in the context of its multiple social, political and religious functions, with special attention for its discrete spatial elements, such as the orchestra or the auditorium, leading to certain remarks about the textual influence of its open, extratextual dimensions.
Space Dramaturgy in the Classical Japanese Theatre
The author argues that the main cause of the differences between western style acting in Europe and eastern style acting in Japan can be attributed to their different conceptions of the structure of the world and their dis-tinct religious roots. In Japan, where Shinto and Buddhism are the two main religions, the objective of art is de-termined by Zen philosophy. The theatre aims to make spectators see the reality, the real essence of things, operated by world laws. It does not intend to effect the spectators' intellect, but their emotions, and uses stylization as its method, which creates a particular theatrical system of symbols. The Japanese theatre demonstrates in its classical theatrical genres the horizontal world concept known from the Buddhist space dramaturgy. It is impossible for western theatres to adapt these genres completely, because occidental communities of actors and spectators are mostly in embarrassing lack of the necessary concepts of oriental systems of ideas. In spite of this matter of fact, certain elements (even with their original meaning) could be the object of successful adaptation.
Mű és világa
History and Absurd. On the Plays of Géza Páskándi and Marin Sorescu
The comparative study points to a shift in the oeuvre of two prominent Eastern European dramatists, still largely considered adepts of existentialism and the absurd theater, related to the way in which both of them move historical experience to the centre of their attention. The author challenges certain established categories in the relevant scholarship, contending that neither absurd theatre, nor historical drama in their classical acceptations, do not do justice to the texts which expose internal conflicts in the individual facing time and its own historicity.