SCHIMBAREA MODELULUI DRAMATURGIC. DIMENSIUNEA ESTETICĂ ŞI CEA SOCIALĂ ÎN TRASEUL EVOLUTIV AUTOHTON
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2013
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Abstract
Se vehiculează ideea că în 1990-2000 autorii dramatici erau preocupaţi doar de formă, stil, iar din 2000 devin pasionaţi de viaţa cetăţii. Adevărul este că în prima perioada dramaturgii testează noi dimensiuni estetice ale textului, dar şi elementul social, pe când în perioada următoare aceştia deseori pun socialul în faţa artisticului.
Din 1990 până în prezent, urmărim un perpetuu proces de reconfigurare a formelor dramatice prin exploatarea: teatrului absurdului pe linia Ionesco, Beckett, Mrozek şi Vişniec (Plasatoarele şi Luministul de C. Cheianu, Crima sângeroasă din Staţiunea Violetelor şi Concert la violă pentru câini de D. Crudu ş.a.); dramaturgiei pirandelliene (Terasa Zgârâie nori de Călin Sobietski-Mânăscurtă ş.a.); arsenalului postmodernist (Fotografii cu clovni invizibili, Minte-mă, minte-mă de N. Negru, Mama lor de urmaşi de A. Roşca ş.a.); componentelor expresiv-stilistice ale avangardei (Saxofonul cu frunze roşii de V. Butnaru); esteticii „in-yer-face theatre” (textele N. Esinenco); tehnicii „verbatim” (A şaptea Kafana, Casa M. ş.a.).
În vederea redresării situaţii dramaturgiei autohtone, la 4 septembrie 2012 în incinta Uniunii Teatrale din Republica Moldova are loc deschiderea oficială a Centrului de Dramaturgie Contemporană (CDC).
It is alleged that in 1990s the playwrights were only concerned with the form, but starting with the 2000s they got carried away with social themes. The truth is that during the former period the dramatists have tested new aesthetic forms of the text, sometimes weaving it into some social contexts, but there after to the contrary - they have put the social over the artistic. From 1990 until the present time there has been a continuous process of reconfiguration of dramatic forms: the theatre of the absurd in the manner of Ionesco, Beckett, Mrożek and Visniec (The Usherettes and The Lamp Man by C. Cheianu, A Bloody Murder at the Violets Station and A Violin Concerto for Dogs by D. Crudu et al .), Pirandellian drama (The Skyscraper-Terrace by Călin Sobietski-Mânăscurtă et al.), post-modernist theatre (Pictures with invisible clowns, Lie to me, lie to me by N. Negru and Dad-blamed offspring! by A. Rosca et al.), expressive and stylistic components of the avant-garde (The Saxophone with Red Leaves by V. Butnaru); aesthetics of „in-yer-face theatre” (texts by N. Esinencu); verbatim theatre (The Seventh Kafana, House M, etc.). In order to improve the situation of the national drama, on September 4, 2012 at the Union of Theatre Workers of Moldova a Center for Contemporary Drama has been officially opened.
It is alleged that in 1990s the playwrights were only concerned with the form, but starting with the 2000s they got carried away with social themes. The truth is that during the former period the dramatists have tested new aesthetic forms of the text, sometimes weaving it into some social contexts, but there after to the contrary - they have put the social over the artistic. From 1990 until the present time there has been a continuous process of reconfiguration of dramatic forms: the theatre of the absurd in the manner of Ionesco, Beckett, Mrożek and Visniec (The Usherettes and The Lamp Man by C. Cheianu, A Bloody Murder at the Violets Station and A Violin Concerto for Dogs by D. Crudu et al .), Pirandellian drama (The Skyscraper-Terrace by Călin Sobietski-Mânăscurtă et al.), post-modernist theatre (Pictures with invisible clowns, Lie to me, lie to me by N. Negru and Dad-blamed offspring! by A. Rosca et al.), expressive and stylistic components of the avant-garde (The Saxophone with Red Leaves by V. Butnaru); aesthetics of „in-yer-face theatre” (texts by N. Esinencu); verbatim theatre (The Seventh Kafana, House M, etc.). In order to improve the situation of the national drama, on September 4, 2012 at the Union of Theatre Workers of Moldova a Center for Contemporary Drama has been officially opened.
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teatrul absurdului, teatru postmodernist, dramaturgie pirandelliană, estetică „in-yer-face theatre”, verbatim, dramaturgie
Citation
ROȘCA, Angelina. Schimbarea modelului dramaturgic. Dimensiunea estetică şi cea socială în traseul evolutiv autohton. In: Arta, 2013. Ser. Arte audiovizuale. Chișinău. 2013, nr. 2, pp. 132–136. ISSN 1857-1042. eISSN 1857-1050.