A History of Romanian Theatre from Communism to Capitalism Children of a Restless Time
A History of Romanian Theatre from Communism to Capitalism analyses the last three decades of Romanian theatre and connects it to the international stage.
Cristina Modreanu questions the relationship between artists and power, both before 1989, behind the Iron Curtain, and in the current global political context, with nationalism manifesting itself in Eastern Europe, as seen in the critical work of Romanian theatre makers. This study covers the complex cases of theatre makers such as Lucian Pintilie, Liviu Ciulei and Andrei Șerban, who built their international careers in exile, and the most innovative Romanian artists of today, such as Silviu Purcărete, Mihai Măniuţiu, Gianina Cărbunariu, Radu Afrim, and Bogdan Georgescu, who reached the status of transglobal artists.
Filling a considerable gap in Romanian theatre discourse, this book will be of a great interest to students and scholars of contemporary theatre and history.
Red Past: An Introduction | 1. The Old Road Rapidly Ageing: Changes in Romania’s Theatre before and after 1989 | 2. Andrei Șerban: Prophet without a Country | 3. Silviu Purcărete, the Visionary | 4. Mihai Măniuțiu: The Trial of Communism on Stage | 5. The Alternative Path: Radu Afrim, a Queer Look at Life | 6. Elements of Ethics and Aesthetics in New Romanian Theatre: From Gianina Cărbunariu to David Schwartz and Bogdan Georgescu | 7. Three Pictures with Gianina Cărbunariu | 8. Attempts at Participatory Art or Cracks in the Pedestal of the Statue: Alexandru Berceanu, Cinty Ionescu, Peter Kerek | 9. Feminist Theatre on Romanian Stages: Tools for Reimagining Twenty-First-Century Theatre: Catinca Drăgănescu, Ioana Păun, Carmen Lidia Vidu | 10. Mapping Contemporary Romania: Thirty Years of New Drama | Epilogue: Thirty Years After: Romanian Theatre from Communism to Post-Capitalism
"This clearly structured and meticulous study will be of interest to scholars and students of contemporary theatre and history, as well as to international theatre practitioners wishing to broaden their insight into lesser known yet distinct and fascinating theatre traditions. " - Jozefina Komporaly, University of the Arts (London)