La conférence-performance : une stratégie artistique pour un savoir décolonial ?

The article aims to investigate the actual trend of performance lecture, analyzing it through the perspective of the “performative turn”, defined by Erika Fischer-Lichte as the end of the classic artistic binarisms. Our hypothesis is that this kind of work resists to the modern, colonialist and patriarchal categories, becoming a new strategy for artists interested in the decolonial debate.

L’autofiction, un genre performatif

The purpose of this paper is to comment on the emergence of autofiction genre and its meaning. Beginning with a comparative analysis of this genre and the autobiographical one we will show the lack a stability of its definition since the 1970’s until dawn of the 21st century. This neologism, created by Serge Doubrovsky in 1969 shall be rebuilt by the author himself in 1977. Doubrovsky shall hence define that concept for a period of twenty years without achieving to fix all the issues concerning that very word. Beyond the more or less accepted combination of deconstructed narration, split subject and links to the psychoanalysis, autofiction genre appears to contain a performative potential. We will question about how and in which way autofiction parts itself from autobiography, showing it is from the beginning intrinsically performative

Le mot prononcé sur scène -profondeur et connexion-

The word uttered by the actor on stage can still be considered an enigma today because it still involves difficulties, especially, in decoding and deep understanding. Thus, we intend to clarify the route followed by the word from the text to the stage utterance, insisting on the elucidation of some sources of inner order that can cause transmission difficulties. Even if the word uttered by the actor was treated in different manners with the new theatrical forms, the actor's inner laboratory remains the same.

La singularité en relation : la performance dans le théâtre et la société contemporains

This article addresses the question of consistent presence of “postdramatic” performative elements in contemporary theater staging. It considers artistic production and everyday behavior as two related processes supported by individual creative capacity inherent to every human being. Both an individual self in its day-to-day exchanges, and a theater character within a play are maintained by this capacity to process the unknown and function in the presence of the unpredictable. In the “postmodern” interrelated and multifaceted world this ability becomes crucial for an individual as well as for the society. It is made possible by a relational network created by continuous performative actions and relies on a cultural space relatively free of codified behavior that can be defined as liminal. Contemporary theater in its staging practices and in its active involvement of the spectator can arguably function as this liminal space indispensable for culture as a whole.

Nouvelles formes performatives dans les pratiques anciennes : Le symposion grec en tant que « mise en perf » . Synesthésie, espace sympotique et performance

The Greek symposion was an all-male drinking celebration that included wine consumption, love, games, philosophical conversation, and live performance by both the symposiasts and by professional artists. Using the terms “performise” and “mise en perf,” coined by Patrice Pavis, this article explores how new performative forms can be found in ancient practices and, more specifically, within the cultural performance that was the Greek symposion. These two terms encompass both the performative and the theatrical character of the symposion that can both be traced through the study of its specific ritual and of sympotic space (the dining room dedicated exclusively to the symposion). In this way, a reinterpretation of this ancient social and cultural event will be provided through the lens of Theatre Studies and Performance Theory.

« Le tableau vivant » ou sur l’intermédialité au théâtre

Intermediality, as an act which is necessarily an extension of what we might call inter-arts, makes theatre reconfigure not only its status, but also its structural elements. Thus, the presence becomes a theme which is impossible to be avoided in the analytical approach of theatre. It is the presence that is led in the direction of integrating the multiple meanings of those media that are on same level with the dedicated theater art. Our study will try to point out some elements that make intermediality transform the theatrical into a “composition” with paradoxical meanings and significances.

Kódolás és dekódolás – egy televíziós híradó üzenete. Esettanulmány: Román Televízió, Kolozsvári Területi Stúdió - TVR Cluj -

The present thesis is a part of my doctoral dissertation, in which I investigated the functions and roles of the Romanian Television’s territorial studios, the case study being the studio from Cluj. Some of my research in this domain was about the news programme of the analyzed TV-channel. I investigated how the encoded information of the news reveal the social facts of this region, and how they could be decoded by the public. One of the surprises of the conclusions is about the fewness of the news presenting the events happening in the communities of the national minorities living in Transylvania. But there are other surprising conclusions too, from which content creators of regional television news could learn.

L’écran comme vecteur de la mémoire du théâtre

This article shows how Ivo van Hove’s performance Les Damnés, based on Visconti’s film, reuses material from ancient Greek theatre. The stage director introduces the cinematographic idiom with the use of the camera in order to keep the continuity with Visconti’s film. Members of the Von Essenbeck family are characters bearing resemblance to Agamemnon, Clytemnestra, Orestes, Aegisthus and Creusa, Jason’s new wife. Their actions can be understood and magnified by the simultaneous reading of the Greek tragedies (Oresteia, Orestes, Electra, Medea). Thus, we establish the characters’ ancient nature, which gives them an archetypal consistency, while, by the use of the camera, the stage deepens its insight on them, focusing on the details of their faces and the actors’ work.

Implicațiile propagandei în reflectarea și redefinirea realității

Today technology touches nearly every aspect of our lives, affecting profoundly our activities and reshaping the information environment. The new digital era provides innumerable opportunities to create connections and share ideas and information and even build a new reality. The high-speed Internet has expanded circle of social connections and increased communication opportunities for the social, economic and cultural sectors as well as enhancing efficient access to information and cultural resources. Unfortunately, though, the same technologies can also serve to pollute our online „ecosystem”. They can be used to manipulate at a scale that was never possible. In this information-oversaturated world, fake news and propaganda have taken many forms and simultaneously contribute to undermine, reshape and redefine reality. Our study aims to reveal the way in which reality is redefined and reshaped in this communication context.

Trois jours d’Atelier avec Patrice Pavis

The meeting with Patrice Pavis provided the occasion for a complex reflection on the need to include into a totalizing vision of theory and practice, the need to revisit certain notions perceived as a synthesis of knowledge and a guide for a praxis. The article also mentions a series of other aspects, regarded as particularly important for working with actors, such as the literary analysis of the text, the quality of a play's translation, which should favor its sonorous and actantial dimension, but also the notion of "verbo-corps”, which captures the essence of the actor's presence and performance on stage and which can also be a guide for the translator.