*Tema GAP7 Ce tip de istorii recente abordează teatrul documentării realităților adesea expulzate din teritoriul „adevărului istoric” unic? Cum abordează și cum interpretează discursul teatral diferite contexte istorice, accesibile prin intermediul documentelor scrise, arhivelor sau al istoriilor orale? Cum sunt teatralizate istoriile recente inconfortabile, nefiltrate unilateral, problematizante din punct de vedere politic, și care sunt perspectivele performative prin care sunt expuse? În ce măsură demersuri artistice de chestionare a istoriilor recente ajung să legitimeze strategii politice mainstream, întărind astfel narațiunea dominantă? Tema numărului 7 din Gazeta de Artă Politică – Teatrul istoriilor recente – are în centru o serie de…
by Bogdan Georgescu Cast: Emilian Crețu, Veaceslav Sambriș, Ina Surdu, Doriana Talmazan and Irina Vacarciuc. Producers: Nicoleta Esinencu and Nora Dorogan. The performance premiered on June 20 2011, at Teatrul Spălătorie, Kishinev, Moldova. ROGVAIV (Roy G. Biv in English) is a document-performance about openly-manifested intolerance, devoid of any responsibility, control or sense of shame, expressed by opinion leaders and public personalities from The Republic of Moldova in 2011. […] The topics brought forward by the actor-performers during the documenting process made up a complex image of the social issues confronting Moldova in 2011. Doriana Talmazan suggested exploring the relation between…
What kind of recent history is tackled by a theatre which documents realities often banished from the realm of the only “historical truth”? How are different historical contexts, accessible through written documents, archives and oral histories, approached and interpreted by theatre discourse? How are uncomfortable and politically problematic recent histories made into theatre and what are the performative lenses through which they are filtered? To what extent do artistic acts which question recent history end up legitimizing mainstream political strategies, thus enforcing the dominant narrative? The theme of issue #7 of the Gazeta de Artă Politică – Recent History Theatre…
Interview with Adrian Newell Păun Adrian Newell Păun was born in Bucharest, in 1958. He is a graphic designer and gay rights militant. In 8th grade, he drew an anti-Soviet caricature on the blackboard. He was detained by the Vice division of the Bucharest Militia for homosexuality while attempting to pick up an undercover cop. In 1979, he was forced to give up his Romanian citizenship (which he regained in 1996). In 1980, he fled to the US as a political refugee. In 1984, he started working for Hayward Daily Review. He published poetry in local cultural magazines. Between 1987…
By Mihaela-Diana Crăciun Gender equality has never seemed more attainable. It appears to be so close, it’s almost refreshing: we no longer have to fight for it or question it. We are free. Period. Because we’re worth it. The current mainstream discourse informs us that we enjoy unimaginable sexual freedom, which is allegedly the equivalent of women’s emancipation and of the triumph of gender equality. However, according to Natasha Walters, this discourse originates in the hypersexualization of feminine identity as a basis of consumer society and of the reproduction of patriarchal domination. The woman-as-object sells. And not only does it…
Interview with Adrian Schiop Adrian Schiop (born 1973, Porumbacu de Jos, Sibiu County, Romania) graduated from the Faculty of Psychology and Educational Science at Babeș-Bolyai University in Cluj and has an MA in Linguistics from the Faculty of Letters at the same university. In 2013, he completed his PhD dissertation on manele (Romanian turbo-folk) at the National School of Political and Administrative Studies in Bucharest. He worked as a teacher of Romanian language and literature (1997-2001, at Tehnofrig Industrial High-School in Cluj), painter (2002, Paintech LTD in Auckland, New Zealand) and journalist (2004-2010, at Evenimentul Zilei and România Liberă). He…
by Irina Costache I first came across Nina Cassian in her volumes Memory as Dowry. From her diary notes spread across half a century, I built an image of her as a sort of feminist-poetic ideal. Nina Cassian seemed to be a free woman, open to experimenting (either poetically, politically or amorously), a woman dedicated to her work (maybe the only woman who was known to spend her entire time on the reading-writing rollercoaster so present in the lives of male intellectuals) and not least of all, a woman honest with herself. Critics would say Nina Cassian was spoiled, including…