{"id":3060,"date":"2013-10-01T22:12:37","date_gmt":"2013-10-01T22:12:37","guid":{"rendered":"http:\/\/artapolitica.ro\/?p=937"},"modified":"2016-09-26T12:58:36","modified_gmt":"2016-09-26T12:58:36","slug":"multumim-pentru-copilaria-noastra-fericita-spectacolul-cu-copii-in-romania-anilor-1980","status":"publish","type":"post","link":"https:\/\/artapolitica.ro\/gazetapolitica\/en\/2013\/10\/01\/multumim-pentru-copilaria-noastra-fericita-spectacolul-cu-copii-in-romania-anilor-1980\/","title":{"rendered":"\u201cThank You for Our Happy Childhood\u201d: Children\u2019s Performances in 1980s Romania (summary)"},"content":{"rendered":"

by Marius Bogdan Tudor and Mihai Luk\u00e1cs<\/i><\/b><\/strong><\/em><\/p>\n

The post-World War 2 modernizing drive of the Romanian state manifested itself in two essential policies: industrialization and the democratization of culture. The two approaches were complementary: first of all, industrialization offered the possibility of involving a mostly rural workforce in the production sector in order to rebuild a war-torn economy on the basis of scientific Socialism and, in the long run, the possibility of a state-fueled proletarian class. Second of all, building an infrastructure of cinemas, theaters, performance halls (the future \u201cunion houses\u201d) and libraries at the national level, doubled up by an infrastructure of workers\u2019 clubs, artistic brigades, village cultural homes and factory newspapers at the enterprise and agricultural co-op level, facilitated the regulation and institutionalization of an inherently volatile space \u2013 the realm of the arts \u2013 and enabled the shaping of working-class identity by involving workers in an increasing number of cultural activities.<\/p>\n

In the effort to fit the entire population into one ideological framework, children played a vital role as \u201cthe future of Socialism.\u201d The widespread belief that \u201ckids work no matter what\u201d was countered by the tendency to stage wannabe professional performances with children. This tendency reached its peak in the sumptuous choreographies at festivals such as C\u00e2ntarea Rom\u00e2niei<\/b> (Ode to Romania) in the late 70s and 80s. This extreme \u201cspectacleization\u201d, so to speak, was already considered a result of the dynamics of socio-economic change, of mutations in the Socialist conscience of the masses, of the effects of mass-media, all of which allegedly led to a steady rise in the demands of performers and viewers alike. The desire to transmit and receive is dominated by the imperative of \u201cmore, stronger, deeper.\u201d Dancing in and of itself was not enough, it had to be part of a \u201cwider collective effort\u201d and subordinated to \u201cthe realization and transmission of complex artistic messages, deep in their actuality, dramatic in the depth of human emotion they embody [\u2026].\u201d<\/p>\n

During the Golden Age in Romania (the hyperbolic name given to the Ceau\u0219escu period), the image of the child-performance functioned as a dominant narrative: the pioneer \u2013 the Communist of tomorrow \u2013 embodied the official ideology in its maximal form. The child-performance functioned as the absolute truth of the regime, to whom the politically imperfect adults owed the functioning of the \u201cmultilaterally developed Socialist society.\u201d The child-performance disciplines subjectivity and always lurks in the shadows (but also in the lime light or on the silver screen), able to correct the errors of ideological zombiefication and perform the mandatory cultivation of Socialist reproduction.<\/p>\n

\"Credits:<\/a>

Credits: www.glasul.ro<\/p><\/div><\/p>","protected":false},"excerpt":{"rendered":"

by Marius Bogdan Tudor and Mihai Luk\u00e1cs The post-World War 2 modernizing drive of the Romanian state manifested itself in two essential policies: industrialization and the democratization of culture. The two approaches were complementary: first of all, industrialization offered the possibility of involving a mostly rural workforce in the production sector in order to rebuild a war-torn economy on the basis of scientific Socialism and, in the long run, the possibility of a state-fueled proletarian class. Second of all, building an infrastructure of cinemas, theaters, performance halls (the future \u201cunion houses\u201d) and libraries at the national level, doubled up by…<\/p>\n","protected":false},"author":4,"featured_media":0,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":[],"categories":[80],"tags":[],"_links":{"self":[{"href":"https:\/\/artapolitica.ro\/gazetapolitica\/en\/wp-json\/wp\/v2\/posts\/3060"}],"collection":[{"href":"https:\/\/artapolitica.ro\/gazetapolitica\/en\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/artapolitica.ro\/gazetapolitica\/en\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/artapolitica.ro\/gazetapolitica\/en\/wp-json\/wp\/v2\/users\/4"}],"replies":[{"embeddable":true,"href":"https:\/\/artapolitica.ro\/gazetapolitica\/en\/wp-json\/wp\/v2\/comments?post=3060"}],"version-history":[{"count":1,"href":"https:\/\/artapolitica.ro\/gazetapolitica\/en\/wp-json\/wp\/v2\/posts\/3060\/revisions"}],"predecessor-version":[{"id":3454,"href":"https:\/\/artapolitica.ro\/gazetapolitica\/en\/wp-json\/wp\/v2\/posts\/3060\/revisions\/3454"}],"wp:attachment":[{"href":"https:\/\/artapolitica.ro\/gazetapolitica\/en\/wp-json\/wp\/v2\/media?parent=3060"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/artapolitica.ro\/gazetapolitica\/en\/wp-json\/wp\/v2\/categories?post=3060"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/artapolitica.ro\/gazetapolitica\/en\/wp-json\/wp\/v2\/tags?post=3060"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}