Papers by Cristina Modreanu
Dicţionarul multimedia al teatrului românesc, Aug 20, 2022
Routledge eBooks, Sep 18, 2019
Dicţionarul multimedia al teatrului românesc, Jul 19, 2023
The first book on the subject in decades and one to fill a considerable gap in the theatre studie... more The first book on the subject in decades and one to fill a considerable gap in the theatre studies literature available in English, A History of Romanian theatre from Communism to Capitalism. Children of a restless time offers a compelling source of information on modern and contemporary Romanian theatre and addresses an interdisciplinary audience of scholars and students of contemporary theatre and history studies.
Dicţionarul multimedia al teatrului românesc, Jul 15, 2020
Dicţionarul multimedia al teatrului românesc, Jul 15, 2020
Dicţionarul multimedia al teatrului românesc, Oct 8, 2021
Routledge eBooks, Jul 18, 2023
PAJ, Sep 1, 2014
A wave of curiosity toward African culture invaded Europe in July 2013, thanks to the sixtysevent... more A wave of curiosity toward African culture invaded Europe in July 2013, thanks to the sixtyseventh edition of the Avignon festival, the last one curated by Vincent Baudriller and Hortense Archambault whose associated artists this season were the French Stanislas Nordey and Congolese Dieudonné Niangouna. As a rule for these past ten years as coordinated by this team, the associated artists recommended other artists who influenced or inspired them. This edition of the Avignon Festival will probably be regarded as the most militant, as the line-up included a series of productions expressing a critical position toward colonialist attitudes still very powerful in Europe.
Dicţionarul multimedia al teatrului românesc, Aug 20, 2022
Dicţionarul multimedia al teatrului românesc, Jul 15, 2020
Routledge eBooks, Sep 18, 2019
Routledge eBooks, Sep 18, 2019
Dicţionarul multimedia al teatrului românesc, Jul 15, 2020
The Romanian Bulandra Theatre's Hamlet visit to London, in 1990, was a much awaited event-by the ... more The Romanian Bulandra Theatre's Hamlet visit to London, in 1990, was a much awaited event-by the critics, the diaspora and the wider British public. It finally talked to the world about the long history of communist repression, fear and dissidence and about the recent bloody overthrow of the infamous Ceauşescus only months after the fall of the Berlin Wall. As lead actor Ion Caramitru declared when talking about the production's run in mid-1980s Romania, "we were doing more than staging a production of Hamlet, we were preserving the conscience of our people" (The Standard, 9 August 1990). While perceived to have lost its immediacy at home, only while touring abroad could this production, which opened in 1985 (after three years of battling with the censors), perform its scripted task: "to hold the mirror up to [present] nature" (3.2.20) 1 anew. In London in 1990, this "new Prince from the Bloc" did not portray "a mangled introvert but a vigorous, passionately committed" Hamlet; more importantly, he was a dissident in post-Revolution Romania: been and gone vicepresident, Ion Caramitru/Hamlet and this production in 1990 were warning about the "new dictatorship" in a "terrible vision of the future"-as Caramitru put it in his interview with Robert Twedwr Moss (The Standard, 9 August 1990). This production's vision, its lasting impact, its link with the London National Theatre and its former director Richard Eyre, all informed the production of Hamlet directed by Nicholas Hytner for the London NT in 2010. This article sets out to cross-examine what worked inside the Bloc in the mid-1980s but did no longer work on either side of the recently fallen Berlin Wall; equally, it examines the specific Eastern (European) tropes Hytner employed in 2010, in what appeared to be the first overtly political Hamlet for a decade in the UK. Finally, the paper aims to argue that by citing and sighting the Eastern Bloc as a trope, the 2010 UK production, too, by "indirection directions found," namely that Hamlet, "the play written about a surveillance state: a totalitarian monarchy with a high developed spy network"-as Hytner put it in an interview (Hamlet Programme)-was critical(ly) about present political regimes and agendas.
Dicţionarul multimedia al teatrului românesc, Oct 8, 2021
New Theatre Quarterly, Nov 1, 2013
Young Romanian theatre artists are very concerned to address issues from the recent past and in u... more Young Romanian theatre artists are very concerned to address issues from the recent past and in using collaborative art to educational and therapeutic ends. The implications of the increased ethical consciousness in their work is addressed here by Cristina Modreanu, who focuses on the productions of directors Gianina Cӑrbunariu and David Schwartz. She analyzes the relationship between ethics and aesthetics in contemporary work against the backdrop of post-Communist Romanian society and in a global context, as well as the dynamics connecting the new wave of Romanian theatre to internationall tendencies in contemporary art, as observed by authors such as Jaques Rancière and Claire Bishop. Cristina Modreanu's doctorate on Romanian theatre after 1989 is from Bucharest University of Theatre and Film, and she has also developed the subject in lectures at Tel Aviv University and Plymouth University. A Fulbright alumna and former Visiting Scholar at New York University, Performance Studies Department, Modreanu currently lectures in Contemporary Performance at Bucharest University. Her publications include articles on Romanian and Eastern European theatre for journals such as Theater, Theater der Zeit, and Alternatives Théâtrales, and for the anthology Romania after 2000: Five New Plays, edited by Martin E. Segal.
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Papers by Cristina Modreanu