{"id":258,"date":"2020-10-25T11:57:06","date_gmt":"2020-10-25T11:57:06","guid":{"rendered":"https:\/\/conferences.ulbsibiu.ro\/lucianblagacolloquium\/?page_id=258"},"modified":"2020-10-28T10:06:26","modified_gmt":"2020-10-28T10:06:26","slug":"keynote-speaker-editia-2020-ioana-petcu","status":"publish","type":"page","link":"https:\/\/conferences.ulbsibiu.ro\/lucianblagacolloquium\/?page_id=258","title":{"rendered":"Keynote Speaker edi\u021bia 2020 &#8211; Ioana Petcu"},"content":{"rendered":"<p style=\"text-align: justify;\"><strong><a href=\"https:\/\/conferences.ulbsibiu.ro\/lucianblagacolloquium\/wp-content\/uploads\/01.jpeg\"><img loading=\"lazy\" class=\"alignleft size-thumbnail wp-image-225\" title=\"Ioana Petcu\" src=\"https:\/\/conferences.ulbsibiu.ro\/lucianblagacolloquium\/wp-content\/uploads\/01-150x150.jpg\" alt=\"\" width=\"150\" height=\"150\" \/><\/a>I<\/strong><strong>oana Petcu <\/strong><\/p>\n<p style=\"text-align: justify;\"><strong> <\/strong>Lector universitar doctor al Facult\u0103\u021bii de Teatru de la Universitatea de Arte \u201eGeorge Enescu\u201d din Ia\u0219i, critic de teatru \u0219i autor al unor c\u0103r\u021bi de teorie teatral\u0103 sau cinematografic\u0103:\u00a0U<em>rma\u0219ii lui Thespis<\/em> (2012),\u00a0<em>Dialoguri imaginare cu filmul <\/em>(2015),\u00a0<em>Istoria teatrului rom\u00e2nesc &#8211; curs<\/em> (2018),\u00a0<em>Fragmentarium cu Shakespeare<\/em> (2019).\u00a0Face parte dintre vocile criticii ie\u0219ene (este membr\u0103 \u00een Asocia\u021bia Interna\u021bional\u0103 a Criticilor de Teatru), remarc\u00e2ndu-se, de asemenea, \u00een domeniul cercet\u0103tii \u0219i fiind activ\u0103 prin proiecte culturale locale.\u00a0E autoarea mai multor studii \u0219i articole \u00een reviste academice din Rom\u00e2nia, Republica Moldova, Germania \u0219i Statele Unite ale Americii.<\/p>\n<p style=\"text-align: justify;\">CONFERIN\u021aA\u00a0<strong>Cum v\u0103 (mai) place Shakespeare? Dramaturgi rom\u00e2ni sub semnul bardului: Marin Sorescu, Matei Vi\u0219niec, Olivia Negrean<\/strong><\/p>\n<p><a href=\"http:\/\/meet.google.com\/ruv-hhos-mvz\">meet.google.com\/ruv-hhos-mvz<\/a><\/p>\n<p>Rezumat: Marele Will se vede azi mai mic, dar mai str\u0103lucitor? A devenit azi un pretext dramaturgic, o ramp\u0103 de lansare pentru subiectele actuale sau pentru universul tematic obsedant al autorilor? Care sunt procedeele prin care mitul e desprins din manualul de istorie a teatrului \u0219i e adus \u00een spa\u021biul public azi? Ne afl\u0103m, de fapt, \u00een fa\u021ba unor \u00eentreb\u0103ri inepuizabile, pentru care conteaz\u0103 r\u0103spunsul dat &#8211; aproape \u00een manier\u0103 postdramatic\u0103 \u2013 \u00een fiecare moment al existen\u021bei lor. Am adunat \u00een aceast\u0103 prezentare trei dramaturgi rom\u00e2ni care au revizitat, fiecare \u00een stilul \u0219i \u00eentr-o anumit\u0103 perioad\u0103, figura marelui Will, a prietenului Will. Trei piese, trei stiluri, trei m\u0103rturii despre artist \u0219i arta spectacolului, din anii\u00a0\u201980 p\u00e2n\u0103 azi, trei viziuni descentralizatoare, dar \u0219i tangente.\u00a0V\u0103rul\u00a0\u00a0Shakespeare\u00a0este unul dintre textele mai pu\u021bin cunoscute \u0219i aproape deloc montate ale lui Marin Sorescu. Dincolo de jongleriile inter- \u0219i metatextuale, dincolo de discursul ludic \u0219i de efectele teatrale, scriitorul rom\u00e2n pune accent pe \u00eent\u00e2lnirea dintre limbajul poeziei elisabetane \u0219i comicul autohton. Richard al III-lea \u00eel viziteaz\u0103 pe regizorul Vsevolod Meyerhold \u00een\u00a0Richard al III-lea se interzice\u00a0de Matei Vi\u0219niec. Precum un autoportret, poate, al autorului strecurat \u00een personajul lui Meyerhold, piesa se \u00eentoarce \u2013 prin paradoxurile, prin teatralitatea, prin intersec\u021biile dintre timpi, culturi \u0219i voci auctoriale \u2013 spre un mesaj c\u00e2t se poate de clar \u00een privin\u021ba libert\u0103\u021bii artistului, mesaj care \u2013 dovad\u0103 sunt situa\u021biile actuale globale \u2013 sunt de o continu\u0103 actualitate. Cu ce se m\u0103n\u00e2nc\u0103 Shakespeare se \u00eentreab\u0103 amuzat\u0103, dar \u0219i cu sub\u00een\u021beles, actri\u021ba Olivia Negrean, autoarea textului\u00a0FEAST (a play in one cooking). \u0218i ne r\u0103spunde prin modalitatea ei de construc\u021bie dramaturgic\u0103 \u0219i prin proiectul desf\u0103\u0219urat \u00een cadrul Institutlui Cultural Rom\u00e2n (Londra), \u00een care Philip Parr monteaz\u0103 spectacolul produs de Parrabbola Theatre Company (2019). Num\u0103r\u00e2ndu-se printre pu\u021binele autoare din Rom\u00e2nia care abordeaz\u0103 sfera rescrierilor operelor shakespeariene, Negrean ofer\u0103 cititorului sau spectatorului un exerci\u021biu inteligent \u00een care exist\u0103 o evident\u0103 doz\u0103 de feminism deloc acuzatoare. Perpetua problematic\u0103 rostogolit\u0103 parc\u0103 prea des uneori \u00een spa\u021biul public referitoare la misoginia bardului de la Avon este \u00een acest caz recalibrat\u0103 \u00eentr-un joc al vocilor diferite, a \u0219ase personaje feminine care nu-l acuz\u0103, ci-l \u00eemp\u0103rt\u0103\u0219esc pe Shakespeare (aburind) ca pe m\u00e2ncare cald\u0103 \u00een public. Shakespreare se g\u0103te\u0219te \u0219i se m\u0103n\u00e2nc\u0103, a\u0219adar, al\u0103turi de \u0219i \u00eempreun\u0103 cu publicul.<\/p>\n<p>&nbsp;<\/p>\n<p>&nbsp;<\/p>\n","protected":false},"excerpt":{"rendered":"<p>Ioana Petcu Lector universitar doctor al Facult\u0103\u021bii de Teatru de la Universitatea de Arte \u201eGeorge Enescu\u201d din Ia\u0219i, critic de teatru \u0219i autor al unor c\u0103r\u021bi de teorie teatral\u0103 sau cinematografic\u0103:\u00a0Urma\u0219ii lui Thespis (2012),\u00a0Dialoguri imaginare cu filmul (2015),\u00a0Istoria teatrului rom\u00e2nesc &hellip; <a href=\"https:\/\/conferences.ulbsibiu.ro\/lucianblagacolloquium\/?page_id=258\">Continue reading <span class=\"meta-nav\">&rarr;<\/span><\/a><\/p>\n","protected":false},"author":1,"featured_media":0,"parent":45,"menu_order":1,"comment_status":"closed","ping_status":"open","template":"","meta":[],"_links":{"self":[{"href":"https:\/\/conferences.ulbsibiu.ro\/lucianblagacolloquium\/index.php?rest_route=\/wp\/v2\/pages\/258"}],"collection":[{"href":"https:\/\/conferences.ulbsibiu.ro\/lucianblagacolloquium\/index.php?rest_route=\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/conferences.ulbsibiu.ro\/lucianblagacolloquium\/index.php?rest_route=\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/conferences.ulbsibiu.ro\/lucianblagacolloquium\/index.php?rest_route=\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/conferences.ulbsibiu.ro\/lucianblagacolloquium\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=258"}],"version-history":[{"count":3,"href":"https:\/\/conferences.ulbsibiu.ro\/lucianblagacolloquium\/index.php?rest_route=\/wp\/v2\/pages\/258\/revisions"}],"predecessor-version":[{"id":286,"href":"https:\/\/conferences.ulbsibiu.ro\/lucianblagacolloquium\/index.php?rest_route=\/wp\/v2\/pages\/258\/revisions\/286"}],"up":[{"embeddable":true,"href":"https:\/\/conferences.ulbsibiu.ro\/lucianblagacolloquium\/index.php?rest_route=\/wp\/v2\/pages\/45"}],"wp:attachment":[{"href":"https:\/\/conferences.ulbsibiu.ro\/lucianblagacolloquium\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=258"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}