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Autori: ANCA HAȚIEGAN.
Published Online: 2018-03-30
Published Print: 2018-03-30
pp. 263-268
VIEW PDF: Lucian Blaga as Visionary but Unfortunate Playwright
A qualified literary critic and theatrologist, rewarded in 2007 with the award of the Romanian Theatrical Union for career achievements, Doina Modola has a multi-volume publishing history: Dramaturgia românească între 1900-1918 [Romanian Dramaturgy between 1900 and 1918] (1983); Actori pe scena lumii [Actors on the World Stage] (1990); Chipurile Traviatei. Reprezentația lirică [The Guises of La traviata. The Lyrical Representation] (2002); Seducătorul și umbrele: Gib I. Mihăescu. Dramaturgia prozatorilor [The Charmer and the Shadows: Gib I. Mihăescu. the Dramaturgy of Prose Writers] (2003). The certain thing, however, is that her capital work, currently unfinished, is dedicated to the theatre of Lucian Blaga (1895-1961), one of the most important Romanian writers and philosophers, a creator whose presence has marked, inspired and guided the author ever since her childhood, as revealed by the “dedications” that open two of the three volumes. The most recent of them, Lucian Blaga și teatrul. Jocurile dramei. Tulburarea apelor, Fapta, Daria, Înviere [Lucian Blaga and the Theatre. Drama Games. Whirling Waters, The Deed, Daria, Resurrection] (Bucharest: Editura Anima, 2017) is the third volume of an expected cycle on the theatrical concept of Blaga, Blaga’s dramaturgy and its reception from the beginning to the contemporary age, as well as on the theatrical productions that this dramaturgy has generated. The volume was preceded by Lucian Blaga și teatrul. Insurgentul. Memorii. Publicistică. Eseuri [Lucian Blaga and the Theatre. The Insurgent. Memoirs. Journalism. Essays] and by Lucian Blaga și teatrul. Riscurile avangardei [Lucian Blaga and the Theatre. The Risks of the Avant-garde] (Bucharest: Editura Anima, 1999 and 2003).
