AMBIENTUM BIOETHICA BIOLOGIA CHEMIA DIGITALIA DRAMATICA EDUCATIO ARTIS GYMNAST. ENGINEERING EPHEMERIDES EUROPAEA GEOGRAPHIA GEOLOGIA HISTORIA HISTORIA ARTIUM INFORMATICA IURISPRUDENTIA MATHEMATICA MUSICA NEGOTIA OECONOMICA PHILOLOGIA PHILOSOPHIA PHYSICA POLITICA PSYCHOLOGIA-PAEDAGOGIA SOCIOLOGIA THEOLOGIA CATHOLICA THEOLOGIA CATHOLICA LATIN THEOLOGIA GR.-CATH. VARAD THEOLOGIA ORTHODOXA THEOLOGIA REF. TRANSYLVAN
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Autori: MIRUNA RUNCAN.
DOI: 10.24193/subbdrama.2019.2.03
Published Online: 2019-12-15
Published Print: 2019-12-30
pp. 51-79
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The Teatrul Journal, dedicated both to professionals and to devoted spectators, appeared in 1956 following the so-called thaw, which took place in the part of Europe controlled by the Soviet regime after Nikita Khrushchev’s secret report at the 20th Congress of the Communist Party of the Soviet Union. As we know, this secret report highlighted the horrors which took place during the decades dominated by Stalin, incriminated his cult of personality, and promised a certain openness in the fields of science, culture and arts towards communicating with the West, as well as loosening the chains of censorship. This phenomenon was felt, in a more or less discrete way, at all levels of the Romanian society; and for the theatre domain, the sign of this change of politics was the launch of the Teatrul journal, under the patronage of the writer, playwright and aesthetician Camil Petrescu. This paper (which is part of a wider research dedicated to theatre criticism discourses in the communist period) looks at the relation between party orders and the editorial policy taken on by or imposed on the journal from its birth (April 1956) to the new freeze wave (1958-1960).
Keywords: Theatre, Theatre criticism, Politics, History
