![]()
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
|
|||||||
The STUDIA UNIVERSITATIS BABEŞ-BOLYAI issue article summary The summary of the selected article appears at the bottom of the page. In order to get back to the contents of the issue this article belongs to you have to access the link from the title. In order to see all the articles of the archive which have as author/co-author one of the authors mentioned below, you have to access the link from the author's name. |
|||||||
STUDIA DRAMATICA - Issue no. 2 / 2019 | |||||||
Article: |
TEATRUL JOURNAL, BETWEEN NORMS AND EMANCIPATION. THE YEARS OF THE THAW AND THOSE OF THE NEW FREEZE. Authors: MIRUNA RUNCAN. |
||||||
Abstract: DOI: 10.24193/subbdrama.2019.2.03 Published Online: 2019-12-15 Published Print: 2019-12-30 pp. 51-79 VIEW PDF FULL PDF >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 |
|||||||
![]() |
|||||||