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Tribunal Theatre: Performativity, Memory, and Symbolic Justice
Tribunal theatre asserts itself as an engaged artistic form that transcends aesthetics to become an instrument of symbolic justice, civic pedagogy, and social activism. It intervenes where traditional legal systems prove ineffective, inaccessible, or corrupt, providing a space in which injustices are brought before the public and collective traumas are acknowledged. Through participatory methods, based on real documents and staged reconstructions, spect-actors become witnesses, jurors, or active participants in processes of moral and social reflection. The function of tribunal theatre includes legal education, the democratization of rights-related knowledge, the recovery of collective memory, and the promotion of civic responsibility. Examples such as The Congo Tribunal, The Colour of Justice, or local projects in Romania illustrate its impact on public consciousness, symbolic reconciliation, and the generation of social change. In post-conflict or post-totalitarian contexts, tribunal theatre becomes a versatile instrument: a living archive, a space for ethical repair, an educational forum, and a platform for activism, demonstrating the capacity of art to transform public perception of justice and collective responsibility. -
The Roma Theatre in Romania: Between Expression and Institutionalization
This article examines the relationship between Romanian state cultural policies and the emergence of a Roma theatrical movement over the past two decades. Although the recommendation to establish a State Roma Theatre appears recurrently in governmental strategies, institutionalization remains blocked, revealing the limits of the official discourse of inclusion. The study contextualizes this absence within the historical continuity of Roma marginalization, from slavery and eugenic racism to distorted representation in dominant culture. Drawing on conceptual frameworks proposed by Stuart Hall, theatre becomes a space of symbolic resistance, where memory, social justice, and the reconfiguration of collective identity are articulated through artistic expression. The analysis maps the main contemporary Roma theatrical initiatives, highlighting how they function as autonomous forms of knowledge production and challenges to cultural hegemony. In the absence of an institutional infrastructure, Roma theatre acquires political and epistemic value, proposing an alternative model of representation within the Romanian cultural sphere. -
Dream, Daydream, Memory
This article addresses the relationship between dreams and memory and focuses on the hypothesis that the process of dreaming contributes to memory consolidation. To understand this mechanism, the study considers dreams experienced in various stages of sleep and so-called "waking dreams," or reverie. Pro and con arguments, both enthusiastic and skeptical, are presented on the ability of dreams to influence memory and of memory to "dictate" dreams. The focus of this article is on the intersection of dreams, memory, and consciousness, a triad that emerges as a hypothetical fertile ground for the formation and understanding of theatrical dreams. -
Emotion and Absurdity Between Stage and Screen. A Comparison of Theatrical Techniques and Mockumentary Aesthetics in Waiting for Godot and Waiting for Guffman
This paper explores the parallels between Samuel Beckett’s Waiting for Godot (1953) and Christopher Guest’s Waiting for Guffman (1996), two works separated by medium, tone, and historical context, yet bound by a shared dramatic structure: waiting. Through a comparative analysis, it examines how theatrical techniques and mockumentary aesthetics generate emotion and absurdity across stage and screen. Beckett’s play presents existential futility through minimalist performance and cyclical time, while Guest’s film transforms the mockumentary form into a study of aspiration, delusion, and human vulnerability. Both works use absence, specifically the unseen figures of Godot and Guffman, as a central narrative force, revealing how performance itself becomes a response to uncertainty. Ultimately, this study argues that in both theater and film, the act of performing, whether as endurance or self-invention, constitutes a profound form of resistance against meaninglessness. -
The evolution of dance in American musicals
Dancing for musicals includes several forms and styles of dance. And how else could it have evolved if not through an equally eclectic history, starting from Greek and Roman theatrical performances (from 500 BC onwards) to the dazzling musicals of today. From performances in which it played a supporting role in drama shows, operas and morality plays, dance gained its own identity in the 19th century, in minstrel and vaudeville shows. Later, it would manage to occupy an important place in Broadway musicals, because it evolved with each period to better support the stories and connect with the audience. The men who created the choreographies were initially called dance directors and later choreographers. They strove to integrate dance into the storyline of the musicals and became directors-choreographers who created conceptual musicals and dance musicals. But gradually, women demonstrated their skills as creators of musicals and helped evolve not only dance, but also Broadway musicals. -
Costache Antoniu - Actor, Teacher, and Theater Promoter
Costache Antoniu remains one of the defining personalities of Romanian theater, a complete artist who exemplarily combined stage talent, pedagogical vocation, and the desire to promote theater culture. His training in Iași laid the foundation for his entire career: at the Conservatory, under the guidance of State Dragomir, he learned the importance of rigorous analysis of roles and the idea that the stage also has a moral mission, that of contributing to "righting wrongs." Mihai Codreanu refined his diction and instilled in him the belief that art is the expression of emotion filtered through reason, while Mihai Sadoveanu, as director of the National Theater, offered him his first real support by hiring him as a "probist" in 1920. Alongside the master Vernescu-Vîlcea, Antoniu perfected his understanding of the Caragiale tradition, thus preparing himself for the difficult years of wandering through provincial theaters. His career, built step by step, illustrates admirable perseverance. As a teacher, he passed on to younger generations the essential principles of the Iași school—artistic sincerity and naturalness. His appointment as rector of the "I. L. Caragiale" Institute of Theater and Cinematographic Art confirmed his ability to transform his stage experience into a true model of professional training. Costache Antoniu's legacy lies in the harmony between the realistic tradition and the profound humanity of his performances, marked by naturalness, discreet irony, and warm humor, becoming a benchmark of professionalism and modesty for the entire profession. -
The Nameless Star or Chekhov's "Moscow"
This article focuses on Mihail Sebastian's play The Nameless Star, staged at the ”Elvira Godeanu” Drama Theater in Târgu Jiu, and offers a reflection on suspended time and human fragility, in a subtle encounter between the worlds of Mihail Sebastian and Chekhov. Marin Miroiu, like Chekhov's characters, lives in a reality weighed down by routine, finding refuge in astronomy, a space where ideals can breathe. Mona's appearance disturbs this stagnant balance, like the arrival of the soldiers in Three Sisters, revealing the hidden vulnerabilities of the small community. Miss Cucu, the student, Udrea, and the entire provincial world carry Chekhovian echoes, oscillating between rigor, dreaming, and the need to escape. In counterpoint, the elderly couple introduced in the staging becomes an image of the possible destiny of Mona and Miroiu, a poetic and degraded projection of their unfulfilled love. The character Ichim, an inner vibration of the show, tries in vain to awaken the spirits of the others, reminding them that time can be both a prison and a gateway to miracles. -
Embodied Expression: Cognition, Technique, and Memory in the Art of the Silent Actor
Silent acting occupies an unusual position in performance studies: it is at once historically bounded by early cinema and yet persistently relevant as a model for understanding embodied expression. This article examines the silent actor as a site where cognition, nonverbal communication, and artistic technique converge. Drawing from film history, cognitive science, and performance theory, the study argues that silent performance functions as a laboratory for analyzing how bodies generate meaning and emotion in the absence of speech. After outlining the historical evolution of silent acting and the diverse traditions that shaped it, the article incorporates research in embodied cognition and spectator theory to explore how viewers infer intention, affect, and narrative from physical behavior. Technical aspects of silent performance, like gesture, posture, rhythm, facial micro- expression, and the actor’s relationship to the camera, are examined in detail to reveal how silent actors crafted expressive precision. Contemporary applications are analyzed through examples from modern cinema, animation, and motion-capture performance, demonstrating the enduring relevance of silent-era principles. Case studies of Charlie Chaplin, Buster Keaton, and Asta Nielsen illustrate how individual actors developed distinctive expressive vocabularies grounded in bodily form. The article concludes by arguing that silent acting not only enriches film and performance scholarship but also contributes to ongoing scientific discussions about perception, empathy, and the embodied mind. -
Theater in the United Arab Emirates: Cultural Evolution and Contemporary Practices
Theater in the United Arab Emirates (UAE) is a complex cultural phenomenon shaped by historical, religious, and migratory influences. Unlike Western theatrical traditions, which are deeply rooted in historical continuity and professionalization, theater in the UAE is a relatively recent development, largely driven by expatriate communities rather than local demand. This paper explores the evolution of theater in the UAE, its historical background, religious influences, and its current state, drawing from both scholarly sources and firsthand experiences. The study aims to analyze how theater is perceived, practiced, and integrated into the cultural fabric of an Islamic country with a rapidly growing global identity. -
Poverty, Courage, and Compromise: Brechtian Dimensions and Modern Directing in Mutter, a Performance by Dumitru Acriș – A study on how Brechtian aesthetics are reinterpreted through contemporary directorial means
The article investigates how the performance Mutter, directed by Dumitru Acriș, rearticulates the themes of poverty, courage, and compromise through a complex hybridization of Stanislavskian psychological realism and Brechtian distancing techniques. The analysis follows the concrete mechanisms of stage construction—mise-en-scène, space, rhythm, gesture, and object—in order to highlight how these elements generate a representation that is simultaneously emotional and critical. Poverty functions as an organizing principle of the scenic universe, shaping behaviours and relational dynamics. The performance alternates realistic sequences with moments of social commentary, transforming the individual story into a reflection on contemporary socio-economic mechanisms. The result is a form of modern social theatre that establishes a dialogue between the interiority of lived experience and the lucidity of analysis. -
Emotion in theatre as abuse, excess and acting technique
The present paper starts from the idea of abuse that is generated by emotionality that is not properly managed either by spectators or stage professionals. Taking into consideration the psychological aspects of emotion and the way emotion is used in stage expression, it is emphasized that the idea of controlling emotion is as pernicious as the idea of letting oneself fall prey to emotion. It is noted that emotion, seen as a process of survival of the self, should not be automatically dismissed as series of micro-actions devoid of reason. Emotions can, however, be interchanged and transformed until they exhaust their energy. It also examines how, from a theatrical perspective, emotion is not only seen in facial expressions, but practically resides in the actor’s entire stage behaviour. At the same time, it is discussed that emotion, from a scenic point of view, is not exhibited, communicated by the actor, but is perceived by the spectator in a detectivist way. -
Actor and Character from the Perspective of Uta Hagen’s Method
Regardless of the type of theatre researched and practiced at the beginning of the third millennium, what remains constant is the aspiration of theatre practitioners to confront texts of the great dramaturgy capable of generating revelation and emotion and in which we find characters structured on the narrow strip between misery and ecstasy. From this perspective, the present work discusses aspects of Uta Hagen’s method according to which the actor creates his own character through series of transfers from his personal experiences to the life of the character in the play. We advance the idea that Hagen’s method makes the connection between K.S. Stanislavski’s method and that of Eugenio Barba, respectively between the creation of the role through affective identification and the creation of the score by weaving characteristics of a mythical or contemporary figure with parts of the actor’s biography. -
Persona. Artistic Research on Acting Processuality within a “Practice-Based Research” Paradigm
The research project “Ingmar Bergman’s Persona. An Applied Investigation of Actorial Processuality” proposes an innovative exploration of the mechanisms of constructing, transferring, and deactivating a character in contemporary acting, using a practice-based research methodology. The study aims to generate a set of pedagogical and artistic tools related to entering a character and exiting it instantaneously, in the context of small cast productions and the contemporary need for increased actor versatility. The article seeks to analyze the structure of the project, its interdisciplinary directions, and the novelty of the approach in relation to national and international research. It is also a reflection of the working dynamics within an artistic laboratory, illustrating how, at times, research objectives can produce unexpected outcomes that enrich a field of knowledge. -
Radio Theatre: Theatrical Genre or Hybrid Species?
Ioana SOREANU01.05.202610.35218/tco.2026.16.1.14a discussion on radio drama viewed as a hybrid specieRadio theatre emerged at the beggining of the 20th century, during a time in which classical theatre was undergoing a series of changes, people were experimenting with it, and new trends appeared – such as symbolism, expressionism, and avant-gardism. The theatre play was adopted and adapted by the audio media, with the goal of educating and providing entertainment, in the sense of spending time in a pleasant way. Taking into consideration that radio theatre combines elements from several different arts and means of expression – which it adapts according to the specificities of the audio medium – can one conclude that it is a theatrical genre, or is it rather a hybrid species, somewhere between theatre in its purest form and a narrative exercise of sound? The arguments which support the idea that radio theatre is a theatrical genre are related to the common points between radio theatre and classical theatre: both start from a text, preserve the dramatic structure, directors and actors take part in their creation, and both offer the audience an aesthetic theatrical experience. However, in radio, the stage dimension and physical presence of actors are missing. Moreover, audio media cannot exist in the absence of technology. In accordance with the arguments presented in the following comparative analysis, the answer is affirmative. -
Using Dramatherapy to Prevent Student Burnout: Insights and Practical Approaches
Inga MARCU01.05.202610.35218/tco.2026.16.1.13an analysis of student bornout phenomena and dramatherapyStudent burnout has become increasingly common in the contemporary academic environment, fueled by performance pressures, overexertion, academic anxiety, and limited strategies for emotional self-regulation. In this context, dramatherapy emerges as an innovative pedagogical method, capable of offering students a safe space for exploring emotions, developing resilience and strengthening professional identity. The article analyzes the theoretical foundations of dramatherapy, its action mechanisms in preventing burnout, and the concrete ways in which it can be integrated into university programs. Examples of dramatic exercises, intervention models and benefits observed among students are presented. The study proposes an interdisciplinary approach, situating dramatherapy at the intersection of pedagogy, psychology and the performing arts, and argues for the need to include it in modern academic training. -
The Same, Always Different. A Look Towards the Adaptation and Translation Phenomena of the Contemporary Stage Productions
Ileana URSU01.05.202610.35218/tco.2026.16.1.12This paper aims to direct the reader's attention to the phenomenon of adaptation and translation, indisputably present among contemporary theatrical productions.This paper aims to direct the reader's attention to the phenomenon of adaptation and translation, indisputably present among contemporary theatrical productions. The innovation of the rewrites of canonical works is one of the directions towards which the worldwide theatrical phenomenon of recent years has been directed. The justified questions that may arise when researching such performances could be: is the adaptation/translation of a work inferior to the one from which it was inspired, or does it transcend it as value? Do we still need the old canonical stories, are they still relevant to today's societies? Why and how do we revisit the works of other epochs and make them talk about the world now? What can such creation offer the public and how much does the evolution of stage art depend on the response received from the receivers of the artistic act? -
Live Dissection - A Theatrical Perspective Inspired By The Work Of Aureliu Manea
Lorette ENACHE01.05.202610.35218/tco.2026.16.1.11an analysis of Aureliu Manea theatre director works and memoiresFor a performance to encompass an entire universe in a single gesture, it requires a meticulous dissection of all the elements—real and imaginary—that made the birth and existence of that gesture possible. Dance is the movement of the inner world, but also the movement of the surrounding air. The theater is the place where living bodies shed untruth, and the word becomes mere confession. The spectators’ gazes are varied, like the gazes of the seven witnesses in Rembrandt’s Anatomy Lesson. We intuit a few, and we sense the many, from the stage, diluted into the single gaze of the entire hall. “To witness an experiment is to enter into secret formulas, into that poetics of new reactions, of new communication in which the formula is tested in its vitality.”1 - these timeless words, belonging to director Aureliu Manea, a genius of Romanian theater, guide me even today in my first attempt to create, and in the second, even harder one, to inspire young choreographers to move their hearts and minds, and ultimately, their bodies will follow. Then, in the very end, on the night of the performance, hearts, minds, and bodies will vibrate only if the Living perform on stage. -
The Myth of Ovid in Romanian Dramaturgy: Expression of the Dobrogean Space and Spirit
Clara GHIUVELICHIAN01.05.202610.35218/tco.2026.16.1.10The paper analyzes the presence of Dobrogean motifs in Romanian dramaturgy, focusing particularly on the figure of the poet Ovid, exiled to Tomis.The paper analyzes the presence of Dobrogean motifs in Romanian dramaturgy, focusing particularly on the figure of the poet Ovid, exiled to Tomis. Dobrogea is presented as a space rich in history, myth, and legend, where the ancient past intertwines with the collective imagination. The Ovidian motif becomes an important thematic core, explored by playwrights such as Vasile Alecsandri and Nicolae Iorga, each offering their own interpretation of the poet’s destiny. The analysis highlights the transformation of Ovid from a historical figure into a symbol of suffering, longing, and artistic creation. In these works, exile appears not merely as punishment, but as a profound experience that leads to a spiritual connection with the Dobrogean space and its local communities. The study also addresses dramatic conflicts, character construction, and the poetic dimension of the texts. The paper emphasizes the dynamic and evolving nature of this motif, also present in more modern works, such as those of Grigore Sălceanu. In conclusion, the myth of Ovid significantly contributes to shaping the cultural identity of Dobrogea and to expressing universal themes such as identity, freedom, and the condition of the artist. -
The Convergence of Past and Present in the Art of Acting Classes Reconsidering the Necessity of Pedagogical Models
Andrei VIZITIU01.05.202610.35218/tco.2026.16.1.09The present article restores to pedagogical attention the urgent and pressing imperative to acquaint students with genuine cultural models, with the aim of awakening within them a love for the theatrical universe and, more broadly, for the wider sphere of culture.The present article restores to pedagogical attention the urgent and pressing imperative to acquaint students with genuine cultural models, with the aim of awakening within them a love for the theatrical universe and, more broadly, for the wider sphere of culture. Relevant pedagogical models and landmarks will foster a meaningful articulation of past and present. The rigorous structures that underpin acting courses are an essential component of the student's developmental trajectory. The teacher does not hasten the didactic process, each successive step carries formative significance, allowing the student's engagement with the text to assume a symbiotic character. Improvisational practices, the cultivation of awareness in relation to surrounding realities, muscular relaxation, the acceptance of one's scene partner, the development of rhythms, the need for cultural inquiry, the necessity of understanding the past in order to master the present, the act of relating oneself to significant artistic and pedagogical models of the past, as well as the acceptance of these values, all of these constitute essential stages in the artistic evolution of students. The need for the text should arise organically, following sustained and assiduous labour directed toward the knowledge of one's own inner world. Through such an approach, the student is spared disorientation but will instead undergo a natural process of development. Against the backdrop of recent publishing developments, the distinguished actor and pedagogue Octavian Cotescu, alongside the exceptional American film actor Al Pacino, once again comes to the fore as an essential model within the cultural panoply of the younger generation of aspiring actors pursuing their studies at specialised universities. The great Romanian actor and exceptional professor is extolled for his devotion and pedagogical virtues in a volume published within specialist literature, authored by his former student, the late actor of the Bulandra Theatre, Răzvan Ionescu. Al Pacino's memoir moves beyond the confines of literary expression alone, emerging as a genuine pedagogical tool within the field of acting. -
Choreography in Operetta Performances. Case Study: The Couplets “How Can One Live Without Love” From the Operetta Die Csárdásfürstin (Silvia or the Csárdás Princess), Act I, Scene 3, By Emmerich Kálmán
Anca IORGA01.05.202610.35218/tco.2026.16.1.08an analyzis on the choreographic moment constructed on the basis of a French cancan performed by Count Boni Cancianu and the dancers of the Orfeum Cabaret in Budapest, which appears in Act I of the operetta Silvia.Die Csárdásfürstin (Silvia or The Csárdás Princess) is the most famous composition by Emmerich Kálmán. This work remains one of the most frequently staged operettas worldwide due to its charming music and romantic storyline, which combines the exoticism of the Hungarian csárdás with the brilliance of Viennese society. The present study analyzes the choreographic moment constructed on the basis of a French cancan performed by Count Boni Cancianu and the dancers of the Orfeum Cabaret in Budapest, which appears in Act I of the operetta Silvia. According to the libretto, this scene represents the count’s farewell moment before departing on a long tour to New York together with the operetta’s main character, Silvia Verescu. The research methods employed consist of analyzing the stage behavior of the performer, the baritone Cătălin Petrescu, through direct observation of video recordings, focusing on his interaction with the cabaret dance ensemble (the ballet ensemble of the Ion Dacian Operetta and Musical Theatre in Bucharest), his relationship with the stage set, and the way Boni Cancianu relates to the audience. Hypothesis: In order to perform a choreographic moment within an operetta performance, the performer requires, in addition to outstanding vocal qualities and interpretative skills, motor abilities related to the learning of dance techniques. The couplet How Can One Live Without Love from the operetta Silvia, expressed through movement in the form of a French cancan, is not merely a spectacular dance moment but also a key atmospheric element that includes character development and the social conflict present in the libretto. The cancan defines the cabaret world, marks the beginning of the love story between Silvia and Edwin, and contributes significantly to the stylistic charm of the operetta. It can therefore be stated that Silvia is an operetta full of vitality, humor, dances, and melodies inspired primarily by Hungarian music (with the csárdás predominating), while also including lyrical moments of great sensitivity. For this reason, it offers performers roles of considerable artistic value. In operetta performance, dance and gesture are not mere additions but integral components of the performers’ expressive language, without which the charm of operetta would be lost. -
Spectacular Dilemmas in Caragiale’s Works and Their Reflections on Stage and in Translation
Ana-Magdalena PETRARU01.05.202610.35218/tco.2026.16.1.07a analysis of some of the performances and their dilemmas, focusing on the most recent staging of D’ale carnavalului/ Carnival Doings at the National Theatre of IașiThis paper aims at paying homage to Romania’s great classic by bringing into play the spectacular dilemmas in international translations (into English and French, our languages of work) and of his prominent characters in theatre, in general (the tipsy citizen, the cuckold at carnival, a matter of betrayal). From a theatrical point of view, we will discuss some of the performances and their dilemmas, focusing on the most recent staging of D’ale carnavalului/ Carnival Doings at the National Theatre of Iași. From the perspective of Translation Studies as discipline, we are interested in the relationship between the author, his work and translation, literally and in all senses as the great translator and theorist Irina Mavrodin put it; this is because specialty literature on I.L. Caragiale spoke of the invention of another language in order to render his works appropriately in different languages for other cultures. -
The Power of Discretion – The Figure Actor
Otilia HUZUM01.05.202610.35218/tco.2026.16.1.06The central theme of the present study brings to the fore the figuration actor, seen not as the one who carries the tray or as a decorative presence within the theatrical; performance, but, on the contrary, as a necessity.The central theme of the present study brings to the fore the figuration actor, seen not as the one who carries the tray or as a decorative presence within the theatrical performance, but, on the contrary, as a necessity, because, in essence, it is a stage presence with a role in supporting the stage atmosphere only through gestures and attitudes, and sometimes through short but significant lines. But theater also presupposes the emergence of a collective figuration, nothing more than a complex instrument, sometimes discreet, sometimes central, but always controlled in detail to serve the meaning of the ongoing performance. Therefore, the figuration actor, whether he evolves individually or is a component of a group, becomes an integral part of the direction, because he gives scope to the production through fluidity and expressiveness. In support of the comments and descriptions that refer to the characteristics and purpose of the figuration actor, I presented two experiences from my own artistic activity. The arguments demonstrate that alongside the main and secondary characters, there is a world of discreet, but at the same time absolutely indispensable, creative presences or entities to the theatrical performance. -
Dilemma and Theatre
Radu TEAMPĂU01.05.202610.35218/tco.2026.16.1.05the present paper analyzes the concept of dilemma from several perspectives, including; Sophocle’s and William Shakespeare’s perspectives in Antigone and HamletStarting from the way in which director Andrei Șerban works closely with the actor, during rehearsals, taking him out of his often superficial dilemmatic states, the present paper analyzes the concept of dilemma from several perspectives, including Sophocle’s and William Shakespeare’s perspectives in Antigone and Hamlet. The dilemma, if it is seen as a vague concept, carrying vague meanings, can easily mislead the one who experiences it, especially in the theatre. But the dilemma as justified reasoning can only be understood as a clarification of what seems to be uncertain. Discerning what needs to be done when balancing utility and morality defines dilemma as a tool for establishing the limits within which an action can take place. Thus dilemma understood as a dramatic state seems to be proper to theatricality. At the same time, the paper focuses on the analysis of the moral dilemma through the juxtaposition of utilitarian and moral paradigms. -
Identity and Representation in Pakistani Theatre: Khawaja Sira and the Dynamics of Cultural Discourses
Sorin-Dan BOLDEA; Raeem FAROOQ; Alexandru-Octavian CĂLINA01.05.202610.35218/tco.2026.16.1.04This article examines how the identity of the Khawaja Sira trans; community is constructed and represented in Pakistani theatre, in relation to the contemporary; social, cultural, and legal contextThis article examines how the identity of the Khawaja Sira trans community is constructed and represented in Pakistani theatre, in relation to the contemporary social, cultural, and legal context. Starting from the historical status of this community, often associated with the idea of a “third gender,” the study highlights the persistent tension between formal recognition and social marginalization. In this framework, artistic representation becomes a crucial space for negotiating identity. The analysis considers both representations in film, such as the case of Joyland, and contemporary theatrical practices, ranging from the commercial circuit of stage shows and mujra to theatre initiatives that allow the community self-representation. Drawing on the concepts of representation and performativity, the article investigates the extent to which theatre functions as a space of resistance or, conversely, as a mechanism for reproducing stereotypes. The findings suggest that theatre offers a privileged framework for expression and visibility, yet remains marked by structural ambivalence, where identity can be simultaneously affirmed and transformed into spectacle. -
On the Limits of the Actor’s Craft
Diana COZMA01.05.202610.35218/tco.2026.16.1.03a debate on the issues of the actor who experiences dilemmas marked by several questions about the limits of his own craftThe present work aims at discussing the problematics of the actor who, throughout his career, experiences dilemmas marked by several questions about the limits of his own craft. In this regard, two of the three major choices that an actor can make at the beginning or along his professional path are analyzed, choices that leave their definitive mark on his work and that lead us to ask ourselves, again, who/what an actor is. William Shakespeare and Richard Burbage, Samuel Beckett and Billie Whitelaw, Jerzy Grotowski and Ryszard Cieślak tell us about the colossal work of the actor, who for the encounter with characters such as Hamlet, Winnie, Don Fernando, enters a process of (re)discovery of his own being, of investigating his own self. Moreover, Jerzy Grotowski, in his work with the actor, experimented with techniques of deconditioning, techniques of probing the unconscious, techniques of control, because, in his vision, the actor, through the character, goes through a process of knowledge and self-becoming. Due to the strong influence exerted by Jerzy Grotowski on the way of making theatre, today, in the third millennium, we can talk about numerous actors who devote time to research, treat their craft as a lifetime study.
ISSN print: ISSN 2285 – 5912
ISSN online: ISSN-L 1584 – 4927
Editura: Artes
Copyright ©2026, All rights reserved
A project developed by Enformation
Radio Theatre: Theatrical Genre or Hybrid Species?
Using Dramatherapy to Prevent Student Burnout: Insights and Practical Approaches
Live Dissection - A Theatrical Perspective Inspired By The Work Of Aureliu Manea
The Myth of Ovid in Romanian Dramaturgy: Expression of the Dobrogean Space and Spirit
Spectacular Dilemmas in Caragiale’s Works and Their Reflections on Stage and in Translation
The Power of Discretion – The Figure Actor
On the Limits of the Actor’s Craft
The Stage as Examination or the Stage as Revelation? Dilemmas of Student Theatre