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<p>Three plays, three styles, three testimonies about the artist and the space of art of performance, from the ‘80s until today, three decentralizing visions, but also tangents. Vărul Shakespeare (Cousin Shakespeare) is one of Marin Sorescu’s lesser-known and hardly-edited texts. Beyond the inter- and metatextual juggling, beyond the playful discourse and the theatrical effects, the Romanian writer emphasizes the encounter between the language of Elizabethan poetry and the local comic. Richard III visits director Vsevolod Meyerhold in Richard al III-lea se interzice (Richard III is forbidden) by Matei Vişniec. Like a self-portrait, perhaps, of the author slipped into Meyerhold’s character, the play returns - through paradoxes, theatricality, intersections between times, cultures and authorial voices - to a message as clear as possible about the artist’s freedom, a message that (proof being the current global situation) the aforementioned aspects are of a continuous topicality.</p>
</abstract>

Three plays, three styles, three testimonies about the artist and the space of art of performance, from the ‘80s until today, three decentralizing visions, but also tangents. Vărul Shakespeare (Cousin Shakespeare) is one of Marin Sorescu’s lesser-known and hardly-edited texts. Beyond the inter- and metatextual juggling, beyond the playful discourse and the theatrical effects, the Romanian writer emphasizes the encounter between the language of Elizabethan poetry and the local comic. Richard III visits director Vsevolod Meyerhold in Richard al III-lea se interzice (Richard III is forbidden) by Matei Vişniec. Like a self-portrait, perhaps, of the author slipped into Meyerhold’s character, the play returns - through paradoxes, theatricality, intersections between times, cultures and authorial voices - to a message as clear as possible about the artist’s freedom, a message that (proof being the current global situation) the aforementioned aspects are of a continuous topicality.

Varia Cum Vă (Mai) Place Shakespeare? Dramaturgi Români Sub Semnul Bardului: Marin Sorescu, Matei ViȘniec, Olivia Negrean

Universitatea Naţională de Arte „George Enescu”

Lucian Blaga Yearbook

This work is licensed under the Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International License.

Three plays, three styles, three testimonies about the artist and the space of art of performance, from the ‘80s until today, three decentralizing visions, but...

Varia Cum Vă (Mai) Place Shakespeare? Dramaturgi Români Sub Semnul Bardului: Marin Sorescu, Matei ViȘniec, Olivia Negrean

Data publikacji: 02 lut 2022

Zakres stron: 98 - 111

DOI: https://doi.org/10.2478/clb-2021-0010

Słowa kluczowe
intertextuality, Marin Sorescu, Matei Vişniec, Olivia Negrean, Romanian Romanian playwrights

© 2021 Ioana Petcu, published by Sciendo

This work is licensed under the Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International License.

Varia Cum Vă (Mai) Place Shakespeare? Dramaturgi Români Sub Semnul Bardului: Marin Sorescu, Matei ViȘniec, Olivia Negrean

Data publikacji: 02 lut 2022

Zakres stron: 98 - 111

DOI: https://doi.org/10.2478/clb-2021-0010

Słowa kluczoweintertextuality, Marin Sorescu, Matei Vişniec, Olivia Negrean, Romanian Romanian playwrights

© 2021 Ioana Petcu, published by Sciendo

This work is licensed under the Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International License.

Słowa kluczowe
intertextuality, Marin Sorescu, Matei Vişniec, Olivia Negrean, Romanian Romanian playwrights