Revista Nr. 9

HyperionUniversity,TheFacultyofArts,Bucharest
CinematographicArt&Documentation
(CA&D)
Journalofcinematographicstudies,Nr.5(9),NewSeries,2012
biannualpublication
VictorPublishingHouse Bucharest,2012
Hyperion University, Bucharest Cinematographic Art & Documentation Journal of cinematographic studies, nr. 5(9), New Series, 2012 ISSN: 1844-2803
EditorialBoard
Editor-in-chief Professor DOINA RUTI Hyperion University, Bucharest Associate Editors Professor NICOLETTA ISAR Institute of Art History, Department of Arts & Cultural Studies, University of Copenhagen, Denmark Professor EFSTRATIA OKTAPODA Sorbonne, Paris IV Professor ILEANA ORLICH Arizona State University LINDA MARIA BAROS, Ph.D, Sorbonne, Paris IV Redactors FELIX NICOLAU, Ph.D, Hyperion University, Bucharest RAMONA MIHIL, Ph.D, Spiru Haret University, Bucharest LIANA IONESCU, Ph.D, Hyperion University, Bucharest CARMEN DOMINTE, Ph.D, Hyperion University, Bucharest Professor ELENA SAULEA, National University of Drama and Film, Bucharest, "I. L. Caragiale", Bucharest Managing Editor ELENA DIATCU Advisory Editors Professor EUSEBIU TEFNESCU, Hyperion University, Bucharest IOAN CRMZAN, Ph.D, Hyperion University, Bucharest, Film Director, vice-president of Filmmakers Union (UARF) MAIA MORGENSTERN, Hyperion University, The National Theatre, Bucharest GEO SAIZESCU, Ph.D, Hyperion University, Bucharest, Film Director, President of IECCCEI (European Cultural Institute for Communication, Knowledge and Education through Image) Professor ION SPNULESCU, Hyperion University, Bucharest Cover: Mihaela PASCHIA Foto: Florin TOADER DPT&Pre-Press Mihaela PASCHIA
Summary
I.CinematographicArt
Zamfira Nstsache, M. A, Hyperion University, Bucharest: The Cultural Functions of a Film Festival / pg. 5 Mariana Bara, Ph.D, Hyperion University, Bucharest: Otto & Bernard. A Short Film to Promote a Project / pg. 9 Liana Ionescu, Ph.D, Hyperion University, Bucharest: Global Brands in the New Ad Age / pg. 13 Florentina Heroiu, Ph.D, National University of Drama and Film, Bucharest, "I. L. Caragiale", Bucharest: Only you - Always (Always , O-jik Geu-dae-man,) Song Il-Gon / pg. 19 Doina Ruti, Professor, Hyperion University, Bucharest: Information and cinematographic vision in the documentary. Case study: Cluarii (Light Video Production) / pg. 23 Barbara A. Nelson, Professor, University of Bucharest: Two Ways of Looking at a Blackbird: Darren Aronofskys Black Swan / pg. 29
II. Cultural Studies: The Ceremony and ludic attitude

Elena Saulea, Professor, National University of Drama and Film, "I. L. Caragiale", Bucharest: The Existential Dimension of the Scenic Ceremony / pg. 37 Mihaela Triboi, Ph.D, Hyperion University, Bucharest: La nouvelle vague de la cinmatographie russe / pg. 41 Ion M. Tomu, Ph.D, Lucian Blaga University, Sibiu: The Festival. Meaning, History and a Modern Approach / pg. 47 Linda Maria Baros, Ph.D, Universit Paris-Sorbonne, Paris IV: La magie imitative. Rituels obscurs, rituels amoureux / pg. 53
Florin Toader, Ph.D, Hyperion University, Bucharest: Experience of the stage actor assumed on screen / pg. 59
III. Book Review

Efstratia Oktapoda, Professor, University of Paris IV-Sorbonne: NAJIB REDOUANE (sous la direction), Vitalit littraire au Maroc. Paris, LHarmattan, coll. Autour des textes maghrbins, 2009 / pg. 65
I. Cinematographic Art
THE CULTURAL FUNCTIONS OF A FILM FESTIVAL

ZAMFIRA NSTSACHE * , M.A., Hyperion University, Bucharest Abstract: Trying to define the concept of a festival (phenomena started during the Middle Ages), the article is presenting not only the advantages of organizing a film festival, but also the advantages of joining the public during a film festival or the advantages of living in an area that organizes a film festival. The second part of the article is a short study case which explains all those films in terms of Cannes Film Festival, one of the most important film festivals in the world. Keywords: film festival, Cannes, Cinfondation, competition.
We live in a world that is constantly changing. How can we make the tensions, conflicts or differences arose from those rapid changes to be understood or how can we learn to understand them? Art can play an important role in solving this problem. The festival connects what we do not know with what we know, what you do not understand with what we understand, the unpredictable with the predictable. The festival provides a key to a language unknown and creates new opportunities for communication. As Yves Evard defined it, the goal of marketing in the bosom of the artistic enterprise is intended to deal with public relations, public formed by both consumers of cultural goods and services and the donors of the cultural sector (state, public bodies, patron and sponsors). From this perspective, Jean Vilar, French well-known actor and director (the organizer of the first edition of Avignon International Theatre Festival, in 1947), appears as a precursor in the theater cultural management and marketing. Taking the direction of the National People's Theatre in 1950, he established the importance of developing public relations and organization of its meeting with the artwork through a so-called public policy leading to the destruction of the barriers that makes an uninitiated spectator unable to go to the theater.
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Presenting a repertoire of accessible plays and established artistic value, with a direction of great simplicity, a scenic dcor minimized and an internalized performance, he sought to attract a large audience to whom to send a message of solidarity and human compassion as a result of the suffering of the spectator caused by the drama on the stage. Festivals are special and complex cultural events: the individual artistic projects are not isolated from one another, but rather complete each other. Spectators can see this process: it begins at the first event and continues until the last one. They see the festival as a whole and they connect different shows or different films one to another. We can speak about festivals as nuclei of cultural transfer, at least from the artists perspective. They bring all together a foreign opinion, a foreign aesthetic and a foreign artistic potential into the same space. They offer to local artists the chance to evolve into a national or international context, so it is a very important step in their further development. The work of these artists is transferred into a new context. They experience a co-operation through competition, workshops and discussions. The festivals are really just a win-win situation for artists. And last but not least, they connect the artistic
Zamfira Nstsache, MA, is an assistant professor at Hyperion University Arts Faculty, responsable for the Universal Theatre History and Universal Film History seminars. She is also known for her contribution to several national and international film festivals: Independent Producers International Film Festival, Film and Cuisine Tasters Festival, Serbian Film Week and many others.
Cinematografic Art & Documentation, nr. 5(9)/2012
potential with the city (organizers, partners etc.) and with the public to whom they will reveal its new vision. Festivals, as generators and spaces in which new ideas circulate, have a strong educational role. Seminars and workshops during the festival can fill some perceived gaps on the quality or management of such an event. And if the festival in case is even international, well then we can talk about an unique experience and an exchange of ideas that can not happen elsewhere. Searching new contents and forms, the festivals must take risks, risks that producers can not generally afford to take. They create their own cultural landscape and a new environment, opened to arts. They function as areas of new short-term experiments and test new approaches to artistic visions in the social environment of the audience. Often these approaches, having been successfully tested into a festival, are adopted by other directors or producers and become a new film aesthetics. For her doctoral thesis Marketing Strategies on Theatrical Services, Iulia Anamaria Ni makes a research that helps her find out, among others, the benefits of participating to festivals, in general: direct contact with participants (actors, directors, designers, managers, organizers etc.), exchange of experience, comparison with other productions, competition, contact with a different environment (the public recaption with another system of values, different reactions) from the one in their countries, spread the art values created during studio work, comments on current cinema phenomenon, promotion of their art, self confirmation of creators through awards, meeting with other producers, national and international reputation, possibility of being invited to other festivals in the country and abroad, attention and chronicles from renowned film critics. The advantages of organizing a festival appear to be, as they follow: it draws attention to a phenomenon (for example young directors), it brings a new image for the host city, it offers a wide range of films for the spectators, the public can see in a short period of time extremely valuable films, the broadening of the cultural and artistic horizons, the contact with the most 6
important visions of contemporary film-makers, the creation of a specific value scale by choosing the participating films, the highlight through the selection of participants of some specific trends in contemporary cinema, the possibility of creating a summit on film-making, a better promotion of the national productions, the host city and country, the opportunities for tourism and services development with long term benefits for the development of artistic programs, the possibility of forming the public taste by inviting a wide variety of artists. These results largely express the cultural functions of a festival, both in terms of an organizer, as well as that of a participant. CANNES FILM FESTIVAL AS AN EXAMPLE The International Film Festival was created on the initiative of Jean Zay, Minister for Education and Fine Arts, who was keen to establish an international cultural event in France to rival the Venice Film Festival, who was shown ti bring lots of tourists in Italy, at that time. The first edition of the Festival was originnally set to be held in Cannes in 1939 under the presidency of Louis Lumire. The mission of Cannes Film Festival, as the organizers say, is to draw attention to and raise the profile of films with the aim of contributing towards the development of cinema, boosting the film industry worldwide and celebrating cinema at an international level. The Official Selection serves to highlight the diversity of cinematic creation through its different. Films that are representative of arthouse cinema with a wide audience appeal are presented in Competition, and Un Certain Regard focuses on works that have an original aim and aesthetic. The Official Selection also includes Out of Competition films, Special Screenings and Midnight Screenings, Cannes Classics and the Cinfondation selection targeting film schools. The Festival tries to discover new talents and to act as a springboard for creation. The development of Cannes Short Film is just one example of this.
Years Official Selection Feature Films Competition Short Films Competition Out of Competition (Features) Out of Competition (Shorts) Cinefondation (Shorts exclusively) Un Certain Regard (Features) Un Certain Regard (Shorts)
2000
2001
2002
2003
2004
2005
2006
2007
2008
2009
2010
23 11 11 13 22
23 12 10 20 23 1
21 11 16 1 16 22
20 9 16 2 20 19
19 10 17 18 21
21 9 14 1 18 21 2
20 10 23 5 17 24
22 11 22 16 20
22 9 15 17
20 9 18 17 20
19 9 19 13 19
The Cinfondation, which serves to showcase new trends in the film industry, screens films from film schools as part of the Official Selection, as well as organizing the Rsidence and the Atelier. From a very early stage, the Cannes Festival has placed an emphasis on its March du Film as a way of promoting the dual cultural and economic nature of cinema. Today, boasting in
1200 1000 800 600 400 200 0 2000 2002 2004 2006 2008
excess of 10,000 participants and more than 1,000 films (in 2008, as the chart below shows), it is the worlds leading market, serving to add dynamism to the global film industry. It forms an integral part of the Festival in the sense that it also facilitates networking and provides accredited professionals with the services and tools they need in order to exchange information, hold negotiations and uncover new opportunities.
Marche du Film (2000-2010)
2010
The big number of participants all over the world shows that Jean Zays initiative was not in vane. Cannes Film Festivals budget amounts to approximately 20 million euros, almost half of it coming by contributions from a number of professional and institutional groups along with the Festival's Official partners. That shows that
this is not only one of the most valued film festivals in the world, but also one with a very big potential, not only for the film industry, but also for the area, bringing more than 30 million euros every year to the national budget.
BIBLIOGRAPHY Iulia-Anamaria Ni, Strategii de marketing n domeniul serviciilor teatrale (PhD thesis Economics Academy, Marketing Faculty Marketing), Bucharest, 2004; Aura Corbeanu, Managementul proiectelor culturale noiuni i Instrumente, Bucureti: Editura Centrului pentru formare, educatie permanenta si management n domeniul culturii, 2005. Vasile Zecheru, Management n cultur, Chiinu, Editura Litera International, 2002; Alvin Toffler, Consumatorii de cultur, Bucureti: Editura Antet, 1997. Corina uteu, Cultural Networks. Cultural Mobility. Cultural Co-operation, Background Reading Material for The Program in Interculturalism, Art Management and Mediation in the Balkans, University of Arts in Belgrade, 2002.
Otto & Bernard A SHORT FILM TO PROMOTE A PROJECT

MARIANA BARA, Ph.D * Hyperion University, Bucharest Abstract: In a German cultural project, expanded for Europeana, this short film is showing young German Luisa Arndt, descendant of a German soldier, prisoner of World War I, taking a trip to England to find more about her grandfather Otto. The article aims to demonstrate via the chronological development of the picture, how the sequences and their temporal dimension are building the emotional state and the meaning. Then, the interactive play of added items and shared experiences and emotions will complete the analysis. Keywords: First World War, story, identity, European culture, family memory.
Description of the Work

The film is 4:44 minutes long. Its subtitle (An interactive experience around the story of an unlikely friendship during the First World War) is inviting and promising. A story, a feeling, and a special historical time those are the ingredients for a successful recipe as they are appealing to the public. The idea is part of the contemporary ideology shared by social sciences and communication studies about the impact of visual media and their power to move people at emotional, but also cognitive and behavioural levels. Some of these ideas leaded to the creation of an interactive platform called Europeana Remix, based on the film Otto & Bernard. The Remix initiative is combining the newest edge technology (Popcorn.js, the HTML5 video framework) and a variety of video and written resources from Europeana and all over across the web, inviting people to interact. Europeana encourages people to share ideas, stories, comments and links on this platform, for instance in its work on the First World War, in
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order to discover untold stories from all countries around Europe. The motivation is the approaching centenary of the conflict. Launched in September 2011, this short film was made by a team involving Luisa, a graduate from the Friedrich-Alexander-Universitt in ErlangenNrnberg, Germany, currently doing a Masters in Development Economics and International Studies at the same university. http://blog.europeana.eu/tag/first-world-war/ When you watch this short film of young German Luisa Arndt taking a trip to England to find more about her grandfather Otto, the emotion is overwhelming you. From the first images (the first 15 seconds), the topic is unusual and strong: pictures of German, Russian, Austrian, French and British soldiers from the First War, transforming ones face to another one, telling by this mean that one could be the other and the other may become the first one. It is about the principle of homogeneity, as the Greek etymology asserts, the principle of the same root or origin. At this point, the background of Europeana is present it is about European culture and European common memory.
Associated Professor, PhD, at the Faculty of Literature and Language, Hyperion University, she is also expert in terminology at the European Institute of Romania. Books: Frmturi di ban, Syracuse New York, Editura Cartea Aromn, 1993; Romna contemporan. Stilistica, Editura Cartea Universitar, Bucureti, 2006; Ghid stilistic de traducere n limba romn pentru uzul traductorilor acquis-ului comunitar, ediia a V-a revzut i adugit, Institutul European din Romnia, Bucureti, 2008; Glosar privind Tratatul de la Lisabona, Institutul European din Romnia, Bucureti, 2009 etc. Articles: Istorie i ficiune n discursul postmodern, in Analele Universitii Hyperion. Filologie, Editura Victor, 2010, pp. 25-34 etc., Mariana_bara@yahoo.com
In the 16th second, the face of a contemporary young girl is filling the screen, she is alive and she is speaking, presenting herself in German with the famous syntax (taped on the image): My name is Arndt, Luisa Arndt. Without being a detective, as the referee James Bond, Luisa would carry in the next 4 minutes a personal research, trying to find out more about her great-grandfather. At first, after her introduction, the film inserts the title, the two first names, Otto and Bernard, between them a yellow burning match, noisy, a kind of candle, but an unusual one. Some seconds later, Luisa would reappear to tell her birth date and place (in 1988, in Germany). She is a nice person, decently wearing a blouse in white and black, with her long black hair and strong black eyes having more a Mediterranean look than a socalled German typical. This is another feature was chosen to tell viewers that appearances are deceiving. Luisa is even asserting that as far as she knows their ancestors are German. The film and the project are aiming, on one side, to present history in a more personal way, involving living persons and the family memory, and on the other side to destroy negative myths and overgeneralization about people and their behaviour. We could identify in this film the currently prized pedagogical, Socratic method of teaching by illustrating facts, places and testimonies, tightly bidden with the search for simplicity, accurate story telling and economy of time and means.
Work in progress
The experiment enjoyed many questions and contributions from the viewers. In fact, the film itself through the voice of Luisa is a proof of how Internet is changing lives and knowledge. Luisa starts her query by chance, as she was one day searching for her last name Arndt. The image at the 37th second is just showing how her fingers are taping on the keyboard. At the 45th second, the message is obvious: as she entered the site Europeana.eu she found pictures, links and texts about Otto Arendt. The print screen of the page is given in full size. The next seconds are offering navigation through the site, with a smart shortcut showing an airport departure front desk photo taken with a mobile phone, the picture of her passport as she is telling that 10
maybe Otto is her own grandfather. At the 58th second Luisa is going out of the gates of another airport, and at the 60th second she is already taking a picture in front of an old building in England. At the Great War Archive, Oxford University, she is in front of the Project Director, Dr Stuart Lee, listening for his explanations (ends at 2:20). As the expert is explaining the purpose of the project, the documentary evolves showing different items from the war: a cutlery set (two spoons, and a fork) with the napkin for the meal; a matching box; a pocket watch on a chain; an army water bottle engraved; different documents and pictures), donated by the families of soldiers. The main focus is as expected on a tiny matchbox, engraved as a souvenir from France, St.Omer and Ottos name on one side. From the contribution in the interactive video, I must remark a photo of a Romanian Nurse, a young lady from the aristocracy, wearing an elegant army vest and a long skirt, the Red Cross symbol on her left arm, and a bunch of field flowers in her right hand. The head covered with a long veil and the forehead tightened in the white sign of her duty, she is carrying nevertheless a fashionable large fur muff at the end of her left hand. From the slightly turned body to the right and form her proud face, we can understand how officially posing she is. It is to remember that in the First War the Nurses were a corpus distinguished also by Queen Mary personal involvement. As Luisa is asking for the address of Bernards family, the second part of the film is dedicated to her encounter with Bernards granddaughter. This short film demonstrates, in fact, how communication behavior for project purposes is shaped nowadays. We have found that the message is better understood if transmitted by an insider a member of the family, a member of today young generation, a young and educated European. Her/his personal experience is accomplished through the result of knowing, sharing emotions and discovering new people in a different country. The insider (Luisa) is traveling, studying and speaking another language, like every young European citizen. There is the second goal of this short film: enhancing the parameters of real life in the society of information, technology and freedom of movement. All this parameters are shown as
mere tools for personal achievement, for knowledge and improvement. At the same time, thanks to the artistic and technologic possibilities of the film, nothing is more important than solving an emotional problem, a human desire of discovering the ancestry, the predecessors, and their moral character. There is, actually, the central point of the project. But, without this film, the goals and demands of the project would be seen as abstract, pure documentary and annoying didactical matter. This type of films is at the border between commercials and didactic aids, working with opinions, social influence and accomplishment of cultural projects. Broking from the traditional methods of describing projects; it coupled support from the institutions and experts with the spontaneous action of all citizens whishing to complete with their experience. On a more personal dimension, the possibility to interact with the film and to add documents (photos, comments, other short films) was opening the gate to a rewarding cooperation, as the information accumulates. For instance, there was added a short film (4 minutes) showing German Imperial Army WWI footages, with the national anthem of the German Empire (1871-1918), Heil dir im Siegerkranz (available also on YouTube). The power of the old documentary is enhanced by the surprise that the anthems of the United Kingdom Hail to Thee in Victor's Crown or God Save the King, or God Save the Queen and of German Empire sound the same. And this leads to comments, explanations of European royal families, and also to emotional involvement of viewers. This is the new path for applied historical studies. Another film (3 minutes) added via the interactive platform from the YouTube is La guerre de 14/18, illustrated with circumstance music, naive and pastoral, song by a feminine voice. As Otto & Bernard delivers not a significant quantity of details about the war, its quality is influential, by helping the public, the young layer, to acknowledge a historical event and to relate in theory everyone to it. However, the project offers to discuss openly certain historical topics still recently considered taboo or at least politically incorrect. The project started on 24 March 2011 in Berlin, Germany (Europeana Erster
Weltkrieg) and is known as Your family history of World War One (http://www. europeana1914-1918.eu/en). It continues at European level another project conducted by Oxford University (2008), which gathered information and collected items only form the United Kingdom and the Commonwealth, in a digital archive. From this archive stems the idea of the film, as the story of the unusual friendship between a RAF soldier (Bernard) and a German prisoner of war (Otto) was registered. The film, at its scale, seems to affect public opinion, as viewers faced an unknown face of the war and was given the possibility to interact on the making of the video. Some of the comments are in English (beyond the content this tech is fantastic as well; I like how they both get tea sipping shots :); nice matchbox), other in Spanish or in French (plutt mignonne).
I, The Spectator
When I asked myself why and how this film was finding its way to impress me as I was searching for texts to use in my translation classroom with the master degree students, the evidence was clear as day light: I have too a grandfather who fought in the First World War and that his story too was unbelievable. As the war involved dozens of millions people (more than 35 million casualties reported) in Europe, and as almost every town or village on the continent exposes a monument in the memory of the heroes, and a military cemetery as well, it is hardly to believe that a European would not have family memories about the war. From this given, the most important aspect of the project is that the management of the family memory is in need for the history. I remember my grandfather, especially when family gathered in anniversary days or other celebrations, finding a moment when to tell a short story about his life, and sometimes about the Great War he fought for seven years (1911-1918), as a soldier in the Bulgarian army. First in the two Balkan Wars he fought against the Turkish Ottoman army, then against the Romanian army and finally lived into hiding in a mountain sheepfold in Serbia (where his grandfather lived with his family in a small city). 11
His ethnic identity was Aromanian/Vlach, he was born in Lajene (Bulgaria) in 1889 in a family settled there in the previous generation, as they were coming from Pindus Mountains (today in Greece). He was always remembering and telling war stories, till his death in 1974. He was telling us about how Turkish soldiers made puppets theatre after sunset and the curfew, how they exchanged then bread; how Germans (the allies of Bulgarians) were saying with proud Deutschland ber alles; how people, his fellows, died around him from bullets and he was so lucky that only one night being shot in the arm, escaped alive; how he managed to run over the border in Serbia, in autumn 1917, and how he lived there till the armistice of Thessalonica.
Starting from his personal story, I wrote in 1986 and published (after the fall of the communist regime) in 1990 a short novel, Tu Polimu (At War), in Aromanian language. It was the language we spoke home. My grandfathers original name was Yioryi Steryi Kiritsi, but in the official documents it was standard Bulgarian George Steref Ivanof, and afterwards, as he emigrated in Romania in 1938, he was been given a Romanian name Gheorghe Stere. So, one person with three different names! As he was a great story teller and a passionate reader till his last day, and has a quite uncommon biography, I feel he is part of the history and I share with Luisa her willingness to know and to tell. In other words, same experience gives same feed-back to the film.
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GLOBAL BRANDS IN THE NEW AD AGE

LIANA IONESCU* * , PhD, Hyperion University, Bucharest Segmentation has been everyones favorite strategy for the past fifty years. Now its time to rediscover mass marketing. WUNDERMAN Abstract: The world is full of global brands invented by Westerners for Westerners during the boom in brand creation and adapted for poorer people when the world globalized in the 1990s. But the consumer they were designed for looks nothing like the global consumer of today. New brands and a global mass marketing are needed. At Cannes Lions Festival, Wunderman Agency explained how to build a new global brands. The present study analyses the 20 rules Wunderman revealed on that occasion. Keywords: Global brands, Wunderman, Cannes Lions Festival.
Today we see the world and marketing changing rapidly. In the new context, global brands are in very strong positions. Take a walk through the shopping streets and malls of the world nowadays and it is not easy to tell which country you are in: the same fast foods, the same shampoos, the same soft drinks. Global brands have swept the world. They can now use mobile and social marketing to scale and reach consumers anywhere. Global brands can now complement mass media with direct engagement of consumers, as individuals and in their local communities of interest. But what is the perspective on global brands, and where are they headed?
Wunderman a plan for world domination

At Cannes Lions Festival of Creativity, in 2011, Wunderman1 unveiled 20 rules for global brands at its workshop entitled How to Dominate the World. It also gave delegates a
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copy of its book, which expands on the 20 rules2. The workshop I attended was given by Simion Silvester, executive planning director of Wunderman EMEA, and the author of that book, and Jason Burby, chief strategy and insights officer of Wunderman subsidiary Zaaz. The following lines are due to analyse some of Wundermans ideas concerning the global brands and how to beat them. Wunderman summarizes the serious challenge that stands in front of the global marketing nowadays: to target not only an aging niche, that is Europe and the United States, but the planet, with the emerging markets and 85% of humans who live there3. Observing that the global brands were designed in rich Western countries for rich Western tastes, and then adapted for poorer people when the world globalized in the 1990s, it revels that there lies global brands vulnerability, the Achilles heel: the consumer they were designed for looks nothing like the global consumer of today. They
Liana Ionescu, PhD, is an Associate Professor at the Faculty of Journalism, Hyperion University, Bucharest. Areas of research: Communication Theory, Radio-journalism. Books: Adevrul n metatiina contemporan (Bucharest, 2006), Romnia i integrarea european. Logici i rutine jurnalistice (co-author), (Bucharest, 2008). E-mail:lianaionescu@hotmail.com 1 Wunderman is a creative ad agency, recognized as a leader in digital, data and client solutions to global, regional and local brands. AdAge Magazine recently named Wunderman an A-List Standout. With 140 offices in 60 countries, Wunderman is focusing on consumers and their needs, being an expert in insights and innovation. 2 How to Dominate the World, 2011, Wunderman EMEA, Greater London House, London. 3 The book are calling countries either the West or emerging markets.
were designed for people today earning typically $40,000 a year. But they are now being sold to customers on $3,000 a year. The first remark is that we are entering a new era where the tastes and desires of poorer people are coming to dominate the consumer goods business. People in emerging markets are very different to Westerners. They have different demographics, different attitudes and different priorities. The average human being is a decade younger than the Western consumer; grew up with generation gaps greater than anything ever seen in the West; shares a past but it is not the past of rich people. So a brand designed to appeal to a suburban American housewife is never going to be the right brand to appeal to the new generation of young adults in the emerging world of the 2010s. Wundermans conclusion: new brands are needed. Brands that talk not to the rich, but mass market brands which talk to the lives and aspirations of the average human being. But how to build a new global brand?
Think visual, think small

First of all, Think zeitgeist! In societies where everything just keeps on going up, people are starting to believe that anything is possible. You may just be selling laundry detergent. But many poorer women are buying liberation from fifteen hours of drudgery a week. Think positive. Most Westerners think that the world is going to be a tougher place for their children than it was for them. No one in the emerging world thinks that way (p. 15). Think trial! The book contains some surprising statistics for those who think the West will continue to dominate the industry. Wunderman found that, in many western countries, marketers focus on retention (keeping customers) rather than trial (recruiting new ones), because the average age of adults is 40plus. But with the average age of the entire population under 28, global marketers are prioritising trial as the major strategy. Think visual! As technique Wunderman recommends visual communication. To succeed in the world today, a true global brand needs to be primarily visual in nature. Think this will lead people to think those brands are unsophisticated? 14
Only if you believe that a modern sophisticated piece of technology would be better called a ZX 300 PK rather than simply having a big picture of an apple on it. Or a running shoe would be better off with writing on it than simply a swoosh (p. 22). Lets notice some pieces of advice: check carefully how consumers identify your brand before you change your pack. The uncool graphic your pack designer is dosing may be how people identify your brand. A global brand needs to be asked for easily and simply in all sorts of retail environments, from supermarket to corner store. Security is so weak in many parts of the world that shopkeepers hide products behind the counter, or behind grilles. Is your brand icon visible in dim light at three meters away?, is one of the main questions. Think youthquake! Global marketing is youth marketing. In most of Arab countries, half the population is under twenty. In the 1960s, Western psychologists talked of a generation gap, between war generation parents and their sense of duty, austerity and sacrifice, and their hedonistic teenage kids. The generation gap allowed consumer goods companies entry to markets by creating distinctively different brands with the values and attitudes of the young generation. Choice of a new generation was the watchword for brands as diverse as jeans, cola and fast food. Today, Wunderman observes, the generation gap in the West is less, as parents did the same stuff at college that their kids are about to do. Meanwhile in emerging markets, the generation gaps are massive. So global brands need to leverage this generation gap: recognize the themes, values and aspirations of the generation they are targeting, and identify with them; consider a fashion angle to whatever they are selling because to a 22 year old in the emerging world coolness matters in all things. And dont offer to the twentysomething women of the 2010s anti-aging cosmetics (as it does Western cosmetics brands rush to reposition themselves), while dating is their priority. Think status!, Wunderman urges. In an emerging market society status symbols acquire a significance they dont have in the West. Young adults in particular see the acquisition of status and its symbols as the be all and end all of their existence. The best status symbols are the ones other people can see all the time. Which is
why many women will spend, or have spent for them, twenty percent of their annual income on a high status handbag. Status symbols are adopted almost as fashions. So the implications for global brands are enormous. The modest, understated nature of many Western clothing brands is completely wrong for emerging markets. If youve paid extra for a logo, people want to see the logo (). Theres no point in having a status symbol if your friends dont know about it. So, if youre selling microwaves and fridges, work out how to socialize their purchase (p. 33). Think small!, is the 6th rule. The global consumer has a lot less space than the western consumer. In America most products come in a big box. In the instructions, it says that if you want to complain about the product, you have to return it in the big box. Wunderman remarks that this proceeding is fine if you are an American with a 200 square meter home or a German with a 100 square meter unused basement to store it in. But it is pretty hopeless if you are anyone else. If you live in East Asia, you are used to living with much less space. For that reason, East Asian companies have always designed things smaller. Another reason small is good is that many people in the world dont have enough money to afford big packages. So they buy in small packs and sachets, which will last them a day or two. Think small! is good for other reasons too. Big products are difficult for the global consumer to take home. In Thailand, Tesco noticed that most of their shoppers were coming long distances by bus. So they decided to drop their European hypermarket concept and open local stores instead. By doing so, they beat their competitors, who had opened big, out-oftown hypermarkets that people could only reach by long, complex journeys. Nowadays this logic works in the West too Wunderman underlines. In Europe, Carrefour and Tesco realized that many people struggle to get to their big out of town stores, and built neighbourhood stores to cater for those who have no car, or who choose not to use it (p. 36). Think fast, think cheap In a special section of the book, Wunderman reflects on the awesome power of television. In the 1950s, television transformed the business
thinking of big consumer goods companies. Television was more than just a medium for communicating information it could shape the wants and desires of entire countries, and it could do so overnight. It was the only medium that could create mass awareness of a product or idea. And it could do so very fast. Meanwhile in emerging markets, four billion people went out and bought a television. Over 98 percent of Chinese today have a TV at home. The conditions for a global mass market the availability of cheap mass media have arrived, Wunderman states. Think fast! is another important rule for building a new global brand. The global consumer is living through the fastest changes in history. When a property developer in Europe decides to create a new mall, they typically spend the next five to ten years negotiating the legal rights to the site, and sorting out planning permissions. Not so in the emerging world. In Shanghai, that shopping mall is open within six months. People from China who spend a year abroad always worry that they wont recognize their home town when they get back to it (p. 42). The speed of things is so much faster in the emerging world. As a result, many young people have little sense of tradition. When youre 19 and everyone around you is 19, you dont have much of a sense of history. The past is a blank sheet. In a young society, its what you dont know that makes you different (p. 44). So clarify what makes your brand different, Wunderman urges. Think service! Standards of services are higher in emerging markets than they are in the West. Companies in up-and-coming countries understand after-sales service much better than those in the West. Korean electronics and household electricals companies like LG beat the Japanese by offering better after-sales service. Hotels in the emerging world have much higher standards of service too. Many long haul business fliers insist of flying with Asian airlines because the service standards are so much higher. One solution: global service brands should be led from emerging markets, not from the West the higher standards the brands deliver in Asia should be extended into other countries, not the other way round (p. 50). 15
Think cultural neutrality! is the 10th Wundermans rule. Western culture remains massively Western-centric. Recently, some global media have moved over to a much more inclusive set of heroes and heroines. But most global brands have not followed. Their focus on American and north European faces and attitudes can leave 80% of the world thinking that this is not a brand for me. This needs to change. Think fake! For many brands, and not just in fashion, fakes are the main competition. So make it more difficult for people to copy your brand, Wunderman advices. And gives us an example: French handbag brands now change design every year to fight the rip offs. Another advice: use fakes to your advantage. Wunderman explains: the software companies that are winning in China are the ones whose software was extensively pirated in the 90s and 2000s. A whole generation of students was brought up on pirated versions of their software. And so today, thats the software they know how to use when they join multinationals. Another example: many young women who will never be able to afford real Chanel or Gucci wear fake Chanel or Gucci t-shirts. Fake t-shirts are big advertising campaigns. Think kiasu!, Wunderman advices, using a Chinese word, meaning a mixture of competitive in all acts of life and afraid to fail. It is a common concept in Asia, but is also applicable to Brazil and the rest of the fastgrowing emerging world. Life is about being ambitious, getting up to the next level and never being ripped off. It is a rat race, and you have to win. Life is about pushing the children, and education. So it is a need to build a sense of achievement and reward into what the brands offer. And to reposition the brands more and more around education. Think cheap! is the 13th rule. Today, brands from mainland China like Haier and Ningbo are creeping into the offices and homes of the West. These brands were not designed to satisfy rich people in New York or in London. They were designed by poorer people for poorer people. Today, across the emerging world, a thousand entrepreneurs are asking the question: rather than providing low-cost production to Western global brands, can we create our own 16
global brands and keep more money for ourselves? Wunderman estimates the answer: Yes we can. Think value equations! is another rule. Americans like to buy the best, but for the global consumer, the best is nearly always too expensive. Price consciousness is an element of every buying decision for the global consumer. This leads everyday brands to have quite a different perception in the emerging world than they do in the West. In the US McDonalds is the cheapest meal you can buy. In Russia or in Indonesia, its a mixture of a family treat, a middle class teen hangout and a date venue. In the West, Ikea is the cheapest way of filling a home. But to most people in the world, Ikea is a mid market, stylish option. In Istanbul, only the stylish middle class buy from Ikea, Wunderman observes. Western consumer goods companies need to understand this pervasive price consciousness better, and think value equations.
Think social, think innovation

Think mobile! Technology has spread across the planet faster than household goods. The GSM phone is already being used for voice and text by peasant farmers worldwide. In 2020, the whole planet may well be connected. And that means big change. The mobile phone is becoming the global bank. The tendency of emerging countries is to adopt the latest technology. All of which has great implications for global marketers, and raise a question: Do you run SMS-based promotions or competitions for your brand? Think social!, Wunderman urges. Social networks have just as much relevance to people in emerging markets as they do to people in the West. The question big global brands may be facing in 2015 is, in Wundermans opinion, how to socialize those brands. Not just to rich college students. But to most of the planet. Most big consumer goods brands are struggling with social networking because they were designed for the age of TV, where a one-way communication lasting thirty seconds was all that mattered. The solution: design social aspects into your new global brand from launch. The brands that get the best response on Indian social networks are local Indian brands. However they
do it, global brands need to work harder to connect at a local level if they are going to work on social networks.. Think business to business!, Think innovation!, are other two important rules. Wunderman estimates that innovation is much easier in the emerging world. With one condition: innovation in poor countries isnt easy for companies with a rich-world mentality. For example, western food marketers speak about delicious all-in-one ready meals, in completely biodegradable packaging. But, the banana leaf plate and the eat-with-your-hands culture has been part of the emerging world for centuries! Rule 19 urges marketers to think about origins. For many brands, their country of origin is their biggest assets. People respect Mercedes Benz and BMW not because of any advertising they do, but because they are made in Germany. Prada is stylish not because of the campaigns it runs in Vogue, but because it comes from Italy. Sony is advanced because it is Japanese. Italian and French luxury goods manufacturers rely on the image of European superiority to sell their wares. The images of nations are vital to the sales of consumer goods and services across the world. But how stable is this image? National credibility is perishable?, could wonder somebody. Wunderman observes that there is a massive differences between the way Westerners look at their countries, and the way those countries are perceived in the emerging world. Consumers in Western countries have a very strong, positive image of their own country, and also of other Western countries. They tend to look down on emerging markets. But consumers in emerging markets have very different perceptions of Western countries, regarding European countries in particular as being tired and past it. This leads to some difficult questions for Western companies: how long can the image of European sophistication continue to sell luxury goods in the emerging world?; how long will Western technology brands manage to retain a premium when people know that the hardware comes from Guangzhou, and the software comes from Bangalore? German and Japanese engineering remains well respected throughout the world. But the image of many other countries and their wares may be living on borrowed time.
Build your global brand around a big idea!, says the 20th rule of Wundermans plan for world domination. Marketing theory says that the strongest brands are built around clear, simple, single-minded benefits. And indeed many brands that have swept the world have been built this way. But that is scant comfort to many of the large companies in emerging markets. They have been built as conglomerates, around the interests of an entrepreneur or of a family. A car division here is added to a bottled water division there. The result is a set of businesses which can individually be very successful. But which have little relation to each other. They would be better building a brand idea around their company. An idea that makes the company mean something. Companies with a brand idea stand out. Ideas stick in the mind. They also acquire reputation and imagery in the minds of their prospects. And that builds sales.
Conclusion
Today, the time is ripe for a global mass marketing, which talks to the average human being. This is the target. For two decades now, consumer goods companies have regarded emerging markets as an exciting new addition to their consumer base. For global mass marketing to work, they need to redefine emerging markets as the core of their customer base. The number of poor people is growing in rich countries, and the number of rich people is growing in poor countries. So separate brands for rich and poor no longer work. And dont forget that in the emerging world the ordinary human wants more. Consumer goods companies must innovate to survive. To innovate successfully, companies need to roll their innovations out faster than they can be copied. And the only way to do that is to have one brand, one promise, and one system everywhere. The big ideas that drive global brands are precious. If a company has two brands, it will need to wait for two big ideas rather than just one. Wunderman is aware that many people will disagree with the global mass marketing proposition. But it was the same in early twentiethcentury America, it says. Now its time to rediscover mass marketing. . and 17
BIBLIOGRAPHY *** Wunderman, How to Dominate the World, Wunderman EMEA, Greater London House, London. *** Lions 2011 Daily News, June 21, 2011, Boutique Editions Ltd, London. www.canneslions.com www.lionsdailynews.com, June 21, 2011. http://www.canneslions.com/resources/downloads/2011_Cannes_Report_Extract.pdf
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ONLY YOU - ALWAYS (ALWAYS , O-JIK GEU-DAE-MAN,) SONG IL-GON

FLORENTINA HEROIU * Ph.D. National University of Drama and Film, Bucharest, "I. L. Caragiale", Bucharest
Abstract: A romance between an ex-boxer who has closed his heart to the world and a blind telemarketer. Always was the opening film of the 2011 Busan International Film Festival (BIFF 2011). Keywords: cinema, love story, soul, identity, authenticity, typology, archetype etc.
Quand vous tes bless, le cur fort ne saigne pas, mais donne de la lumire semble nous dire Song Il-Gon, avec son film Always . Il existe des cinastes et cinastes, les uns communs et crbraux, les autres avec de beaux et de fous rves : Song Il-gon est lun deux. Le cinaste Song Il-gon1 semble renfermer dans sa foi la candeur2 d'Antoine de Saint- Exupry3 et la triste sagesse de Rudyard Kipling4. Premirement, Song Il-gon sduit par la simplicit de l'histoire de son film. Mme sil est ardent comme prsence, il se rvle pleinement par son film: sagesse, amour, tolrance, dtermination et une profonde
*
considration pour lintriorit humaine, dont il fait preuve film aprs film, comme credo et profession de foi. Always le film d'ouverture du Festival de Busan, de l'an dernier (BIFF 2011) Un film romantique avec un big Star de la nouvelle vague hallyu. Pour So Ji-sub, le type fort et silencieux (personnage de fondement du genre romanesque), lui convient trs bien. Il russit apparemment faire preuve la fois, de la physicalit et la vulnrabilit de son personnage. Cheol-min est un ancien boxeur qui a un pass douteux, qui vit dsormais dignement en faisant des petits boulots pour gagner son existence.
Florentina Heroiu Ph.D, is Professor at the National University of Drama and Film, Bucharest, "I. L. Caragiale" (U.N.A.T.C.), Bucharest. Areas of research: Scriptwriting, Script Advisor-Story Analyst, Criticism and Analysis of Film, Film Theory. Books: Die zweite Heimat- Second Home. Edgar Reitz and His Films Poetry, U.N.A.T.C. PRESS 2008, Gregory Colbert cinema & anticinema, U.N.A.T.C. PRESS 2009, flor_her@yahoo.com 1 Song Il-Gon ( , 01-01-1971) est le premier cinaste coren qui a remport un prix au Festival de Cannes. Ralisateur et scnariste connu pour: 2001 Lle aux fleurs ( Ggot seom) 2004 Spider Forest ( Geomi sup) 2005 Plumes dans le vent ( Git) 2006 Les Magiciens 2009 Dance of Time 2011 Always ( Ohjik Geudaeman) 2 Antoine de Saint-Exupry, Terre des hommes (1939), Grand Prix du roman de l'Acadmie franaise et dans U.S.A., National Book Award (1939); rflexions sur lessences de la vie et de la mort, lamiti et lhrosme quon trouve en chacun de nous. 3 Antoine Marie Jean-Baptiste Roger de Saint-Exupry (29-VI-1900 31-VII-1944) crivain et aviateur franais, surnomm aussi Saint-Ex. 4 Joseph Rudyard Kipling (1865-1936), crivain britannique, considr comme linnovateur dans l'art de la nouvelle : L'Homme qui voulait tre Roi (1888), Mandalay (1890), Gunga Din (1890), Le Livre de la jungle (1894), Le Second Livre de la jungle (1895), If... (1895), Kim (1901) etc.
D'autre part, lactrice Han Jye-hyo est touchante. Jusqu' Always sign par Song Il-gon, mme si elle a eu des rles divers, la belle Han Jye-hyo na pas encore donn la preuve de son talent, mme pas dans le si connu Dong-Yi () 6 . Mais Song Il-gon a su comment faire ressortir delle le meilleur de ses aptitudes. Jeong-hwa est une adorable tlvendeuse qui a perdu sa vue dans un accident. Ressentant quelque chose de doux et loyal en Cheol-min, elle se rend habituellement chez lui, partage son stand et soir aprs soir, ils regardent sagement les K-drames. Tous deux ont subi un prjudice et on y fait allusion ds le dbut du film. Leur douleur et leur vulnrabilit conesquente les rendent sensibles et adapts seulement lun lautre, ils partagent, solitaires, un monde en deux. Leurs mondes fusionnent. Celui qui peut voir est aveugle , lui /Cheol-min a le sourire triste rsign et ne voit pas lhorizon, elle / Jeong-hwa, dans ses grands yeux aveugles, dtient la lumire dun artiste vainqueur. Il y a quelque chose de sombre dans Cheolmin quil n'a pas pleinement russi cacher de la gracieuse aveugle, tandis que la solaire Jeonghwa, elle aussi, a son propre complexe (dsormais typique clich pour les personnages handicaps), qui la rend incapable d'accepter l'aide des autres. Il y a dans le film un moment o Cheol-min est engag dans une lutte en cage. Cest ce moment que Song Il-gon apporte habilement le concept de l'alignement du public en question. Il dmontre, travers des codes et des lments d'information, qu'il est le bon gars alors que lautre, le chasseur est le mchant. Nous prenons ces indices leur valeur nominale, mais comme Cheol-min commence brutaliser son adversaire, il devient clair que notre boussole morale peut tre facilement dupe par une manipulation affective pour lacteur So Ji-sub. Pourquoi Song Il-gon a-t-il choisi une histoire si simple ?! Car il est un cinaste complexe fort intressant... Cest la consquence de son apprentissage dans une grande cole de cinma 7 ?! Devant
MBC 2010 Lodz, Pologne. Ecole de cinma connue pour Roman Polanski et Krzysztof Kielowski.
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nous, beaucoup de chemins, car Song Il-gon se situe un carrefour. Peut-tre parce que la simplicit est larme dune personnalit crative forte ?! Qui a visionn ses autres films de sa filmographie, connat dj la rponse. Song Il-gon est un chercheur, il fouille dans le plus profond de la personnalit humaine pour dcouvrir les chemins. Dun film lautre, il nous fait dcouvrir des multiples voies vers notre chemine de vie. Pour le ralisateur Song Il-gon, il est vital de produire le concept chafaud de limage partir dun processus plus complexe de comparaisons avec le modle stylistique, ainsi quavec dautres rfrences. Et il faut commencer par reconnatre semble nous dire Song Il-gon daprs la phnomnologie dialectique de Strasser, qu une vidence peut cacher bien dautres, tant dautres Le ralisateur coren avoue que le changement est lun des lments constituant lidentit dune personne, son esprit. Selon lui, un homme, une femme ou un enfant qui excelle dans lart est dot dun maximum de sagesse et de conscience: un artiste dfini possde un esprit mr et doit tre un visionnaire. Or aujourdhui dans notre socit contemporaine, le mrissement de lesprit mne cet tat desprit. Cest ce quon appelle devenir adulte / responsable comme Jeong-hwa. Ainsi, film aprs film, on dcouvre une autre facette de sa potique de cinaste. Tous les chemins nous conduisent vers la Rome intrieure de Song Il-gon.
Le chemin de lAveugle
Song Il-gon nous apprend voir avec les yeux dune aveugle (Jeong-hwa), changer notre perception du monde afin que le monde lui-mme se transforme. Alors que nous cheminons ensemble autour de cette roue de la vie et de la mort, il nous charme pour dissiper les mythes anciens que nous avons vcus par une culture ou autre et de desserrer l'tau de la peur atonique, de sorte que nous puissions vivre sans rserve.
Le Chemin de la Compassion
Song Il-gon commence un voyage gurisseur la plnitude: nous librer de l'emprise de nos histoires personnelles et de tlcharger une nouvelle version de nous-mmes qui gurit, en nous librant de la place de victime.
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Tout comme le serpent se dbarrasse rgulirement de sa peau afin qu'il puisse grandir, nous aussi, nous pouvons en douceur et avec compassion, avec honneur et respect, laisser aller de notre pass, loin de nos histoires personnelles, de douleur et souffrance. Chaque fois que nous avons vers une pice de notre pass, nous avons eu la chance de grandir. Lorsque nous enlevons les liaisons qui nous retiennent, nous avons la possibilit d'avancer, de grandir pleinement chaque nouvelle tape de notre vie.
La voie du guerrier pacifique

Dans l'Ouest, nous devons faire la paix avec nos ombres. Ici, en Asie, peut-tre, il faut nous gurir des histoires de nos anctres et nous librer de l'emprise du karma, de la peur, du manque, de la pense, de la culpabilit. Song Il-gon veut nous loigner de la place de la proie. Daprs Carl Jung, nous pouvons laisser aller ce qui ne sert plus, au-del la peur et latonie. Acceptant toutes les parties de nousmmes, hombres et lumires, de sorte dtre guris par notre intrieur.
La Voie de lExplorateur
Ayant expriment notre pass, nous apprenons davantage qui nous sommes vraiment. Explorer, c est le sens, le but de nos vies. Derrire les rles que nous jouons et les masques que nous portons Qui sommes-nous ?! Nous arrivons comprendre que chaque instant est nouveau et unique.
Ralisateur et spectateur, esprit et rceptacle, deviennent ainsi les deux faces indissociables de la subjectivisation de la beaut dun film, comme nonait jadis Luc Ferry. Jai un respect trs spcial et distinct pour Bang Jun Seok 8 ( / Bang Joon Suk), pour sa belle musique, particulire et unique, cre pour tant dexcellents films. Il a toujours la joie dun enfant qui sait sadapter divers genres de cinma, du drame la comdie etc. Bang Jun Seok ne craigne pas surmonter les styles de premire ligne, ni le marketing. Bien des acteurs et des films lui doivent le succs sur lcran. Car grce aussi lui et sa surprenante musique, ils ont prouv pleinement leur talent : Soo-ae 9 dans Sunny 10 (drame, 2008) ou Jeong Jin-yeong dans le mme film ou Hi, Dharma 2: showdown in Seoul 11 (comdie, 2004), par exemple.. La musique lumineuse conue par ce sensible compositeur, devient partie intgrante du jeu de lacteur. La musique inonde avec soleil ou dgage un air de robuste nostalgie, squence par squence. Jai surtout affectionn une certaine part de sa musique: Cheol-min est paralys au lit, Jeong-hwa ne le reconnat pas, elle vient tous les jours lui faire un massage. Pour moi, ces squences auraient pu tre les plus belles du film. Tant dmotions, tant de douleur, tant desprances, tant damour sans demain sur laccablante musique de Bang Jun Seok. Et pour un court moment, je nai pas pu mempcher davoir un profond regret. Bien sr que lacteur So Ji-sub fait de son mieux, car il
Bang Jun Seok ( / Bang Joon Suk) Go go 70 (2008), Nowhere to turn (2008), Eye for an eye (2008), Sunny (2008), Like father, like son (2008), Paradise Murdered (2007), 2 faces of my girlfriend (2007), The happy life (2007), A good day to have an affair (2007), The city of violence (2006), Radio star (2006), Crying fist (2005), You are my sunshine (2005), R-Point (2004), Hi, Dharma 2: showdown in Seoul (2004), Ing (2003), Oh ! Brothers (2003), Who are you ? (2002), YMCA Baseball Team (2002), Bloody Beach (2000), JSA (2000), La sixime victime (2000), Tell me something (1999) 9 Park Soo-ae (; 25-07-1980), connue comme Soo Ae, actrice corenne trs complexe et de grande force motionnelle. 10 Sunny ( , Nimeun meongose) 2008, Lee Jun-ik. Film connu aussi comme "My Love is Faraway" 11 Ralisateur Yook Sang-Hyo
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Le Chemin du Rveur
Nous crons notre monde chaque instant de notre pense et de nos croyances. Ds que nous apportons nos croyances dans la conscience, nous avons le pouvoir ultime de les changer pour une vie plus intressante, nous apprenons ce que signifie mourir consciemment. Mme les yeux ferms, nos curs rvent : l'quit, l'galit, l'intgrit, la cration d'un nouveau monde pour demain. Ce chemin est celui de loiseau Phoenix. Dans son film, le cinaste parle du prjudice, de la lsion, du dommage, du dtriment, du tort tout embelli dans une dlicate smiotique du langage et de limage cinmatographique. Song Il-gon adhre aux "Pouvoir du moment prsent". Et il a raison.
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na pas le choix sous la main avr de Song Ilgon. Mais dans ces squences, je nai pas pu mempcher de penser que surtout ici, le jeu dun acteur expressif comme Kim Nam-gil, aurait fait des merveilles. Certainement il na pas les muscles de So Ji-sub, il nest pas un sexy top-modle et ne pose pas en mannequin, mais il est un Acteur. Complexe, compos, virtuose et versatile. Dans les dites squences, Song Il-gon aurait eu besoin dun acteur comme lui, avec mille visages exprimant tant pour avoir le public ses pieds. Tout au long du spectacle filmique, Always , la musique de Bang Jun Seok tinvite couler avec le film, tu te penches avec pit, tu te lves ensoleill du sol et tu deviens part de son concert-exprience. Bang Jun Seok a une personnalit pleine de charme et le sourire ouvert. Une merveilleuse fusion dquipe, un compositeur intrioris, sensible, dou de la force btisseuse, nergisante dun ralisateur, Song Il-gon.
Au fil des annes, la Cinmatographie corenne a produit de nombreux films romantiques et vous avez srement constat que les uns d'entre eux la majorit ne se terminent pas toujours bien.... Que ce soit une distance spatio-temporelle, une maladie grave ou linfirmit, il y a presque toujours quelque chose qui spare les personages. Par la force de mon mtier, de voir un grand nombre de films, j'ai commenc me demander sil ny avait pas quelque chose derrire tout cela. Ces dsunions, ces disjonctions, ces sparations peuvent avoir avec une allgorie ?! Le ralisateur d Always n'a pas pu escalader les hauteurs de certains de ses films prcdents, mais certainement son dernier film fut une exprience fconde pour ses futurs projets cinmatographiques. Le cinaste Song Il-gon a russi faire un film commercialement viable?! Compte tenu de l'intrigue narrative, la prsence de lidole coren So Ji-sub (qui a probablement pouss le marketing du film de grand), la rponse semble tre oui. Mais cela ne signifie pas que le film nest sans imperfections... Comme par exemple un antagoniste non dfini et quelques maladroits hocus-pocus, deus ex machina, mais on peut dire quil s'agit d'une sortie russie pour le cinaste Song Il-gon, qui a une fois de plus tendu un nouveau territoire. Il s'avre toujours tre un penchant frais sur un thme archtypale et il sera probablement rcompenser par les spectateurs qui donnent au film plus dune chance et sortiront Always de l'inexplor des critiques. Le film est bien fait et il est vident quil est laboutissement de la main forte du metteur en scne. Song Il-gon laisse derrire lui, une histoire de vie et des personnages authentiques criant de vrit par eux-mmes, une vrit qui peut devenir un jour la ntre aussi. Yeux en larmes, sourire aux lvres, entre hombre et lumire, chacun de nous a pour toujours, bien enfoui dans la mmoire de son cur Always, only you
BIBLIOGRAPHY C. G. Jung, Simboluri ale transformrii, 2 vol., Bucureti, Editura Teora, 1999. Franoise Choay, Alegoria patrimoniului, Bucureti, Editura Simetria, 1998.
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INFORMATION AND CINEMATOGRAPHIC VISION IN THE DOCUMENTARY CASE STUDY: CLUARII (LIGHT VIDEO PRODUCTION)
Professor DOINA RUTI * Hyperion University, Bucharest Abstract: Light Video Production Studios started its shootings for a documentary of anthropological analysis on an old Romanian dance (Clu). This article presents a case study on the pre-writing the script. The documentary involves several steps: documentation, setting the approach, selecting the dominant themes, selection of specialists, development of questionnaires etc. A dance of horses, Clu is a solar dance, with bellicose meanings and in the same time catabasic, using more symbols, such as muteness, the magical flight, the horse, the magic plants, death and rebirth. Therefore, we propose five thematic approach angles. Between image types we have chosen the Mystical image, as Gilbert Durand deemed to have a great capacity for sensory suggestion. Keywords: ritualic dance, film, magic plants, Cluarii.
Unlike fictional film, the documentary promises, from the very beginning, a verifiable information. Moreover, it puts first the scientific documentation, many a time a minute research and an unequivocal proof. Even in art documentaries, for example in docudramas, the film shows essentially and comments upon an unquestionable reality. Nevertheless, the Director's vision is as important as in fictional film. A true story can be told in many ways, and the cinematographic discourse has the ability to rebuild, like all the other arts. Grald Genette (1994, 148 et seq.) proved, a long time ago, that fictionality is defined by narrative fictivity, as much as by happening. The factual story as well as the discursive story are subordinated to a subjective vision, according to which the connections between episodes, perspectives, and, last but not least, auctorial comments are assigned. The documentary starts from real facts that it sometimes reseats in a context which is familiar
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to the filmmaker. As it is a team work, each cinematographic stage, from documentation to screenplay, to shootings to setting and editing the film, brings elements which express the personality of each participant. But the decisive word is the directors. He decides the epic line of the film, he chooses the story tone. In order to follow the metamorphoses of the information, from documentation to its cinematographic translation, we start from a case study. In 2012, Light Video Production (Vlad Morarescu) started its shootings for a documentary of anthropological analysis on an old Romanian dance (Clu) Producer: Vlad Morarescu, director: Bogdan Moldoveanu Hypno, screenplay: Doina Rusti. There were a few stages in making this film, of which the most important are the following: subject description, theme history, contiguous ideas, controverses, setting up the main theme (thus the title), deciding the approach
Professor Doina Ruti (Hyperion University, Bucharest) is a specialist in symbology, having the domain of research in film and the art of performing on stage. Books/articles: The Dictionary of Themes and Symbols in Romanian Literature, second edition, Ed. Polirom, 2009, Communication resources and the consequences of linguistic censorship Semiotica (Editor in-chief. Marcel Danesi, Mouton de Gruyter), vol. 172 1/4, p. 261, 2008, Bestiarul cantemirian (The bestiary of Dimitrie Cantemir), Ed. Universitas XXI, Iasi, 2007, Enciclopedia culturii umaniste, (Encyclopaedia of Humanist Culture), 2th edition, Ed. Paralela 45, Pitesti, 2006, Mesajul subliminal n comunicarea actual (The Subliminal Message in Current Communication), Editura Tritonic, Bucureti, 2005; Hypermnsie et vasion Philologica Jassyensia, Iasi, III, no. 3/2007, Les obssessions potiques de Linda Maria Baros, Les crivains du Sud-Est europens en qute didentit , 2009 etc.
perspective, preparing writing the screenplay.
the
questionnaires,
1. Subject description
Clu was part of the active magical practices up until a few decades ago. Today it is just a folkloric dance, whose meanings were lost to a great extent. Mircea Eliade interpreted it as a cathartic dance (2000, p. 606) and describes it as a pagan ritual. He draws attention to an essential detail: Cluarii are a closed group, in the sense that its members meet a preset number of participants and benefits of a period of initiation. Cluarii are seven, nine or eleven young farmers, chosen and trained by an older overseer. They wear canes decorated with a totem-horsehead (hence the name of the dance) and swords. Also, they have a flag, made of curative herbs, hung on top of the pole. (2000, ib.). Among these there is a character called the Mute or the Mask, a sort of fool, with special role in dancing. Few weeks before being danced, there is an initiation of dancers, who withdraw in the forest or a private place. The overseer decides the entrance of each member in the band of Cluari, who, once accepted, make an oath with their hand on the flag. They engage to dance Cluul truthfully, not to abandon the arrangements, in order to keep their chastity during the ritual (for 12-14 days), not to disclose the secrets of the dance to anybody. Of course, they swear faith to the overseer. By this oath, Cluarii acquire the protection of the Queen of fairies, Irodiada, or the God Clu (apud Ghinoiu, 2002, p. 382 et seq). Among these oaths, the most important is the silence oath. Breaking it brings witches wrath on the guilty one. Cluaris cloths are also specific to male fraternities. They are adorned with multicolored ribbons, they have bells at the ankles and the hat, are armed with swords and canes. Also, the horse totem is extremely important. Cluarii have a cane with a horsehead, a stylized representation of the animal, in fact. There are even records of the fact that in the Middle Ages the dancers were wearing a horse mask. Thus adorned, Cluarii go from one village to another and stop at notable peoples houses in order to play an extended drama, of casting out demons and diseases. Accompanied by fiddlers, the dance has a rhythm of girdle dance (bru) 24
and lively folk dance (rustem) which are male dances is seasoned with a vast coreography that infers most times taking over a disease from the body of a common man. Any Cluar can cheat the disease, because he is initiated, thus it can not kill him. Nevertheless, he is knocked down, he seems dead, but finally he wakes up unhurt. The role of the Mute is very important. He throws on the world different evils (literally, he splashes the world with dirt and rotten eggs), but Cluarii kill him. He is mourned by the entire community, then he is flayed and prepared for burial. But, unexpectedly, he comes back to life, endowed with a large phallus, a sign of future fatness. Last day is emphatically burlesque, certainly contaminated by other pre-Christian or medieval festivities. Among Cluari there are also popular theatre characters: the Priest, the Turk (or Cossak), the Doctor and the Woman. Men try to make love to the Woman scene suggested through an ample pantomime, prevailed by obscenities. The most comic character is the Mute, who makes case of his giant phallus. And here there is one death and one resurrection, and finally the Woman gets pregnant.
2. Theme history
In a documentary one always starts from a basic piece of information. The presentation of the history has a formative role and it is essential to order the information following a history principle in the documentation work, even if the film does not always have a chronological presentation of facts. For the film of the Studio Light Video Production, the scientific research starts from Greek-Latin literature about books on Romanian folklore. Considered as a ritual dance, Clu seems to have Thracian roots. As a matter of fact, in all archaic societies are recorded rituals related to the setting of warm season, therefore nature rebirth. Most of them are in fact dramas of death and rebirth, stories represented by a symbolic choreography, in which center there is a sainted character precisely because of the fact he knew death and resurrection. This type of shows in May-June is quite popular in Mediterranean world and Europe, where the mysteries of the Antiquity, underlying many of the Christian rituals, spread in time, contaminating different cultures or shaping
versions. For example, Thracian tribes are considered responsible for the dionysiac cult. In the tragedy Bacchae, Euripide quotes many examples of mysteries and ritualistic orgies in Thracian communities, during which participants lived the drama of death and life. Loud music played at alphorns, dance and narcotic smoke, hemp seeds thrown into the fire, were the main ingredients. Of course, it is possible for these rituals to be accompanied also by blood sacrifices, even human, as in Euripides Bacchae. To this regard, Romulus Vulcanescu (1987, p. 378), among others, thinks Cluul is a reminiscence of Thracian kolabrismos, a solstice dance of men, obviously magic. As a matter of fact, there are other examples regarding the role of the dance in Thracian world, relating it to a rich cult of sun, to this regard, a testimony are recent discoveries from Seimeni, where a sanctuary was found, marked by 59 circular dwellings, with a 20 m diameter, consolidated by walls. It is assumed that the sanctuary was used for rituals where the sun dance had the main role. Often it is cited an excerpt from Xenophons Anabasis where they talk of a similar Thracian dance: But as soon as the libation was ended and they had sung the hymn, up got first some Thracians, who performed a dance under arms to the sound of a pipe, leaping high into the air with much nimbleness, and brandishing their swords, till at last one man struck his fellow, and every one thought he was really wounded, so skilfully and artistically did he fall, and the Paphlagonians screamed out. Then he that gave the blow stripped the other of his arms, and marched off chanting the Sitalcas107 , whilst others of the Thracians bore off the other, who lay as if dead, though he had not received even a scratch. (translation H. G. Dakyns, ed. Macmillan, 1897, book VI, 1) Armed dancers are quoted also by Herodotus, when speaking of Scythians, and often the dance has sacred meanings at IndoEuropean peoples. In a Hindu myth, it is said Buddha created the world while dancing. Other anthropologists think Clu issues from the dance of sali (saltants) priests, who were surnamed collisali, where Cluari is supposed to come from. Sali were Roman priests, vowed to God Mars: they had a series of choreographic rituals, acrobatic dance steps, and a theme of bellicose confrontation. Also, it is
reported the existence of a prophet-priest, the equivalent of the overseer in Clu. But we have to say that among Roman traditions there were other festivities that could be associated not only with the dance of Cluarior, but also with many other traditions in Neo-Latin world. Thus, for example, on Ides of June, the figure and the festivity called Quinquatrus Minusculae, of disguised pipers (apus Dumzil, 1993, p. 845), and in the festivities dedicated to goddess Demeter, the horse totem held an important place. Anyways, the dance of the Clu maintained in European area even after the fall of Roman world, because a more simplified version turns up in Great Britain (probably inherited from the Celts). It is Morris Dances. Most references to Clu are found in Middle Age, when dance is spread across the entire territory of todays Romania, which proves, among other things, its age. The most interesting description appears at Dimitrie Cantemir, in Descriptio Moldaviae, in 1716. He says a group of Cluari must have 7, 9 or 11 members. They are dressed like a woman, they wear garlands of wormwoods on the head, adorned with flowers, and their faces are covered with a white linen. They speak like women, in order not be recognized, and hold scabbardlessswords in their hands. They have a repertory of more than 100 dances, all based on jumpings, that they seem to fly. Cluarii Cantemir goes on in his story can kill anybody who would try to see their faces. (1973, pp. 236-237) Commented by many folklorists and kept until today, Clu is among archaic rituals, because it has always been felt like a pagan dance, although the Church has started to tolerate it, during the 17th century.
3. Setting up the main theme and thus the title

Choosing a perspective on the story infers, first of all, following secondary themes, existing controversies and, of course, the historical context where Cluari dance exhibited. It can be considered a dance that announced the victory of vegetation, being set up on Pentecost (Rusalii), that is 50 days after Easter. The festivity has pre-Christian roots, being accepted by Church and assimilated to the Descent of the Holy Spirit. Celebrated for 3 days 25
or, in some regions, even a week, the Pentecost festivity (Rusalii) announces summer start, combining many beliefs, because the origins are set up in Roman festivity of roses (Rosalia), dedicated to a cult of the forefathers. For Romanians, Pentecost are evil fairies, whose effects can be annihilated by Cluari, because they mimic fairiesflight (Eliade, ib). In fact, besides Clu, there are reported other related traditions, such as Pentecost Fall (Cderea Rusaliilor). Eliade emphasizes the cathartic values. One or more women fall in trance and send a message regarding the future through an incantatory and unintelligible oration. The trance
ends when they dance Clu. (1995, p. 208 et seq.) Regarded as an apotropaic dance, for chasing diseases, Clu proposes a magical choreography, related to fairiesflight. But, it is first of all a dance of horses, hence the name, that is a solar dance, with bellicose meanings and in the same time catabasic, using more symbols, such as muteness, the magical flight, the horse, the magic plants, death and rebirth. Thus, choosing the main theme turns out to be extremely difficult, it can only be solved by an equitable comparison between the offer of the idea and the offer of film potential.
POSSIBLE THEMES AND THEIR CINEMATOGRAPHIC CAPACITY No. 1. Horses dance Cluarii are disguised horses, embodiments of indomitable spirit, hidden in the middle of the world. Symbolically, one can make a connection between Cluari and Saint Theodores horses (sntoaderii), other Romanian mytical archetypes of great significance. Theme Theme cinematographic capacity Redeeming, terrible and sheltered in the darkness of hell, Saint Theodores horses are symbols of awakening to life and remnants of a large spring carnival. They symbolize vigour, but also the demonized spirit of the other world. The festivity dedicated to Saint Theodore (Sntoader) is on the first Saturday during Lent, that is at the begining of spring, and Clu ends the spring period. The connection between the two symbols is rich in ideas, especially because it highlights a common idea: sntoaderii as well as Cluarii are equally horses and people. And the anamorphosis man-horse provides a large symbolism and it can be easily capitalized cinematographically. The magical herbs, attribute of wizards, are part of Cluari flag. They wear a cane that can be likened also to maypole, except that on its head healing plants are attached: wormwoods, basil and garlic - all green, as an expression of rebirth. Having apotropaic functions, all three are used in different chants and spells. Nevertheless we must say that wormwood has the main role in Cluari dance. Dedicated mainly to chase evil spirits, wormwood is a dual plant, poisonous and healing in the same time, that synthesizes Clu very message of death and rebirth dance. Moreover, its hallucinogenic characteristics recommend wormwood in shaman practices and during initiation rituals. Making a docudrama with examples of magical practices can have a high potential in the spectacular area. 3. Clu Mystery Seen as part of a religious screenplay, Clu can be followed from his history side, through a comparative analysis between elements specific to Clu and ancient mysteries (Isis, Cybele, Mithras etc.) A comparison can be done between Clu and Cybele, often represented as a carrier of a horse totem, symbolism existing also in the Dionysian cult. In the mysteries of the goddess Isis, nature rebirth was emphasized in 24 scenes, showing death sufferings and rebirth joy, the main theme was the bellicose confrontation (between Seth and Osiris soldiers). Between elements devoid of any archaic ritual, there is also the pole, symbolic embodiment of Osiris, a sort of death and periodical rebirth witness, in fact a sacred tree, devoid of leaves during winter and annualy regenerated, like Cluari flag. To this regard, the film can follow the pros and cons of these similarities.
2.
Magic plants Wormwood, basil and garlic are Cluaris magical plants. Focussing on the vegetal symbolism of a ritual related to a triumph of harvests, at the beginning of summer, could be rich in ideas.
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Cinematografic Art & Documentation, nr. 5(9)/2012 4. Ritual muteness Another interesting symbol is the muteness oath of Cluari, showing partial resignation to life and exteriorization temptation. Seen from this perspective, the film can focus on a single character: the Mute. He dies and resurrects, emboding virile power, life resuming when spring comes. Although all Cluari are bound by a silence oath, only Mutul can not speak and tries to do it. Symbol of escape from time, silence is an initiation path, from a mystical perspective. 5. Flight Most exegetes noticed Cluprevalent feature is dance as flight, the participants are in fact dancersacrobats. Attribute of dream and enlighting, magic act, the flight reveals evasively ideas of liberty and transcenddence (Eliade). Any ascension expresses the will to power, and the flight, gift of Shamans and symbol of mystical ascent, can be seen especially spiritually. In Clu, dancers intent to create the illusion of flight is obvious. As a matter of fact, during the entire period from Easter to Pentecost, they think the sky is full of flying fairies. In this context, Cluari flight shows their magic origin, of deities patronizing the period of vegetal rebirth. This approach angle is rich in ideas because the mythology of plants prevails in the shootings.
When making the film, the director (Bogdan Moldoveanu Hypno) chose version no. 3, but the emphasis was not on the comparison with other cults, but on elements unquestionably proving an archaic sublayer, supported by ritualic practices of maximum film potential. Therefore, the title decided following agreement with the producer (Vlad Morarescu) kept its monographic level: Cluarii.
4. Perspective and approach angle

Given the suggestion somewhat monographic of the title, the general perspective shall be based on the alternation of two angles, a participative, from inside, and another of detached spectator. The window technique, as equivocation means, seams to set up the best the cinematographic intent. To this regard, Thomas A. Sebeok (2002, page 18 et seq.) has a large analysis of the comfort provided by the window in literature and film. He thinks that spatially, the window is in the same time an escape act and an immersion into a forbidden place. Placing the camera in a framework confining the story has almost the same effect and, many a time, brings forward mystical image. In a reference book, Gilbert Durand (1999) sets up three large categories of images: schizomorph, synthetic and mystic, each of them has multiple aesthetic functions. The schizomorph type image implies a large idealization capacity, as well as
polemical antithesis (1999, p. 88-89). The synthetic images narrate small dramatizations, proposing tense acts in nuce. In a film of the genre proposed here, the synthetic perspective is adequate for the incipit of scenes. The mystic images are much more rewarding. From Gilbert Durands point of view they are based on the sensory realism (ib.), leading to an imaging viscosity, bringing forward the mystery. In the scenes that dramatize the oath ritual in the forest, for example, the combination of detailed gestures with dance steps and different sound effects of chanting can emphasize the strange note of Clu. Also, the alternating horse symbolism, with bellicose elements of the dance, have the same effect and are considered as mystical images. Once set up these principles, the film structure can be reduced to two main levels: the dance story, by recompositions of docudrama type, and insertion of experts opinions. Given the large theme, a film of this type needs at least 10 experts, mainly anthropologists, ethnographers, musicologists, choreographers and historians of religions. In this case, the questionnnaires include a number of 12 general questions and at least 30 specific questions. Only then we can start writing the screenplay. A documentary screenplay (30 minutes) sums up 35 scenes. The film epic can be created on the experience of one character, who takes 27
part, first, at the initiation ritual, becoming a Cluar, and, then, at the Pentecost dance as such. Of course, another possible version is to follow the ritual chronology, stopping on key moments. Nevertheless, the screenplay is a rough guide, because, a documentary espe-
cially the one with comments and opinions inserted, like this one takes shape only after the shootings were concluded. Many a time the final material can decisively deviate from the screenplay.
Translation: Zenovia Popa

BIBLIOGRAFIE Cantemir, Dimitrie, Descriptio Moldaviae, Bucureti, Editura Minerva, 1973. Dumzil, Georges, Mit i epopee, Bucureti, Editura tiinific, 1993. Durand, Gilbert, Aventurile imaginii. Imaginaia simbolic. Imaginarul, Bucureti, Editura Nemira, 1999. Eliade, Mircea, De la Zalmoxis la Geenghis-Han, Bucureti, Editura Humanitas, 1995. Eliade, Mircea, Istoria credinelor i ideilor religioase, Bucureti, Editura Univers Enciclopedic, 2000. Genette, Grald, Introducere n arhitext. Ficiune i diciune, Bucureti, Editura Univers, 1994. Ghinoiu, Ion, Srbtori i obiceiuri romneti, Bucureti, Editura Elion, 2002. Sebeok, Thomas A., Jocul cu fantasme. Semiotica i antropologie, Bucureti, Editura All, 2002. Vulcnescu, Romulus, Mitologie romneasc, Bucureti, Editura Academiei, 1987. Xenofon, Anabasis, Bucureti, Editura tiinific i Enciclopedic, 1964.
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TWO WAYS OF LOOKING AT A BLACKBIRD * : DARREN ARONOFSKYS BLACK SWAN

Professor BARBARA A. NELSON** University of Bucharest Abstract: Whether Nina completely comprehends this seems somewhat dubious. She may recognize the power of the Black Swan, but does she understand its vulnerability as the audience does? For Nina, deception still seems possible. That she does not perfectly play or become the Black Swan in her performance is clearly illuminated by the floodlights that show the discrepancy in the depiction of the dancers arms and wings projected by her shadow on the wall. Unlike earlier scenes in which this detachment occur, Nina is oblivious to it. There also exists and irony of the idealistic valence placed by Ninas on her final self-mutilation. Keywords: Wallace Stevens, mirror, Tchaikovsky, Jane Eyre.
Certain cinematic faces are impossible to forget. Adding to the gallery of Edwin Porters cowboy, Carl Theodor Dreyers Joan of Arc, Francis Coppolas Sicilian Godfather, and Stanley Kubriks Alex, are at least two contemporary portraits. Etched in ones mind is Quentin Tarantinos close-up of a Jewish victim turned avenger who is projected on the screen of a theater full of Nazi elite, engulfed in flames. Yet a second haunting, full-frame visage occurs near the end of Darren Aronofskys Black Swan. This close-up reveals a young girl in streaked whiteface, weeping. It is this face which will be the subject of the following paper, the face of Nina Sayer (Natalie Portman), star of Aronofskys revision of Tchaikovskys Swan Lake.
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Tchaikovskys nineteenth-century classic ballet is summarized for us in the film by Thomas Leroy (Vincent Cassel), the artistic director of a New York ballet company of which Nina is a member. A young girl has a spell cast upon her, resulting in her imprisonment in the body of a white swan. In order to break this spell, she must experience true love. Just as she is about to realize this, her prince is seduced by the lustful Black Swan. Because the young girl/White Swan cannot endure the pain she feels, she commits suicide. Thomas Leroy and Aronofsky wish to make a stripped-down, visceral version of the ballet. In accord with contemporary conventions Aronofskys revision encourages multiple readings as a result of its permeable borders, an indeterminable ending, and slipstreaming techniques1. Two of these readings follow.
The title references a famous American poem by Wallace Stevens, 13 ways of looking at a Blackbird. Barbara Nelson, is currently professor at the University of Bucharest. She is the former Executive Director of the Fulbright Commission and a two-time recipient of a Fulbright Senior Scholar Award. In the United States she taught at The University of Michigan and Michigan State University. Articles Include: Cinematic Memory and the Americanization of the Holocaust, Journal of Romanian Studies. Timisoara, Romania, Ed. University of the West, 2012;The Contribution of Hollywood to the Birth of a Romanian Sound Film Industry, Historical Journal of Film, Radio and Television, London, Ed. Routledge, 2011; Faces of Jane Eyre, Journal of Research in Gender Studies. New York: Addleton Academic Press, 2011; Dissent and Its Discontents. Constana, Romania, Ed. Romanian American Studies 2011; A Savage Journey Into the Heart of the American Dream, Seoul, Korean: American Studies Association Conference Proceeding, 2010 and Hollywoods Struggle for Romania Historical Journal of Film, Radio and Television, London, Ed. Routledge, 2009. 1 Hayles, N. Katherine and Gessler, Nicholas. The Slipstream of Mixed Reality. Hayles and Gessler discuss slipstreaming as mixing reality and simulations but not of the science fiction kind only. Such techniques often foreground ontological and epistemological issues.
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I The Black Swans opening dream, Ninas dream, narrates the prelude to Tchaikovskys ballet in which Rothbart, the evil sorcerer, magically imprisons a young girl in the body of a white swan. In this imaginary realm, Nina plays the lead role of the Swan Queen, a position occupied in reality by Beth (Winona Rider), Thomass little princess. The dream speaks to Ninas aspirations and her current state of being. In her real life, the spell is cast by her mother (Barbara Hershey) who, similar to Rothbart, is dressed entirely in black the first time we see her and repeatedly thereafter. Hershey plays a single mother who lives for and through her sweet girl, even though her daughter is now clearly a young adult. Ninas arrested development is apparent in the stuffed toys which adorn her room, the musical ballerina on her dresser, and the dominance of pink and fluff in her wardrobe. Her mother still tucks her daughter in bed and reminds her, more than once, how she has always been by her side at every crucial turn of the daughters career. More than indispensable, the mothers identity is mixed with her sacrificial role of giving up her own ballet career for Ninas sake. The mothers motive, as she tells it, is to protect, i.e., to prevent her daughter from making the same mistakes as she has made, namely, premature sex and pregnancy which would inevitably destroy all her daughters dreams and ideals. In actuality, it seems Nina has been conditioned to fulfill the dreams of her mother and traumatized by them as well. The emergence of the repressed qualities associated with the Black Swan, including passionate freedom, spontaneity, and assertiveness, are activated by Thomas, the handsome, European artistic director of Ninas New York ballet company, mentioned earlier. To reinvigorate the company and perhaps himself, he intends to retire Beth, the current Swan Queen, and hold auditions for another. Thomass version of the ballet requires a new Swan Queen to play the part of the Black Swan, the passionate twin, as well as the White Swan. The basic frame of Aronofskys work reminds one of certain nineteenth century novels of which Jane Eyre is an example, a work that has also been the subject of current cinematic revisions. 2 Discussing Black Swan in this
Julian Amyess and Robert Stevensons are most relevant for this discussion.
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context foregrounds its significance as a text in gender studies. In terms of gender issues the basic complexity of the project is intriguing from the start: the films of Jane Eyre under discussion here involve a pathbreaking feminist text by a female writer directed by two males and Black Swan is a text written and directed by a male, assisted by his sister, although based on a famous ballet composed by a male composer. Nevertheless, a comparison does highlight central issues for modern female identity. Both plotlines tell a female coming-of-age story which takes the form of a family romance. Jane Eyre has been brought up by a series of single (step)mothers who encourage the restraint of emotion. Only when she takes her first job as governess in the Thornfield Estate of Edward Rochester is her passionate nature truly awakened. As passion is unleashed, the lives of both Jane and Nina eventually reach a critical point in which a climactic battle occurs between reason and passion, sending each protagonist into a tailspin. Thomas, in encouraging Nina to free herself, not surprisingly, paves the way for her defiance of her mothers insistent lockdown. After Nina is selected Swan Queen, Nina spends long hours at practice, trying to incorporate the Black Swan, which eludes her. Thomas insists she must get in touch with her passionate side, that she open up. While this appears astute, he is not without his own selfish motives. When the mother cautions her daughter about involvement with the artistic director, an important new interaction is played out between the two. Nina challenges the guiltinducing story which places her at the center of her mothers sacrificial victimization. Nina questions whether her mother wasnt already too old even before the pregnancy to move from the chorus to Swan Queen. The mothers counterattack is a non-sequitur which turns attention to her daughters point of vulnerability, her rash. This interaction clearly reveals that the rash becomes yet another weapon with which the mother wields her power over her daughter. Thomass mentoring encourages Ninas growing intimacy with and mirroring of the passionate Other, of which there are two, Beth and Lily. In replacing Beth, Nina walks in her predecessors shoes; Thomas claims it is Beths dark side which has made her so exciting as a dancer. The qualities of the Black Swan are also naturally embodied by Ninas understudy or alternate, Lily, a girl who suddenly joins the
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company just as Nina is being selected for the role of Swan Queen. Lily is the antithesis of Nina; she embodies, more naturally, the positive values of the Black Swan. Not coincidentally, Lily pays a visit to Nina just as she is challenging her mother. Ninas defiance continues as she impulsively runs off with Lily, immersing herself in new adventures, in which Lily seems well versed-drugs, clubbing, and young men. Ninas curiosity and desire to get closer to Lily and the qualities of the Black Swan--a move essential, according to Thomas, to perfecting her role as Swan Queen--is apparent when Nina dons Lilys black T-shirt. This precautionary staple for the liberated young woman is slipped on as if a second skin. As the girls--and two boys, attracted by Lily-- dance, strobe lighting fractures and sutures Nina and Lily in new ways: their faces overlap for a flash second at various points in a blur of the extazy experience. Nina later fantasizes about becoming one with Lily through a sexual encounter. The reality, however, appears to be otherwise: not only does Lily take over the role of the Swan Queen when Nina seemingly oversleeps but she is officially appointed the understudy for Nina. It is not clear whether Lily instigates either action or not. In Jane Eyre, too, Edward Rochester, Janes new employer stirs her passionate nature; accounting, in part, for Janes restlessness, her pacing on the ramparts. This pacing mirrors the restless outbreaks of Rochesters legal wife, Bertha, who being (unofficially) diagnosed as mad by her husband, is sequestered in the attic of his country mansion unbeknownst to Jane and others (Gilbert and Gubar 342). Jane draws closer to Bertha when Rochester proposes and Jane accepts. The ascendancy of passion eventually comes into conflict with reason/conscience, as said before. While I use reason/restraint in an attempt to characterize the common ground covered by these two coming-of-age stories, there are major differences. In Brontes work, the phrase in question is conscience, (Chapter 26). 3 In Tchaikovskys ballet and Aronofskys film, passion is held in check by a control mechanism that is more akin to devotion to an artistic principle. The substitution of an aesthetic
While none of the film versions actually speak the line, Julian Amyess and Robert Stevensons versions depict it quite vividly.
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code in the second for the moral or ethical one in Jane Eyre is a transformation which many Victorians themselves underwent in transitioning from a nineteenth to a twentieth-century economy. However, both works suggest the fundamental importance of reason/restraint and passion in female experience and identity and the complexity of establishing a satisfying relationship between them. In Brontes work, the phrase conscience, turned tyrant, held passion by the throat occurs at the point at which Jane Eyre, having just experienced her own aborted wedding to her former employer Edward Rochester, Lord of Thornfield Hall, is brought to the attic of his country mansion. There she meets the impediment to her union, Rochesters legal wife. Having disclosed the other Mrs. Rochester, he presents his side of the story attempting to justify his actions and to persuade Jane of its merits. Jane, who deeply loves Rochester, the man who has brought affection and passion into her heretofore dismal life as an orphan, wants to stay at Thornfield. However in the turbulent internal battle which ensues, reason/conscience metaphorically held passion by the throat, forcing Jane to flee. In Ninas life the showdown arises also during a public performance of types. In midst of Thomass debut ballet, the White Swan, the best expression of Ninas control, is fatally wounded. In the visceral battle which Aronofsky enacts on screen, Nina stabs herself imagining she is taking control and eliminating her rival, Lily. This occurs at the point in the ballet in which Nina transforms from White Swan to Black. In striving to become the Black Swan, she feels the need to sever herself from her rival. The delusional quality of Ninas victory is only indicated later when Lily appears apparently, unharmed. During this slipstreaming sequence, dream and reality mix. Regardless of the imaginary nature of the stabbing of Lily, the action bleeds, into the reality of Ninas selfdestruction. In effect, in performing the stabbing, Nina becomes the dark other. Nina, appropriately, uses a broken mirror (Clover 7) as her weapon of choice. Brontes work also eliminates one member of the dueling twosome, through self-infliction and delusion. However, Jane need not dirty her hands because providence intervenes. Unlike Nina, Jane flees rather than coming to blows with her rival, for she feels only 31
sympathy/empathy for Bertha. The death of Rochesters wife occurs, nevertheless. It takes the form of a suicide in which the first Mrs. Rochester destroys herself by setting fire to Thornfield and subsequently jumps from its roof, all the while fantasizing that she is reuniting with the fiery warmth of her sunny Jamaican homeland. Conscience/Reason has the upper hand in Brontes script, even though it is termed a tyrant and even though the protagonist feels desperation akin to madness, given that everything inside her pleads for her to take the opposite action. This testifies to the power of passion and, in truth, it has been show to have been an innate part of Janes being especially in her early life. (While this is not true of Nina, we do not have as much background.) Passion must be put securely in its place by subsequently killing off Bertha and maiming and blinding Rochester, before passion can be allowed to surface once again, as it does when Jane experiences a paranormal or supernatural summons to return to Thornfield or what is left of it. Jane cannot usurp/replace her predecessor, firstly, because of legal constraints, which she abides by, but more importantly, Jane herself empathizes and identifies with Bertha--though she rejects her wild pattern of behaviorarguing Mrs. Rochester is not to blame for what has occurred. In spite of the fact that Jane desires to take Berthas place and stay at Thornfield, she is guided by a core respect of self and a sense of female linkage and, simultaneously, an internal law which argues for a spiritual balance. (This also is entailed in the word conscience,) By contrast, Tchaikovsky and Aronofsky make reason heel, as living without passion seems more deadly. 4 Nina not only assumes the role of the dark double, upon her imaginary killing of Lily, she becomes the passionate Other. Competition and the usurpation of ones predecessor is rampant, almost natural in Ninas world. The substitution of one woman for another seems fundamental to Aronofskys modern world view. Unification, as is apparent in the lesbian fantasy, exists only in the imaginary
The gender divide in these works calls for further exploration: is there a correlation between passion being the more important term to a male composer or director, for example.
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landscape of desire. As Thomas says to Nina when she begs him not to exacerbate the rivalry by appointing Lily as backup, there is always an alternate and everyone in the world wants your place. Competition is also sanctioned by Aronofskys audiences who crave new blood. Thomass predatory sexual and professional tendencies and the need for constantly new incarnations of his little princess are in line with this as well. The fear of aging, which is tied in to female recycling, is a recurrent theme throughout the Black Swan. It is an obsession that has traumatized Ninas mother and threatens now to traumatize her daughter. Ninas world is one of accelerated decrepitude. 5 Beth, too, experiences it and thus her sarcastic advice to Nina is enjoy the moment. Beth has no delusions; her Im nothing speaks volumes about female identity in such a world. Thomas, unlike Rochester, is never directly sanctioned for his hand in this recycling process. While Nina may criticize his sexually aggressive come on, she admires him unquestionably, as is made clear in her praise of him in a disagreement with Lily. The privileged position Thomas enjoys is highlighted by the attention he commands from the corps: upon his entry into the practice room at the beginning of the film, his female professional assistant passes the signal, and a hush spreads, as the warm-up pants drop (almost amusingly). Yet, as Lily says, and readers perceive, he is also a prick and a cad. Thomas does, however, unknowingly condemn himself when he pronounces the dying Nina his little princess, a term he used to refer to Beth as well, a term heard upon the occasion when he publicly replaces her with Nina, the new Swan Queen. When Lily previously conjectured that Nina would inherit the title, Nina wished it to be true, but refused to believe it would ever come to pass. To Nina, it signifies perfection. While Ninas death, coming so close on the heels of Beths, should raise red flags, if not a scandal, with the public at large, more likely it would be trumped by the announcement of a new Swan Queen. And even if the deaths were foregrounded, the self-inflicted wounds would
This is an oddly appropriate phrase from Blade Runner a film made in 1982 but set in 2012 used to characterize replicants. (created beings who are prematurely retired, a euhemerism for killed).
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point to mental instability of a personal nature, rather than a social or institutional one. But while such news is unlikely to raise concerns for audiences of the enclosed fictional world Aronofsky creates, it does so for external audiences. Both the film adaptations of Jane Eyre and Black Swan argue for womens continuing need to grapple with the split between control and passion in spite of a changing landscape. However, Black Swans coming-of-age story, like the genre which frames it, is a horrific tale. While Nina is freed from the spiritual and ethical moorings of Brontes world, the aesthetic ones which replace them prove insufficient for the harsh realities with which twentieth and twentyfirst century females must deal. Aronofskys film to some extent is a specialized world, a narrow competitive world of ballet, but it also speaks to a wider sphere of capitalism of which non-profit is a part. As Beth so insightfully knows, women, even icons, are reduced to nothingness in the flash of an eye. Accelerated decrepitude and replication does not affect both genders equally; in Black Swan young women are twice cursed. 6 Unlike Jane Eyre, females in Aronofskys film lack a core identity, even as they become icons. By using both a subjective and more objective viewpoint, Aronofsky seems at once to offer two perspectives. Nina is both a work of perfection, in her own mind, but a mere pawn sacrificed to the monetary needs and thwarted ambition of others, who no doubt, came from a long line of sweet girls. Although Thomas seems shocked that Nina replays Beths dark scenario--with slight differences--he, no doubt, will select yet another little princess to follow. Aronofsky narrates a female coming-of-age story which is horrific. In doing so, he captures the once again the requiem for a dream. Nina would surely agree with Virginia Woolf, the revered modernist writer and critic who advocated that women kill the angel in the house. As Woolf discovered, however, once the angel is dead, that was not the end of the story as she first thought. Further surprises and
Ninas world proves every bit as brutal as the world of Blade Runners replicants where corporate enterprise and world of the father are also indicted. However, in that film the fate falls equally on men and women and Fathers are brought to justice.
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impediments arise which were never imagined (Professions of Women). But what are we to make of Woolfs further admonishment that women must also "kill the aesthetic ideal through which they themselves have been 'killed' into art? II The haunting, full-frame close-up in Black Swan offers, however, yet another reading, one which entails a more ethical interpretation for our modern times, times which have brought both extraordinary accomplishments and dehumanizing cruelty. The tears which are washing away the white veneer, necessitated by the performance Nina has just given, offers further insights; it simultaneously records innocence and innocence lost, it is the face of the Other in its nudity and vulnerability. In the words of Emmanuel Levinas, a philosopher who in recent times has gained a vast following, this is the only [face] one that can oppose the desire to annihilate alterity. 7 Levinass theory argues there is a level of physicality of otherness that has to be lived in order to be understood, a profound and immediate human dimension that denies the impersonality of power decisions.. 8 In making ethics the first principle of his philosophy, Levinas, no doubt influenced by his suffering during the Holocaust, is currently changing the landscape of modern Continental philosophy (Girgus 1-3). 9
See Tina Chanters Time, Death, and the Feminine: Levinas with Heidegger (Stanford, California: Stanford University Press, 2001). Crucial is the difference between the physical face and the transcendent visagerelated to debate between phenomenology and ethics in Levinas, p. 9. Lacan, by contrast, states that the subject can never recognize himself in an Other but remains in a permanent relation of misrecognition (Butler 379). See Entrenous Essais sur le penser-a-lautre. Paris: Grasset et Fasquelle, 1991 mentioned by Anamaria Schwab in Transatlantic Dialogues ed. Rodica Mihaila & Roxana Oltean (2009), p. 109. 8 In the MaCauley interview he speaks of being impressed by Dostoevskys The Other. 9 It is his devotion to the importance of the face that has made him of particular importance to film studies as is apparent in Levinas and the Cinema of Redemption: Time, Ethics, and the Feminine.
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While Aronofsky never mentions Levinas in his interviews, his film seems intent on offering an intimate portrait of the linkage and knowledge of the Other. His method of filming Black Swan reinforces his theme. It involves strapping the camera to the body of the dancer who performs the fouettes; spectators are thereby swept up in a panorama which elides the gap between frames and blurs reality and dream, dance and dancer, light and dark, self and Other. 10 The director, works with many Ninalook-alikes and mirrors to reinforces doubling, which is often a trait of the gothic and horror genre in which he works (Clover 7). In addition, he constructs a dj vu plot in which Nina replays and re-reads her former life, recognizing that she was always, already the Black Swan (from others perspectives, such as Beths, and innately). Ninas waking life begins in media res, when at breakfast her mother notices, with horrifying alarm, a rash on her daughters shoulder blade. In the conversation which ensues between mother and daughter, Nina notes that she has just requested that Thomas feature her more prominently. Such initiatives of self-assertion, as the audience later sees, are extremely difficult for Nina, causing her great anxiety, especially as they assume some kind of sexual payback which she senses, but the details of which elude her. Ninas information triggers the mothers own traumatic obsession with growing older as she points out it is about time, given that Nina has been with the company quite a number of years. The reaction of Ninas mother to the rash seems to register genuine fear and horror and, yet, it is a clear overreaction which exacerbates the situation. The suggested motivation for the mothers excessive alarm are complex, as mentioned before: she may wish, even unconsciously, to keep her daughter in an infantile state and yet knows maturation to be just around the
Darrens teacher from film school was Mikls Jancs, a Hungarian director who did very long takes. Darren indicates he was always fascinated by these sweeping motions. In addition, he was a follower of cinema vrit and documentary. But character studies are the aspect of film development which tie his films together. Aronofskys metaphor, the film walks a cinematic tightrope, but in terms of suggesting how much to expose and hide (MaCauley).
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corner and/or she may want to protect Nina, knowing the harsh realities ahead. The backstory is that this is not the first time such a rash has appeared and probably not the first time the mother has overreacted, for she will replay it again. A turning point in the film occurs when Nina goes with Lily to the club. Intermixing fantasy and reality as a result of the drugs and dreaming (slipstreaming), Nina and Lily begin to merge. Among the frames introduced in the strobe sequence, is one showing Ninas face as the Black Swan. A jump cut to Nina intertwined with a guy from whom she instantly flees gives viewers the erroneous impression of being back in reality. Lily follows Nina to the taxi, which seemingly drops them at Ninas home. The following scene of sexual interaction between Nina and Lily shows the black wings--tattooed on Lilys back--gaining ascendancy. The faces of the girls are conflated for one instant but Nina awakens, alone, late for a rehearsal. If Nina, in donning Lilys T-shirt at the nightclub, has moved toward Lily, Lily who is asked to perform the part of the Swan Queen when Nina oversleeps and misses rehearsal, reverses the trajectory. Lily plays Ninas role, at the request of Thomas, thus setting herself up as a replacement for Lily and as an unwitting rival. Nina assumes a conniving intentionality on Lilys part to take over her role. However, Nina is losing some ability to distinguish between dream and reality as seems clear from her confusion about her lesbian dream.However, Thomass appointment of Lily as the understudy seems to supports the reality of Ninas suspicions. Reality and dream as well as White Swan and Black Swan will continue to become more confused in what follows, not only for Nina but for the audience. Lily is someone who forces Nina to reexamine her former relationship with Beth, the previous Swan Queen. Nina, while innocent of any deliberate undermining of Beth, now feels guilty. Taking Beths toiletries, which formerly seemed the sincerest form of imitation, is projected in a new light. She seems implicated in Beths subsequent car accident which Thomas claims is self-induced, the takeover of Beths dark impulses.
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Ninas perception of herself as the unwitting rival of Beth perhaps parallels Lilys experiences. (We will never know.) In spite of the mirror image Beth presents her career trajectory is descending, while Ninas is ascending Ninas following experiences force us to reexamine Beths story. Nina enters a hysterical phase plagued by a rival she believes is after her position and the guilt she experiences toward being Beths perceived rival. Thomas tries to calmly dismiss her agitation, even though he has done much to exacerbate it. When the day arrives of the premier performance, the day of confrontation, Nina, again, unknowingly, follows in Beths footsteps, as she replay her predecessors fate with variations. Nina stabs herself in an effort kill the dark Other. (One can not help but be reminded of Beth stabbing herself in the cheek, although Ninas gesture is to reach perfection whereas Beths gesture is one of apparent self-loathing.) Dressed as the White Swan, Nina begins to cry, eroding the whiteface she has assumed for the role of Swan Queen. Her face and tears register a new understanding, the intertwining of self and Other. Nina feels she has achieved a perfection of her art and that is appropriately embodied in the White Swans aesthetically controlled death, in slow motion, at the end of the film. Clearly she feels this is a triumph, there is an inevitable price to pay for perfection and that it is worth the
price. Clearly the Nina not the same person she was when first chosen to be Swan Queen. Ninas altered perspective brings back Levinass reminder that there is a level of physicality of otherness that has to be lived in order to be understood. Nina has lived this. Beths mother, who is in the audience, is also weeping profusely. If the identities are indeed as intertwined as suggested at the opening of the film, the mother too has a new understanding of what she has wrought. Her phrase, where has my sweet girl gone, echoes in our minds Thomass comments, My little princess, what have you done? Thomas is genuinely surprised and perhaps even genuinely moved, undermining his usual detached exterior. As the corps of formerly back-biting white swans flock around Nina in sympathy, we see her performance gives them all momentary pause, perhaps this is all we can ask. The above interpretations suggest just two readings of Black Swan and Ninas visage, one based on gender, the other more ethically oriented. However, there are many yet to be written. Among these, one in the tradition of The Wide Sargasso Sea or the anti-tradition of Taratinos Inglorious Bastards and one as a sister text to All About Eve, or even Mildred Pierce. So much is to be read in Aronofskys and Ninas closeup, as Kuleshof or Levinas have already suggested.
BIBLIOGRAPHY Films: Black Swan, Directed by Darren Aronofsky. Fox Searchlight Pictures and Protozoa, Pictures, 2010. Requiem for a Dream, Directed and Commentary by Darren Aronofsky. Lions Gate and, Protozoa, 2000. Jane Eyre, Directed by Julian Amyes. BBC production, 1983. Jane Eyre, Directed by Robert Stevenson. Warner Bros production, 1944. Articles: Chanter, Tina, Time, Death, and the Feminine: Levinas with Heidegger (Stanford, California: Stanford University Press, 2001). Clover, Joshua, The Looking Glass Film Quarterly Vol. 64, No. 3 (Spring 2011), pp. 7-9. <www.jstor.org/stable/10.1525/FQ.2011.64.3.7> Dresser, David and Friedman, Lester D, Jewish American Filmmakers. 2nd ed. Urbana, Illinois: University of Illinois Press, 2004. Fisher, Mark and Jacobs, Amber, Debating Black Swan: Gender and Horror. FilmQuarterly, Vol. 65, No. 1 (Fall 2011), pp. 58-62. University of California Press <www.jstor.org/stable/10.1525/FZ2011.65.1.58> 06/11/2011. Gilbert, Sandra M. and Gubar, Susan, The Madwoman in the Attic: The Woman Writer and the Nineteenthcentury Literary Imagination (New Haven, Conn: Yale UP, 1979), pp. 336-71.
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Cinematografic Art & Documentation, nr. 5(9)/2012 Girgus, Sam, Levinas and the Cinema of Redemption: Time, Ethics, and the Feminine. Film and Culture Series. (NY: Columbia UP, 2010). Hayles, N. Katherine and Gessler, Nicholas, The Slipstream of Mixed Reality. PMLA, 2004, pp. 482-495. Levinas, Emmanuel, Existence and Existents and Time and the Other, Trans. Alphonso Lingis (Pittsburgh: Duquesne UP, 2001). Macaulay, Scott, Turn Out, Filmmaker, Fall 2010, Vol. 19:1 http://www.filmmakermagazine.com/news/2011/02/turn-out-darren-aronofskys-black-swan> 18.10.2011. Tyler, Josh film driven by price of perfection http://www.cinemablend.com/dvds/Black-Swan-4979.html# Woolf, Virginia. "Professions for Women," The Death of the Moth and Other Essays. Harcourt, 1942, pp. 236-8.
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II. Cultural Studies: The Ceremony and ludic attitude
THE EXISTENTIAL DIMENSION OF THE SCENIC CEREMONY

Professor ELENA SAULEA * , UNATC National University of Drama and Film, "I. L. Caragiale", Bucharest Abstract: The show envisages to us, simultaneously, both as society itself, as part of it, and as an instrument of unification. It is a vision of the objectified world. The show, in its completeness, is the core expression of the unreal of the real society. With all its specific forms, information, propaganda, advertising or entertainment, the show represents the nowadays pattern of life socially dominated. The objective reality is present in both sides. Each notion which is thus settled has as a unique purpose in its passing on the other side: reality appears in the show and, at the same, the show is real. This mutual alienation is the essence and support of the existent society. But, naturally, todays time prefers the existent thing, the image of the original the copy of reality, the representation of the essence, the appearance; for only illusion is sacred for it, and truth becomes profane. Furthermore, sacredness increases in its eyes as much as truth decreases and illusion grows so that the highest level of illusion for it is the highest level of sacredness. Keywords: existentialism, illusion vs. essence, representation, the art of show.
Introduction
Weltschmerz, weeping, jealousy, cruelty, greed, the fury of life caused by the multiple embodiments of the Will get out from Pandoras Box. What has left? Hope or perhaps boredom! In the meantime the world is changing into a congestion of images of the torture, Tartarus of an eternal animation. Life turns into a metaphysical madness, anarchical impulse, pessimist depreciation of the sensorial through spirituality in which lies sacred salvation and truth. World as a stage becomes the representation that accepts the human being, consciousness, knowledge whereas reason does not overpass its mere part in this representation. Only real truth makes possible the authentic silence. Martin Heidegger The model gets an over plus of being, its own content of the image ontologically defined as emanation. Hans G. Gadamer, Vrit et mthode
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Language, myth, art and religion, as parts of this universe, are the threads weaving the symbolic net of the human existence. Living in a world of emotions, of dreams and simultaneously in the world of the deeds, human being is not only rational, but also aesthetic, beauty becoming palpable, obvious and visible in humans existence. In Critique of the Power of Judgment, Kant offers a clear proof of arts autonomy: the previous systems had been looking for the principle of art either in theoretical knowledge, or in that of moral life. That happened only after Alexander Baumgartens first broad system in structuring logic of the sensitive imagination. The theory of sense becomes a decisive aspect of understanding the modern culture and the problem of irrationality of beauty and engages not only an autonomy of the sense compared to intelligibility, but also a new bound human-god, bound which will characterize modernity. The human sphere is not a
Elena Saulea, is Professor at National University of Theatre and Film "I. L. Caragiale", Bucharest. Areas of research: Film theory and criticism Books/articles: Cinci scenografi n cinci moduri de lectur, UCIN, 2009, Elisabeta_Bostan ou lirralit dune ralit, Cinematographic Art, nr. 6, 2010 e-mail: saulea.elena@yahoo.fr
simple imperfection any longer, but it is the authenticity, the broken subject following a single way, the one of the unconsciouss otherness, a labyrinth without illusions. The interpretations replace the deeds in Nietzsches philosophy, and art projects the real into multiplicity. The philosopher of the aesthetic avant-garde will, paradoxically, meet on this slope the hyper-classicism as a pendant of the term and paradoxes of aesthetic existence are also the same with those of arts history. For Plato, the visible world is appearance, illusion without content; it gets objectivity through Will, with Schopenhauer, apart from Will objectified in time and space, the world is also a representation of each, self-representation of the knowledgeable intellect. A mystical and modern spirit at the same time, the German thinker rephrases the ratio intellect-will: therefore, not the intellect was the one generating will, but will itself created intellect. Platos Ideas and things-in-themselves belonging to Kant are put into action by Schopenhauers Will. But what is will as such if not anxiety, avidity, striving for something, ardour and suffering? Its disruption fulfilled after principium individiationis actually means disunity: Platos ideas contests themselves about substance, space and time. Finally, human being has to carry with himself the horrible fight of all against all (Homo homini lupus). The aesthetic theory of Romanticism, Metaphysica Ludens (Schiller), operates through the association of art and game. Wills irrationality demonizing the world can only be saved through art, although even this one remains a form of Will. This idea appears in Nietzsches writings too, but with Schiller, art offers a possible detaching whereas with Nietzsche, it becomes a force of cosmic conceiving. This romantic variant, expressing an aesthetic and philosophical conception can be found theorized in the spiritual romanticismof Nikolai Berdiaev who considers that, through creation, man offers a human dimension to The Great Creation, amplifying it through multiplicity and through dissemination of the absolute model. The Creator, present throughout this epiphany, the one of the human creation, is, mythically speaking, attendee in his own creative act, in his own demiurge. Human art can be seen through this perspective, as an ontological act, adding to the world being, a new existence and to the seven days of making a 38
continuous the eighth day: human creation has the duty to restore, against the sin, the horizon of sacred salvation (in the meaning of creation). The problem of freedom brought into attention by the Russian thinker, the one of the man-God relation, differently commented, has an absolute value in the philosophy of culture because Berdiaev opposes to necessity a defined freedom as an infinite possibility. The theme of the sacred salvation that creation has is close to the Dostoievskian theme of the beauty as sacred salvation (both concepts of category being subordinated to Good, but not the one of concrete beauty or social freedom). The perspective offers an opening towards infinity, that infinity specific to all romanticisms. The typical hero of transcendences of finite forms is genius, along with the holy, it represents the model of creativity creation, self-sacrifice for the fulfillment of an over-personal craft, or the adaptation of the self oriented towards the whole freedom of person. Another Russian thinker, Lev Shestov contradicts Berdiaevs discourse considering that the latters man is endowed with qualities that God, Himself does not have as long as Berdiaevs man has access to the nothingness of increate; following The Book of Job and Kierkegaard, Shestov proposes another variant to the one of the impossible as solution: the freedom of believing the unbelievable, after a model which is not Athenian, but belonging to Jerusalem , meaning the freedom of accepting the scandal. Transformed into messages of passion, where the truth of life aims to the human being who, being face to face with life, has to invent the truth, the philosophy of existence becomes the philosophy of human being. It signals both diachronically and synchronically the dramatic condition of mans unhappiness, because even the Christian variant of existentialism reminds us of the happiness of that who knows doubt, temptation and choice: Christianity did not come into the world (as the parsons stiflingly and falsely introduce it) as an admirable example of the gentle art of consolation-but as the absolute, Kierkegaard writes in Training in Christianity, reminding us that the consciousness of a Christian is a terrible, a terrifying one, interdicting repose and organization as aims of this world. Although it is not a philosophy of pity, existentialism is a philosophy of the broken and desperate human being. If epicureans propose a
happy retrieval towards the margin of existence, a decreasing of its vital enthusiasm, the Christian existentialism throws the human being in front of his own unhappiness. Illusion covers the human kind, the maximum tension; therefore skepticism and illusion make possible a happy wisdom, the passion of the cross, and that minimal human effort to resist absurdity. The transcendental revelations are expressed though mystery, through challenges and not through certainties. The dialectic of ignorance, present with the Socratics, belief with Pascal (Credo quia absurdum) becomes paradoxes which imposes them noisily in the name of transcendence. Searcher of entertainment (Pascal), creator of values and power (Nietzsche), the human being is, with Jaspers, with Heidegger a bondissement (Absprung), a movement named transcendence. If for Jaspers the road passes beyond there, for Heidegger does not exist anything else but the mans world and wherever this would be projected, the world does not change. Sartre defines the man through a paradox again: Being is. Being is in-itself. Being is what it is, therefore the being that decides to be through the existences contingency is not mystery with the existentialist atheists, but pure irrationality, rough absurdity. Existing in the world without a cause, being is redundant, unjustified stupidity and questions such as Why and what for? can receive only one answer for nothing. Human being dressed in an existence characterized by facticity (Homo viator) seems to be an answer to the pascalian verdict according to which We are only falsehood, duplicity, contradiction; we both conceal and disguise ourselves from ourselves. Dialogue can be defined as a blend of two complementary structures: spontaneity which acquires access to form, to representation through word or gesture, and rationality that guides communication after ordination principles. Underneath, the same scheme can be rendered by verbs such as to live and to exist interweaving that gives to sensitivity the abstract authority of cogito. One can ask the question: Where does the dialogue with that other starts and where it does end? My white mirroring I, myself partially deletes alienation, psychism being able to retrieve itself in figures of living: being thinks
of himself, of another, about himself. Reporting the intelligible to sensitivity, we subscribe in a relation of otherness. Human thought settles oppositions, multiplicities signifying, Levinas argues, the impossibility of languages staying within the dimensions of the cogito (1998, 143). By that I which says you ethics seems thus addressed towards an awkward artistic status (although the axiology vectorizes it), as sufferance and happiness of the double as well as unity through mutual and graded mirroring propose a world beyond visible, a derivation of the concept of transcendence towards the shows principle, the scenes and the existences in the world. Human psychism, the necessary substance of these reports analyses, subscribes the report I-You to a triad, fear of God being manifested as a fear of man, too: Is not this the fast that I have chosen? to loose the bands of wickedness, to undo the heavy burdens, and to let the oppressed go free, and that ye break every yoke? (Isaiah, 58.6,) Self sufficiency (autarchy) closes the change spirit-world in the principle of catching, not of giving. The dialogue has the attributes inducted by the spirit: uttering, which formulates realities and mysterious significations, and passion, exaltation of the dialogue as impulse of the event caught in a minimal scenic space. To be with the other is a connotation through which the dialogue expresses its sense, the human fulfillment through his sibling. The Christian play writer and thinker Gabriel Marcel considers in Metaphysical Journal that Gods presence in the second person is a way of over passing immanence. Defined by its transcendental sociability, the spirit obeys Logos, the paternal manifestation, so that dialogue can acquire the status of an absolute spiritual element, which organizes life ideatically, in codes deriving from an original, immutable given. The law is brought to accomplishment through dialoguing structures, while it absolves I and serves You, an inequitable, but moving, phenomenological principle is able to give meanings from inside, from the hidden infinity of human being which redresses the ethical plan of giving and captation. Becoming theatrical space of transcendence, subjectivity, as space of underground, expresses itself by a figure of substitution, one for another, and by a revelation, as saying what infinity makes me understand brings the 39
prophetic uttering in the privileged position from the biblical text. It is not fortuitous that associations can be thought between the Judaic spirit and the Nordic one in this case, Slavic, through what we can name the apocalypse fascination, a different spirit in configuration, yet complementary in its greatness and proposition of gnoseological code with the Hellenist statuary. Human existence is therefore a cultural existence with all its implications. Culture expresses the typical way of human existence. The human being cannot exist only within and through culture. Culture is the result of the human creation. Therefore, culture has not a metaphysical signification because it is a defining dimension of the human being from anthropologic and historic perspective (Blaga, 1957, 510).
Many contemporary theories argue that the present political regimes replace the physical direct violence with the symbolic one, the action, finally, consisting in manipulating consciences through an informational and communicational stream conducted so to produce certain representations, images and opinions of persons regarding a social situation. Gradually, these representations will lead to the attitudes and behaviours modification. Symbolic violence supposes to define the situation in an interested way through soft cultural means and to administrate the representations so that one can obtain the wanted attitudes, evaluations and behaviours. Nowadays, mass media is the complex system that exerts symbolic violence (Georgiu, 2008).
BIBLIOGRAPHY 1. 2. 3. 4. 5. 6. 7. 8. 9. 10. 11. 12. 13. 14. 15. 16. 17. 18. Aristarco, Guido, Cinematograful ca art, Editura Meridiane, Bucureti, 1965. Aristarco, Guido, Utopia cinematografic, Editura Meridiane, Bucureti, 1992. Arnheim, Rudolf, Art i percepie vizual, Editura Meridiane, Bucureti, 1979. Arnheim, Rudolf, Filmul ca Art, University of California Press, 1971. Aumont Jaques, Bergala, Alain; Marie, Michel; Vernet, Marc. Estetica filmului, Ideea Design&Print, Cluj, 2007. Bailey, Andrew, Cinema now, Taschen Edition, 2007. Balzs Bla, Arta filmului, Editura de stat pentru literatura i art, Bucureti, 1957. Baudrillard, Jean. Simulacre i simulare, Ideea Design&Print, Cluj, 2008. Blaga, Lucian, Trilogia valorilor, n Opere, vol. 10, Editura Minerva, Bucureti, 1987, p. 510. Deleuze Gilles, Cinema 1-The Movement Image, University of Minnesota Press, 2001. Deleuze Gilles, Cinema 2-The Time Image, University of Minnesota Press, 2001. Derrida, Jacques, Scriitura i diferena, , Editura Univers, Bucureti, 1998, 69. Dumitriu, Anton, Homo universalis. ncercare asupra naturii realitii umane, Editura Eminescu, Bucureti, 1990, 160. Georgiu, Grigore, Politic i violen simbolic n Cultur i comunicare, Bucureti, 2008, accesat la adresa http://www.scribd.com/doc/12408390/70/Manipluare-politic%C4%83-%C5%9Fi-violen%C5%A3%C4%83-simbolic%C4%83, accessible at 03.02.2012. Girard, Ren. Violena i sacrul, Editura Nemira, Bucureti, 1995, 74. Isaiah, 58,6, www.google.bible.cc/ isaiah/58-6.html, accessible at 03.02.2012. Emmanuel Lvinas, Cnd Dumnezeu devine idee, Editura Pandora, Trgovite, 2001, 219. Tzvetan Todorov, Teorii ale simbolului, Editura Univers, Bucureti, 1987.
40
LA NOUVELLE VAGUE DE LA CINMATOGRAPHIE RUSSE

MIHAELA TRIBOI , PhD Hyperion University, Bucarest Abstract: The crash of the Soviet Union nearly abolished the film industry in Russia. Five years after, there was a noticeable shift. Thus was formed a new generation of talented filmmakers who began making movies. The State became bankrupt could not subsidize nearly a thousand theatres, some were closed and others sold. Now Russia has more than a thousand theatres with modern facilities suitable for all requirements of Hollywood. Keywords: new russian wave, cinematography, Tarkovski, Zviaghinev.
Effondrement du communisme a presque fait disparatre l'industrie du film en Russie. Cinq ans aprs il y avait un changement notable qui va revigorer le cinma. Ainsi a t forme une nouvelle gnration de cinastes talentueux commencer faire des films. La petite Vera en 1988, dirige par Vasily Pichul a t trs russie dans l'Ouest, en apprciant l'attention d'un ct du mur de Berlin. Entre 1988-1995, la science, la culture, l'ducation taient en chute libre. Le mythique studio Mosfilm qui a produit 200 films pendant la priode sovitique a atteint plus de 30 films de cette priode. Parmi les ralisateurs qui ont sign les films taient Eldar Riazanov, Yuri Manin, le plus notoire tant les crations de Pavel Lungin Taxi Blues en 1990 et Luna Park en 1992. Nikita Mikhalkov a t observe lorsque Ourga en 1992 et Le Soleil trompeur en 1994. Ils ont ensuite t nots et les ralisateurs Vladimir Hotinenko avec Le musulman en 1995 (sur la guerre en Afghanistan), Alexei Balabanov avec Le frre en 1997, Valeri Todorovski avec Mon beau frre Frankenstein en 2004 (sur la guerre en Tchtchnie), Dmitry Meshkiev avec Nous en 2004 (environ Russie implication dans la Seconde Guerre mondiale). L'tat devenu un failli ne pouvait pas subventionner prs d'un millier des thtres, certains ont t ferms et d'autres ont t vendus. Maintenant, il y a un millier de salles dotes d'quipements modernes adapts toutes les exigences du Hollywood. Le cinmatographie russe a form plusieurs
dynasties d'artistes grce au prestigieux Institut de la Cinmatographie VGIK Moscou. Les premiers sur ce liste se trouvent les frres Mikhalkov, suivis par les familles Todorovski, Uitel, Bondartchouk, Ciuhrai, Guerman, Bodrov, Prokin et Hotinenko. Sauf pour les ralisateurs reconnus nationnalement et internationalement, Alexandre Sokourov, Pavell Lungin, la nouvelle gnration a t forme de Alexei Guerman Jr., Alexei Balabanov, Andrei Zviaghinev, Fiodor Bondartchouk, Alexei Uitel, Philip Iankovski, Alexei Popogrebski, Boris Hlebnikov et beaucoup d'autres. Depuis 1995 Alexandre Sokourov est enregistr sous les cent meilleurs rgisseurs dans le monde par European Film Academy. Parmi ses nombreuses distinctions comprennent le Prix Andrei Tarkovski, Robert Bresson Prix (Venise, 2007), Prix de la libert donne par Andrzej Wajda (2003), Prix FIPRESCI (Cannes, 2003). Il est bien connu pour les films Les journes dclipse (1988), Le deuxime cercle (1990), Pierre (1992), Mre et Fils (1996), Moloch (1999), Taurus (2000), L'Arche russe (2002), Pre et Fils (2003), Le Soleil (2004), Alexandra (2007), Faust (2009). Le premier long mtrage de Sokourov internationalement reconnu, Mre et Fils, saisit trs dlicatement l'amour entre un fils et sa mre mourante. Avec seulement deux artistes dans la distribution, le film utilise une image particulire et des effets esthtiques qui donnent au film une
Mihaela Triboi, Lecturer, Hyperion University, The Faculty of Arts, Bucharest; Doctor in theater at the National University of Theatre and Cinematography Arts I.L. Caragiale Bucharest, Master in directing in 2007 and bachelor of arts in theater directing in 2005 at the same university. e-mail: mhl_mihaela@yahoo.com
srnit part. Jeu novateur, il utilise la lumire, agissant sur la substance d'image, en soumettant les formes de distorsion expressive. Moloch, Taurus et Le Soleil sont une trilogie sur trois personnalits dans l'histoire du monde. Le premier film de la trilogie met en prime plan le dictateur allemand Adolf Hitler. L'action se droule en Bavire, au printemps de 1942, quelques mois avant la bataille de Stalingrad. Les acteurs russes taient doubles par des acteurs de Berlin State Theatre. Le deuxime film, Taurus, prsente les dernires annes de la vie de Lnine. Le Soleil met l'accent sur la personnalit historique de l'empereur japonais Hirohito, et a t film au Japon avec des acteurs japonais. Le film montre lrudition impressionnante du ralisateur dans la connaissance de la culture japonaise. Le film Alexandra raconte l'histoire d'une grand-mre, joue par Galina Vinevskaia, qui vient rendre visite son petit-fils, soldat en Tchtchnie. Un autre rgisseur, Pavell Lungin, est connu pour avoir ralis les films Taxi Blues (Prix au Festival du film de Cannes en 1990), Luna Park (1992), Le mariage (2000), L'oligarque (2002), Les relatives misres (2005), Ostrov (2006) et Tsar (2009). Dans Le mariage, laction se droule dans une petite ville en Russie. Une jeune fille, qui a fait une carrire de top model Moscou vient dans la ville natale pour se marier avec un ami de l'adolescence. Les prparatifs pour le mariage mirent le feu toute la communaut. Le ralisateur prsente avec humour et l'objectivit les spcificits des peuples slaves. Le film est vif, les personnages en passant par toute la gamme des motions humaines. Prts trahir leurs voisins pour une bouteille de vodka, les gens sont capables des gestes grands pour aider les ennuis, mme ceux qu'il a trahis plutt. Le film religieux Ostrov (le de la traduction) continue la tradition du Tarkovski. En 2006, la production a remport six prix Golden Eagle de lAcadmie russe du film. L'action se droule en 1976, l're communiste complte. Le rle central de Pre Anatolie est jou par Piotr Mamonov. Le moine non conformiste russi, dans une poque totale de l'athisme, de restaurer la confiance dans les mes humaines. Aprs un crime qu'il avait commis pendant la Seconde Guerre 42
mondiale, il se retire dans un monastre. Il y a des annes plus tard, il dcouvre que celui quil avait tu tait vivant. Son ancien compagnon d'armes dont il avait tir la menace allemande, il reconnat que la blessure tait superficielle. Pardonn par son vieil ami et libr du pch effrayant, le moine Anatolie meurt l'me en paix. Le film Tsar a comme principales artistes Piotr Mamonov dans le rle de Jean le Terrible et Oleg Iankovski dans son dernier rle, du mtropolite Philippe. Pour tre en mesure de jouer le confesseur, Iankovski a demand l'approbation et la bndiction de patriarche russe Alexei II. Le film montre deux annes de domination russe du tyran et la tension avec son ami d'enfance, le mtropolite Philippe, dont il excute lorsquil refuse d'obir les ordres absurdes. Le retour est le premier film ralis par Andrei Zviaghinev. Pour sa cration remarquable, considre une parabole mystique, il a reu le Lion d'Or la Venise en 2003. L'histoire tragique d'un pre et ses fils a impressionn les juges et les spectateurs. Le film a t ralis avec un budget de seulement 500,000 $. Les hros, frres Andrei et Ivan, ont vcu avec leur mre et grand-mre. Le retour de leur mystrieux pre, aprs douze ans d'absence changer leur univers tout entier. Alors que le grand frre Andrei tente de former un pont avec son pre, Ivan est rebelle et il manque de confiance. Les trois allers sur un voyage de pche pendant plusieurs jours, qui se transforme dans un voyage beaucoup plus long quont prvu les deux adolescents. Le pre, jou par Konstantin Lavronenko, devient dur avec ses fils. Ce n'est qu'aprs la mort de leur pre, les deux garons, comprend son temprament et le grand amour de leur pre que, par rapport avec le Sauveur, n'est pas reconnu par le peuple. Le film est cr sous l'influence d'autres grands ralisateurs comme Antonioni, Bresson, Bergman et Tarkovski (qui remporte le Lion d'or en 1962 pour L'Enfance d'Ivan). Le deuxime long mtrage du cinaste, L'exil, a t tourn en France, en Belgique, en Russie. Pour l'espace idyllique de pays, le ralisateur a choisi une zone en Moldavie, proche de Cahul. La maison, lglise, le cimetire et le pont qui ont t le dcor de la majorit de l'action ont t spcialement conus pour filmer. Le pre este jouet par le mme Konstantin Lavronenko, pour
lequel l'acteur a reu un prix au Festival de Cannes en 2007. Le sujet prsente une famille qui se retourne dans le village natal du mari, de quitter la ville industrielle o il a travaill pendant de nombreuses annes. Les scnes de la ville ont t filmes Charleroi. Comme dit le ralisateur, le film est de nous tous, des gens sympas, bons, beaux, mis dans des circonstances tragiques, sans espoir. Le scnario est bas sur l'une des histoires dcrivain amricain William Saroyan, d'origine armnienne. Contrairement aux personnages de l'auteur amricain, les protagonistes sont prsentes dans une vision diffrente. Dans ce livre le pre parle avec les enfants, dans le film la communication laissant de beaucoup dsirer. L'amour du pre ne parvient pas dans ce cas. La mre est dans la version originale une femme avec de graves troubles mentaux et tendances suicidaires. Le nouvel aspect, il devient pratiquement le martyr d'un mari brutal. Les peintures de Lonardo da Vinci et Pieter Bruegel ont influenc visuellement le film. L influence de Tarkovski est vidente, Zviaghinev en utilisant des moyens caractristiques de son prdcesseur : miroir, l'eau, des lacs avec des souches d'arbres. Un nom non-conformiste dans le cinma russe est le fils du clbre ralisateur sovitique Sergue Bondartchouk. Absolvent de lInstitut universitaire de Cinmatographie VGHIK, Fiodor Bondartchouk a commenc sa carrire dans les annes nonante en tant que ralisateur de spots publicitaires et des vidos. Son premier film ralis en 2005 sur le thme de la guerre en Afghanistan. Avec le titre Companie 9, la production a t parmi les premiers films qui ont adopt une nouvelle vision de la guerre en Afghanistan. Le rgisseur a adapt une histoire sur le seul survivant d'un groupe abattu dans les montagnes de l'Afghanistan. Le film est structur en deux parties, montrant d'abord les prparatifs prcdents denrler des soldats, la seconde en dcrivant les horreurs de la guerre. Le film expose la violence des units militaires sovitiques sur le champ de bataille. En outre, le film traite de sujets politiques, en se concentrant sur les soldats d'endoctrinement, enseigns par des officiers d'examiner suprieurs d'autres personnes quils veulent attaquer, dans ce cas, les musulmans barbares en Afghanistan. Dans
une scne, un des jeunes soldats est envoy pour trouver d'allumettes pour son suprieur. Il rencontre un ancien chauffeur afghan est conduit dans un petit hameau. Le soldat russe a peur que l'on puisse tuer tout moment, mais il dcouvre avec surprise que la plupart des barbares villageois se comportent avec gentillesse. Lironie du sort, ceux qui fournissent la bote d'allumettes a mme des enfants. Dans une autre squence est prsente une conversation entre un soldat russe et un Afghan. Le soldat a accidentellement laiss derrire son peloton, rejette les ordres qui l'ont forc tuer l'ennemi. Mais, malheureusement, tire accidentellement sur lui quand il trbuche. La scne finale montre les soldats dans une position dtendue, et en totale harmonie avec les montagnes environnantes. Pris par surprise par des ennemis, ils sont abattus. Les quelques survivants restants sont abattus accidentellement par d'autres soldats russes qui taient venus pour aider. Ainsi, rester en vie un seul soldat. Le film bas sur un cas rel en 1988 a eu un grand succs. Son prochain film est le habite ralis aprs une histoire fantastique de frres Strugaki. Le film a t ralis pendant quatre ans, avec un budget de 36,5 millions de dollars, la premiere en se droulant la fin de 2008. Considr comme le meilleur film russe de fiction, le habite a en vedette un adolescent dans le moment le plus important de sa vie, celui de la maturation. L'action se droule au cours du sicle XXII, sur une plante inexplore. Un impact significatif sur le publique avait rgisseur Alexei Balabanov avec les deux parties du film Le Frre. Le personnage central est un jeune soldat de retour de la guerre, dsireux d'aider son frre an tait en difficult. Jou par le talentueux Sergei Bodrov jr. (fils du ralisateur Sergei Bodrov) jeune Danila est devenu un symbole et un modle pour la jeune gnration. L'idalisme du hros et son patriotisme ont donn une nouvelle orientation pour des millions de jeunes confondus par le chaos de premires annes aprs la chute de l'Union Sovitique. Autres films raliss par Balabanov sont Guerre (2002), Il ne me fait pas mal (2006), La morphine (2008), Charge 200 (2007). Charge 200 est un film controvers, qui pressent trs dfavorable la socit sovitique des annes 80 et 90. L'action se droule en 1984, 43
pendant la guerre en Afghanistan, dans une petite ville de province russe, titre de film se rfrant aux couffes dans lequel les corps des soldats ont t renvoys chez eux. Le sujet dcrit le viol du Angelica, la jeune fille d'un membre du Parti communiste local. Valera, un adolescent rebelle qui incarne les oligarques futures qui mneront la Russie aprs la dissolution de l'Union sovitique, invite la fille la maison de ses amis. Il devient violent, la fille essayant de rentrer chez eux. Enlev par un flic maniaque, Angelica est attaqu par lui, tandis que l'aroport revient les corps des soldats morts sur le champ de bataille, parmi lesquels il y a le fianc dAngelica. La priode sovitique est prsente sous forme brute, les personnages sont euxmmes reprsentatifs de l'effondrement soviettique. Le film a t attribu par les critiques dans le Festival Kinotavr en 2007. Le dernier film du ralisateur, La morphine, a t fait par le scnario de Sergei Bodrov Jr, sur la base de rcits autobiographiques de Mikhal Boulgakov De quelques notes du mdecin jeune et La morphine. L'action se droule en 1917, au milieu de la Rvolution d'Octobre, avec lactrice Ingheborga Dapkunaite dans le rle central. Alexei Guerman Jr. est le fils du clbre ralisateur Guerman Alexei. Le Dernier Train, Garpastum, et Le Soldat de Papier sont les films les plus populaires de son fils. Le Soldat de Papier a pris le Lion d'Argent Venise en 2008. L'action se droule en 1961, il prend au premier plan sur le Dr. Daniel Pokrovski que prparent Bakonour les astronautes sovitiques (Youri Gagarine et son concurrent) pour le premier vol dans l'espace. Le film est une histoire d'amour entre le mdecin et sa femme, joue par Chulpan Hamatova, mais aussi une excellente description de la fin dintelligentsia sovitique. Le dgot pour les crimes commis dans lre stalinienne se fait sentir dans l'attitude des personnages pour lesquels les dcouvertes scientifiques semblent inutiles. L'arrire-plan montre l'abolition des camps de dportation pendant la dictature de Staline. Les gens sont eliberees, ne sachant pas comment vivre libert. Leur libration semble inutile, paradoxalement, les gens ont russi reconstruire leur vie en captivit. Les six semaines de tests et de la formation dastro44
nautes peuvent tre compar ces six jours de la Cration, Gagarine retourne de l'expdition en vie et bien dans la septime semaine. Le titre de film est le titre dun pome connu de Bulat Okudjava, dans lequel un soldat de papier essaye de changer le monde, mais finit par tre brl lui-mme. Parallle vident avec Gagarine, le cosmonaute mourut son tour brl vif dans un accident de voiture, dix ans aprs son premier vol dans l'espace. Le mdecin, dont les parents avaient t envoys par Staline dans le Goulag, meurt, le jour mme du lancement, entour de deux femmes qui l'aiment, sa femme et sa matresse. Une autre figure remarquable de la nouvelle gnration est rgisseur Alexei Uitel. Le film Rver de l'espace a une action dans les annes 50 et prsente lhistoire de deux bons amis qui rvent d'chapper la vie quotidienne. Les deux jeunes travailleurs sont lis d'amiti dans un port sur la mer Baltique. Avec finesse et beaucoup d'humour, le film dcrit l'aventure de les deux et leur tentative de raliser leurs rves. Le premier qui veut voler dans l'espace rencontre le clbre cosmonaute Youri Gagarine, tandis que l'autre se prpare beaucoup la nage pour nager jusquau plus proche navire amricain. Philippe Iankovski, fils du clbre acteur russe Oleg Iankovski, a ralise Le Conseiller d'tat par le clbre roman de Boris Akounine. Construit en 2005, le film a eu du succs et parce que deux acteurs Mikhalkov Nikita et Oleg Menchikov. Alexei Popogrebski et Boris Hlebnikov ont dcid de prolonger la tradition de leur prdcesseur Dziga Vertov et ont film sans scnario directement sur les rues de Moscou. Leur premier film nest pas t vu par le public. Mais leur prochain film Koktebel (2003) a t apprcie des tlspectateurs. Aussi raliste et impressionniste, le film a t financ par Goskino. Le sujet prsente un pre et son fils la recherche d'une vie nouvelle. Lingnieur rest au chmage, voyageant avec son fils dans une ville sur la mer Noire, dans l'espoir de prendre la vie partir de zro avec sa sur. Accidentellement bless par un villageois dans la maison duquel ils sont rests quelques nuits, le pre pris en charge par une femme locale. Le pre refuse d'aller plus loin. Son fils arrive seul Koktebel, mais la grande dception, sa tante a quitt la
maison pour l't. Le film traite avec motion relation pre fils bien et la perte de l'enfance. Flottant au hasard, ralis par Boris Hlebnikov en 2006, est un drame aux accents comiques. Le film dcrit la vie difficile d'un petit village russe, domin par le chmage. Le hros est un jeune homme qui essaie, malgr la triste ralit, pour prserver sa dignit. Le rgisseur a russi construire une remarquable tension dramatique qui s'accumule peu peu.
L'aide fou, par Hlebnikov, est dans son opinion: un film sur une grande ville et un petit homme. La ville gante est hostile aux personnes vivant en elle. Et dans ce nid , ils commencent se comporter trs bizarrement. Autres films d'intrt spcial sont Pour les enfants de moins de 16 ans ralise par Andrei Kavun, Les neiges de la Russie par Natalia Naumova, Un autre ciel par Dmitry Mamulia, Dans le rle de victime de Kirill Serebrennikov, La poussire de Sergei Loban, Whirligig par Vasily Sigarev.
BIBLIOGRAPHY 1. Dulgheru Elena (2002), Tarkovski filmul ca rugciune, Editura Arca nvierii, Bucureti. 2. Eisenstein Serghei (1997), Memuar, Editura Muzei Kino, Moscova. 3. Freilih Simion (2008), Teoria kino: Ot Eisensteina do Tarkovskogo, Editura Fond Mir, Moscova. www.russiancinema.ru www.nostalghia.co www.tarkovsky.su www.kinoart.ru
45
THE FESTIVAL. MEANING, HISTORY AND A MODERN APPROACH

ION M. TOMU * , PhD, Lucian Blaga University, Sibiu
Abstract: All the rituals people have always performed had reiterative patterns. As the society evolved and became modern, the rituals started to lose their sacred character and transformed into a series of events we now call festivals. In its first part, the paper focuses on how first festivals came into being and tried to reshape the identity of a certain cultural environment. In the second part, the author analyses the way a modern festival should work: in a close connection with locals, aligning their needs to those of the visitors and of the artists. Keywords: festival, ritual, management, performance, culture.
Throughout history, people have always found ways of marking the important events in their lives: the change of seasons, moon phases, the awakening to life each spring, the harvest, the beginning of a new year etc. From rituals in the far islands of the Pacific, through the Chinese New Year, to Dionysian rituals in ancient Greece and the medieval carnival in Europe, myths and rituals have been created in order to give a certain meaning to cosmic events. Even today, behind some characters in popular culture (as Santa Clause), there are myths, archetypes and ancient celebrations. The early societies used dance, songs and storytelling in order to transmit their culture from one generation to another and in most agrarian societies there have been rituals that signaled the changing of the seasons: some of them are of great importance even today, being part of the contemporary popular culture. Both in public and in private life, people needed to mark the important events in their
*
lives and to celebrate the ones that were out of the ordinary; society's important events have become the reference points that individuals use for their private lives. Even now, when society is full of high tech devices and has lost many of its sacred features and media and communication are global, when many people have lost contact with religious beliefs and with the social standards of the past, we still need events for marking our local, domestic accents: they are part of our culture, more than in any other moment in history. The vast quantity of free time of the modern man and the possibility to spend it on personal accounts have lead to the proliferation of public events, of celebrations and of the entertainment. Corporations and companies use the events in their marketing strategies. Communities and individuals that are enthusiastic and passionate have increased the area of the events that may function on any preferable theme.
Ion M. Tomu is Ph.D, Assistant Professor at Lucian Blaga University, Sibiu, the Department of Drama and Theatre Studies, where he teaches courses in History of Romanian Theatre, History of Worldwide Theatre, Text and Stage Image and Drama Theory. He is member of the Centre for Advanced Studies in the Field of Performing Arts (Cavas). In 2006 he was the recipient of an important award for interpretation of contemporary literature and philosophy, on the sixteenth edition of the Lucian Blaga International Festival, Cluj-Napoca. He has been co-editor of the annual Text Anthology published by Nemira for each edition of the Sibiu International Theatre Festival. Books/Articles: Realist and Nave Picturesqueness in Vasile Alecsandris, I. L. Caragiales, and Eugene Ionescos Plays and Their Stage Adaptations (2008). Picturesquesness and Absurdism in Eugne Ionesco's plays. Casa Crii de tiin, Cluj Napoca, 2011; The Character's Exile in Eugne Ionesco's plays. The Journal for Performing Arts, 2/2010; Cartoonesque and naive in Eugne Ionesco's The Lesson. The Journal for Performing Arts, 1/2010; Edinburgh International Festival, in Concept, 3rd volume / 2nd / December 2011, ion.tomus@ulbsibiu.ro.
The Origins: Rituals and Their Reiterative Patterns

The most common theory regarding the origins of theatre includes the reiterative pattern of the performances: the starting point may have been the rituals that were created for the symbolic features of the natural events, making them accessible for common people and easing the path to the unknown. People may have moved in a rhythmic way, using a specific state of ecstasy, in order to reach a sophisticate body expression. We keep in mind, for the moment, the fact that these were activities that repeated each year (because they depended on the cycles of harvest, of hunting seasons and on weather) and they all influenced the way in which the society behaved, conditioning a certain pattern of events and suggesting a supernatural element. The second theory is that theatre developed from shamanistic rituals that assumed the presence of a supernatural character in front of the public, as opposed to suggesting it. In this case, the shaman was able to reach a certain state of trance and communicate with another world. It was supposed that the shaman would travel into the world of the spirits or that they would have possessed him. One of the most important aspects of shamanism, that still exists, is the ability to exorcise malefic spirits: it often implies specific dances, in which this character would tumble or juggle. Little is known about the reiteration characteristic of these actions, but one may assume, to a specific point, that they also were in close connection with a cosmic calendar. They also might have been performed because of common events that took place into the community: sickness, coming of age rituals, funerals etc. The line that separates the occasions behind the two types of rituals is very thin and difficult to identify. For the moment, we are very interested in the reiteration of these practices, which provided rhythm and personal expectations and satisfactions for the early communities. As far as the meaning of the word, because it derives from the Latin festivus, "festival" works quite the same in all the languages bearing a relevant culture for the activity it suggests. According to Oxford Thesaurus Dictionary, in English there are two main meanings: the first one refers to a moment of celebration marked by rituals. It is a human activity that is approached from a sacred perspective (seeding, harvesting), 48
or there are well-organized ceremonies, with a certain schedule, for the celebration of an important person, an out of the order event, or the making of a new product. The second meaning of the word brings up a series of cultural events that usually consist of an artistic program for a specific artist and / or genre and takes place at a certain frequency (at least once a year) lasting for a couple of days or even for a couple of weeks. One of the oldest (but still one of the most important) English dictionaries, edited by Samuel Johnson in 1755, has an interesting explanation that we chose to keep into attention because of its archaic condition. It is relevant for the diachronic evolution of the word: the festival is connected to the celebration, to the joy and gayness of a community. It implies a specific time, a ceremony for a religious or laic event. Further on, Samuel Johnson provides a perfect example: four lines from Romeo and Juliet, in which the character talks about the 'festival' as of an out of the ordinary day, in which one expects preparation and emotion: JULIET: So tedious is this day, As is the night before some festivals, To an impatient child that hath new robes And may not wear them. Middle English Dictionary asserts quite a similar meaning: it is a secular celebration, with amusements and delights for the audience (it usually takes place during religious festive seasons): banquet, feast, merry-maker, place for party, bandmaster. The artistic acceptation of the word in French developed much earlier and its meaning split and entered English at the beginning of the nineteenth century. Trsor de la langue franaise points out a series of artistic events, with an exceptional touch through the artists that were invited and through the interest for the text that is performed. The dictionary also brings into discussion the idea of the entertainment that the audience is provided with. The old meaning of the word refers to the notion of celebration. Grande dizzionario della lingua italiana also defines the festival as an exceptional celebration in which the whole community takes place, with music, dance, fireworks. It refers to a series of events and performances (musical, dramatic, cinematographic) that take place from time to time, on a regular basis.
The theatre festival, as it is known today, is quite old, and has ancient roots that lead back to ancient Greece. The tradition of having a series of events, once a year, was a special moment of public and artistic effervescence. The Dionysian Mysteries had shaped the audience's artistic taste up to a specific point and also traced some specific dramatic coordinates that the Greeks quickly accepted. The religious and spiritual meaning of the performances accelerated the development of the society. During the dark times of the Middle Ages this tradition couldn't be broken. The Catholic Church tried to control the charisma of the theatre and its impact on mass audiences and as it did not succeed in doing so, it finally had to use the regularity of some special feasts in its own interest. The miracle plays and the mysteries were funded by the Church and by private donations and they assembled a lot of people. These were the occasions through which the economy of a certain place developed the audience used the moment for buying, selling or simply trading specific goods. Again, we must keep in mind and emphasize the social effervescence and the assembly that now acts on whole communities. After the Renaissance, probably because that there were no more barriers in theatre's way to its audience, there are no more such huge gatherings (except the carnivals). Only the commedia dell'arte still has some leftovers from the joy of meetings, because it was a dramatic genre that was extremely close to mainstream public, but it was not capable of gathering large audiences, because of its itinerant condition. For thousands of years, the festival has been a time of joy and celebration that is repeated on annual basis (in most cases). For a few days or weeks, the audience is presented a selection of artistic events that are dedicated to a specific theme, genre, author etc. The first European modern festival took part in Bayreuth, Germany and it focused on opera (it was tremendously popular among the bourgeoisie). Its first edition took place in 1876 and was organized by Richard Wagner, for he wanted to present his own creations. Another long-lasting European festival is the one in Salzburg (Austria) and it was established in 1920. Remarkably, the first performance in the Salzburg festival was Jedermann, adapted by Hugo von Hofmannstahl. The play is a morality and it was enacted in front of the cathedral, in a demonstrative intention to animate the town's social life through the
restoration of the old practices and techniques of the religious theatre. As far as the modern concept of theatre festival is concerned, Jedermann, that was performed in August 20th 1920 in Salzburg is a moment of outstanding importance. Although another festival, the one in Bayreuth was several decades older, it was limited by its own artistic intentions and by the way it had been organized and managed: the festival had been founded because of an author's caprice, its main artistic purpose being to present exclusively Richard Wagner's work. Undoubtedly the event as an important one given the European cultural and artistic landscape, but unfortunately it was quite limited and, even worse, it was predictable. The audience already knew what to expect from it. But now, in 1920, in Salzburg, there is Jedermann, opening a theatre festival: the performance was programmatic, as the purpose was to perform a play from the fifteenth century, in order to reanimate the town, to bring back into the public's attention the old values of performing arts and also to reiterate the practices of religious drama, so current during the Middle Ages and the Renaissance. Salzburg, with its catholic audience, happily agreed and accepted the challenge and Hugo von Hofmannstahl's performance was a huge success. The festival endured and transformed into a music event, not a theatre one. For the moment, it is very important to enunciate a common denominator for all that was said above: the festival refers to artistic events that take place on a regular basis, in which the religious extent diminishes through the centuries (and as the society becomes less and less sacred), being an open event for an entire community, from which there is artistic and pecuniary profit, able to (re)vivify and (re)animate a certain geographical and cultural area.
The Festival as a Cultural Institution: a Modern Approach

The most important factor that determined the development of the modern festival is leisure, through the migration of some social categories (starting with the Western bourgeoisie, during the Renaissance and the Classicism) towards some activities that were considered to be agreeable and well doing. The performing arts had tremendous benefits from the increasing quantity of leisure in Western Europe, because the bourgeoisie had the financial power to assert 49
specific rules and standards. The evolution of society, the industrialization and the post industrialization have generated more and more free time in certain social areas, but also the call and the will of some other less cultural and economical fortunate social areas to betake the same activities. It wasn't just a social mimetic act, but it was the pure and simple urge for creating art. The events that were institutionnalized and their regular cycles (the festivals) have gained certain coherence in their organization, planning and development, as well as an enormous diversification of the themes that were approached. The modern audience is preoccupied by unique cultural activities, by factors that lead to cultural and spiritual itineraries and by enterprises that would highlight the local pride and the development of various communities. The festivals provide authenticity, identity and uniqueness, especially through the events that are based on the inherent values of a certain place. They would also provide hospitability and competition (financial and artistic) all these call into operation some touristic mechanisms but also specific themes and symbols in which the audience can find its inner self. The festivals have a huge importance in the region or in the community in which they take place: they are important attractions, they generate a certain public image and they can extend the high season. They can also generate a new season for tourism. One of the most important modern features of festivals that were not discussed by the dictionaries cited above is the fact that the defining aspect of an event or festival is its evanescence. This means that the feeling of casualness and emotion would be difficult to induce and sustain if the event was more frequent. By introducing the human presence in certain public spaces that become active and animated, festivals achieve a very strong connection between the environment in which they take place and the audience's way of life. Those public spaces would be used again, for other events, after the festival is over. The communities that are interested in local pride, civic projects, identity, cultural inheritance, preservation, urban regeneration, creating jobs, investments and economical growth are perfect for developing festivals. If a festival grows through its own resources (and it is not enforced), the community will promptly accept 50
it. There is a strong opinion that festivals reflect the way in which people in a certain community represent and accept themselves. Lastly, by using the festivals, the artistic and cultural Industries are able to provide know-how for tourism. The initiative for organizing a festival may be on the part of the public sector: one or several institutions may invest in organizing a series of events in a specific cultural area. The private sector is more and more interested in creating and developing festivals, especially for the last twenty years. The events concern an increasing amount of people and they can have national or global impact. The reasons for these decisions come from a group of interests that is willing to educate and influence a wider audience, to display an artistic practice, or to conserve and increase its meaning and acceptations. Of course, there are economical reasons: capital and image accumulation. A strategic pattern is required, so that communities will make full use of festivals. The management of place and resources is of crucial importance for the understanding of the way in which the events can assimilate all the particularities of a certain place. The efficiency in running a festival, as well as the management of public and private space may capture the local atmosphere, encouraging its development. The dialogue with the community is very important, especially if the budget consists of public funds. A correct and comprehensive approach can identify a portfolio of events that would differ in size, importance, theme, activity, needs and audience. The festivals may be established only for increasing the attractiveness of some destinations, for creating a dynamic environment, public services and entertainment. It only looks like a paradox, but there are some organizers that encourage the simultaneous development of a group of festivals. The best example is Edinburgh International Festival that coexists together with The Fringe, The Jazz Festival, Military Tattoo, The Film Festival and every two years, The Writers Festival. All the events take place in August, in Scotland's capital city, increasing the cultural offer for locals and visitors, encouraging consume and a longer leisure time in Edinburgh. The management of tourism is an important element for the festival: as consumers that come from different environments, with various experiences, the audience intends to find out everything possible about places and people.
They often want to be part of the community for the time they spend there, hoping they would have been assimilated. Their most important desire is to a have a story to tell when they get back home, which becomes an important tool for the destinations' promoters. For that purpose, the organizers' function is to identify the needs of the audience, for developing an artistic program that would be assimilated. The strategy may have to ways: the public can be provided with cultural products that are already acquainted or with exotic, strange products that would be accepted exactly because of this condition. Market researches have pointed out that festivals are directly responsible for the increase of tourism and leisure: event-based tourism is very concerned on the role festivals have in developing a destination and in the increasing attractiveness for a wider audience. On the other hand, festivals are preoccupied not only by attracting tourists, but also by the preservation of the identity in a certain community or region. Although the term "cultural tourism" is relatively new, the phenomenon is very old, with deep roots in western civilizations. For that purpose, the audience for the Middle Age's mysteries and miracles had to travel great distances and they also practiced some sort of cultural tourism (keeping some proportions, of course: the time for leisure was not so generous, but the audience was willing to acquire it, because of the sacred condition of the event they were attending the festival). As the cultural elements are converted into the market economy, the cultural institutions and the patterns they use need to be defended. The festival and the cultural tourism may change the condition of the target destination. In such cases, there is the possibility that those environments would count the audience as "invaders", their intimacy would be lost and the visitors may destroy the culture, because they could evaluate the festival's environment as a 'museum' etc. As far as the host community is concerned, there are a lot of reasons for the hospitability to become more and more limited: one stranger can be easily accepted, but a crowd of tourists may generate unexpected and unpleasant effects: the locals tend to lose their territorial authority, especially in the case of a huge afflux of visitors. Also, it is important to evaluate the number of tourists that visit a specific place, compared to the number of locals, the physical size of the destination, the character of the event, the
demand for tourism and the social and economical differences between hosts and guests. The festivals give an important chance to the cultural development of the community, which is an almost invisible phenomenon that becomes visible through its absence. The complex relationships that the festivals develop may provide stability and protection. The sense of community that the visitors get when they participate at a festival is an intangible mixture of experiences and services. Successful festivals allow the locals to exercise and assert their needs and demands of leisure and they can even be volunteers for that specific event. The common good may generate a communitys festival. Such events that give their own culture to the visitors and become the content of the cultural experience will attest the influence of the local and regional differences. The festivals can emerge from the overlapping intersection of three major elements: the destination (the place) in which they are organized, the people that populate it and the visitors. The identity of the region is provided by the characteristics of the local cultural landscape and by the way of life in the specific area. Tourism seems to be the best way to experience and consume a specific place. For some spaces to get distinctive characteristics and a status of touristic destinations they need to be created as such and here the festivals can have a determinant function. This is the reason for which they may be organized in spectacular places. Equally, modern local administrations understood their function in designing the modern urban landscape and they encourage (as much as possible) the development of such events in extraordinary public spaces (that are available to the visitors). Festivals' publicity for the communities has more than a cumulative effect on the destination: they can infiltrate the image and identity of the cultural environment and can compete in building an interesting authenticity. The suggestions the tourists will make have the power of placing a tourist destination on the market and can help others deciding visiting it in the future, spending even more time there and exploring more attractions or consuming more cultural events. The festival can shape the image of the host community, as well as its emplacement in other visitors' imagination. The festivals will be exploited as cultural destinations if there is some concern in providing with all the goods and 51
services needed: power, water, waste management system, communications, press, modern technologies, ticketing, market evaluations and emergency procedures, transport, lodging, specific products for each artistic environment, access to venues etc. The social and cultural impact of the festivals on the local audience must be kept in mind, too, as the development of high standards events will cause the cultural expectancies of the locals to be more selective, will refine the artistic taste, the cultural training will be even more intense and so will be the selection of the events. The ideal situation is that of an audience that doesn't consume cultural events, but will judge them by their flavor, being made up by connoisseurs, using a wide area of information that makes possible complex quality evaluations. Of course, not all the events are always well received by the host audiences, so the following classification of the level of interest and participation is quite elucidative. Euphoria the initial phase, in which the visitors and the investors are welcome. The locals are enthusiastic and the community is satisfied by the events. Apathy becomes obvious when the visitors are a banal presence. Irritation / Annoyance when the limit of endurance is reached and the locals have serious doubts concerning the cultural industry. The antagonism points the public annoyance caused by the visitors that are considered the cause of all problems. In this case, there are strategies of reviving the event, but the promotion of the festival is increased for avoiding the deterioration of the cultural destination. The final level shows how the community has forgotten what it used to appreciate, or how the element that attracted the public has now
disappeared and had changed the environment in which it used to successfully operate. The list above renders the complexity of the changes that may take place in host communities, but also suggest that all the representatives have the same opinions and attitudes concerning art and it doesn't succeed in comprehending all the various judgments that may simultaneously exist in every community and the way each person is adapting the effects. It is crucial that the festivals should assess some differences for attracting the audience. The themes that are chosen must be very ample, suitable for a graphic representation (logo or symbol) and a wide approach of the market must keep in mind the containment of a large number of segments. For the communities in which they take place, the festivals may produce important economical numbers, as there always is the possibility of attracting considerable sums of money for local consumption. Beyond creating jobs and investments in infrastructure, the local business community must be very involved in the events. As a conclusion, it is important to state that, as the performing arts have evolved, the festival has become an essential event in modern man's life and in the way he spends his leisure time. As it is a form of tourism, it has to be evaluated through its social and cultural context. A better understanding of the cultural identities of host communities points how the festivals exercise a meaningful position in three aspects of the human condition: they celebrate a certain place through the events that take place; they offer their communities means for hosting guests, for a communion of activities that share the same values, interests and common aspirations; and they are the exterior aspect in the identity of a place / community, offering a specific potential of identifying the environment and the people.
BIBLIOGRAPHY Allen, Johnny; O'Toole, William, Harris Robert; McDonnel, Ian. 2005, Festival and Special Event Management. Mason, Bim, 1992, Street Theatre and Other Outdoor Performance, Routledge, London & New York. Miller, Eileen, 1996, The Edinburgh International Festival, 1947-1996, Scolar Press, Aldershot. Bruce, George, 1975, Festival in the North. The Story of the Edinburgh Festival. Robert Hale & Company, London Yeoman, Ian, Robertson, Martin; Ali-Knight, Jane; Drummund, Siobhan; McMahon-Beattie, Una. 2005, Festival and Events Management. An International Arts and Culture Perspective, Elsevier ButterworthHeinemann, Oxford. Note: This paper is suported by the Sectorial Operational Programme Human Resources Development (SOP HRD), financed from the European Social Fund and by the Romanian Government under the contract number SOP HRD/89/1.5/S/59758
52
LA MAGIE IMITATIVE. RITUELS OBSCURS, RITUELS AMOUREUX

LINDA MARIA BAROS * , Ph.D, Sorbonne, Paris III
Abstract: Vasile Voiculescus short story The Taimen presents obscure rituals which intermingle imitative magic and demonomagic in order to bind, through an erotic ligatura, a fisherman to a succubus embodied in a bewitched ichthyologic creature. In exchange of his faith in God, the fisherman is given the capacity to transform the diabolic taimen in a charming woman. On one hand, this anthropomorphism can be conceived as the result of the young mans emotional tendencies. By means of magic which puts his erotic desire into action , he materializes his own psychic processes. On the other hand, it can be considered as a misleading work of the Devil, who is thus able to seize the fishermans ignited heart. Keywords: ritual, imitative magic, demonomagic, erotic ligatura, metamorphosis.
La Truitelle de Vasile Voiculescu possde le don extraordinaire darracher le lecteur lunivers contingent, afin de lancrer dans une nouvelle dimension, procdant du mythe et des fabuleux rcits folkloriques roumains. Ds lincipit du texte, le narrateur dvoile les sources mytho-folkloriques qui prsident la cration de la nouvelle et qui lui confrent un halo fascinant: Le diable, avec toute sa marmaille et ses cratures ensorceles, ne pourrait trouver nulle part un meilleur endroit pour se cacher que dans les eaux. Le dmon des mares, cest une chose bien connue, est toujours prsent parmi les hommes et le plus sournois. Nombreux sont ses visages : de ltincelle qui tremblote dans les tnbres de la nuit et qui attire le voyageur gar dans les profondeurs, jusqu la jeune fille fusele qui se baigne dans les tourbillons et nest rien dautre quun esprit rus des eaux, un pige vivant tendu aux jeunes hommes ingnus, pour les noyer. Le Malin avait depuis longtemps nich dans la Bistria une crature ensorcele qui avait lapparence dune truitelle. () le poisson du diable se montrait tantt dans les remous, tantt dans les torrents, avec sa tte joufflue de silure, son corps fusel de sandre et sa robe
*
paillete dor et ocelle dun rouge-rouille, comme celle de la truite saumone. () De loin, on aurait dit une princesse qui se prlassait au soleil. (Voiculescu, 1995: p. 14) Cest de cette crature diabolique, dont laspect composite est renforc tout au long du texte par son inscription simultane dans le rgne ichtyologique et dans le monde humain, que le pcheur Aliman le protagoniste de la nouvelle tombe perdument amoureux. Narquoise et sensuelle, cette diablesse fait clore dans son me une passion dvastatrice, tyrannique. Cependant, lirruption de la truitelle dans lexistence dAliman ne marque pas seulement une explosion libidinale monodique, mais aussi lintgration de ce dernier dans un univers dmoniaque et ductile, qui branle graduellement les solives de son tre. Certes, tous les pcheurs du village sont fascins par cette prodigieuse truitelle, mais, ayant conscientis le danger fatal quelle incarne, ils rsistent bravement au dracinement existentiel que peut aisment entraner son magntisme. Aliman est le seul qui, aprs avoir got au plaisir indicible de la tenir dans ses bras, se
Linda Maria Baros is a French-language poet, translator and literary critic, one of the most powerful new voices on todays poetry scene (the famous French literary award Guillaume Apollinaire Prize 2007 and The Poetical Calling Prize 2004. She is a researcher at the Sorbonne University, Paris IV (Comparative Literature) and at Sorbonne University Paris 3 - Sorbonne nouvelle. She is chief editor of literary magazine VERSUS / m Books/articles: Les Recrues de la damnation (The Recruits of Damnation), The Romanian Literature Museum Publishing House, Bucharest, 2005, Lhybris et la pulsion scopique, Cinematographic Art, nr. 7, 2011. e-mail: linda_versus@yahoo.fr
laisse prendre ce jeu amoureux, sans en peser les consquences, sans apprhender le caractre diabolique de la passion qui lenvahit de faon progressive, jusqu le soumettre radicalement. Car, ce nest pas seulement de la truitelle que sprend ce jeune homme novice, mais aussi du monde mystrieux qui est le sien. La double obsession qui en dcoule, obsession longtemps entretenue par limpossibilit dattraper la truitelle, le pousse un beau jour se rendre auprs dun sorcier demeurant Neagra, dans un village sauvage : Il stait laiss dire quun vieux sorcier y vivait, un grand charmeur de poissons, qui tait en quelque sorte le matre des eaux. (Voiculescu, 1995: p. 18) Nul ne sait ce quAliman a bien pu apprendre dans cette contre loigne, ni quel type dactivit magique il sest adonn. Ce qui est toutefois certain, cest quil est rentr dans son village avec une truitelle sculpte en bois, un poisson votif ensorcel, aussi beau, fusel et bigarr que celui qui, telle une flche lumineuse, transperait les eaux de la rivire Bistria. Une nuit o la lune rentre dans son premier quartier, Aliman pntre tout nu dans la rivire, prononce une incantation apprise par cur, travers laquelle il renie lempire de Dieu, et laisse les eaux emporter sa truitelle en bois. Le lendemain matin, la suite dun effroyable orage, la rivire dborde et saccage plusieurs villages montagnards. Les eaux tumultueuses charrient des maisons, des gens, des bestiaux. Cest impuissant quAliman assiste ce terrible spectacle, jusqu ce quil aperoive un radeau qui vient droit vers la rive, pour sarrter ses pieds, un radeau sur lequel gt, parmi de nombreux dbris, une belle jeune fille. Le vieux sorcier, le grand matre des eaux, est, selon les croyances mythologiques roumaines, un solomonar. Driv du nom du roi Salomon, ce substantif dsigne un mage thaumaturge, une demi-divinit mtorologique au caractre ambivalent. Comme, jusqu prsent, lorigine du mythe reste nigmatique, on ne peut que le situer approximativement michemin entre la figure du chaman (Eliade, 1974 : p. 225) et celle du capnobate gte (Strabon, 1989 : p. 80), dont il emprunte quelques traits fondamentaux. Que lon opte pour lune ou lautre des hypothses, on observe que le solomonar est toujours associ des coutumes 54
anciennes (Rezu, 1972: p. 173), comme le laisse dailleurs entendre, chez Vasile Voiculescu, lutilisation de lpithte caractrisante sauvage , qui dsigne le village du vieux sorcier. Inscrit de par ses prrogatives et ses pouvoirs surnaturels dans un temps ancien, paen, le sorcier appartient un monde fond sur des croyances essentiellement mythiques et magiques. Bien quaucun document natteste explicitement lintrt du solomonar pour la magie noire, ce dernier est toujours mis en rapport avec le diable. En outre, partir du XIXe sicle, il existe des talismans et des amulettes gravs qui en font le "matre" des dmons (dragons) atmosphriques (Oiteanu, 2004 : p. 250). Qui plus est, selon Lazr ineanu (1978 : p. 565), pour devenir un initi, tout apprenti sorcier doit rejoindre les rangs de lcole souterraine consacre aux solomonari, connue sous le nom de oloman ou Solomonrie, cole o le diable en personne lui enseigne les langues parles sur terre, les mystres de la nature et maintes formules magiques (solomonii). Tels seraient les principaux traits du vieux sorcier auquel fait appel Aliman ! On ne saurait donc stonner en constatant que ce dernier a t initi dobscurs rituels qui exigent la mise en place dun pacte avec le diable. Afin de pouvoir possder la truitelle dont limage hante son esprit et dont le souvenir sensuel fait encore frmir la chair de ses bras, Aliman renonce au royaume de Dieu. Cependant, ce nest pas uniquement sa religion quil abhorre, mais galement ses convictions intimes. Dun homme qui raille les rcits mythiques et les contes fabuleux, de mme que toutes les superstitions quils engendrent, il devient subitement partie intgrante dun sombre monde peupl de dmons et de sorciers. Initi aux sciences occultes, il pratique, en suivant troitement les conseils du vieux solomonar, une forme manifeste de magie imitative, frquemment utilise dans les cultes archaques. Gnralement ambivalente, la magie imitative nest ici que dessence malfique. La dnomination de la montagne sur laquelle se hisse le village du sorcier Neagra en est le rvlateur. Ce toponyme dsigne en roumain la chose noire ou bien le lieu noir , faisant ainsi clairement allusion la magie noire ou, plus prcisment, tant donn la nature de la truitelle ensorcele, la dmonomagie lart de subjuguer les dmons , galement appele transnaturalis (Culianu, 2003: p. 202), du fait
quelle est mme de transgresser lordre des choses au moyen de pouvoirs diaboliques. Selon les postulats de la magie imitative, analogique ou sympathique (Frazer, 1981: p. 41), on peut acqurir la facult de dominer quelquun en possdant soit son image, soit sa copie matrielle, son sosie symbolique. En dautres termes, par le biais de ce rite qui permet une action distance des choses les unes sur les autres comme par une sympathie secrte (Frazer, 1981 : p. 42), on amne se produire ce dont on fait le simulacre (Valette, 1976 : p. 80). Comme la magie imitative est fonde sur lindissociabilit de limage et du sujet quelle reprsente, en agissant sur la reprsentation de ltre, on agit en gale mesure sur celui-ci : Cest une ide gnralement rpandue chez tous les peuples primitifs, que la reprsentation de tout tre vivant est, en quelque sorte, une manation mme de cet tre et que lhomme qui a en sa possession limage de cet tre a dj un certain pouvoir sur lui. () On peut donc admettre que les hommes primitifs croyaient, eux aussi, que le fait de reprsenter un animal le mettait dj, en quelque sorte, sous leur domination, et que, matres ainsi de sa figure, de son double, ils pouvaient plus facilement se rendre matres de lanimal lui-mme. (Bgoun, 1924 : p. 423) tant donn que la truitelle incarne lanimal tutlaire dAliman ltre qui a une emprise absolue sur son destin et auquel il voue un culte idoltre , ce nest quen faisant appel un totem la reprsentant quil peut arriver la possder. Lon comprend, bien entendu, par totem tout gardien personnel ou puissance tutlaire appartenant un homme pris individuellement (Alexander, 1962 : p. 288), sans se rapporter au phnomne du totmisme qui rgissait lorganisation sociale de certaines tribus primitives. Ce double totmique en bois est offert aux flots de la Bistria pour que celle-ci lui apporte en retour, suite une inversion des signes, la truitelle ensorcele. Comme le note Mircea Eliade, ce type dchange magique vise rendre prsent un tre surnaturel par une image ou un objet sacr, censs reprsenter son corps (1988 : 132). Voici donc les lignes de force du processus transformationnel qui extirpe la truitelle du rgne ichtyologique, afin de lincorporer la sphre humaine ! Pourtant, lordre des choses
nest pas entirement boulevers par ce dracinement transgressif, puisque le pcheur et le sorcier redonnent en contrepartie aux eaux une copie symbolique de ce quils leur soutirent. Par le biais de leurs pratiques surnaturelles, ils substituent au poisson vivant un poisson en bois, dont la prsence rquilibre lordre des choses menac par lintervention magique. Aucun chanon manquant donc grce ce contrepoids ! Cependant, arrache son univers, o sa place est prise par le totem analogique, la truitelle se mtamorphose en femme, selon les vux secrets dAliman. On a dj mentionn que la truitelle a un aspect hybride, non seulement parce quen elle se rassemblent les traits de plusieurs espces appartenant la classe des salmonids, mais aussi parce que son allure possde quelque chose dhumain. Ce constat exige ltablissement dune parallle ntre la truitelle ensorcele et tima apelor, tre surnaturel qui rappelle, dans ses grandes lignes, la sirne antique et les succubes. Or, en se rapportant ces observations et en tenant compte du fait que les barrires sparant les espces ne paraissent gure solides, on pourrait dduire que la mtamorphose nest quune partielle transgression des rgnes. En effet, si la transformation peut avoir lieu, cest prcisment parce quun personnage mythique tel que tima apelor est investi de pouvoirs protiformes. La magie ne fait que pencher la balance vers lun des versants constitutifs de son moi-peau composite. Elle rvle lhumanit cache de cette crature maligne, tout en dissimulant ses traits ichtyologiques, alors quavant la mtamorphose, ctait lenveloppe zoomorphe qui renfermait ltre anthropomorphe. Aussi remarque-t-on que, par lintermdiaire de la magie imitative, le vieux sorcier et Aliman renversent entirement la donne existentielle. Il ny a pas de rupture au cours du processus, mais une vidente continuit du mme sous une forme diffrente, mais englobante, qui nefface aucun lment fondamental du moi-peau premier. Lon nest pas frapp en consquence par la parfaite similitude physique et comportementale entre lancienne truitelle et la jeune fille quelle est devenue suite la mtamorphose. Lauteur y insiste ouvertement dans la scne qui marque larrive de la jeune fille dans le village Aliman: La fille reprit aussitt connaissance. Elle navait gure aval deau. Elle sourit son sauveur, regarda apeure la foule rassemble 55
autour delle et demanda manger. leur grande surprise, les gens virent ses vtements la chemise roumaine, la jupe, les sandales scher vue dil, comme si la fille navait jamais t trempe. () Ses yeux ambrs aux clats bleu-vert taient grands et ronds, mais froids comme sils taient en verre. Et ses dents, quelle dcouvrit pour les enfoncer dans le quignon de pain que lui tendait Aliman, se montrrent blanches, mais acres comme celles des btes sauvages. () Elle tait belle, le visage peut-tre un peu joufflu, fusele, le corps allong, ondoyant, et la croupe haute, comme celle des bons nageurs. (Voiculescu, 1995: p. 19) Plusieurs pithtes caractrisantes attirent, de prime abord, lattention du lecteur. Aussi joufflue, fusele et ondoyante que la truitelle est la jeune fille mystrieuse. La reprise de ces trois adjectifs ne laisse planer aucun doute sur ce point. Et tel est aussi le cas de ses yeux, dont les couleurs vives sont les rminiscences de son ancienne et magnifique robe de poisson. La description continue dans le mme sillage analeptique : les dents de la jeune fille sont acres comme celles dun poisson rapace et sa faim rappelle la voracit de la truitelle avide de poissons (Voiculescu, 1995 : p. 15). Le portrait de la jeune fille trahit son appartenance au monde aquatique, instaurant une parfaite symtrie entre son moi-peau initial et son nouveau moi-peau , humain. Par consquent, quoique lauteur nvoque aucun moment le processus transformationnel proprement parler, la mtamorphose de la truitelle en femme devient tout fait transparente grce ces multiples suggestions descriptives, dont lautosimilarit manifeste autant sur le plan vnementiel que sur le plan mythique de la digse participe dune vidente expansion fractale. Le cadre naturel inflchit galement linterprtation de la scne dans cette voie. La manifestation du pouvoir transgressif dont est pourvu le matre des eaux, personnage surnaturel figurant les forces imptueuses de la nature, se fait sentir travers le dchanement de la tempte qui accompagne la transformation. La mtamorphose anthropomorphe est lexpression concrte dun vu secret longtemps nourri par Aliman. Il est certain que linstance mtamorphosante est ici un solomonar, matre de lart transformationnel dmonomagique. 56
Toutefois, le vritable moteur de la mtamorphose est lamour fou quAliman porte la truitelle ensorcele. Ds lors, cest la prise de conscience de ce sentiment envahissant ou, autrement dit, le passage du vu inconscient au vu assum qui reprsente la vritable instance mtamorphosante : la magie rvle de la faon la plus nette lintention dimposer aux objets de la ralit extrieure les lois de la vie psychique (Freud, 2001 : p. 131). Dans cette optique, lanthropomorphisation de la truitelle serait le rsultat des tendances affectives dAliman, lequel, grce la magie, qui nest quune mise en acte de son dsir damour, retrouve en dehors de lui ses propres processus psychiques (Freud, 2001: p. 132). Lchange que suppose la magie imitative fonctionne donc seulement parce que le jeune homme projette sur le double totmique de la truitelle ses propres sentiments. La magie seule ne saurait oprer dans de telles circonstances, puisque la relation totmique ne peut tre recherche dans la nature propre du totem, mais dans les associations quil voque pour lesprit (Evans-Pritchard, 1956 : p. 82). De la sorte, la transformation peut avoir lieu uniquement linstant o le jeune homme saisit les enjeux de ses affects, linstant o il arrive faire la part des choses entre la passion pour la pche la truitelle, dfi quil sest propos de relever au prix mme de sa vie, et la passion pour lentit fminine que reclent les cailles tincelantes du poisson. Cest lapprhension de la vritable nature de ses sentiments qui abolit symbolliquement les frontires entre la ralit et le mythe, entre lanimalit et lhumanit. Lhistoire des tats successifs du dsir lui permet de comprendre que lamour ne transige pas. Tant que la truitelle ne rayonne que par son absence, lamoureux ne peut sappartenir. Aussi, la mtamorphose se donne-t-elle voir pour Aliman comme libratrice. En touffant langoisse du manque et lobsession de labsente, elle rend Aliman lui-mme et lamour quil rige en idal existentiel. Il serait intressant de rappeler ce propos que la mise en avant de la mtamorphose en tant que produit dun processus psychique caractre votif correspond merveilleusement la symbolique du poisson, lequel, tout comme leau, est un emblme du monde intrieur, souterrain, symbolisant prcisment la vie instinctuelle inconsciente qui dissimule les fantasmes les plus intenses de ltre humain.
Plonger rituellement dans leau revient pour Aliman non seulement intgrer lunivers du solomonar et de la magie quil exerce, mais aussi senfoncer dans les eaux abyssales de son intriorit. En mme temps, lextraction de la truitelle de lunivers aquatique, suite la substitution analogique, concide avec la remonte la surface du poisson en tant qu animal psychique (Aeppli, 1951 : p. 157), poisson qui nest quune image symbolique du fantasme libidinal dAliman. Certes, dans la plupart des cas, les valences rotiques du poisson sont masculines, de par la forme qui est la sienne, mais il arrive aussi quelles possdent un caractre fminin, du fait que tout habitat ichtyologique est un symbole matriciel. Mtaphoriquement, le jeune pcheur ne chasse plus sa truitelle bien-aime dans les eaux de la Bistria, mais dans les eaux troubles de son me. Or, dans son for intrieur, ce nest pas tant limage du poisson rus qui prime, mais celle de la femme que renferme ce dernier. laune de la psychologie abyssale, la mtamorphose de la truitelle quivaut donc une projection magicopsychologique du monde intrieur du pcheur dans le monde extrieur. On pourrait ajouter que la mtamorphose, issue dune mimesis convoquant labsente, relve de laccomplissement dun dsir amoureux en rupture avec la divinit. Ce nest quen renonant sa foi quAliman a pu avoir recours la magie imitative et dpasser ainsi les limites existentielles imparties aux humains. Se pose alors encore une fois la question de lidentit du vritable agent mtamorphique. La transformation, est-elle dirige par Aliman, qui applique mticuleusement les conseils occultes du vieux sorcier ? Ou bien est-ce le diable luimme qui lopre par son intermdiaire ? Avaitil vraiment besoin de ce simulacre pour que la truitelle ensorcele devienne humaine, sachant que cette dernire est, par excellence, protiforme ? La rponse serait invitablement ngative. Mais il est indniable que la mimesis ne sert pas ici seulement de mdium mtamorphique; elle est aussi le signe de la prpotence magique. En son absence, Aliman ne serait jamais mme de matriser la truitelle, de la contraindre le rejoindre. Ces interrogations soulvent galement quelques doutes sur la vritable signification de la transformation. Il se pourrait, bien entendu, que lobjectif des retrouvailles rendues possibles grce la mtamorphose soit non pas tant
lhumanisation du poisson, mais la dshumanisation symbolique du pcheur, sa diabolisation. Car, se dfaire de la divinit, mme au nom dun idal amoureux suprme, cest, avant toute chose, abandonner son innocence, se laisser corrompre par des chimres sataniques. Lacte sacrilge est, en premier lieu, une violation des lois religieuses orthodoxes. Pourtant, de par son tymologie, il renvoie aussi au concept de vol et de profanation ; sacrilegium est lorigine un vol perptr dans un endroit sacr (Culianu, 2003 : p. 129). Or, lme dAliman a t profane tout jamais. travers lexercice de la magie, le Diable sen est empare. Nanmoins, labandon de la foi est une condition sine qua non de la mtamorphose, laquelle ne peut se drouler que sil y a une communaut de vie entre le double totmique et le jeune homme : il faut que lhomme et lanimal participent de la mme nature, pour que le premier puisse agir sur le second (LviStrauss, 2002 : p. 87). Afin que la magie soit efficace, il faut croire aux pouvoirs surnaturels dmoniaques du vieux sorcier et appartenir au mme univers que la truitelle ensorcele, cest-dire lunivers infernal du Malin. De ce point de vue, leau nest plus seulement un signe de la profondeur psychique, mais aussi le symbole du monde tnbreux intrieur par lequel on communique avec la divinit ou, tout au contraire, avec le diable. Il sagit ici, bien sr, des forces du mal telles quelles sont illustres autant dans la mythologie roumaine que dans la religion orthodoxe, mais aussi des forces abyssales, terrifiantes et monstrueuses que symbolisent les animaux aquatiques et qui reprsentent, en dfinitive, le gouffre que chacun porte en lui-mme. En cela, la mtamorphose rpond un besoin encore inavou dAliman, qui est celui de scarter du monde contingent, pour vivre quelque chose de merveilleux, pour donner un sens son existence limite. Ce quil cherche, ce nest pas la femmetruitelle, mais labsolu quelle incarne. Ce nest donc peut-tre pas l art des changements (Mauss, 1960 : p. 54), dordre psychique et dmoniaque, qui offre au protagoniste la possibilit de se voir et de se dire autrement, mais la pense magique qui lui sert de support. Le phnomne insolite de la transformation, qui place le personnage dans un univers fantastique, atemporel, va justement dans ce sens. Et lauteur naura de cesse de renforcer graduellement la 57
sortie du personnage hors des coordonnes spatio-temporelles habituelles, pour marquer son entre dans lempire des nergies ontologiques de lamour, la fois sombres et lumineuses, rotiques et diaboliques. Rendre la truitelle humaine, cest la rendre enfin tangible, cest lui donner une forme la mesure de lidal amoureux dAliman. Aussi le charme mtamorphique agit-il non seulement comme un instrument de soumission de la truitelle-succube, mais aussi comme une ligatura magico-rotique par double totmique interpos. Si lon suit cette logique magique, lenlisement du radeau juste devant les pieds dAliman nest
quun signe du nouveau destin qui soffre ce dernier : la jeune fille qui se dvoile ses yeux est bien celle quil attendait, celle qui lui a t envoye par une entit suprieure, mme dinfluer sur le cours des choses. Exprience surnaturelle, dmesure, la ligatura rotique concrtise les rves dAliman. Mais elle hsite continuellement entre le thlxis, lamour magique, et lentre dans un monde diabolique o se manifestent les uvres trompeuses du Malin. Comme tout rituel relevant de la magie noire, elle dvoile les jeux dombre et de lumire du dsir humain.
BIBLIOGRAPHIE
Aeppli, Ernst, Der Traum und seine Deutung. Mit 500 Traumsymbolen, Zrich, Rentsch Verlag, 1943; Les rves et leur interprtation. Avec 500 symboles de rves et leur explication, Jean Heyum trad., Paris, ditions Payot, 1951. Alexander, Hartley Burr, The Worlds Rim: Great Mysteries of the North American Indians, Lincoln, University of Nebraska Press, 1953; Le Cercle du Monde, Michel Ligny trad., Paris, ditions Gallimard, Collection Lespce humaine , 1962. Bgoun, H., La magie aux temps prhistoriques , in Mmoires de lAcadmie des sciences, Toulouse, n 12, tome II, 1924. Culianu, Ioan Petru, Cult, magie, erezii. Articole din enciclopedii ale religiilor, Iai, EdituraPolirom, 2003. Eliade, Mircea, Shamanism. Archaic Techniques of Ectasy, Princeton, Princeton University Press, 1974. Aspects du mythe, Paris, ditions Gallimard, 1963, rd. Collection Folio/Essais , 1988. Evans-Pritchard, Edward Evan, Nuer Religion, Oxford, Calderon Press, 1956. Frazer, James George, The Golden Bough. A Study in Magic and Religion, Londres, Macmillanand Co. Limited, 1890; Le Rameau dor. Le Roi Mage de la Socit primitive, PierreSayn trad., Paris, ditions Geuthner, 1927, rd. Paris, ditions Robert Laffont, Collection Bouquins , 1981. Freud, Sigmund, Totem und Tabu, Leipzig, Hugo Heller & Cie., 1913; Totem et tabou, Samuel Janklevitch trad., Paris, ditions Payot, Collection Bibliothque scientifique , 1923, rd. 1965, rd. Collection Petite Bibliothque Payot , 2001. Lvi-Strauss, Claude, Le totmisme aujourdhui, Paris, Presses Universitaires de France, Paris, 1962, 9e d., 2002. Mauss, Marcel, Sociologie et anthropologie, Paris, Presses Universitaires de France, Collection Bibliothque de Sociologie contemporaine , 1950, rd. 1960. Oiteanu, Andrei, Ordine i Haos. Mit i magie n cultura tradiional romneasc, Iai, Editura Polirom, 2004. Rezu, Petru, Dochia mprita. Basme i poezii populare n ara de Sus, Bucureti, Editura Eminescu, 1972. Strabon, Gographie, Raoul Baladi trad., Paris, Les Belles Lettres, tome IV, 1989. ineanu, Lazr, Basmele romne, Bucureti, Editura Minerva, 1978. Valette, Paul, dans Lne dor ou les Mtamorphoses, Apule, Paul Valette trad., Paris, Les Belles Lettres, 1941, reed, 1976. Voiculescu, Vasile, Lostria, dans Povestiri, Bucureti, Editura pentru Literatur, tome I, 1966, rd. Bucureti, Editura Floarea Darurilor, 1995.
58
EXPERIENCE OF THE STAGE ACTOR ASSUMED ON SCREEN

FLORIN TOADER, Ph. D. Hyperion University, Bucharest Abstract: Along time, theater has undergone various changes, starting with Greek tragedy, a time interval in which the plays were written to be put on stage and the dramatist had a very important role, and reaching Shakespeares epoch, when the plays were written for their material value, at request, to assure a stable income. Its changes continued to appear; nowadays the dramaturgy could be seen also as pure literature, without the obligation that the play be mounted on the stage. Keywords: actor, spectacol, impure esthetics, character.
During this time, new kinds of theatre start to develop, following the existence of the theatre troupes (theatre companies), which need more stage plays to be represented in their tours. The repertoire theatre develops starting with the end of the medieval period. The number of theatre types significantly multiplied during the Renaissance, when the theatre spread in Italy and within the borders of whole Europe, acquiring a peculiar nuance in Spain and England. Along time, the idea of concurrence appeared and, implicitly, the idea of premiere, and also was developed a peculiar type of interprets able to play the repertoire stage plays. The repertoire was based on spectacle and bound to the stage technique, thus combining the text and the spectacle. This, is also in closed relation to the public, a theatre needs a public evaluation, an evaluation which brings equilibrium to establish a success repertoire. As unanimously was agreed, the moment of the theatre birth is related to the representations in Antique Greece intended to celebrate the Dionysus; although the first actor is possible to have been born previous to those who firstly played in the Greek amphitheatres. His apparition could be marked by the first tribal priest, who put a mask on his face and interpreted a ritual intended to save his liegemen. It was perhaps even earlier. But, it is sure that the theatre occurred from the human desire to express the affrights and to project the desires, evolving together with the society. The history tells us about a continuous developing of the society, reflected in the development of the
universal theatre, indifferently of the used techniques or innovations made by the numerous improvers of this art. The knowledge implicitly brought a change of the human needs, and the theatre, in order to survive, had to be always with a step before the human being, to satisfy his continue need of knowing and understanding the laws governing the universe. The XX century marked a dilution of the borders between the theatric expression forms. The principles of poetics interpenetrated and we assist to that was named the impure esthetics: The (dramatic forms) diversity merely exploded in the last century, such as nowadays is very difficult, even impossible, to realize an exhausttive inventory of the resultants of this generous dilatation of the dramatic sphere. The question of definition of the beauty and harmony within the stage space always constituted an object subjected to controversies. The interpenetration between the classic dramatic theatre, animation theatre, dance theatre etc. was predicted by the polemics and theories sustained along time by all those implicated in the spectacle creation. Each of them desired to impose the primacy dramatist, director or actor. However, the product offered to the spectator constitutes a resultant of a team work. In the centre of such universe the characters and conflicts between them are placed. The message transmitted to the spectator is built and polished by work of both the dramatist, who built characters and actions in which they are implicated, and director, who creates the mise en scene, and not at last, the actor, who will give
the actual final message. Thus, we could affirm that the relation director-actor-character is decisive to construct the theatric spectacle, influencing the development of the theatric methods and the work with the actor. In order to fully understand an art we must know its history the beginnings and evolution. The correct perception of the contemporary theatre is determined by knowing of the reference points, which generated its characteristic features. Then, we will start from the premise that the dramatic occidental art has its origin in the Antique Greece representations. The origin of the dolls occidental theatre, although cannot be limited to similar type of representation with masks, is related to same root, which generated in time, characters whose structure appeared later in the Greek and Latin comedy. Beyond such roots, there are, of course, the influences exercised by the oriental art. Following the Aristotelian pattern, the theatre long time developed only by the perspective of the dramatic text, each new literary current proposing new subjects or new approach modalities on the occidental theatre stages. Thus, for the following centuries, the conception which placed on the dramatist shoulders the whole responsibility of the creation in the theatric spectacle remains generally valid, a period in which the actor was considered a simple executor. In such conditions, the developing of the actor art did not incur profound changes. One of the first theoreticians who focused his attention upon the actors art was Denis Diderot, the author of the work Paradox about actor, the first work exclusively approaching the problem of the interpretation technique. By means of this work the author launched the idea of the dualist actor, whose argument and emotion are independently manifested, without interaction. He sustains that the actor who dedicates to the character during the interpretation, who identifies and commiserates with him/her, offers an artistic interprettation lower to that who keeps him distant and cool against the interpreted character. During the last decades of XIX century, short time after the discovery of electricity and appearance of the first theatres with illuminated stage, they renounced to the exaggerated and pathetic actors techniques, and the directors importance began to increase. In 1887, the movement towards naturalism enlarges Andre Antoine 60
establishes the Free Theatre, intended to assembly the plays of the new dramatists, adepts of the naturalism. In the same year, the French artist Henri Riviere began to present spectacles of shadows in the Chat Noir famous cafe. This cabaret-caf became a model to other French cafes, playing a very important role in the development of both animation theatre and modern dramatic theatre. The actor and its character will stay under sign of closed communions, but will inevitably depend of the spectacle character and the public requirements, and the contemporary spectator became more and more interested in the abstract and minimalist scenic forms. However, already at the end of 19th century the theatre history knew numerous personalities who contributed to the development of the conceptions referring to the theatric spectacle art, which resulted in contemporaneous climate. We will present only the most representative figures who led the theatre to the idea of interference, completion of the dramatic and dolls theatre with cinematography, from the perspective of the actor and his character. Till the end of the 19th century, the dolls theatre art began to enjoy of popularity among intellectuals, representing an interest area among the symbolist young persons wishing to experiment such theatric art. This is the context in which Alfred Jarry evolved, one of the absurd theatre and super realist current predecessor. Thus, on December 10th 1896, in LOeuvre theatre in Paris, the Ubu-Roi stage play premiere took place, under direction of Aurelian LugnePoe, an oeuvre signed by the young Jarry. The two persons, being conscious about the revolt reactions they should arose by such spectacle, planned only 2 representations. The scandal not delayed to appear. In short time, Jarry established his own dolls theatre, where the spectacle was again represented, and this time by means of dolls. This is possible the best approach, if we think that the author built the characters of his stage play from the perspective of dolls statute, because only the gesture elements of the animation theatre were able to offer the full expression of the searched dramatic character. Thus, for the first time in the theatre history was requested to the actors in the distribution to replace the doll figure. In short, it was required to the dramatic actor to fulfill the doll statute. Besides the animation art, Jarry influenced both the dramatic theatre and
cinematography. It is sufficient to remember personalities like Charlie Chaplin or Buster Keaton and to think to the construction of their characters to realize, consciously or not, the Jarry influence had upon them. Under the pressure of the competition between the theatre and cinematography, later was clearly initiated the insistent search for the peculiar theatre particularities. At the end of such process the particular element against the cinema, in the physical presence, was discovered: only in the theatre the public is in contact to the living body, in movement. And thus, it is concluded that the actor, existing as a human being in front of the public, could justify the theatre. The actor represents the spectacle soul, its creator, living nucleus. He is the one who establishes the communication with the public. We could imagine the theatre in any space or outside any space, we could imagine the theatre missing dcor, without costumes, without text or missing the sound, as the pantomime is able to replace the word; we could imagine even the theatre missing the director, but without actors it is difficult, even impossible, to imagine the theatre. Gordon Craig attempted, but succeeded only to change the notion of the actor technique; Meyerhold and later Kantor adjusted the marionette-actor in various systems and hypostases. The kinetic theatre, animation theatre, happening and other forms of experimental theatre in 70 attempted to humiliate the creator condition of actor, transforming him in a simple animator of some objects or an executor of some fixed actions. If we try to compare the film actor creation with the theatre actor creation, generally, we could agree or not to Vachel Lindsay, one of the first film chronicler, who sustained that the main mean of expression of actor on stage is the voice, and the movement only accompanies him and supports his statements, while the film actor uses his all resources. But, we must not discuss about the use of, in greater or smaller extent, the actors resources in cinematography or in theatre, but, merely about their different use. There are not few theatre actors who, playing in films, declared that this signified their refinement and constituted their confirmation as professionals. But, also, there are not few those
who, after a long carrier in cinematography, returned on the stage, as a proof of their professional maturity. The tie between the theatric art and cinematographic art, about which we mentioned several chapters before, is similar to that about the development of the theatre actor and film actor, and the contributions to the cinematography by part of the theatre actors are incontestable. The influence of the cinema achievements upon the theatre is also as equally great, by profound and subtle processing of human figure on the screen. If a subtle gesture, belonging to the actors performances of an interpret and which could express a lot of things, is possible to be lost on the stage, being not perceived by some spectators, in the film the representation on forefront by a detailed plan could replace entire phrases, the gestures naturalness being decisive to create a unitary, solid action. The directors role is very important to uptake such movements and realize the films counterpoint, so difficult to obtain. Giorgio Strehler, an Italian actor and director, a reformer of the international stage, a performer of hundreds of theatre and opera spectacles, sustains in his work Is the actor an artist? that an art of actor exists, but, for example, only with the meaning given by an Chinese actor. The meaning given by such actor to the art word is the following: I am able, due to my natural features (temperament, physical aspect), spiritual features (aptitude for the theatric phenomenon, mental inclination towards theatre, talent), notions acquired on physical and mental plan, to express, vocally and plastically, the dramatic text entrusted to me, by the immutable, but quasi infinite range of the representative rituals on which the theatre is founded. In cinematography, also, the things are not different. We could speak about additional difficulties in the process of creation of a character in cinematography, but especially the difficulty and special responsibility of a play in closed plans, a case which requests the mobilization of all actors expressive means, the whole of their psycho-physical potential, such as to be created a liaison, as possible as unstudied and natural, with the interpreted characters. Of course, we could not miss the discussion about the Stanislavskis school and about his system, which proposed a new interpretation type, based on the truth of the human reactions, 61
on the authentication of relations between characters, and of environment, on which actual reconstitution he was concerned. He elaborated a play technique by which the actor was able to maintain his capacity to co-opt the acknowledge in the creation, in the conditions of repeatability peculiar to theatre, without shipwreck in stereotype clichs. If in theatre the actor must adjust his voice speaking the catchwords such as to be heard by the spectators in the last row, in film the catchwords are given naturally, spontaneously. To realize a cinema scene of great significance, the director-actor relation is very important. Similarly, it is in the theatre. One of the most important stages of the directors work is the distribution completion, the actors choosing, such as their personality and character should be suitable or able to mould on the character data. When the director requests, is possible to intervene upon the role, in function of the distributed actor personality, the adaptation being made by the director together with the film scenarist, having a direct relation to other characters, but also with other participants to the creation act. If in the cinema some scenes could be easily removed in montage, in the theatre, where it is played alive, they cannot be replaced. The actor and other participants to the spectacle must be extremely watchful such as the spectator to impeccably receipt the actor interpretation, notwithstanding the questions appearing on run. The theatre needs the public and the public needs the theatre. The actor can realize a true, authentic interpretation, only in the presence of the public. But the film actor, whom he needs? In the moments of the extraordinary interprettations, which remained in the cinematography history, maybe the respective actors were thinking also to public, to that so necessary public? If we prepare a list with memorable roles and interpretations, this will be endless. Indifferently of the circumstances in which any of the films, honorable for the seventh art, they offer us true actor demonstrations. The actor was not in the actual presence of a public, but he was fully acknowledged by the fact that the film apparatus objective was the eye, the dozens of people metamorphosed into that lens. And he interpreted the role in front of the film apparatus like on the stage of a theatre hall. Ingmar Bergman, a known film director and less known as theatre director, has a profound 62
knowledge about the actor psychology, who must caption the spectators imagination and, why not, that sometimes dissipated, of director, in order to give life to spectacle. As the spectacle of theatre is defined, with a truism which never fatigues, as a team effort, its realization assumes the interference of two aspects, paradoxically opposed: the artistic mastery and management or capacity of approach with pragmatism and critical thinking. In the years of his direction dbut, Bergman fought with several personal minuses, consequences of his volcanic temperament and an unrestrained desire of affirmation. But, gradually, what will shine in his director personality will be namely the method to work with the actor, a big capacity to feel the correct value of each and whole, a value which joints the talent with vocation. Bergman () selects the actors and the production team and creates a suitable frame for the spectacle realization, choosing the scene and art director. He has talent to communicate the scope and the artistic vision to all persons implicated in the project and to make them faithful to him. Through his conception he succeeded in establishing a frame inside which the actors feel free to create their characters. The participants perceive him as opened to suggestions, malleable and sensible, careful and concentrated when he works. He all sees and hears; he makes everybody to feel himself important. He develops a team spirit and a work frame making the peoples to feel secure, able to try new things. Based on this, he works like a coach to make others to grow, to develop, to reach new peaks. He establishes provocative objectives for him and others. Many persons, who were confronted with the requirements, very exigent, feel that they exist, that a creative tension is constituted. These ideas, perhaps built, a slightly infidel portrait, because it confers him the statue of a guide, an owl to whom all came for an advice and aid. And the role of a director, at least within the modern mentality, is to contour a vision as original as possible upon a text; but, in order to make this step with success must be considered the numerous implicated factors. He must should be an ad-hoc psychologist or at least a good expert of human soul, a sociologist and manager all these completing the condition of creator of artistic universes. The dosing of all such abilities gives the dimension of a director art, and their
crystallization into an images kaleidoscope, as brilliant as possible, is the basis for a work method. A director always will have an own way of affirmation, the way he contours him based on introspection, his thinking phantasms. The accent will fall on the innovative use of the stage or dcor, even through the invention of new technical devices, or by new thinking, interprettation of the classic texts and not limiting to that; through new nuances and initiated perspectives, and the examples could continue. For Bergman, none of the mentioned directions was strange, but we consider that the measure of his talent is given by the communication with peoples. To work with the actor to reach the maximum performance is, without doubt, his final scope.
Thus, the difference between the theatric and cinema interpretation, is not a question of style or method, but merely of technique. Both in the theatre and film, the interpretation style is adapted to the text, because it is the main determinant. Same thing could be said about the method, whose adaptation is independent of the two forms of spectacle, but which could correspond, more or less, to the results to which we wish to reach. Indeed, the realist tendency, in theatre or film, brought a wider and wider application of the Stanislavskis method, a theatric method, which a director like Pudovkin considered fundamental for the cinematographic interprettation and which has a great influence not only in the theatre, but also in the cinematography.
63
NAJIB REDOUANE (sous la direction), Vitalit littraire au Maroc

Paris, L'Harmattan, coll. Autour des texts maghrbins, 2009 Professor EFSTRATIA OKTAPODA * University of Paris IV, Sorbonne, France
Voici un florilge extraordinaire dune varit d'tudes littraires de grande qualit qui dmystifient toutes le Maroc contemporain et sa littrature en pleine expansion. Des professeurs et des chercheurs du monde entier, spcialistes des littratures du Maghreb, de la francophonie, des tudes arabes et postcoloniales, des comparatistes de tout champ ont tous concouru afin d'esquisser le portrait vivant d'une littrature d'exception, exotique et mythique, marque de contrastes et de couleurs comme la terre millnaire de ce pays. Entre tradition et modernit, entre rve et illusion, le prsent ouvrage offre un immense panorama de la littrature contemporaine du Maroc, une littrature dynamique en mutation. Vitalit littraire au Maroc se veut le premier volume d'un triptyque littraire sur les Littratures du Maghreb, suivi par Diversit littraire en Algrie (L'Harmattan, 2009) et un troisime paratre sur la Tunisie. Entreprise grande, courageuse et notoire de la part du Professeur Najib Redouane qui uvre depuis des annes avec zle et enthousiasme sur le prsent et l'avenir des littratures du Maroc et du Maghreb et les Francophonies du Sud. Le prsent ouvrage runit quelques 26 tudes sur une aura de nouveaux crivains marocains choisis et dfinis par Najib Redouane comme de nouvelles voix de la littrature marocaine de langue franaise dont la production s'inscrit dans les deux dernires dcennies, depuis les annes 90 nos jours. Le projet tant de taille, visant la nouveaut et le changement de cette nouvelle
*
littrature varie et considrable, mais dlaisse et oublie. Un ouvrage donc plus que moderne qui considre et analyse selon de nouveaux critres axiologiques, sans dmagogie pour des personnes et des uvres et dans un rapport des forces centriptes tout en perptuant la mmoire et l'me du peuple marocain. Un ouvrage qui replace la littrature marocaine dans l'lan de la mouvance de la crativit, de la continuit, et de la rupture. Inscrit de prime abord dans la perspective de la continuit et de l'volution romanesque (11), l'ouvrage explore la richesse, la diversit et le renouveau de cette littrature d'exception qu'est la littrature marocaine. Une littrature exceptionnelle par son abondance, par son dynamisme et par des crivains de talent qui ne cessent de nous surprendre. Prcd par une Introduction magistrale de Najib Redouane en forme d'article, on comprend mieux les enjeux d'une telle ncessit dans la mouvance littraire marocaine, son mergence et son volution. Si l'apport de la littrature marocaine d'expression franaise est grand pour la Francophonie et le Monde des Lettres, la contribution de nouveaux crivains marocains dans le renouvellement de la cration littraire marocaine est plus que vitale. Un nouveau challenge et une invitation lire et re-lire le fait littraire et penser la littrature du Maroc, et celle du Maghreb, qui est en train d'clore au tournant du XXIe sicle. Les mentalits et les idaux changent, les crivains aussi. l're de la mondialisation et de l'altermondialisation, de la technologie, du terrorisme,
Efstratia OKTAPODA, Professor, Ph.D in Comparative Literature, is a researcher at the Paris-Sorbonne University, Paris IV Books/articles: Francophonie et multiculturalisme dans les Balkans (Publisud, 2006, co-author), La Francophonie dans les Balkans. Les Voix des femmes (Publisud, 2005, co-author), Le Pays et lailleurs. Voyage et narration dans luvre de Ezza Agha Malak (LHarmattan, 2011), Mythes et exotismes dans les littratures francophones lre de la mondialisation (Dalhousie French Studies 2009), La Francophonie de lEst mditerranen. Mmoire et identit (Neohelicon, 2006). efstratia.oktapoda@paris-sorbonne.fr
des attentats, de l'intgrisme, du chmage, de la famine, et de nouvelles vagues migratoires qui secouent encore nos jours la plante, les jeunes gnrations d'crivains ne peuvent pas rester muettes aux nouvelles problmatiques auxquelles elles ont faire face tous les jours. Li assurment au fait socital de notre temps, de nouvelles voix apparaissent, et une criture contestatrice, revendicatrice, une criture de force. Il ne faut aucunement voir dans la 'multiplication' des crivains marocains un effet vilain commercial. Ceci rduirait tout acte littraire et tout processus d'imagination. Il ne faut pas tomber bas mais voir haut. Par ailleurs si la littrature, toute littrature, s'inscrit dans un continuum, il s'inscrit aussi, par ncessit, sur une ligne de dmarcation ce qui la valorise et la diffrencie de l'avant et de l'aprs. Des tentatives disgracieuses et difformes n'ont pas manqu de la part de certains pseudochercheurs marocains sans apporter malgr les promesses annonces , des claircissements dignes de recherche. Vitalit littraire au Maroc est le premier ouvrage qui traite de nouveaux visages, de nouveaux crivains, des crivains 'mconnus' qui ne font pas partie encore du panthon des grands ou des crivains fondateurs qui attirent les feux des projecteurs et des critiques. De jeunes crivains, des crivains inconnus, effacs, pas toujours publis, dlaisss ou ngligs qui existent et qui crivent, des jeunes crivains marocains qui se jettent dans l'criture comme on se jette contre un mur, avec colre, amertume et dception (22), souligne Najib Redouane. Des crateurs part entire (22), des crivains qui crivent eux aussi l'histoire de leur pays, qui participent au continuum de sa littrature, et qu'on le veuille ou pas, font partie du patrimoine littraire du Maroc. Le rsultat est impressionnant (18), souligne Najib Redouane, la lumire du Volume, dmentissent tout jamais les pseudocritiques marocains: les contributions que comporte ce collectif sont la fois une prsentation et une analyse de la dynamique, voire de l'innovation, qui caractrisent la littrature marocaine contemporaine dans son volution historique. Les textes tudis par diffrents critiques s'inscrivent bel et bien dans cette dimension de vitalit par excellence. Ils apportent un clairage spcifique et mettent en relief les aspects saillants de la mouvance littraire au Maroc (18-19).
Outil scientifique incontestable, louvrage de Najib Redouane a le mrite de prsenter pour la premire fois cette nouvelle vague d'crivains tels que Amghar, Binebine, Beroho, Belize, Elalamy, El Hacemi, Khireddine, Laroui, Leftah, Nasseri, Nedali, Rachid O., Taa, Sami et bien d'autres. 26 crivains trs diffrents l'un de l'autre, mais tous unis sous le topos de la nouveaut et de la vitalit de la littrature marocaine. Invitation cette nouvelle littrature du Maroc, louvrage foisonne d'analyses minutieuses d'une qualit rare. Tous les champs disciplinaires et pistemologiques sont dploys afin de dcortiquer cette nouvelle littrature. Des monographies, des tudes comparatives, des perspectives sociologiques, mythologiques, historiques, des approches narratives et discursives, des dveloppements thmatiques et stylistiques, des constructions et des dconstructions relles ou mtaphoriques. Quel plaisir en effet de plonger dans des tudes comme: Abdelrhagour Elaraki et le retrait de l'idaliste dsillusionn de Anne Marie Miraglia (Universit de Waterloo-Canada), Habib Mazani: jardinier du dsert de Christa Stevens (Amsterdam-Pays Bas), Abdellah Taa ou l'obsession narrative de Robert Elbaz (Universit de Hafa-Isral), Identit et genre dans Dunes vives de Mourad Khireddine de Mechtild Gilzmer (Universit de Berlin-Allemagne), Mamoun Lahbabi ou la qute utopique de Bernadette Ginestet-Levine (Augusta State University-USA), Dconstruction dans les romans de Mustapha El Hachemi de Yamina Mokaddem (Paris-France) et toutes les autres qu'il est impossible de citer ici. Des tudes microscopiques. Des tudes captivantes, fascinantes pour la plus grande euphorie intellectuelle du lecteur. La barre est vraiment mise trs haut et la qualit des tudes irrprochable. Vitalit littraire au Maroc est un ouvrage novateur et perspicace sur la littrature au Maroc, son avenir et son advenir, fait par un grand spcialiste des littratures du Maghreb et des chercheurs passionns de la littrature. Loin de prjugs et de tabous, l'ouvrage de Najib Redouane est une contribution prcieuse pour la littrature contemporaine du Maroc, et les littratures francophones, maghrbines et postcoloniales.
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HyperionUniversity,TheFacultyofArts,Bucharest

II. Cultural Studies: The Ceremony and ludic attitude

III. Book Review

THE CULTURAL FUNCTIONS OF A FILM FESTIVAL

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Marche du Film (2000-2010)

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Otto & Bernard A SHORT FILM TO PROMOTE A PROJECT

Description of the Work

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GLOBAL BRANDS IN THE NEW AD AGE

Wunderman a plan for world domination

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Think visual, think small

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Think social, think innovation

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ONLY YOU - ALWAYS (ALWAYS , O-JIK GEU-DAE-MAN,) SONG IL-GON

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La voie du guerrier pacifique

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perspective, preparing writing the screenplay.

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3. Setting up the main theme and thus the title

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4. Perspective and approach angle

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Translation: Zenovia Popa

TWO WAYS OF LOOKING AT A BLACKBIRD * : DARREN ARONOFSKYS BLACK SWAN

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II. Cultural Studies: The Ceremony and ludic attitude

THE EXISTENTIAL DIMENSION OF THE SCENIC CEREMONY

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LA NOUVELLE VAGUE DE LA CINMATOGRAPHIE RUSSE

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THE FESTIVAL. MEANING, HISTORY AND A MODERN APPROACH

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The Origins: Rituals and Their Reiterative Patterns

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The Festival as a Cultural Institution: a Modern Approach

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LA MAGIE IMITATIVE. RITUELS OBSCURS, RITUELS AMOUREUX

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