Studia Universitatis Babeș-Bolyai - Dramatica

Joseph Danan (éd.), Le Présent au cœur du théâtre (Paris : Presses Sorbonne-Nouvelle, coll. « Registres », 2024)

Marie Duveau — 2025-01-19

Film review: Moromeții 3 [The Moromete Family 3], directed by Stere Gulea, 2024

Ioan Pop-Curșeu — 2025-01-19

Introduction

Ioan Pop-Curșeu — 2025-01-19

Baudelaire Makes His Cinema

André Guyaux — 2025-01-19

This paper proposes a cross-interpretation of Baudelaire’s links with the world of theater. On the one hand, it is about the writer’s fascination with the world of the stage, the actors and actresses he knew or whose acting he commented in his literary reviews, or his attempts to write plays. On the other hand, things are also looked at from the other side of the coin, providing valuable insights into how Baudelaire was regarded by the theater professionals he encountered throughout his career. The article argues that Baudelaire did not complete any play projects due to both procrastination and the infusion of theatrical elements into other dimensions of his writing. In fact, Baudelaire was dreaming of a theatre too modern to be materialized on stage in the conventions of the nineteenth century, but at the same time he was shifting the boundaries of artistic representation towards a new art, which was to be the seventh: cinematography.

Absorption and Theatricality in the Staging of Contempt: Flaubert, Baudelaire, Huysmans

Julien Zanetta — 2025-01-19

Drawing on two categories suggested by art historian Michael Fried – absorption and theatricality –, this article suggest a specification relative to how we feel and express a particular emotion: contempt. To better understand the distinction between absorbed and distanced contempt, and all the emotional consequences that ensue, three specific and contrasting examples taken from Flaubert, Baudelaire and Huysmans are analysed here.

The Bovaryc Anti-Heroine on the Hero’s Journey. Melancholic Maturing in Ingmar Bergman’s Summer with Monika

Claudia Negrea — 2025-01-19

This paper explores the emotions of one of Ingmar Bergman’s most iconic feminine characters, from his 1953 film, Summer with Monika. While describing the protagonist’s arc, the analytic approach focuses on Monika’s maturing from a narrative perspective, following the stages of the hero’s journey and exploring her descent into melancholy. Starting from the premise that Monika possesses some of the traits of Bovaryc psychology, as developed by Flaubert and Jules de Gaultier, the character’s change from heroine to antiheroine is followed, putting an emphasis on the way her melancholy affects her fate.

Surgissements et bombardements d’images : les flash-backs post-traumatiques au cinéma

Baptiste Villenave — 2025-01-19

This paper investigates how some fiction films from the late 1950s and the 1960s (Alain Resnais’s Hiroshima mon amour and Sidney Lumet’s The Pawnbroker) attempt to share with their viewers what is known in psychiatry as post-traumatic flashbacks. These films seek to make them experience the effects of post-traumatic flashbacks, by making them viscerally endure, though partially, the shock suffered by the victims of these reliving episodes. How do Resnais and Lumet manage to convey the violence of the assault undergone by victims of post-traumatic flashbacks, through discontinuous editing, sudden flashes and bombarding images? I will address this issue in the wake of the so-called “affective turn” taken by humanities in recent decades, notably under the impetus of the groundbreaking work of Patrizia Lombardo.

Baudelaire, Emotions and the cinematic New Wave: “Lombardian” Correspondences

Ioan Pop-Curșeu — 2025-01-19

Integrating various insights from Patrizia Lombardo’s writings, this paper aims to explore how the filmmakers of the French New Wave related to Baudelaire’s work. Indeed, a close look at the films of Truffaut, Godard, Kast, Chabrol, Rohmer, Rivette, Rouch, Varda, Vadim, Schroeder, Mocky, Pollet shows that these filmmakers often referred to Baudelaire in their works, and even sometimes constructed a profoundly Baudelairean aesthetic thinking. There are several elements that explain the Baudelairian passions of the members of the New Wave, in particular the fascination with Parisian inspiration of some authors who no longer work in studios, but also the way in which the poet of The Flowers of Evil treated emotions. The problematization of love in the films of the French New Wave often has Baudelairian overtones, as these filmmakers were marked by the figure of the dandy, but other emotions depicted by them also have a quite obvious poetic ascendancy. In this article, image fragments of films and poems, historical testimonies, as well as writings by these filmmakers who were first film critics are analyzed in a comparative perspective.

The Role of Emotions in Korean Medical Series

Marion Poirson-Dechonne — 2025-01-19

Nowadays, viewers are deserting cinemas in favor of television platforms, whose production and viewing conditions are significantly different, particularly when it comes to the reception of series and the emotions they generate. The emotions produced by images vary according to the device through which they are viewed, and the television format itself can become an emotional trigger, as shown by research on reality TV or game shows, which play on empathy and the spectacular. In Korean medical series, one can distinguish three types: emotions towards and aroused by the doctor’s character, emotions felt for the patients, and finally attempts to give these emotions a theoretical framework, as can be seen in The Good Doctor and Brain Works, which use various devices to express or arouse them.

Discovering the European Spirit through the Emotions of Managing an Artistic Team

Ștefana Pop-Curșeu — 2025-01-19

Now that the idea of the European unity is more and more questioned, artistic and educational projects such as Eurofabrique 2 show that there are still common myths to be recycled, common path to be discovered, pedagogical methods to be shared and consistent European spirit to be artistically and humanly enjoyed. We propose to follow through the lens of emotional engagement and exploration the encounter of 30 students and their teachers who worked together, in Romania as well as in France, from the very first idea to the final results of their theatrical laboratory, exploring dramaturgy, spaces, costumes and masks, dance, film and performance, and searching the feelings, thoughts, beliefs and cultural memories that unite young generations beyond borders, integrating individual choices and understandings of European culture, in its past and future unfolding.

Action, Space and Emotion in Film: Reality and Speech Acts in Bresson and Scorsese

Patrizia Lombardo — 2025-01-19

This paper refers to the issue of reality in film and includes some remarks on the emotions expressed by the character or the situation in the chosen filmic examples as well as on the emotions provoked in the spectator. The awareness of speech acts can pave the way to our critical work today, and renew the study of literature or art: it can offer unexpected interpretations, “mistreating” – as Barthes would have said – a text. The perspective of performativity can help me in refining my interpretation of some well-known films and filmmakers. I will concentrate on two examples: Bresson and Scorsese.

« Fusées » de Patrizia

Jenny Laurent — 2025-01-19

« Les idées me galopent ». Rapidités de Patrizia

Julien Zanetta — 2025-01-19

Patrizia : passionnée de la vie

Laura Taddei Brandini — 2025-01-19

« Et si on ne peut ni penser ni sentir, se dit-elle, où est-on ? »

Roxana Vicovanu Bota — 2025-01-19

In Memoriam Patrizia Lombardo (1950-2019)

Studia Dramatica — 2025-01-19