This essay analyses the dramatic works of Matei Vişniec – a bilingual and bicultural playwright and one of the most prestigious authors of contemporary Romanian literature – with a view to highlighting the main features that place his oeuvre within the larger category of ‘European theatre’. To that end, I will emphasise the author from a triple perspective: as a Romanian, European and Francophone writer. Not only have experts in contemporary theatre brought to light strong thematic and formal affinities between the dramatic works produced over the past few decades – from the 1980s to the 2000s – in different cultures of the Old Continent, but they have also recognised the relevance of the very concept of ‘European theatre’, already operative within the theoretical framework of dramatic art. The theoretical traits to which I will refer are based on insights provided by Michel Corvin, a critic and former professor of theatre at the “Sorbonne Nouvelle” - University of Paris, as well as by other experts such as Alain Viala. By corroborating the various criteria suggested by these theorists, one can arrive at a comprehensive view of a dramatic poetics that expresses the most representative forms of what we envision as European identity and of a dramaturgy that can serve as the mirror for the aims of theatrical art and for the present-day crises of humanity, an aesthetic which Vişniec’s dramatic works truly uphold.
Il saggio si concentra a individuare nella molteplicità feconda dell’opera teatrale di Matei Vișniec, scrittore bilingue e biculturale – uno tra i più autorevoli della letteratura romena attuale – alcune delle caratteristiche salienti che collocano la sua produzione all’interno dell’ampia categoria del ‘teatro europeo’, indicando l’autore in una triplice veste: quella di scrittore romeno, europeo e francofono. Gli esperti del teatro contemporaneo hanno fatto notare non soltanto delle forti affinità di ordine tematico e formale, atte ad accomunare le drammaturgie dei decenni recenti, a decorrere dagli anni ’80 fino ai 2000, che si sono affermate in diverse culture del Vecchio Continente, ma hanno messo altresì in evidenza la pertinenza stessa del concetto del ‘teatro europeo’, già operativo in sede teorica dell’arte drammatica. I lineamenti teorici cui si fa riferimento si rifanno principalmente all’ottica di Michel Corvin, critico, già professore di teatro all’Università di Parigi “Sorbonne Nouvelle”, ma anche ad altri esperti come Alain Viala, poiché sommando i loro diversi criteri, si perviene a desumere in modo più complessivo la poetica di quella scrittura drammatica capace di esprimere le forme più rappresentative di una presumibile identità europea, una drammaturgia – dunque – che è in grado di diventare lo specchio in cui si reflettono insieme le finalità dell’arte teatrale e le crisi attuali dell’essere umano, e a cui partecipa pienamente la produzione di Vişniec destinata ai palcoscenici.
La poetica del ‘teatro europeo’ nella scrittura drammaturgica di Matei Vişniec
Emilia David
2018-01-01
Abstract
This essay analyses the dramatic works of Matei Vişniec – a bilingual and bicultural playwright and one of the most prestigious authors of contemporary Romanian literature – with a view to highlighting the main features that place his oeuvre within the larger category of ‘European theatre’. To that end, I will emphasise the author from a triple perspective: as a Romanian, European and Francophone writer. Not only have experts in contemporary theatre brought to light strong thematic and formal affinities between the dramatic works produced over the past few decades – from the 1980s to the 2000s – in different cultures of the Old Continent, but they have also recognised the relevance of the very concept of ‘European theatre’, already operative within the theoretical framework of dramatic art. The theoretical traits to which I will refer are based on insights provided by Michel Corvin, a critic and former professor of theatre at the “Sorbonne Nouvelle” - University of Paris, as well as by other experts such as Alain Viala. By corroborating the various criteria suggested by these theorists, one can arrive at a comprehensive view of a dramatic poetics that expresses the most representative forms of what we envision as European identity and of a dramaturgy that can serve as the mirror for the aims of theatrical art and for the present-day crises of humanity, an aesthetic which Vişniec’s dramatic works truly uphold.I documenti in IRIS sono protetti da copyright e tutti i diritti sono riservati, salvo diversa indicazione.
