Gianina Druţă

• Druta, Gianina (2021). Where Did Ibsen Come From? The Contribution of the Foreign Language Tours to the Emergence of Henrik Ibsen on the Romanian Stage. Ibsen Studies. ISSN 1502-1866. s. 38–93. doi: 10.1080/15021866.2021.1932044. Fulltekst i vitenarkiv
• Druta, Gianina (2020). NOTES ON HENRIK IBSEN SCHOLARSHIP TODAY: POTENTIALS AND CHALLENGES IN COMBINING HISTORIOGRAPHICAL METHODS, DIGITAL HUMANITIES, AND THEATRE/LITERARY STUDIES. . Studia Universitatis Babeş-Bolyai Philologia. ISSN 1220-0484. 65(3), s. 89–106. doi: 10.24193/subbphilo.2020.3.07.
• Druta, Gianina (2020). Preface. Ibsen Studies. ISSN 1502-1866. 20(2), s. 107–109. doi: 10.1080/15021866.2020.1825104.

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• Druta, Gianina (2022). Paul Gusty: The Romanian Ibsen director.
• Druta, Gianina (2022). Across the Empire. The early reception of Henrik Ibsen on the Hungarian-speaking stage (1879-1945) .
• Druta, Gianina (2022). Peer Gynt, dementia and time .
• Druta, Gianina (2021). Mrs Alving vs Osvald: "Ghosts" in the Romanian theatre.
• Druta, Gianina (2021). When Peer Gynt no longer knows who he is: Ibsen, time and dementia.
• Druta, Gianina (2021). Translating Henrik Ibsen’s plays for the Romanian audience.
• Druta, Gianina (2021). When Dr. Stockmann spoke Romanian…: Petre Sturdza’s translation of An Enemy of the People (1907).
• Druta, Gianina (2020). Henrik Ibsen’s “Ghosts” and the star-actor tradition on the Romanian stage (1894-1947).
• Druta, Gianina (2020). Where did Ibsen come from? Foreign Ibsen performances in Romania (1879-1947) .
• Druta, Gianina (2020). Translating Ibsen for the Romanian audience.
• Druta, Gianina (2020). Digital Perspectives in Ibsen Studies.
• Druta, Gianina (2019). Ibsen i Romania .
• Druta, Gianina (2019). The influence of the major foreign theatre cultures upon Henrik Ibsen’s reception on the Romanian stage.
• Druta, Gianina (2019). The emergence of Ibsen on the stage of the National Theatre of Iași: State Dragomir (1870-1920) .
• Druta, Gianina (2019). The establishment of Henrik Ibsen’s "A Doll’s House" in the Romanian theatre.
• Druta, Gianina (2019). The establishment of Henrik Ibsen’s play "Ghosts" in the Romanian theatre.
• Druta, Gianina (2018). Prezențe ibseniene pe scena ieșeană în prima jumătate a secolului al XX-lea.
• Druta, Gianina (2018). Modernitet og tradisjon i Ibsenforskningen. Et rumensk perspektiv.
• Druta, Gianina (2018). "Et dukkehjem" i rumensk teater .
• Druta, Gianina (2018). Petre Sturdza: The “subversive” Dr. Stockmann of the Romanian stage.
• Druta, Gianina (2018). The contact of the Romanian cultural agents with Henrik Ibsen’s plays (1894-1947).
• Druta, Gianina (2018). The power of critical discourse in fashioning Henrik Ibsen’s reception on the Romanian stage.
• Druta, Gianina (2017). Henrik Ibsens resepsjon i det rumenske teatret .
• Druta, Gianina (2020). Ibsen at the Theatrical Crossroads of Europe: A Performance History of Henrik Ibsen’s plays on the Romanian stages (1894-1947). Oslo 07-Media. Vis sammendrag

  The thesis investigates the early performance history of Henrik Ibsen in Romania between 1894 and 1947. Analysis of the Romanian quantitative and qualitative data has revealed a contradiction: Ibsen was not performed with great frequency, yet historical sources suggest that he had a significant impact on national acting and staging practices. The thesis explores this contradiction. Firstly, it analyses the aesthetic diversity of influences brought into Romania by French, Italian, German, Hungarian and Yiddish touring performances. Secondly, it pinpoints commercialism, protectionism and aesthetics as the strongest forces of constraints within the unstable administrative, financial and legislative structures of the early Romanian theatre. It assesses how these forces worked for and against the production of Ibsen’s plays. Thirdly, it considers the impact of 12 Romanian Ibsenite practitioners in three key sites: the National Theatre of Iași, the private theatre companies, and the National Theatre of Bucharest. It analyses their interpretative experiments using psychological realism, expressionism, and the mixing of drama and comedy. Fourthly, it looks in depth at the interpretative strategies used by six Romanian actors in performance of three Ibsen characters: Osvald and Mrs Alving from Ghosts, and Dr Stockmann from An Enemy of the People. These actors combined major European theatrical practices with influences drawn from the fluid, decentralised Romanian theatre. Early Romanian experiments in performing Ibsen’s plays did not synthesize into a dominant aesthetic pattern; they suspended coagulation and hybridization. The autochthonous and allochthonous elements did not merge, instead they produced multiple, short-lived patterns of activity. Prior to 1947, the production of Ibsen in Romania resisted categorization, preserved creative openness, encouraged diversity, and maintained interpretative freedom.

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