Faglige interesser
- Ibsen-oppsetninger i Romania
- Teatervitenskap
- Litteratur
- Tverrfaglig forskning
- Digital humaniora og kvantitativ forskningsmetodikk
Bakgrunn
MA i «Idéenes historie-Bildenes historie», på Allmenn- og sammenlignende litteratur Departement, Det Filologiske Fakultetet, Babeş-Bolyai Universitet, Romania
BA i Norsk språk og litteratur – Italiensk språk og litteratur, Det Filologiske Fakultetet, Babeş-Bolyai Universitet, Romania
Redaktør og Peer-reviewer i redaksjonen til «Metacritic Journal for Comparative Studies and Theory»
Redaktør i redaksjonen til «Echinox», studentavis (Det Filologiske Fakultetet, Babeş-Bolyai Universitet, Romania)
Ph.d-prosjekt
Mitt PhD-prosjekt handler om Henrik Ibsens mottakelse i det rumenske teatret fra 1894 til i dag. De viktigste forskningsretningene jeg fokuserer på er den historisk-kronologiske oversikten over Ibsen oppsetninger i Romania, den internasjonale teatersammenhengen som påvirket Ibsens rumenske mottakelse, og måten de viktigste rumenske skuespillere, regissører og oversettere bidro til å fremme Ibsens teaterstykker.
Ved siden av en klassisk teaterhistoriografisk forskningsmetodikk bruker jeg Digital humaniora metodikk der IbsenStage Performance Database virker som et referanse punkt.
Emneord:
Ibsen,
Rumensk teater,
Digital humaniora,
Resepsjonsstudier,
IbsenStage
Publikasjoner
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Druta, Gianina (2020). Ibsen at the Theatrical Crossroads of Europe: A Performance History of Henrik Ibsen’s plays on the Romanian stages (1894-1947).
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.
Se alle arbeider i Cristin
Publisert 3. jan. 2017 14:04
- Sist endret 13. jan. 2021 12:07
