METAMORPHOSES OF I. CREANGA`S TALES FROM THE PERSPECTIVE OF THE PUPPET THEATRE
Ion Creangă’s work has been and remains an inexhaustible source of inspiration for artists in the field of audiovisual arts. His entire creation from Childhood Memories to more meaningful stories form a specific world full of heroes involved in the great Theatrum mundi. In our Republic, Creangă’s wo...
| 出版年: | Studiul Artelor şi Culturologie: Istorie, Teorie, Practică |
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| 第一著者: | |
| フォーマット: | 論文 |
| 言語: | ドイツ語 |
| 出版事項: |
Notograf Prim
2017-12-01
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| 主題: | |
| オンライン･アクセス: | http://revista.amtap.md/wp-content/files_mf/152664233018_Tipa_Metamorfozelebasmuluicrengiandinpersppectivateatruluidepapusi.pdf |
| 要約: | Ion Creangă’s work has been and remains an inexhaustible source of inspiration for artists in the field of audiovisual arts. His entire creation from Childhood Memories to more meaningful stories form a specific world full of heroes involved in the great Theatrum mundi. In our Republic, Creangă’s works saw the limelight in 1957 for the first time with the story Harap Alb, staged by Constantin Ilinschi at the Licurici Theatre. Then, there were the stories Ivan Turbinca (staged in 1972 by I. Stihi), Dănilă Prepeleac (1983, Gh. Urschi), The Purse with Two Pence (1986, L. Cibotaru), The Old Man’s Daughter and the Old Women’s Daughter (2007, T. Zhukov). But the most successful show is considered Harap Alb (1978), stage version and scenography by Ion Puiu, directed by Titus Zhukov. The show Ivan Turbinca (1989) based on Ion Creangă’s story of the same name, was at thebasis of the formation of the new puppet theater Guguţă. In puppet shows, we discover a special world of Ion Creangă’s work. And if from a literary perspective Creanga’s work has been and continues to be studied from different points of view, then the theatrical dimension is a less analyzed field. |
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| ISSN: | 2345-1408 2345-1831 |