Diana COZMA
Biographic Data
| ID | 9728896 |
|---|---|
| NAME | Diana COZMA |
| GIVEN NAMES | Diana |
| FAMILY NAME | COZMA |
| SIGNATURE | COZMA D |
| AFFILIATIONS | Babeș-Bolyai University |
| ORCID | 0000-0002-0695-3377 |
| VERIFIED | Yes |
| TOTAL WORKS | 8 |
| TOTAL CITATIONS | 0 |
| WORKS AS AUTHOR | 8 |
| WORKS AS EDITOR | 0 |
| FIRST PUBLICATION YEAR | 2022 |
| LATEST PUBLICATION YEAR | 2026 |
| H-INDEX | 0 |
On the Limits of the Actor’s Craft
The present work aims at discussing the problematics of the actor who, throughout his career, experiences dilemmas marked by several questions about the limits of his own craft. In this regard, two of the three major choices that an actor can make at the beginning or along his professional path are analyzed, choices that leave their definitive mark on his work and that lead us to ask ourselves, again, who/what an actor is. William Shakespeare and…
The Return to Storytelling in the Theatre of the Third Millennium
After a long period of postmodernism, theatre at the beginning of the twenty-first century, as Anne Bogart observes, is marked by a return to the story. Storytelling is considered an act of transmitting deep human experiences through which bridges are established between storyteller and spectator, particular and universal, past and present. Thus, problematics regarding the human condition are expressed in current language addressing the body and …
Actor and Character from the Perspective of Uta Hagen’s Method
egardless of the type of theatre researched and practiced at the beginning of the third millennium, what remains constant is the aspiration of theatre practitioners to confront texts of the great dramaturgy capable of generating revelation and emotion and in which we find characters structured on the narrow strip between misery and ecstasy. From this perspective, the present work discusses aspects of Uta Hagen’s method according to which the acto…
A Play of the Double
Taking into account that, in Antonin Artaud’s vision, theatre, in order to be revived, has to enter a play of the double, the present paper aims at discussing, succinctly, the notion of the Artaudian double, putting high emphasis on dream. So, theatre is dream, plague, cruelty, alchemical operation, ritual, exorcism, experiment. The link between the physical and the spiritual, in Artaudian metaphors, involves a transfer / transport of the actor a…
Reflection and Action in the Actor’s Work
The actor, creator of the role, and, in this respect, co-author of the theatre performance, invests time not only to gather the necessary material to structure the role, to document, recall or bring to the present certain memories relevant to the study of the character, to decant the information, reflect on the material in its entirety, but also to create scenic actions. Reflecting on the role and inventing scenic actions, which accompany the cre…
Slices of Life Mirrored on Stage
"The present paper aims at a brief analysis of some of the ways of mirroring, both in a dramatic text and in a performance, slices of life from a certain historical period. Thus, we put into discussion some of Molière’s reflections on theatre inserted in his plays conceived as work in progress, respectively canvases completed during rehearsals with his actors and performances. They are texts that present vices, faults, prejudices of men of the pl…
A Theatre of Inquietude
The present paper aims at putting into discussion several ways of dramaturgically and scenically embodying the state of inquietude incorporated in Eugène Ionesco’s dramaturgy, placing emphasis mainly on the plays Jack, or The Submission and The Chairs. Ionesco conceives dynamic psychologies, introduces contradiction into noncontradiction, creates the presence of the absent presence, which inhabit the character projecting it into the past. From th…
On Dramaturgy in the Twenty-First Century
We propose to discuss the notion of dramaturgy written on stage as an emerging form in the twenty-first century theatre. Also, we emphasize the idea that this form of creating the performance is rooted in a theatrical tradition. Thus, we notice that, in Eugenio Barba’s vision, the dramaturgy of the performance, structured on three levels of organization, respectively the organic or dynamic dramaturgy of the actor, the narrative dramaturgy of the …
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On Dramaturgy in the Twenty-First Century
We propose to discuss the notion of dramaturgy written on stage as an emerging form in the twenty-first century theatre. Also, we emphasize the idea that this form of creating the performance is rooted in a theatrical tradition. Thus, we notice that, in Eugenio Barba’s vision, the dramaturgy of the performance, structured on three levels of organization, respectively the organic or dynamic dramaturgy of the actor, the narrative dramaturgy of the …
Slices of Life Mirrored on Stage
"The present paper aims at a brief analysis of some of the ways of mirroring, both in a dramatic text and in a performance, slices of life from a certain historical period. Thus, we put into discussion some of Molière’s reflections on theatre inserted in his plays conceived as work in progress, respectively canvases completed during rehearsals with his actors and performances. They are texts that present vices, faults, prejudices of men of the pl…
A Theatre of Inquietude
The present paper aims at putting into discussion several ways of dramaturgically and scenically embodying the state of inquietude incorporated in Eugène Ionesco’s dramaturgy, placing emphasis mainly on the plays Jack, or The Submission and The Chairs. Ionesco conceives dynamic psychologies, introduces contradiction into noncontradiction, creates the presence of the absent presence, which inhabit the character projecting it into the past. From th…
A Play of the Double
Taking into account that, in Antonin Artaud’s vision, theatre, in order to be revived, has to enter a play of the double, the present paper aims at discussing, succinctly, the notion of the Artaudian double, putting high emphasis on dream. So, theatre is dream, plague, cruelty, alchemical operation, ritual, exorcism, experiment. The link between the physical and the spiritual, in Artaudian metaphors, involves a transfer / transport of the actor a…
Reflection and Action in the Actor’s Work
The actor, creator of the role, and, in this respect, co-author of the theatre performance, invests time not only to gather the necessary material to structure the role, to document, recall or bring to the present certain memories relevant to the study of the character, to decant the information, reflect on the material in its entirety, but also to create scenic actions. Reflecting on the role and inventing scenic actions, which accompany the cre…
The Return to Storytelling in the Theatre of the Third Millennium
After a long period of postmodernism, theatre at the beginning of the twenty-first century, as Anne Bogart observes, is marked by a return to the story. Storytelling is considered an act of transmitting deep human experiences through which bridges are established between storyteller and spectator, particular and universal, past and present. Thus, problematics regarding the human condition are expressed in current language addressing the body and …
Actor and Character from the Perspective of Uta Hagen’s Method
egardless of the type of theatre researched and practiced at the beginning of the third millennium, what remains constant is the aspiration of theatre practitioners to confront texts of the great dramaturgy capable of generating revelation and emotion and in which we find characters structured on the narrow strip between misery and ecstasy. From this perspective, the present work discusses aspects of Uta Hagen’s method according to which the acto…
On the Limits of the Actor’s Craft
The present work aims at discussing the problematics of the actor who, throughout his career, experiences dilemmas marked by several questions about the limits of his own craft. In this regard, two of the three major choices that an actor can make at the beginning or along his professional path are analyzed, choices that leave their definitive mark on his work and that lead us to ask ourselves, again, who/what an actor is. William Shakespeare and…
Theatre and Performance Studies (6 works) · Art (5 works) · Aesthetics (4 works) · Epistemology (4 works) · Literature (4 works) · Philosophy (4 works) · Sociology (4 works) · Dramaturgy (3 works) · Historical and Modern Theater Studies (3 works) · Visual arts (3 works)