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Revista Teatrul – noiembrie 1988
For former communist countries like Romania a ‘crisis’ of the cultural
system can be claimed. It is demonstrated by a lack of long-term cultural
policies and of answers to questions about the benefit of public support for
the arts in order to transfer the country to a new system after the upheaval
of 1989. This crisis stems from the diminished role of cultural and education
policies as compared to other fields of public policy as well as from
an outdated administration apparatus dealing with the cultural dynamics.
Therefore, cultural management and its tools are often used here in a purely
functional way, with no philosophy of mission behind.
Looking at the evolution of international cultural
cooperation and the parameters affecting it, Corina
Şuteu analyses current challenges and the ongoing
change of cultural paradigms. She argues that cultural
actors should take an active role, abandoning utilitarian
conceptions of culture and raising it up instead to
its true value in society. She also suggests the need
for a deeper understanding of the positive impact that
past generations of cultural actors have had and the need
to empower individuals to build strategies for change.
Într-un interviu recent la B1, discutînd despre deosebita vizibilitate pe care noul val din cinematografia românească a adus-o României în ultimii ani, regizorul Cristian Mungiu deplîngea faptul că nici o instituţie a statului nu a înţeles că trebuie să susţină în mod constant, coerent şi semnificativ reuşitele cineaştilor şi să consolideze această fereastră de oportunitate pe care filmele autohtone, atît de premiate şi de mediatizate internaţional în ultimii ani, au deschis-o imaginii României în lume.
In 1990, immediately after the fall of communism, Andrei Şerban
arrived in Romania from the United States. He was invited at the time to
become managing director of the National Theatre in Bucharest. Şerban
eagerly accepted the offer and soon took over the difficult challenge, perfectly
aware that there was much to be done and that the results had to be both
immediately visible and quantifiable in the long term. He was ready to try to
reshape the post-communist Romanian theatre and give it a new form and
creative energy, capable of nourishing fresh beginnings. He stubbornly strove
to turn this energy into the seeding ground for a decontaminated emotional
life to be offered to the people of Romania, who had been so alienated and
enfeebled by their totalitarian past.
From the outset, the issue of street art, as presented in the
following pages, will be considered more in its creative dimension
than in its political one. The interest of the ideas explored lies in
knowing how much today this kind of art is part of a more general
resurgence of a wider creative process. Also, the perspective
chosen as well as the style (an ad hoc commentary using direct
observation of street art practices and set in a general historical
context based on cultural studies in Europe) are aimed at pinpointing
some critical landmarks and at paving the way for further
comments and ideas.
Government support for the Performing Arts in EU member states.
Experiences, perspectives, best practices.
International Conference on behalf of Pearle.
New York este un oras in care intri asa cum ai intra intr- o carte buna. Primul lucru pe care il simti este un fel de tremur interior, foarte intim , greu de transmis in cuvinte. O bucurie a intilnirii cu ceva neasteptat, care te scoala din orice letargie, te surprinde si te inhata fara sa ai timp sa te aperi.
Orasul pare ca un val urias, iti pica in fata si te da peste cap, dupa care, cind iti recistigi echilibrul, te poarta in suvoiul unei energii teribile, orice impotrivire fiind imposibila.
Policy choices when heading an already existing art organization are difficult to make and even more difficult to keep. And they have to be made quickly and clearly because in arts and culture, like in business, the quicker one gets the lot!
In February 2008, just at the moment when programs of the year of Intercultural dialogue were
launched in Romania, one of the national representatives in the EU parliament, Ioan Mircea
Pascu, was expressing his indignation about the programming of ‘California Dreaming’ as part
of the Parliament’s film festival dedicated to this very issue.
Since the fall of communism sixteen years ago, few issues regarding the development and orientation of European cultural policy have achieved consensus among informed analysts. However, most accept the idea that 1990 marked not only the end of post-WWII division between Eastern and Western Europe, but also a radical, tangible shift in the ways European public administrations approach involvement with cultural affairs.