Lyric Theatre – between #rezist and #exist

In general, the arts and, in particular, the performing arts are proving to be both affected and sensitive, reactive to societal convulsions, regardless of their nature. Performance institutions are dependent not only on the audience they have created, but, above all, on the funding through which th...

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Bibliographic Details
Published inColocvii teatrale no. 31; pp. 44 - 55
Main Author Bogdan, Stanca Maria
Format Journal Article
LanguageEnglish
Published Editura ARTES 2021
ARTES publishing house
Subjects
Fine Arts / Performing Arts
Music
Theatre, Dance, Performing Arts
Ciprian Porumbescu
identity
lyric theatre, crisis
arts
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Summary:In general, the arts and, in particular, the performing arts are proving to be both affected and sensitive, reactive to societal convulsions, regardless of their nature. Performance institutions are dependent not only on the audience they have created, but, above all, on the funding through which they can shape and convey their artistic message. Overall, crisis situations are associated with a negative context, expressing a stage marked by great difficulties (financial, economic, political) that impact all areas with a domino effect. In such situations, cultural institutions, particularly those in the performances arts0 and especially lyric theaters become one of the predilect victims to suffer from the rationalization of resources, being considered inessential, the perfect sacrificial pawn. But, at the pinnacle of a crisis, cultural performances, drawing from the creator-artist relation, commit to become a coagulating, driving, regenerating social factor, like a Phoenix rising from its ashes. A great such example is Ciprian Porumbescu’s operetta, „Crai Nou”, which held great significance for the Romanian identity when it was first released to the public.
ISSN:1584-4927