Serie

excerpts The Diary and Its Readers We should not overdo it with diaries and letters. We usually tend to deem them more revealing of the man than his public work. All that is secretive, familiar draws us as if it were a confession. It is the pleasure of breaking an interdiction,

1. The Mirror of the SelfThere are people, quite a few, and not particularly the happy ones, who are themselves their main concern. They pay a great deal of attention to all the signals their body sends. For them, the physical well-being is a goal in itself, which should

vol. II: 1937 – 1960 XXIIII begin to discover America… Chicago, December 10, 1984. For a whole fifteen minutes I have been standing by my window, staring blankly out into the street, without even understanding why. I got up from my desk because I thought it had started

*  Sunday, March 31, 1940Rotten weather. I stay indoors and work, bringing my Diary to date. The French and the British hold frequent, definitely long conferences – now in Paris, now in London – attended by militaries and politicians. This incessant activity evinces

I don't know why I haven't written in here for so long. Weary of scrutinizing myself… But tonight I'm happy I've stayed in and read a book (Esquisse d'un traité du roman, Léon Bopp); I'm going to proofread City of Acacia Trees[i]. I've

Titu Maiorescu's diary is an unprecedented publishing event and, in its own way, unique in Romanian literature, by both the nature and value of the notes and by the length in time it covers – 62 years – and by the age of the author who had barely turned 15 when

Representing dance and dancers is not infrequent in Romanian art. From the famous Hora by Tattarescu, at the end of the 19th century, to the series of Căluşarii of Magdalena Rădulescu by the middle of the 20th century, various painters aimed at getting something from

The only self-relying public dance company in Romania, the Oleg Danovski Ballet Theater carries out an extremely complex and sustained activity mirrored in the diversity of its productions and projects. In 1999 the company opened its gates to the personalities of the Romanian

Interview with Gigi Căciuleanu about the performance staged as an absolute première in Constanţa – June 2000 To Gigi Căciuleanu, Romanian choreographer living in France, who left Romania in 1972 to win a wager with himself – the freedom to create in a world free

Managing Director, Oleg Danovski Ballet Theater Oleg Danovski's unquestioned merit lay in resisting the temptation of accepting to be turned into a ritual by the critique and the cultural bureaucracy, and in having launched, in the '80s, a first off the opera

The forms of modern dance, present but not officially supported before 1990, appeared and survived due to the love for them of several choreographers and dancers who used to have the occasional show on various theatre stages. Their importance has been growing since the above

Origins. In Experimentalism in Romanian Choreographic Art between the 60's and the 90's, published in 1997, Liana Tugearu made the following remarks: After a very short period of storing and decanting, a few young dancers broke away from the established companies