Reviste

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

Is a diary sometimes tantamount to confession and, if so, is it, most often, a sincere one? Is it also a means of self-liberation? The most delightful diaries, although usually set off by outside shocks, by major events or dramatic situations, reveal above all the confidential

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

Significant and flamboyant, this success reaped by the Ballet Ensemble of the Fantasio Theatre in Constanţa: a corps which has made the proof of less common technical virtues and that of an exceptional graphical grace in maintaining a new (and viable) language derived from

It is difficult for me to express an opinion about Romanian ballet. I only know it thanks to first-class dancers. The first were Magdalena Popa and Sergey Stefanski, then George Iancu, followed by the dancers of the beautiful company of Oleg Danovski. One thing was certain

If to the ordinary Romanian ballet aficionado the name Judith Turos doesn't ring a bell, to the German press she is die Turos, just like Italians say la Fracci. Born in Baia Mare, she attended the Choreography High School in Cluj and graduated from the Moscow Ballet

I met Ioan Tugearu in Constanţa at the Oleg Danovski Ballet Theater where he spent days on end staging Kurosawa, Mon Amour, on a collage of traditional Japanese music, with stage decoration by Ion Codrescu. The show premiered early in September. With a tape-recorder in

The International Dance Festival in Constanţa presented in the final gala a special guest: Simona Noja, prima ballerina of the Vienna State Opera, another Romanian who, having left her native country for 10 years, has built a successful career on the world's stages.

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

As regards the danced act, I am what you may call an animist. I believe that each part of the body, like objects, has its own soul. Its own character and personality. That is why it is terribly important to establish with utmost care a minute inventory of these 'souls'