I am fascinated by the theory of professor Nemoianu on the long-term influence of the literary text (secondary) on political representations and ideas (principal) in the history of the Western world, as well as by a recent study on the ethos of education as the substance of the Central European spirit in these restless modern times. What about the still detectable influence of the ballet show, which originated in the political model of the Sun King or vice versa, as palaces in their frozen grace and poetry confess? In a discussion with Wilfride Piollet, a professor at the National Conservatory of Music and Dancing in Paris, we went in depth on the force lines of the choreographic "training" through which the famous French king organized his court and administration. If things are really that way, we could see there a new disturbance of the ratio between the power/principal and the culture/secondary, and a surprising argument to extend the above theory. But what is the good of coming up with new arguments to prove what we already know, namely that the evanescent live show can paradoxically be an effigy of history through the actors in the event and through the released energy in the interaction that produces gestures and decisions, which always leaves behind a fuzzy and often confusing halo of impressions with an unpredictable or uncertain movement. And what else, if not the concrete rather than secret memory of the wings could put an end to the mechanics of the wave and of the vague? Undoubtedly, information, the miraculous resource and antidote to oblivion, demands its rights in a theater having a short history behind it and whose present is animated by contradictory views.
by Ana Maria Munteanu
