The objectives of artistic research include the promotion of works and creations through specific working methods that complement the methods of scientific research. Interdisciplinarity is a collaborative approach that integrates the skills of scientists and artists from different fields, leveraging the products of science and artistic creations. This involves the transfer of methods between disciplines, without dissolving their boundaries, stimulating thematic synergies and developing a “binocular” perspective about the world. Thus, the collaboration of researchers is favored, facilitating the transition from hypothesis to conceptualization and widening the area of analysis, with impact in various fields. The arts, in particular, enable new, sensitive and innovative approaches to research. The transdisciplinary approach uses concepts and methods with their own internal logic, overcoming traditional disciplinary boundaries and proposing new methods of knowledge and transmission of ideas. In transdisciplinary artistic research, the unity of knowledge and the involvement of various categories of specialists (artists, critics, theorists and practitioners) are pursued, stimulating innovation and exploring creativity. Defining and valuing creative activities involves a complex process of establishing artistic research directions, and interdisciplinarity and transdisciplinarity contribute to the creation of an environment of collaboration and promote the exchange of ideas. This interdisciplinary and transdisciplinary framework ensures a continuous evolution of knowledge and creation, demonstrating that the synergy between the arts and sciences can lead to innovative discoveries and a deeper understanding of our world.

This paper examines two works by Norwegian playwright Bjørnstjerne Bjørnson, presented in the 19th century, through the lens of some key principles typical in Hungarian discourse on modern drama. "The Bankrupt" was first performed on the Hungarian stage in 1876, followed by "Leonarda" in 1879. Reports and reviews of these performances indicate that questions surrounding epic dramatic structure and the individualized acting style of the actors were raised early on in connection with these translated works, despite the fact that the entertainment value of the plays remained the primary focus at the time.

In this paper we have discussed a range of ideas and information that can be obtained from a musical script or score that can help us understand the text intimately as you prepare your role. But how you choose to use this information is a personal matter and will not be the same for any two actors or any two roles. Your job is to put the pieces together, like a detective, in a way that makes sense to you and agrees with the perspective of your particular production. Be careful that what you have done doesn’t simply confirm everything you wanted to feel about a role before you started the investigation. You may also find new information that could lead you to a performance you never would have imagined.

In the second half of the 90s, the Dramafest Foundation, one of the most important festival organisers in Romania, initiated a program in Târgu Mureș aimed at encouraging stage practices that rely on dialogue and collaboration between playwrights and theatre-directors. This as created a theatrical context conducive to the emergence of new dramaturgical voices, as well as their scenic fulfilment. This article aims to talk about the fruitful encounter between the director Theodor-Cristian Popescu, Andreea Vălean’s play, If I Want to Whistle, I Whistle... and a group of student-actors from the University of Theatre Arts in Târgu Mureș, not forgetting to point out that all this happened because someone, at some point, generated a favorable context, namely the Dramafest project.

The book A Director Prepares by Anne Bogart offers an engaging look at the world of theater, combining valuable insights and practical ideas for directors. Structured into seven key chapters (Memory, Violence, Eroticism, Terror, Stereotype, Embarrassment, Resistance), the book explores fundamental aspects of the human experience and its links to the art of theater. The memory chapter discusses the impact of memories on the creative process, emphasizing the importance of using them for authentic performance. Violence is analyzed in terms of its necessity in art, with the role of evoking strong emotional responses. Eroticism is discussed as a driving force in the creative act, while terror is seen as a stimulus for creativity and intensity in the stage event. Stereotypes are reinterpreted as tools for exploring and challenging social perceptions, while embarrassment is presented as a source of artistic vulnerability and authenticity. In the end, resistance is described as a driving force that leads artists to overcome limitations and discover their voices. Anne Bogart's book is not only about directing but also about the psychology and philosophy of theater art, making it essential reading for aspiring and experienced directors alike.

The study analyses three of the most powerful taboos of primitive society: the taboo of living corpses, the taboo of masters and that of incest. Starting out from Freud’s assumption according to which any ritual practice has its origin in primordial crime, we can assert that all taboos of primitive societies are derived from the taboo of death. It is from this taboo that all others are derived, becoming consequences of the fear of death: the dream, the trance, crime, visions, violence. This obsession with death gives birth to monsters. Among its offspring we might count: incest, animism, the act of relating to enemies, the tendency to associate with a master, the fear of living corpses.

It is said that some works never die, through their meanings and validity, through the actuality of there depiction of a humanity which remains, now and always, the same. If so, then Antigone is one of the most suitable choices. Both through the general human attitude that the paradigmatic conflict of the tragic depicts – where “both sides of the opposition, considered for themselves, are justified, while on the other hand each of them can realize the true positive content of the goal and its character only by denying and harming the other side”, as Hegel states in Lectures on Aesthetics -, as well as by the necessity of an answer to a problem beyond the artistic field, in our very current existence: namely, war. From this point of view, re-reading Antigone in the key of a contemporary perspective could give us the opportunity to confirm the values and actuality of the ancient Greek dramatist. But not only that. In a way it is like opening a Pandora’s Box, one originating in ancient Greece. Besides the fact that it had laid the foundations for the debate about the morality of the city and the individual`s “despair” of ethical origin, it seems that it also deals in an exhaustive manner with the topic and implications of war – a radical event of the city, which enshrines a very specific relationship in history, both at individual and at state levels, and which arises from the discursive mediation of a narrative that is also our object of study.

An interview with Anne Bogart, American director and pedagogue, renowned not only for her musicals, but also for her viewpoints technique, in accordance with which space and time contribute to the rewriting of dramatic scenes. Having authored the seminal work A Director Prepares, Anne Bogart has imbued the dramatic and the artistic with her own form of expression, emphasizing notions such as courage, perseverance and trust.

I often tell young actors or future artists that it is necessary to be aware of the phonation process and to have control over it, even if in everyday life we speak without paying attention to breathing or vocalization. Thus, the dramatic artist must change his type of breathing and be able to breathe consciously and in a controled manner, to know his voice and its qualities with which he can paint countless logical or affective nuances and to understand how the word is produced.

In the early years of communism, Romanian drama encountered major difficulties due to censorship and political control. Great writers, such as Camil Petrescu and Victor Eftimiu, produced mediocre plays, aligned with socialist realism. Likewise, Lucia Demetrius and Aurel Baranga wrote pieces in a socialist style, but rarely ignored official ideology. Part of a select few, Teodor Mazilu, with Fools under the moonlight, drew attention to the abuses of the totalitarian system, in an aestheticized, masked manner. In 1965, Nicolae Ceaușescu imposed a directive for realistic and optimistic art. In the 1970s and 1980s, censorship intensified, culminating in the scandal of the staging of Gogol’s play The Inspector General, directed by Lucian Pintilie, at the “Lucia Sturdza Bulandra” Theater, which was quickly banned after only three performances. In this context, Dumitru Solomon’s dramaturgy focused on dialectics and selfknowledge. His theater, characterized by polemical dialogue and the effects of parody, sought to confront clichés and incite self-reflection. His plays emphasize how dramas transform actions into history and people into characters, reflecting Brecht’s theory of social transformability. The difference between historicism (related to Marxism and the relativity of truths) and historicity (with a focus on a continuous present) is emphasized. In general, Dumitru Solomon believed in uncompromising theater and in performances that do not distort the original message of the dramatic author. In his opinion, it is necessary to balance the comic and dramatic elements, by involving the audience in an active dialogue. At the same time, Dumitru Solomon considered metaphor as essential in theater, through which the relationship between reality and the abstract is explored. The author also insisted on the moral dimension of stage art, stating that theater must interpret reality, not imitate it. In this way, a theater of ideas and debate was promoted, essential for the development of the consciousness of the spectators. With the help of the metaphor, which connects the dream state with reality, utopian ideals are explored, but also the truth about people, with the aim of maintaining a balance between the self and the world.