The STUDIA UNIVERSITATIS BABEŞ-BOLYAI issue article summary

The summary of the selected article appears at the bottom of the page. In order to get back to the contents of the issue this article belongs to you have to access the link from the title. In order to see all the articles of the archive which have as author/co-author one of the authors mentioned below, you have to access the link from the author's name.

 
       
         
    STUDIA DRAMATICA - Issue no. 1 / 2011  
         
  Article:   THE THEATRICALITY OF CINEMA, THE PROS AND THE CONS: VISCONTI / TRUFFAUT / THEATRALITE DU CINEMA, LE POUR ET LE CONTRE: VISCONTI / TRUFFAUT.

Authors:  IOAN POP-CURŞEU.
 
       
         
  Abstract:   The present article aims at showing two different ways of conceiving the theatricality of cinema. The first, that of Luchino Visconti (pour la théâtralité), is based upon a favourable theoretical environment; the metteur en scène considers – in his studies – that theatre and cinema are very similar in their working techniques. On the contrary, Visconti’s artistic practice – with the most notable exception of Senso – shows a precise delimitation between cinema and theatre: the director prefers to search his inspiration in painting, photography, sculpture and music. The second approach, that of François Truffaut (contre la théâtralité), is based upon an unfavourable attitude derived from the so-called “cinéphilie”. In his studies, Truffaut rejects the theatricality and focuses on specific cinematographic grounds. But, in practice, he offers to the spectator one of the most beautiful meditations on theatre and life, on the profound nature of theatricality in his film, Le Dernier metro (1980).

Keywords: theatricality, cinema, theatre, scene, life, Luchino Visconti, François Truffaut.
 
         
     
         
         
      Back to previous page