Censorship Forms in Animation Theatre

Authors

  • Georgeta Drăgan-Stanciu UNATC ”I.L. Caragiale”, Bucharest, Romania Author

DOI:

https://doi.org/10.37130/zy2qfj64

Keywords:

animation theatre, puppets, marionettes, censorship, fairs, taboo, castelet (puppet theatre), demonstrations, parade, protest, freedom of expression

Abstract

A phenomenon encountered since ancient times, censorship has taken on different forms of manifestation in puppet and marionettes theatres, which have become animation theatres since 2008. The mutual influence of society on this kind of theatre has led to often virulent reactions and exposure to realities that have disturbed the leadership and the political system. As a result, the creators of this (traditional or professional) theatre area faced all the repercussions they generated, and assumed them, knowing the censorship, prohibitions, persecutions, amputations of the messages and even going to jail and paying with their life. Nowadays, censorship has different aspects, it is no longer exercised by the system, but it is under the direct analysis of the public, whose power has increased with the new media and under the encouragement of entertainment institutions, which want to be transparent and customer/public oriented, an attitude sometimes found at the fine line between artistic and commercial.

Author Biography

  • Georgeta Drăgan-Stanciu, UNATC ”I.L. Caragiale”, Bucharest, Romania

    Georgeta Drăgan-Stanciu holds, since 2021, a PhD in the field of Theatre and Performing Arts, graduating from the Doctoral School of UNATC “I.L. Caragiale” Bucharest. In 2018 she graduated the Master of Animation. Currently, she is an actress and administrator of the Hai-Hui Company and a collaborating actor of the Țăndărică Animation Theatre. She graduated the postgraduate course “Art of Theatre in Education” and follows the postgraduate courses of Pedagogy. She teaches acting and puppet-acting classes for children from several schools, kindergartens, associations and educational clubs. She is part of the team of pedagogues within the MIMA Center for Music Education and Development, which uses the Dalcroze-Orff-Kodaly educational principles.

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Published

2021-06-10

How to Cite

Drăgan-Stanciu, G. (2021). Censorship Forms in Animation Theatre. CONCEPT, 22(1), 168-178. https://doi.org/10.37130/zy2qfj64