THE COMEDY THEATRE

Scutariu Andreea-Melania
Rosu Alexandra-Mihaela
The Comedy Theater was established in the fall of 1960, under the
direction of Radu Beligan, who found a way to promote valuable, classic,
modern shows in an avant-garde form, under the general guise of
comedy and satire, thus passing easily overcome the obstacles set by the
authorities of the time. The building in which the Comedy Theater has
been active since the beginning hosted, during the interwar period, the
Alhambra-Excelsior revue theater, transformed in the 50s of the last
century into the Youth Theater.

From 1963 to the end of the 70s, the Comedy Theater

participated in tours and festivals in the USSR, Sweden,
France, RF. German, R.D. German, Czechoslovakia,
Yugoslavia, Hungary, Austria, Italy, France, Spain, Israel, etc.
The Comedy Theater went through a period of artistic synchronization with the world
theatrical movement, a fact proven by the Theater of Nations Award for "the best
national participation", obtained in Paris in 1965 with the performances of Rhinoceros
by Eugène Ionesco, directed by Lucian Giurchescu, Umbra by Evghenii Śvarţ and
Troilus and Cressida by William Shakespeare, both directed by David Esrig, the latter
of which also won the prize for the best performance.
The 1991-1992 tours in several cities in Great Britain, Colombia, Venezuela and
Canada with the performance A Midsummer Night's Dream by William Shakespeare
directed by Alexandru Darie brought the Comedy Theater back to the most important
international stages.

The National Theater was formed by the best actors

of that time, chosen by Radu Belligan from other
state theaters, some being famous and others at the
beginning of their careers: Ion Lucian, Ştefan
Ciubotăraşu, Florin Scărlătescu, Mircea Şeptilici,
Dem Savu, Sanda Toma, Liliana Ţicău, Iarina
Demian, Stela Popescu.
Theater history, in its most modern definition
of an autonomous discipline, interprets and
reconstructs the theatrical event based on two
main elements: the actor and the spectator,
and more precisely on the relationship that
binds them, the theatrical relationship. Both
have a primary function necessary for the
existence of the theatrical event: while the
actor represents a body in motion (not
necessarily physical or accompanied by
words) in a space, with precise expressive and
narrative purposes, the spectator is the active
and participatory user of the event, who
conditions its progress and decodes the
expressiveness of the artistic event. Theater history is a young science, which only recently (in France
and Germany at the end of the fifties, in Italy at the beginning of
the sixties) freed itself from a reductive interpretation that limited
it to the history of dramatic literature. In particular, modern theater
history analyzes the theatrical fact taking into account its wider
historical, social, cultural and existential context, and has as
protagonists not only playwrights and actors, but also all the artists
who collaborated in its birth and evolution. the theatrical
phenomenon: musicians, stage designers, architects, directors and
entrepreneurs, to name just a few.
This discipline, born and developed in Europe, generally
tends to narrow the field of investigation to Western
forms of theater and to base its origins in the classical
theater of Athens in the 5th century BC. , broadening the
view to a world perspective just starting contemporary
theatre.
However, especially in more recent works, much
attention is paid to the pre-Columbian, African and Asian
theatrical tradition. In particular, with regard to the latter,
the interest of European and American artists and
scholars dates back to the second half of the 20th century It must be stated that the birth of theatrical
and contributed not a little to the evolution of Western art on the various continents is deeply linked
theatrical forms and the birth of an anthropological to the religious cults from which the
moments of unification between individuals
theater. and celebratory rituals derive: the evolution
of the Western theater has allowed dramatic
literature to deviate from the religious
argument, while still maintaining the
characteristic elements. Only the birth of
modern theatrical disciplines and studies on
the subject allowed the identification of rite in
theatrical practices, allowing the matching
and comparison of different world traditions
within theatrical anthropology.
Comedy is a play, television program, stand-up comedy show,
book, or any other entertainment medium intended to amuse an
audience and make viewers laugh.
It can take many forms of comedy, including mad comedy, which
derives its humor largely from bizarre, surprising (and unlikely)
situations or characters, and dark comedy, which is characterized
by a form of humor that includes darker aspects of human
behavior or human nature.