Ion Manolescu, între „strigoi“ și Artist al Poporului. Imaginea artistului ca metaforă a societății sale

Ion Manolescu, Between „Ghost“ and People`s Artist. The Image of the Artist as a Metaphor of His Society Ion Manolescu, the cousin of my great-grandfather, was one of the most beloved Romanian actors between the two World Wars. Constantly living and working in precarity, he happily accepted what the...

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Main Author: Maria Manolescu-Borșa
Format: Article
Language:English
Published: UArtPres 2021-12-01
Series:Symbolon
Subjects:
Online Access:http://uartpress.ro/journals/index.php/symbolon/article/view/296
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author Maria Manolescu-Borșa
author_facet Maria Manolescu-Borșa
author_sort Maria Manolescu-Borșa
collection DOAJ
description Ion Manolescu, Between „Ghost“ and People`s Artist. The Image of the Artist as a Metaphor of His Society Ion Manolescu, the cousin of my great-grandfather, was one of the most beloved Romanian actors between the two World Wars. Constantly living and working in precarity, he happily accepted what the Romanian comunist regime had to offer to him: a new, safe job at the National Theatre, and the best position an actor could have during those years: the title of People`s Artist, imported from URSS. In this article, I use the concept of „metaphor“ as developed in cognitive sciences by George Lakoff and Mark Johnson, to see how the actor that played for the first time in Interwar Romania a praised Osvald Alving („Ghosts“, by Henrik Ibsen), came to play, at the beginning of Romanian communist regime, a sad Gloucester in a sad and compromising production of „King Lear“.
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spelling doaj.art-52222fcbafb74c75a5b245285e275b382023-01-19T11:48:13ZengUArtPresSymbolon1582-327X2344-44602021-12-01212 (39)7582296Ion Manolescu, între „strigoi“ și Artist al Poporului. Imaginea artistului ca metaforă a societății saleMaria Manolescu-Borșa0University of Arts Târgu MureșIon Manolescu, Between „Ghost“ and People`s Artist. The Image of the Artist as a Metaphor of His Society Ion Manolescu, the cousin of my great-grandfather, was one of the most beloved Romanian actors between the two World Wars. Constantly living and working in precarity, he happily accepted what the Romanian comunist regime had to offer to him: a new, safe job at the National Theatre, and the best position an actor could have during those years: the title of People`s Artist, imported from URSS. In this article, I use the concept of „metaphor“ as developed in cognitive sciences by George Lakoff and Mark Johnson, to see how the actor that played for the first time in Interwar Romania a praised Osvald Alving („Ghosts“, by Henrik Ibsen), came to play, at the beginning of Romanian communist regime, a sad Gloucester in a sad and compromising production of „King Lear“.http://uartpress.ro/journals/index.php/symbolon/article/view/296ion manolescusocialist realism
spellingShingle Maria Manolescu-Borșa
Ion Manolescu, între „strigoi“ și Artist al Poporului. Imaginea artistului ca metaforă a societății sale
Symbolon
ion manolescu
socialist realism
title Ion Manolescu, între „strigoi“ și Artist al Poporului. Imaginea artistului ca metaforă a societății sale
title_full Ion Manolescu, între „strigoi“ și Artist al Poporului. Imaginea artistului ca metaforă a societății sale
title_fullStr Ion Manolescu, între „strigoi“ și Artist al Poporului. Imaginea artistului ca metaforă a societății sale
title_full_unstemmed Ion Manolescu, între „strigoi“ și Artist al Poporului. Imaginea artistului ca metaforă a societății sale
title_short Ion Manolescu, între „strigoi“ și Artist al Poporului. Imaginea artistului ca metaforă a societății sale
title_sort ion manolescu intre strigoi si artist al poporului imaginea artistului ca metafora a societatii sale
topic ion manolescu
socialist realism
url http://uartpress.ro/journals/index.php/symbolon/article/view/296
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