Liviu Ciulei

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The following article is from The Great Soviet Encyclopedia (1979). It might be outdated or ideologically biased.

Ciulei, Liviu


Born July 7, 1923, in Bucharest. Rumanian stage director, artist, and actor. Honored Artist of the Socialist Republic of Rumania (1958).

Ciulei graduated from the Architectural Institute and the Drama Conservatory in Bucharest in 1946. He began his stage career as a designer. He joined the Municipal Theater in Bucharest (since 1961, the L. Sturdza-Bulandra Theater) in 1948 as a designer and actor; he later became a stage director, and he headed the theater from 1962 to 1972. Ciulei has designed and played the leading roles in a number of his own productions. In 1958 he played V. I. Lenin in Pogodin’s Man With a Gun. His other roles have included Treplev in Chekhov’s The Seagull and Protasov in Gorky’s Children of the Sun. He has staged Nash’s The Rainmaker (1957), Gorky’s Children of the Sun (1960) and The Lower Depths (1975), and Brecht’s The Threepenny Opera (1964).

Ciulei began working in motion pictures in 1951. His films, which have proved highly significant for the development of Rumanian cinematography, include Eruption (1959), Waves of the Danube (1959; in Soviet release, The Turbulent River), and The Forest of the Hanged (based on the novel by L. Rebreanu; 1964).

The Great Soviet Encyclopedia, 3rd Edition (1970-1979). © 2010 The Gale Group, Inc. All rights reserved.
References in periodicals archive ?
BACK THEN...Arena Stage, the New York Shakespeare Festival, American Repertory Theatre, Yale Repertory Theatre, the Guthrie Theater and La Mama ETC brought Romanian directors Liviu Ciulei, Andrei Serban and Lucian Pintilie; Russia's Yuri Lyubimov; Bulgaria's Mladen Kiselov; Poland's Jerzy Grotowski and Tadeusz Kantor; and Denmark's Eugenio Barba to American audiences and theatre communities.
Romantic strains have been smashed, in-your-face eros pointed up or gender and power conflicts spotlit in the nightmarish concoctions of John Hancock of San Francisco Actor's Workshop; Alvin Epstein of Connecticut's Yale Repertory Theatre; Liviu Ciulei of Minneapolis's Guthrie Theater; and Ariane Mnouchkine.
From 1980 to 1983, Wright served as associate artistic director to Liviu Ciulei at the Guthrie and went on to Washington, D.C.'s Arena Stage as artistic associate from 1985 to 1986, before being tapped to run the Guthrie.
Max Frisch's "Andorra," directed by Liviu Ciulei, starts performances April 2, opening April 7.
* Liviu Ciulei was an architect, a stage designer, an actor and a director.
Looking back to the play's last major New York incarnation, directed by Liviu Ciulei for the Circle in the Square in 1978, Stanley Kauffmann wrote, "Gogol's comedy, loved by so many readers, is weak on stage today.
He went on press junkets, attending premieres and screenings and calling things whatever way he saw them--all this while teaching his class and offering service as a dramaturg to Liviu Ciulei at the Guthrie, his spiritual home.
The role of the avant-garde director has deep roots in pre-1989 behavior; winning awards at international festivals for their experimental work was a recognized path out of Communist oppression and into western employment for Liviu Ciulei and several others.
This book examines in detail some examples of American directorial 'rewrightings', from the 1960s onwards, of 'classic' plays: of the Greek and Roman theatre (by Andrei Serban, Richard Schechner, and Lee Breuer); of Shakespeare (Joseph Papp, Robert Woodruff, JoAnne Akalaitis, and Breuer); of Moliere (Serban, Garland Wright, Richard Foreman, Liviu Ciulei, and Lucian Pintilie); of a Mozart trilogy, by Peter Sellars.
The stark, off-center columned facade, designed by Liviu Ciulei, evoked the demons lurking behind the surface propriety of the Mannon mansion, and Ciulei's plain, well-appointed interiors suggested a nineteenth-century bourgeois household.
Unlike the high post-modernism of Liviu Ciulei in the early 1980s or the eclectic aestheticism and focus on company development of his immediate predecessor, Garland Wright, Dowling's approach seems decidedly unchallenging--aimed at subscribers, donors, and politicians who, even in a period of fiscal austerity, are financing the new theatre complex on the Mississippi riverfront.