COURAGE

Свързване на колекции

Augustinas Janulaitis was a famous Lithuanian national activist, an active member of the Social Democratic Party, a lawyer and historian. In 1945, he became dean of the Faculty of History at Vilnius University, and later a member of the Academy of Sciences. The Augustinas Janulaitis collection, which is kept in the Wróblewski Library of the Lithuanian Academy of Sciences, holds various manuscripts of Janulaitis' work, and documents relating to his career and life in Soviet Lithuania. His letter to the president of the Lithuanian Academy of Sciences reflects the difficult situation in 1946, when he was attacked by the Soviet authorities for bourgeois nationalism. To students, he was an example of an intellectual and a scholar of interwar independent Lithuania.

The bequest of Imre Baász is proof of the progressiveness of his thinking, the innovativeness of his artwork, and the dynamic cooperation in which he engaged in times of political, cultural, and intellectual oppression. In the 1980s, the progressive, radical creative work was detached from the capital Bucharest, which served as the perpetual center. In this reversed centrum–periphery relationship, the periphery offered more freedom, and it ensured security and the possibility of invisibility. An important example from Transylvania of the micro-groupings which promoted progressive ideas and Western European styles and methods is the MaMű Association of Târgu-Mureș, which actively encouraged the practice of concept art, mail art, action art, and abstract artistic language in general. Imre Baász, though never an official member of the MaMű, shared their artistic view and language, and his work in the town of Sfântu Gheorghe can be considered as the prolongation of the Association’s work.

Колекцията, представяща творчеството на емблематична за българското кино режисьорка от първото поколение професионални български кинематографисти, една от първите жени-режисьорки не само в България - Бинка Желязкова, дава поглед върху развитието на българското кино през целия период на държавен социализъм.

Съдържаща филмите на Бинка Желязкова, както и богати писмени материали (фотоси, документация по филмите, отзиви в пресата и др.), колекцията очертава противоречивата и драматична културна ситуация в България от втората половина на 20 век – показателна е както за натиска, на който са били подложени творците, така и за възможностите за съпротива, личностно устояване и отстояване на граждански позиции, за създаване на ангажирано авангардно кино. 

The Censored Theatre and Cinema Ad-hoc Collection at CNSAS (the Romanian acronym for the National Council for the Study of the Securitate Archives – Consiliul Național pentru Studierea Arhivelor Securității) illustrates how the Archives of the former Romanian secret police, the Securitate, recorded the intervention of censorship to hinder the development of cultural opposition in Romanian theatre and cinema during the communist regime. The documents of the collection show that despite the gradual strengthening of political control over the cultural sphere beginning with the late 1960s, Romanian directors and actors managed on several occasion to bypass censorship. As a result their artistic work running counter to the official cannon, which reinforced socialist realism after the Theses of July 1971, reached a large audience, albeit only for a short period. This collection highlights the case of one of the few Romanian directors banned by the communist regime, Lucian Pintilie. His biography epitomises the destiny of a Romanian artist whose refusal to reach any compromise with the political authorities contributed to his marginalisation in Romanian cultural life while at the same time his work was acclaimed abroad.