Seria Spadasinul — Anatomia Invizibilului

Seria "Spadasinul" este dedicata scriitorului simbolist francez Jean-Marie-Mathias-Philippe-Auguste de Villiers de l’Isle-Adam si volumului acestuia "Povestiri crude si insolite".

Jean-Marie-Mathias-Philippe-Auguste de Villiers de l’Isle-Adam, cunoscut drept contele apoi din 1846 marchizul de Villiers de l’Isle-Adam, a fost un scriitor simbolist francez de origine bretona (n.1838- d.1889). A fost scriitor, romancier, nuvelist, dramaturg, poet). Cele mai cunoscute lucrari ale sale de astazi sunt "Povestiri crude si insolite" (1883), "Future Eve" - roman stiintifico-fantastic si drama "Axël" care anunta teatrul simbolist. Lucrarile din aceasta serie sunt dedicate scriitorului Villiers de l’Isle-Adam si volumului acestuia "Povestiri crude si insolite" dar nu sunt inspirate din povestirile cuprinse in volum. Dand frau liber imaginatiei, cautand ca fiecare lucrare sa vorbeasca in sine nerenuntand la placerea de a surprinde, preocupata de dedesubturile umanitatii, am creat seria “Spadasinul”, pastrand atmosfera unui secol XIX intr-o Franta inchipuita, uneori folosind o usoara persiflare ori daca vreti sarcasmul. In acest sens am dedicat seria marelui scriitor simbolist si volumului acestuia. Poate nota comuna de ridiculizare disimulata a facut sa hotarasc directia atunci cand am dedicat seria de lucrari. Reprezentarile produse de imaginatie care nu corespund realitatii dar care pe alocuri au un corespondent direct cu realitatea acelor vremuri, pot fi regasite in parte in fiecare lucrare ce evoca o intamplare. O lume pestrita in care privitorul la randul sau face un exercitiu de imaginatie completand sau gasind insemnatate in fiecare lucrare. Titlurile sugestive fac ca aceasta serie sa fie parcursa cu usurinta, ba chiar uneori acestea sunt punctul de plecare, perspectiva din care imaginatia porneste capatand directie si sens. Din multitudinea de semnificatii pe care le are in postmodernitate termenul de sincretism, am optat sau mai bine spus m-a interesat mai mult cea care se refera la contextul cultural al acelor vremuri. Astfel am articulat in triada frumos-adevar-bine, cautand calitatea de "emanatie" care s-ar dezvolta in serie si toate acestea dorind a fi traite de publicul privitor in calitatea lor de stari ale impresivitatii- senzitivitate, emotivitate, constientizare, s.a.m.d. Aceasta stare as defini-o aici ca sincretism valoric. Triada frumos-adevar-bine, m-a ajutat sa prezint in seria "Spadasinul" mai degraba un grup de efecte (emanatii) ale unei culturi dintr-o Franta de secol XIX, dorind ca transformarile suportate de lucrari in contact cu constiinta publicului privitor sa faca apel la imaginatia acestuia. Am structurat formele folosite in conformitate cu principiul abstractizarii cautand sa cuprind sensuri si valori. Din sirul de elemente determinative -valori, categorii, stari ale receptivitatii determinate de natura impactului impresiv, am modelat un discurs artistic scenic, menit sa amplifice impactul vizual-estetic. Asa am socotit faptul ca aceste elemente imi vor acoperi suma optima necesara si suficienta pentru un discurs artistic in sensul eficientei maxime. Daca in cazul formelor geometrice folosite in lucrari am urmat o oarecare omogenitate, in cazul mesajului am cautat folosindu-mi imaginatia si cunostintele sa punctez un soi de "lectura" creata din imagini. Epicentrul ori punctul de focalizare l-am plasat in directia constientizarii, intelegerii valorilor acelor vremuri. Sensurile degajate in limitele discursului artistic prezentat, sunt adresate celor ce doresc sa-si "gadile" parametrii senzoriali cu efecte date de propriile lor stari de receptivitate. O alta "cheie" in "lectura" vizuala reprezentata in seria "Spadasinul", este una metaforica ce implica nevoia unei conexiuni cu lumea actuala ori daca vreti viitoare.

Lavinia Bujor-Deaconu

The series The Swordsman is dedicated to the French Symbolist writer Jean-Marie-Mathias-Philippe-Auguste de Villiers de l'Isle-Adam and to his collection Cruel Tales.

Jean-Marie-Mathias-Philippe-Auguste de Villiers de l'Isle-Adam, known first as Count and, from 1846 onward, as Marquis de Villiers de l'Isle-Adam (1838–1889), was a French Symbolist writer of Breton origin. He was a novelist, short-story writer, playwright, and poet. Today, he is best known for *Cruel Tales* (*Contes cruels*, 1883), the science-fiction novel *The Future Eve* (*L'Ève future*), and the drama *Axël*, a work that anticipated Symbolist theatre. The works in this series are dedicated to Villiers de l'Isle-Adam and to his collection *Cruel Tales*, although they are not inspired by the stories contained within the volume itself. Allowing imagination complete freedom while seeking to create works capable of speaking for themselves and preserving the pleasure of surprise, I became preoccupied with the hidden dimensions of human nature. Thus emerged the series **"The Swordsman"**, set within the atmosphere of an imagined nineteenth-century France, occasionally infused with gentle mockery and, at times, unmistakable sarcasm. It is in this spirit that I dedicated the series to the great Symbolist writer and to his celebrated collection. Perhaps it was this shared undercurrent of subtle ridicule that ultimately guided my decision. The imaginative representations presented here do not correspond to historical reality, although they occasionally echo aspects of the social and cultural realities of the period. Each work evokes an imagined event, inviting the viewer into a richly diverse world where imagination completes what is merely suggested. The evocative titles facilitate the journey through the series and often become the very point of departure from which interpretation acquires direction and meaning. Among the many meanings attributed to the concept of **syncretism** in postmodern thought, I have chosen to focus on its cultural dimension as it relates to the historical context of nineteenth-century France. Within this framework, I have sought to articulate the classical triad of **Beauty, Truth, and Goodness**, pursuing the quality of *emanation* that unfolds throughout the series. These emanations are intended to be experienced by the viewer as states of aesthetic responsiveness—sensitivity, emotional engagement, awareness, and reflection. I define this condition as **axiological syncretism**. The triad of Beauty, Truth, and Goodness enabled me to present *The Swordsman* not as a reconstruction of a historical reality, but rather as a constellation of cultural effects and symbolic emanations belonging to an imagined nineteenth-century France. The transformations that these works undergo in the consciousness of the viewer are meant to activate the imagination and encourage personal interpretation. The formal language of the series is structured according to the principle of abstraction, seeking to encompass meanings and values rather than literal representation. From a sequence of determining elements—values, aesthetic categories, and states of receptivity shaped by the nature of emotional impact—I have constructed a theatrical artistic discourse intended to intensify the visual and aesthetic experience. I considered these elements to constitute the optimal and sufficient means for achieving the greatest expressive effectiveness. While the geometric forms employed throughout the series maintain a certain formal coherence, the narrative dimension is built through imagination and accumulated knowledge, resulting in what may be described as a visual reading composed of images. Its focal point lies in encouraging an awareness and understanding of the values associated with that historical period. The meanings generated within the boundaries of this artistic discourse are addressed to those who wish to awaken their sensory perception through experiences shaped by their own states of receptivity. Another interpretative key to **The Swordsman** is metaphorical in nature, suggesting the necessity of establishing connections with the contemporary world—and perhaps even with the world yet to come.

Lavinia Bujor-Deaconu