Employing Theatrical Techniques in Documentary Film

Authors

  • Ada-Maria ICHIM Independent theatre and film critic. Email: adamariaichim31@gmail.com

DOI:

https://doi.org/10.24193/subbdrama.2025.1.06

Keywords:

theatre, documentary, social impact, trauma representation, history revisited

Abstract

Correction Note:
ICHIM, A.-M. (2025). Employing Theatrical Techniques in Documentary Film. Studia Universitatis Babeș-Bolyai Dramatica70(1), 129–144. https://doi.org/10.24193/subbdrama.2025.1.06 has been corrected in the Platform. The changes concern the first 3 footnotes, which were removed, email address, and the references list has been completely revised. Other parts of the article were left untouched. No changes were made that would compromise the integrity and content of the article.
Editors’ note: The article was corrected on 29.06.2026, including the PDF version of the volume.

 

ABSTRACT. This paper examines the intersection between documentary filmmaking and theatre, arguing that this fusion transcends traditional objective representations of reality. By incorporating elements of theatre, such as narrative structure, performance, and audience interaction, documentaries can offer deeper, more artistic explorations of complex realities and the human condition. Through the analysis of several films that exemplify this approach, the study demonstrates how theatrical techniques in documentary not only broaden the genre’s artistic possibilities but also provide unique insights into historical, social, and personal contexts. This approach transforms documentaries into powerful tools for emotional and intellectual engagement, capturing the transformative journey of performers and their impact on both the film’s subject and the audience, ultimately expanding the scope of documentary filmmaking.

References

Balázs, Zsuzsanna. “The “Degenerate Son” of Julius Caesar: Shakespeare as a Medium of Self-Discovery in Caesar Must Die.” Pázmány Péter Catholic University: Ruttkay Essay Collection, (2014): 1–15. Accessed online, Dec. 2024: https://btk.ppke.hu/uploads/articles/463220/file/Bal%C3%A1zs%20Zsuzsanna%202014.pdf

Boerman, C., & Noordenbos, B. “Performing Violence: Trauma and Reenactment in Documentary Film”. in Reenactment Case Studies: Global Perspectives on Experiential History, edited by V. Agnew, J. Tomann, S. Stach, 308–332. London: Routledge, 2022.

Bruzzi, Stella. New Documentary: A Critical Introduction. London: Routledge, 2000.

Calbi, M. “In States Unborn and Accents Yet Unknown”: Spectral Shakespeare in Paolo and Vittorio Taviani’s Cesare deve morire (Caesar Must Die). Shakespeare Bulletin 32(2), (2014): 235–253.

Drăgan, C. E. “Decoding Tableaux Vivants: The Metareferential Potential of Painterly References in Cinema”. Acta Universitatis Sapientiae, Film and Media Studies 19, (2021): 99–116.

Linares Ávila, Carlos. “Fictional Levels in the Theater Within the Cinema Representation in the Film Caesar Must Die by the Taviani Brothers”. VISUAL REVIEW. International Visual Culture Review Revista Internacional De Cultura Visual 16 (7) (2024): 15–26. doi.org/10.62161/revvisual.v16.5351.

Nichols, Bill. “Documentary Reenactment and the Fantasmatic Subject”. Critical Inquiry, 35(1), University of Chicago Press (2008): 72–89.

Nicula, Dinu-Ioan. “Arsenie. Viața de apoi - Magnetism de frigider”, FILM, 41(3) (2023): 48-49

Paget, Derek. No Other Way to Tell It: Docudrama on Film and Television (2nd ed.). Manchester: Manchester University Press, 2011.

Russo, Linda. “Fabio Cavalli e l’incredibile potenza del teatro in carcere”, Spazio50, (accessed Dec. 2023, https://www.spazio50.org/fabio-cavalli-e-lincredibile-potenza-del-teatro-in-carcere/)

Thomson, Patricia. “The Bard Behind Bars”. American Cinematographer: The International Journal of Film & Digital Production Techniques,, 94(2), (2013): 24–28.

Winston, Brian, The Documentary Film Book. London: British Film Institute, 2013.

Films:

Niewiera, Elwira, and Piotr Rosolowski, Hamlet Syndrome (Syndrom Hamleta). 2022.

Slijepcević, Nebojsa, Srbenka. 2018.

Taviani, Paolo, and Vittorio Taviani, Cesar Must Die (Cesare deve morire). 2012.

Mihăilescu, Sebastian, For Me You Are Ceausescu (Pentru mine tu ești Ceaușescu). 2021.

Solomon, Alexandru, Arsenie. An Amazing Afterlife (Arsenie. Viața de apoi). 2023.

Published

2025-04-30

How to Cite

ICHIM, A.-M. (2025). Employing Theatrical Techniques in Documentary Film. Studia Universitatis Babeș-Bolyai Dramatica, 70(1), 129–144. https://doi.org/10.24193/subbdrama.2025.1.06

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