Censored Theatre and Cinema Ad-hoc Collection at CNSAS

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.

CNSAS（罗马尼亚国家安全档案研究委员会的缩写）所藏的审查戏剧与电影临时汇编，生动展示了前罗马尼亚秘密警察机构——安全局，如何记录了在共产主义政体下，对罗马尼亚戏剧和电影领域进行审查干预，以阻碍文化反对派的发展。汇编中的文件揭示了，尽管自20世纪60年代末起，对文化领域的政治控制逐渐加强，但罗马尼亚导演和演员仍多次成功规避审查。因此，他们的艺术作品，尽管与官方教条相悖，强化了1971年7月决议之后的社会主义现实主义，仍能短暂地触及广大受众。本汇编着重探讨了被共产主义政权禁止的少数罗马尼亚导演之一，卢西安·平蒂列的案例。他的生平浓缩了一位罗马尼亚艺术家拒绝与政治当局妥协的命运，这不仅导致他在罗马尼亚文化生活中被边缘化，同时他的作品在国外却备受赞誉。（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.）