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19-499: Cenaclul Flacăra organized 1,615 shows of music, poetry and dialog throughout the country, having more than 6 million spectators. The spectacles had a strong influence over the Romanians , especially the Romanian youth and spread its own ideology, a mix of left-wing Western-influenced ideas and Romanian nationalism . Adrian Păunescu , despite having a famously rebellious attitude towards

38-462: A Cenaclul Flacăra show was held in Ploiești in a soccer stadium , with an estimated 10,000 people in attendance. Part of the stand collapsed during the show, and panicked spectators attempted to run, causing a stampede which killed at least 5 people (some reports suggested many more, possibly closer to 100) and wounded several more. Following the accident, investigators into its cause found objects in

57-472: A masque of The Seven Deadly Sins . Masques were multimedia , for they almost always involved costuming and music as a method of conveying the story or narrative. Ben Jonson , for example, wrote masques with the architect Inigo Jones . William Davenant , who would become one of the major impresarios of the English Restoration , also wrote pre-Revolutionary masques with Inigo Jones. The role of

76-418: A reunion (and attempt to relaunch the organization) occurred on 1 August 2010, with a 5-hour-long concert titled Cenaclul Flacăra being included in a larger festival named "Zilele Orașului Năvodari". Performances featured artists from the original festivals and concerts, performing new and old versions of folk songs, many of which had been regularly performed as part of the old Cenaclul Flacăra events. This marked

95-651: The Ion Creangă Theatre  [ ro ] in Bucharest. On 18 March 1976, in Bucharest , Cenaclul Flacăra held its first larger scale event. Called " Festivalul Primăverii" ( Spring Festival), it was attended by more than 8,000 people. Spectators chanted nationalist slogans throughout the show, including some referring to Bessarabia 's annexation by the Soviet Union . Though similar events were later held throughout

114-593: The appearance it creates. Derived in Middle English from c. 1340 as "specially prepared or arranged display" it was borrowed from Old French spectacle , itself a reflection of the Latin spectaculum "a show" from spectare "to view, watch" frequentative form of specere "to look at." The word spectacle has also been a term of art in theater dating from the 17th century in English drama . Court masques and masques of

133-741: The architect was that of designer of the staging, which would be elaborate and often culminate in a fireworks show. When the zoetrope and nickelodeon technology first appeared, the earliest films were spectacles. They caught the attention of common people. They showed things people would rarely see, and they showed it to the wide audience. For the notion of the spectacle in critical theory, see Spectacle (critical theory) . Within industrial and post-industrial cultural and state formations, spectacle has been appropriated to describe appearances that are purported to be simultaneously enticing, deceptive, distracting and superficial. ( Jonathan Crary : 2005) Current academic theories of spectacle "highlight how

152-564: The country, " Festivalul Primăverii " marked an important part in the development of Păunescu's career, demonstrating his abilities as an able propagandist to the Communist Party leadership. While the chanting of pro-government, pro- personality cult slogans and other superficially propaganda like activities continued to play a prominent part of events, the music, poetry and other art featured was relatively unrestricted and had little direct outside censorship, when compared to outlets available at

171-418: The early 2000s, occasionally operating under the name "3 ceasuri bune" (Literary Circle Three Good Hours). A few years of pause for live performances under the banner followed, though publishing of related recorded works continues to the present day. A series of CDs titled Cenaclul Flacăra vol.1-1, published between 2005 and 2008, covers most of the more successful songs. In a panel discussion broadcast during

190-437: The evening program for Romanian television station OTV on 20 May 2010, Adrian Păunescu , Radu Pietreanu  [ ro ] , and Axinte first publicly mentioned a possible relaunch of Cenaclul Flacăra, and reunion of most of the original artists, later that year. Despite Păunescu's lack of financial resources and various other setbacks, which led to doubtful public statements from initial backers and other public figures,

209-475: The first public collaboration for many of the artists after more than 25 years apart. The festival was broadcast live on OTV . Original recordings and covers of the songs continue to get play on national networks, and be referenced in the media, with references often describing Cenaclul Flacăra as "the Romanian Woodstock" Spectacle In general, spectacle refers to an event that is memorable for

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228-618: The main reasons was the "moral profile" of the participants, which was considered to be far removed from the models that were promoted by the Union of Communist Youth . After the fall of the communist government in 1989, some participants in the old performances who were not too far removed from the country, reunited, and performed under the name "Cenaclul Totuși Iubirea" (a play on words, translated roughly as "All Things Considered, Love"). Performances under that name continued, on and off, until at least 2001. An alternative successor group also formed in

247-541: The many ways in which a capitalist structure is purported to create play-like celebrations of its products and leisure time consumption. The work of French Marxist thinker Guy Debord is perhaps the best-known example of this critical analysis; see his The Society of the Spectacle (1967). Debord has described the Spectacle as "the autocratic reign of the market economy which had acceded to an irresponsible sovereignty, and

266-477: The nobility were most popular in the Jacobean and Caroline era. Such masques, as their name implies, relied heavily upon a non-verbal theater. The character lists for masques would be quite small, in keeping with the ability of a small family of patrons to act, but the costumes and theatrical effects would be lavish. Reading the text of masques, such as The Masque at Ludlow (most often referred to as Comus ),

285-770: The political regime in the 1960s, eventually became closer ideologically to then communist head of state Nicolae Ceaușescu . This transformation allowed him to become the editor-in-chief for the cultural magazine Flacăra in 1973 , and, in the September of same year, he used the authority from his position to form "Cenaclul Flacăra al Tineretului Revoluționar" (The Flame Literary Circle of the Revolutionary Youth), or Cenaclul Flacăra for short. For several years, Cenaclul Flacăra held regular poetry readings , some of which were recorded and parts of which were broadcast on National TV . The events were initially held on Monday evenings at

304-408: The productive forces of marketing, often associated with media and Internet proliferation, create symbolic forms of practice that are emblematic of everyday situations." Spectacle can also refer to a society that critics describe as dominated by electronic media , consumption , and surveillance , reducing citizens to spectators by political neutralization. Recently the word has been associated with

323-483: The stands which were deemed "less than patriotic"; according to writer Norman Manea , items included "bras, vodka bottles, underwear, wine, beer, champagne, more underwear, bras and condoms". The Ploiești accident led to the end of Păunescu's career, despite the intervention of Nicu Ceaușescu , the son of the General Secretary of the Communist Party (head of state at the time), Nicolae Ceaușescu . Listed amongst

342-788: The time. As events organized by Cenaclul Flacăra grew in popularity, the group began touring Romania, organizing events in various concert halls and soccer stadiums. Shows usually started at around 8pm, and rarely ended before 4am. Many of the performers stayed on and toured together. All told, some 1,615 events were run, featuring a large number of artists and performers, and some debuted or became popular with its help. Notable performers included Mircea Vintilă  [ ro ] , Florian Pittiș , Transsylvania Phoenix , Anda Călugăreanu  [ ro ] , Ștefan Hrușcă , Vasile Șeicaru , Victor Socaciu , Doru Stănculescu  [ ro ] , Vasile Mardare , Magda Puskas  [ ro ] , Emeric Imre , and Tatiana Stepa . On 15 June 1985

361-416: The writing is spare, philosophical, and grandiose, with very few marks of traditional dramatic structure. This is partially due to the purpose of the masque being family entertainment and spectacle. Unlike The Masque at Ludlow , most masques were recreations of well-known mythological or religious scenes. Some masques would derive from tableau. For example, Edmund Spenser ( Fairie Queene I, iv) describes

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