COURAGE

łączymy kolekcje

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.

The Central Press Supervision Authority files, stored at the Security Services Archive in Prague, contain materials documenting the control of press and newly issued publications in Czechoslovakia from 1953 to 1968. Examples of censorship with extensive transcriptions from ‘defective’ literary works are very valuable as they include unknown information on the ways authors and editors negotiated with the censors, reveal the origins of the works, provide information on the alterations that were imposed and the existence of text variants, and they even cover prominent authors’ previously unknown works.

The collection includes documents created or collected by the Cinematography Commission of the Government of People's Republic of Croatian in period 1947-1951, which testify to control over motion picture production by the communist regime established in Yugoslavia/Croatia after the Second World War. Such control was manifested through Party and state management of film production companies, the approval of screenplays, supervision of the import and distribution of motion pictures for screening in cinemas, and verification of the ideological suitability of qualified personnel (directors, producers, film editors, actors).

The Mirel Leventer private collection of photographs and films is the richest archive of images from the period of glory of Club A, 1969–1989, when it operated as a (semi-) clandestine and exclusive club, founded and administered by students of the Institute of Architecture in Bucharest (today the Ion Mincu University of Architecture and Urbanism). Club A was an oasis of freedom created in a basement in the middle of the historic area of the capital of communist Romania for the purpose of being able to organise shows, debates, and concerts that would be an alternative to the officially promoted culture, and to offer young people a place where they could behave as if they were free. In short, the Mirel Leventer private collection preserves the memory of an essential place for the alternative culture of young people in the last two decades of Romanian communism.