\u015ecoala noastr\u0103 critic\u0103 a \u00eenceput cu teoria formelor f\u0103r\u0103 fond expus\u0103 de Titu Maiorescu \u00een articolul \u00cen contra direc\u0163iei de ast\u0103zi \u00een cultura rom\u00e2n\u0103 (1868). Era o pozi\u0163ie de radical\u0103 respingere a mediocrit\u0103\u0163ii \u015fi a mediocrit\u0103\u0163ilor, care contesta rostul unor institu\u0163ii \u2013 forme \u2013 importate din afar\u0103, dar lipsite de fondul unor performan\u0163e comparabile cu ale str\u0103inilor: \u201e\u00cenainte de a avea partid politic, care s\u0103 sim\u0163\u0103 trebuin\u0163a unui organ, \u015fi public iubitor de \u015ftiin\u0163\u0103, care s\u0103 aib\u0103 nevoie de lectur\u0103, noi am fundat jurnale politice \u015fi reviste literare \u015fi am falsificat \u015fi dispre\u0163uit jurnalistica. \u00cenainte de a avea \u00eenv\u0103\u0163\u0103tori s\u0103te\u015fti, am f\u0103cut \u015fcoli prin sate, \u015fi \u00eenainte de a avea profesori capabili, am deschis gimnazii \u015fi universit\u0103\u0163i \u015fi am falsificat instruc\u0163iunea public\u0103. \u00cenainte de a avea o cultur\u0103 crescut\u0103 peste marginile \u015fcoalelor, am f\u0103cut atenee rom\u00e2ne \u015fi asocia\u0163iuni de cultur\u0103 \u015fi am depre\u0163iat spiritul de societ\u0103\u0163i literare. \u00cenainte de a avea o umbr\u0103 m\u0103car de activitate \u015ftiin\u0163ific\u0103 original\u0103, am f\u0103cut Societatea academic\u0103 rom\u00e2n\u0103 (…) \u015fi am falsificat ideea academiei. \u00cenainte de a avea arti\u015ftii trebuincio\u015fi, am f\u0103cut conservatorul de muzic\u0103; \u00eenainte de a avea un singur pictor de valoare, am f\u0103cut \u015fcoala de bele-arte; \u00eenainte de a avea o singur\u0103 pies\u0103 dramatic\u0103 de merit, am fundat teatrul na\u0163ional \u2013 \u015fi am depre\u0163iat \u015fi falsificat toate aceste forme de cultur\u0103. \u00cen aparen\u0163\u0103, dup\u0103 statistica formelor dinafar\u0103, rom\u00e2nii posed ast\u0103zi aproape \u00eentreaga civilizare occidental\u0103. Avem politic\u0103 \u015fi \u015ftiin\u0163\u0103, avem jurnale \u015fi academii, avem \u015fcoli \u015fi literatur\u0103, avem muzee, conservatorii, avem teatru, avem chiar o constitu\u0163iune. Dar \u00een realitate toate aceste sunt produc\u0163iuni moarte, preten\u0163ii f\u0103r\u0103 fundament, stafii f\u0103r\u0103 trup, iluzii f\u0103r\u0103 adev\u0103r\u201c (Titu Maiorescu, Opere, I, Editura Funda\u0163iei Na\u0163ionale pentru \u015etiin\u0163\u0103 \u015fi Art\u0103, Univers Enciclopedic, Bucure\u015fti, 2005, p. 163).
\nTeza lui Maiorescu a fost comb\u0103tut\u0103 de E. Lovinescu, printr-o teorie invers\u0103, care sus\u0163inea c\u0103 mediocritatea e util\u0103, iar formele \u00ee\u015fi vor genera, \u00een timp, fondul. Niciunul dintre aceste puncte de vedere nu mai e \u00eens\u0103 de actualitate. Istoria a trecut peste noi \u015fi ne-a adus \u00eentr-o situa\u0163ie inimaginabil\u0103 acum un secol sau o jum\u0103tate de secol, c\u00e2nd ne n\u0103p\u0103diser\u0103 \u201eformele\u201c \u015fi r\u00e2vna construc\u0163iilor \u201ef\u0103r\u0103 fundament\u201c. Acum avem fundamente solide, avem profesori, medici, ingineri, oameni de \u015ftiin\u0163\u0103, muzicieni, pictori, litera\u0163i de mare nivel. Avem, deci, \u201efondul\u201c. Lipsesc \u00eens\u0103 tot mai mult \u201eformele\u201c: unele noi, peste care s\u0103 nu se fi a\u015fezat decenii sau chiar secole. Am r\u0103mas \u015fi azi cu unele dintre \u201eformele\u201c de pe vremea lui Maiorescu: Ateneul Rom\u00e2n, de pild\u0103, e singurul auditoriu cu care \u00eendr\u0103znim s\u0103 ne l\u0103ud\u0103m \u00een fa\u0163a arti\u015ftilor invita\u0163i la Festivalul Interna\u0163ional \u201eGeorge Enescu\u201c \u015fi singurul \u00een leg\u0103tur\u0103 cu care jurnali\u015ftii le cer acestora s\u0103-\u015fi exprime p\u0103rerea. Sala Palatului (cu \u201ecear\u015fafuri\u201c rupte pe tavan, scen\u0103 c\u00e2rpit\u0103 cu a\u0163\u0103 de sac \u015fi neoane care \u00eenv\u0103luie \u00eentr-o p\u00e2cl\u0103 protectoare jegul pluridecenal) \u015fi Sala Radio sunt \u201eforme\u201c ale mo\u015ftenirii comuniste din anii \u201950 (ca multe alte \u201ecase de cultur\u0103\u201c construite ulterior \u2013 \u201eforme\u201c cu care regimul \u00een\u0163elesese s\u0103 \u201einflitreze\u201c cultural masele p\u00e2n\u0103 \u00een cele mai pr\u0103p\u0103dite or\u0103\u015fele). Discu\u0163ia despre construirea unei s\u0103li de concerte adecvate propor\u0163iilor acestui Festival \u015fi, \u00een genere, modului \u00een care se face muzic\u0103 la nivel interna\u0163ional de o jum\u0103tate de secol \u00eencoace devine, de la an la an, un subiect tot mai dureros. S-a constatat c\u0103 lucrurile merg \u015fi f\u0103r\u0103 sal\u0103 adecvat\u0103, c\u0103 o nou\u0103 investi\u0163ie ar fi un moft. Existen\u0163a unui astfel de festival \u00een Rom\u00e2nia e chintesen\u0163a noii pl\u0103gi care caracterizeaz\u0103 societatea rom\u00e2neasc\u0103 de dup\u0103 comunism: fondul f\u0103r\u0103 forme.
\n\u00cen aburii recentei arest\u0103ri a primarului Oprescu, se vehicula groaznica perspectiv\u0103 a bloc\u0103rii demar\u0103rii lucr\u0103rilor pentru o sal\u0103 de gimnastic\u0103 proiectat\u0103 pentru a g\u0103zdui viitoare campionate interna\u0163ionale. Dar s\u0103 fim serio\u015fi, ce motiv de \u00eengrijorare este acesta? Dac\u0103 Zubin Mehta, Valeri Gherghiev sau Sir Simon Rattle pot pune piciorul \u00een Sala Palatului, \u00eenseamn\u0103 c\u0103 poate exista \u015fi gimnastic\u0103 f\u0103r\u0103 sal\u0103 propice, a\u015fa cum exist\u00e3 (deja) \u015fcoal\u0103 f\u0103r\u0103 \u015fcoal\u0103, art\u0103 f\u0103r\u0103 teatre, conservatoare sau galerii, s\u0103n\u0103tate f\u0103r\u0103 spitale, cercetare f\u0103r\u0103 resurse \u015f.a.m.d. (Doar religia se pare c\u0103 nu poate fiin\u0163a f\u0103r\u0103 stabiliment dedicat, de\u015fi vorba era c\u0103 s\u0103la\u015ful credin\u0163ei e sufletul omului, nu zidurile de beton armat preg\u0103tite pentru cutremure de gradul 9.)
\n\u00cen fine, de ce s\u0103 cheltuim at\u00e2\u0163ia bani pe \u201eforme\u201c dac\u0103 suntem competen\u0163i \u015fi f\u0103r\u0103? Din rezerva de \u201eforme\u201c construite de la Maiorescu p\u00e2n\u0103 la comuni\u015fti cheltuim azi bine mersi, ar\u0103t\u00e2ndu-le altora c\u0103 se poate face art\u0103, cultur\u0103 \u015fi \u015ftiin\u0163\u0103 \u015fi f\u0103r\u0103 atenee, \u015fcoli sau spitale. Cel pu\u0163in p\u00e2n\u0103 la un punct; sau av\u00e2nd impresia c\u0103 se poate.<\/p>\n","protected":false},"excerpt":{"rendered":"
\u015ecoala noastr\u0103 critic\u0103 a \u00eenceput cu teoria formelor f\u0103r\u0103 fond expus\u0103 de Titu Maiorescu \u00een articolul \u00cen contra direc\u0163iei de ast\u0103zi \u00een cultura rom\u00e2n\u0103 (1868). Era o pozi\u0163ie de radical\u0103 respingere a mediocrit\u0103\u0163ii \u015fi a mediocrit\u0103\u0163ilor, care contesta rostul unor institu\u0163ii \u2013 forme \u2013 importate din afar\u0103, dar lipsite de fondul unor performan\u0163e comparabile cu… Cite\u0219te mai mult »Fondul f\u0103r\u0103 forme<\/span><\/a><\/p>\n","protected":false},"author":3,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"neve_meta_sidebar":"","neve_meta_container":"","neve_meta_enable_content_width":"","neve_meta_content_width":0,"neve_meta_title_alignment":"","neve_meta_author_avatar":"","neve_post_elements_order":"","neve_meta_disable_header":"","neve_meta_disable_footer":"","neve_meta_disable_title":"","jetpack_post_was_ever_published":false,"_jetpack_newsletter_access":"","_jetpack_dont_email_post_to_subs":false,"_jetpack_newsletter_tier_id":0,"_jetpack_memberships_contains_paywalled_content":false,"_jetpack_memberships_contains_paid_content":false,"footnotes":"","jetpack_publicize_message":"","jetpack_publicize_feature_enabled":true,"jetpack_social_post_already_shared":true,"jetpack_social_options":{"image_generator_settings":{"template":"highway","default_image_id":0,"font":"","enabled":false},"version":2}},"categories":[8],"tags":[15081,15082],"class_list":["post-24422","post","type-post","status-publish","format-standard","hentry","category-cultura-literara","tag-statistica-formelor-dinafara","tag-teza-lui-maiorescu"],"views":1605,"jetpack_publicize_connections":[],"jetpack_featured_media_url":"","jetpack_sharing_enabled":true,"jetpack-related-posts":[],"_links":{"self":[{"href":"https:\/\/revistacultura.ro\/nou\/wp-json\/wp\/v2\/posts\/24422","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/revistacultura.ro\/nou\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/revistacultura.ro\/nou\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/revistacultura.ro\/nou\/wp-json\/wp\/v2\/users\/3"}],"replies":[{"embeddable":true,"href":"https:\/\/revistacultura.ro\/nou\/wp-json\/wp\/v2\/comments?post=24422"}],"version-history":[{"count":1,"href":"https:\/\/revistacultura.ro\/nou\/wp-json\/wp\/v2\/posts\/24422\/revisions"}],"predecessor-version":[{"id":24423,"href":"https:\/\/revistacultura.ro\/nou\/wp-json\/wp\/v2\/posts\/24422\/revisions\/24423"}],"wp:attachment":[{"href":"https:\/\/revistacultura.ro\/nou\/wp-json\/wp\/v2\/media?parent=24422"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/revistacultura.ro\/nou\/wp-json\/wp\/v2\/categories?post=24422"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/revistacultura.ro\/nou\/wp-json\/wp\/v2\/tags?post=24422"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}