Actress

Date and place of birth: 19.09.1964, Dumitreş

Studies: "Szentgyörgyi István" Theatre Institute, Târgu Mureş, class of university lecturer Constantin Doljan, 1986

She graduated from the theater institute as the head of her class. She and her husband, Dorin Presecan, came to the State Theater in Oradea through ministerial assignment. They also debuted together, in the play „The Three Nights of a Love” by Hubay Miklós (directed by Dan Alecsandrescu, who knew them from Târgu Mureş). About the role of Iulia, the Poet’s wife, in this truly „poetic” play, critic Valentin Silvestru wrote that „Iulia is more terrestrial (in contrast to Daniel Vulcu – The Dreaming Poet, nn), but gracefully floating through events with discretion and charm, understanding and not understanding, suffering and enjoying youthfully”. Prof. Ileana Berlogea noted, in her review, that Mariana Presecan was „impressive in her vain attempts to protect her husband, the one in the play, naturally, from the attacks from those around her”.

Mariana Presecan – tall, slim, with a ballerina's body, blonde, very feminine, fragile in appearance, will very soon prove a special ability to communicate with both partners and the audience, will demonstrate that she possesses remarkable energy, resistance, work capacity, and seriousness. To these data is added a creative intelligence and an exceptional memory. In other words – all the data that will decisively contribute to the artistic path of the future star. Because, yes, in addition to all the listed data, she has that something, a mystery that gives her a special charm.

This was followed, according to the repertoire, by comedy and drama roles, constant presences in poetry performances; in the poetry performance "At your disposal", the poet Mircea Dinescu, present in the hall, made the obviously subjective remark that only Mariana Presecan recited the verses "as he thought them". Eminescu, Şt.Aug.Doinaş, Ana Blandiana, and Mircea Dinescu were not absent from any poetry performance.

Naturally, she played roles appropriate to her age – mischievous, mischievous, cheerful, lively young ladies, young ladies, aristocratic ladies or simple girls: Doralice (in "Matchmaking" by Carlo Goldoni), Nuti (in "The Ladybug" by Ion Băieşu), Dana Barbu ("Midnight Waltz" by Viorel Cacoveanu), Annie (in "Aunt Charley" by Brandon Thomas), Jessica (in "The Crazy Holidays" by Carolyn Green), Marina (in "The Adventurer" by Emil Braghinski), Oretta (in "The Wits of Love" by G.M.Cecchi). All these roles contributed, to a greater or lesser extent, to the future roles, of great scope, scope and artistic responsibility, that would follow. "For me - the actress declared in the interview given to the poet Ioan F. Pop ("Noua Gazetă de Vest", November 5, 1992) - all roles are important, all have marked me, in one way or another". One of them was that of Anya in "The Cherry Orchard" by A.P. Chekhov, to which she lent sensitivity and innocence; other roles followed, which would all contribute to the formation of the actress, to the shaping of her professional stature. Apparently frivolous, the well-known characters Delia Moon ("The Scandalous Affair..." by J.B. Priestley), Giacinta ("Arrivederci Livorno" by Carlo Goldoni), Juliette ("The Thieves' Ball" by Jean Anouilh), Lady Bracknell ("Good Evening, Mr. Wilde!" by Oscar Wilde), Penelope ("How to Win Men" by W.Somerset Maugham) laid, even if it is hard to believe, a brick each, to the solid edifice that would soon become the actress's artistic career.

Roles after roles followed, demanding, complex, which Mariana Presecan coped with brilliantly: the Flutist ("The Slaughterhouse" by Slawomir Mrožek), Eliza Doolittle ("Pygmalion" by GBShaw), full of life, serene, energetic, with a captivating sincerity, Dona Elvira, feminine, loving, warm ("Dom Juan" by Molière), Estelle, unpredictable, displaying a strange desperation ("Closed Doors" by Jean-Paul Sartre), and then she tried her hand at the role of Didina Mazu ("D'ale carnavalului" by ILCaragiale), in which she found absolutely original tones and tics. With Alexandru Hausvater she created a memorable role in the show "The Night of January 16" by Ayn Rand, (Karen) the main role, a character full of contradictions and great complexity. In "The House of Bernardei Alba" by FGLorca she played the beautiful Magdalena; there was a somewhat more thoughtful Mona ("The Nameless Star" by Mihail Sebastian), playing alongside her husband, Dorin Presecan. In an exceptional tandem with Mariana Vasile, she played the role of the unhappy Martha in "The Misunderstanding" by Albert Camus ("cold, petrified, as if from another world").

With Mihai Măniuţiu she created a memorable role – that of Electra, about which dozens of reviews were written and for which (after her transfer with the whole show to Sibiu) she won an important performance award at a Festival in Spain. In the show „Shoah. Primo Levi Version” – (directed by Mihai Măniuţiu), in the role of the reporter and in the chorus, Mariana Presecan arouses a deep emotion. Her performance, with an exceptional partner (also in Electra), Marian Râlea, highlights even better the complicated and complex relationships (with Primo Levi or with Oreste). A great creation is also due to her in the show signed by Petru Vutcărău, „Despre sexul femeii…” by Matei Vişniec, where she had Elvira Platon Rîmbu as her partner – also at an appreciable value.

She also acted in average value shows or in boulevard comedies, but with the seriousness that characterizes her, she never left room in her interpretation, neither for kitsch, nor for vulgarity, nor for the ridiculous. A one hundred percent professional, the actress was in a competition with herself.

For a while, she led the "Iosif Vulcan" troupe of the Oradea theatre. The exact reasons for her dismissal are not known, but we believe that, although her projects and programmes featured collaborators from the front lines of Romanian directing, she did not know how to manage her internal duties with sufficient maturity (using human and material resources at a better level), which caused her numerous inconveniences, and even the refusal of some colleagues to collaborate with her anymore, and colleagues who were not willing to forgive her possible mistakes.

Her departure to Sibiu left a void in the troupe's composition that was not easy to fill. On the other hand, professionally, fate smiled on her: she played major roles in top shows in Cluj and Sibiu, directed by Mihai Măniuţiu, Andrei Şerban or Radu Alexandru Nica. Let us recall the roles of Arkadina in "The Seagull" by A.P. Chekhov or that of the Queen ("Hamlet" by William Shakespeare). At present, Mariana Presecan is among the leading actresses of the "Radu Stanca" Theatre in Sibiu. Is it true that - as she herself says in the interview published in Elisabeta Pop's volume "Theatre from the Inside..." - "at a certain point, actors distribute themselves"? Possibly. And she also speaks convincingly about the necessary "dictatorship of value" in the theatrical institution. We agree with her.

(Presentation by Elisabeta Pop)

Artistic sheet – Oradea State Theatre

• Victoria Lowndes in THE FASHION OF MARRIAGES (WHO'S MY HUSBAND?) by Somerset Maugham, 1986, dir. Sergiu Savin
• Iulia in THE THREE NIGHTS OF A LOVE by Hubay Miklós, 1987, dir. Dan Alecsandrescu
• Performer in THE QUIET SEASON, 1987, directed by Sergiu Savin
• Performer in MAGNUM MOPHTOLOGICUM, 1987
• Nuts in THE CUCKOO by Ion Băieşu, 1987, directed by Radu Băieşu
• Madonna Oretta in THE WICKEDNESS OF LOVE (HUHUREZUL) by Giovanni Maria Cecchi, 1988, dir. Sergiu Savin
• Penelope in HOW TO WIN MEN (PENELOPE) by Somerset Maugham, 1988, directed by Farkas Ştefan
• Doralice in MARRIAGE BY COMPETITION by Carlo Goldoni, 1988, directed by Nicoleta Toia
• Performer in DOR DE EMINESCU, 1988, directed by Eugen Harizomenov
• Performer in AT YOUR DISPOSITION, 1988, directed by Sergiu Savin
• Marina in AVENTURIERA by Emil Braghinski, 1988, directed by Sergiu Savin
• Dana Barbu in THE MIDNIGHT WALTZ by Viorel Cacoveanu, 1989, directed by Nicoleta Toia
• The Star in the Chase by Paul Ioachim, 1989, directed by Sergiu Savin
• Grandma Catalina and Catalina in the GOLDEN FOREST by Valentin Avrigeanu, 1989, directed by Valentin Avrigeanu
• Performer in UNCENSORED, 1990, directed by Sergiu Savin
• Fany in THREE JOBENE by Miguel Mihura, 1990, dir. Sergiu Savin
• Anya in THE CHERRY ORCHARD by A.P. Chekhov, 1990, dir. Laurian Oniga
• Jessica in THE CRAZY NEW YORK HOLIDAY by Carolyn Green, 1990, d.Eugen Harizomenov
• Annie Spetigue in AUNT CHARLEY by Brandon Thomas, 1990, d. Eugen Mercus
• Figuration in AMADEUS by Peter Shaffer, 1991 (reprise), dir. Alexandru Darie
• Performer in WORSHIP OF THE POET MIHAI EMINESCU, 1991, directed by Sergiu Savin
• The Flutist in THE SLAUGHTERHOUSE by Slawomir Mrožek, 1991, dir. Alexandru Colpacci
• Performer in IS LOVE JUST A JOKE?, 1992, directed by Daniel Vulcu
• Eliza Doolittle in PYGMALION by GBShaw, 1992, dir.Eugen Harizomenov
• Mrs. Feeziwig and Young Marley in A CHRISTMAS STORY by Silvia Kerim after Charles Dickens, 1992, dir. Rodica Radu
• Angelica in THREE VENETIAN TWINS by Antonio Mattiuzzi aka Collalto, 1993, dir. Cristian Ioan
• Violeta in THE IMMORTAL IONEL by Denc Şerban Codrin Denc, 1993, directed by Mihai Lungeanu
• Juliette in THE THIEVES' BALL by Jean Anouilh, 1993, dir. Louise Dănceanu
• Giacinta in ARRIVEDERCI, LIVORNO (THE HOLIDAY TRILOGY) by Carlo Goldoni, 1994, dir. Cristian Ioan
• Performer in COME TAKE THE LIGHT, 1994, directed by Eugen Harizomenov
• The Wife of a Wallachian in THE ART OF COMEDY by Eduardo de Filippo, 1994, directed by Mihai Lungeanu
• Delia Moon in THE SCANDALOUS AFFAIR BETWEEN MR. KETTLE AND MRS. MOON by JBPriestley, 1995, d. Szombati Gille Otto
• Performer IS THERE A PRESENT NOT GREAT FOR US?, 1995, d.Eugen Harizomenov
• The Madwoman in ALMOST A FOREST by Ana Ripka-Rus, 1995, dir. Iustina Prisăcaru
• Magdalena in THE HOUSE OF BERNARDA ALBA by Federico Garcia Lorca, 1996, dir. Irina Popescu-Boieru
• Audrey in AS YOU LIKE IT by William Shakespeare, 1996, dir. Alexandru Colpacci
• A girl in OUTSIDE THE DOOR by Wolfgang Borchert, 1996, dir. Sergiu Savin
• Peleius in THE TRIAL FOR A DONKEY'S SHADOW by Friedrich Dürrenmatt, 1997, dir. Cristian Ioan
• The Goddess in Plautus's PSEUDOLUS, 1997, directed by Tudor Chirilă
• Death in IVAN TURBINCĂ after Ion CreangĂ, 1997, dir. Daniel Vulcu
• Rita in THE JOBEN by Eduardo de Filippo, 1997, dir. Ion Ciubotaru
• Zina in HEART OF A DOG by Mikhail Bulgakov, 1997, dir. Vitalii Lupaşcu
• Suzi in IF THERE IS NO LOVE… by Elena Preda and Eugen Ţugulea based on the novel by Marin Preda, 1998, dir. Eugen Ţugulea
• THE FLOWER IN THE COLD by Marin Sorescu, 1998, directed by Ion Ciubotaru
• Praxagoras in THE ASSEMBLY OF WOMEN by Aristophanes, 1998, d.Eugen Harizomenov
• The Day in a Stormy Night by IL Caragiale, 1999, directed by Ion Ciubotaru
• Mona in THE NAMELESS STAR by Mihail Sebastian, 1999, directed by Florin Antoniu
• Catherine in IS THE MURDERER AMONG US? (EIGHT WOMEN) by Robert Thomas, 1999, d.Eugen Harizomenov
• Kate in ON WOMEN'S SEX AS A BATTLEFIELD IN THE BOSNIAN WAR by Matei Vişniec, 1999, dir. Petru Vutcărău
• Estelle in CLOSED DOORS by Jean-Paul Sartre, 2000, dir. Alina Hiristea
• The Third Nun, The Third Bride, The Spider Woman in THE FANTASTIC AND SAD STORY OF CANDIDA ERÉNDIRA AND HER RUDE GRANDMOTHER, dramatization of the short story by Gabriel GGMárquez by Ion Sapdaru, 2000, dir. Ion Sapdaru
• Wanda Serafim in THE GAIŢELE by Alexandru Kiriţescu, 2000, dir. Ion Ciubotaru
• Assistant director in MISUNDERSTANDING by Albert Camus, 2001, dir. Alina Hiristea
• Martha in THE MISUNDERSTANDING by Albert Camus, 2001, directed by Alina Hiristea
• Lady Bracknell, Algernon's aunt in GOOD EVENING, MR. WILDE! (WHAT DOES IT MEAN TO BE HONEST?) by Oscar Wilde, 2001, d.Alina Hiristea
• Dona Elvira in DOM JUAN by Molière, 2001, directed by Radu Nichifor
• The voice of the TV announcer in HOLIDAY IN GUADELOUPE by Pierre Sauvil and Eric Assous, 2002, dir. Ion Ciubotaru
• Didina Mazu in D'ALE CARNIVALULUI by ILCaragiale, 2002, directed by Ion Sapdaru
• Assistant director in THE INTRUDER by Maurice Maeterlinck, 2002, dir. Mihai Măniuţiu
• Ursula in THE INTRUDER by Maurice Maeterlinck, 2002, directed by Mihai Măniuţiu
• Madame Ratinois in DUST IN EYES by Eugène Labiche, 2003, dir. Alexandru Dabija
• Electra in ELECTRA after Sophocles and Euripides, 2004, directed by Mihai Măniuţiu
• Karen Andre in THE NIGHT OF JANUARY 16 by Ayn Rand, 2004, d.Alexander Hausvater
• Reporter in the SHOAH. PRIMO LEVI'S VERSION, screenplay by Mihai Măniuţiu after interviews with Primo Levi, 2004, dir. Mihai Măniuţiu