We are pleased to invite you to a new premiere of the Regina Maria Theater: the musical show ŢIGANIADA, which will take place on Saturday, December 1 and Sunday, December 2, starting at 7 p.m., at the Theater's Great Hall.

Dedicated to the two hundredth anniversary of the writing of ŢIGANIADA, the show based on Ion Budai-Deleanu's famous epic is part of the series of great shows based on classical texts. Benefiting from a dramatization by Radu Macrinici, winner of two UNITER awards for dramaturgy, the Oradea theater's show is not only a restitution of a legendary text but also a transposition to the present time of the delicious adventures that Ion Budai-Deleanu's gypsies experience on their way to search for an illusory country. Music, dance and especially acting performances complete this picturesque picture and make ŢIGANIADA one of the most important events of this season.

The writer Ion Budai-Deleanu did not create this work only to "form and introduce a new taste of gypsy poetry" and in no way to mock the gypsies, a population oppressed under regimes based on the exploitation of man by man. Ion Budai Deleanu used caricature elements of the kind found in the vile snoaves about gypsies for other purposes, higher than that of making fun of some people. Although the author sometimes lets himself be carried away by his own urge to joke, his sympathy for gypsies is evident in many places in the poem. If he used the caricatured image of gypsies, he did so only with the aim of, under the cover of humor, to strike without danger at reprehensible states of affairs in the society of his era. The reader is warned by the author himself by The worshipful epistle: I have made up this story… in which I have mixed in a lot of funny things, so that it is easier to understand and like. But you pay close attention, because the whole story seems to me to be only an allegory in many places where by gypsies I understand others too…

In the content of the poem, in the verses and in the notes that accompany them, one can see the writer's continuous effort to camouflage his criticism, but at the same time to clarify it, to make it understood. If, for fear of censorship, he even hid his name through an anagram (Leonachi Diancu), he wants to draw the reader's attention: Let it find its own criticism, for the correct understanding of which I invite you to add some notes, because I know well that you will understand what I meant. in many places. When, within the poem, the critical note becomes too strong and too direct, the writer shows his fear of consequences by emphasizing:

But hey, let's leave this advice alone.

I see many raising their eyebrows.

And I'm afraid that by not looking at the crowbar

Don't let the muse suck my phalanx.