Monday: 2:00 PM-6:00 PM
Tuesday: 12:00 - 18:00
Wednesday: 10:00 - 14:00
Thursday: 12:00 - 18:00
Friday: 10:00 - 14:00
Saturday and Sunday: closed
The agency is also open one hour before the start of each show at the Great Hall, regardless of the day.
Monday: 2:00 PM - 6:00 PM
Tuesday: 12:00 - 18:00
Wednesday: 10:00 - 14:00
Thursday: 12:00 - 18:00
Friday: 10:00 - 14:00
Saturday and Sunday: closed
The agency is also open one hour before the start of each show at the Great Hall, regardless of the day.
Artistic director: Dan Alecsandrescu Sets: Gheorghe Oriold
Premiere date: September 21, 1957
Elena
Drama in one act
Distribution:
Helen: Liana Vilceanu
Dr. Albu: Gheorghe Vilceanu
Dr. A. Petreanu: George Pintilescu
Sanda: Rodica Schuller
The guest of the evening
Drama in one act
Distribution: The old man: Constantin Simionescu Little girl: Elena Toma Son: George Pintilescu Guest: Gheorghe Vilceanu Gendarme I: Al.Mitea Gendarme II: George V. George
Artistic director: Dr. Gróf Ladislau Assistant director: Constantin Simionescu Set design: Károly Kudelász Costumes: Eliza Popescu
Premiere date: September 15, 1957
Although it is set during the first days of the occupation of Bucharest by the German army during World War I, the action of the play "The Deserter" focuses on a family drama with minimal impact on major historical events.
Sergeant Silvestru Trandafir, mobilized at the front, can no longer bear the thought that his wife, Aretia, could be unfaithful to him during his absence. Therefore, fleeing from his military unit in retreat to Moldova, he goes to see his wife, in their small house in the slum. Indeed, here he finds an older suitor for Aretia's love, the German Gottfried Schwalbe, who was in Bucharest before the war as a representative of a German agricultural machinery company. The dispute between the two leads not only to amorous rivalry, but also to a lesser extent, political rivalry. The German officer, assured of the sentry at the gate, is in control of himself and wants to keep Aretia, his "spoils of war". Stubbornly refusing to accept Silvestru's conditions (who offers himself as a prisoner in exchange for Aretia's release), Gottfried Schwalbe is killed by him. After hoping to secure his family's safety by sending them to free territory, the "deserter" surrenders to a German military unit and dies tragically, under a hail of bullets, uttering a final curse on the German occupiers.
Distribution:
Silvestru Rose: Zacharias Volbea
Aretia: Cristina Tacoi
Cassiope Buzatu: Stefania Popescu
Schwalbe: Ion Vilcu, Nicolae Toma
Lica the guitarist: Radu Reisel
Herman: Grig Schiţcu
A two-act show of music, dance, satire and humor
Screenplay: Gheorghe Didilescu
Artistic direction and scenography: Dorel Urlăţeanu
Premiere date: July 26, 1957
The entertainment show "Sus cortina" grouped several musical and choreographic moments, dramatic monologues, as well as comic skits with titles such as: "Sus cortina", "A ride through the city", "A ticket, because I'm in a hurry", "Boulevardists", "Sport over the ocean", "Roaming through Oradea", "Hunters", "Where you go and where... you crack", "The Pessimist", "Garbage".
Interpreters:
Valentin Avrigeanu Constantin Simionescu Eugen Tugulea Jean Sandulescu Eugen Nagy Doina Urlățeanu Doina Ioja Vasiu George V. George Radu Reisel Marcel Segărceanu Zacharias Volbea
Technical direction: Dalma Simionescu and Al.Mitea
Prompter: Agy Segărceanu
Comedy in three acts, ten scenes by Carlo Goldoni
Translation: Polixenia Karambi
Artistic director: Vasile Pop Sets: Horia Popescu and George Oriold Fencing Master: János Szántay
Premiere date: June 8, 1957
Two pairs of lovers and a quick and resourceful but always hungry servant, for whom an extra master means an extra dinner. But what if one of the masters is a woman?
Related to commedia dell'arte through situations and plot, the play "The Servant of Two Masters" proposes better individualized and more diversified types, the most colorful of which is Truffaldino, the one who knots and unties the tangled threads of the action.
Two Venetian noblemen, Doctor Lombardo and the merchant Pantalone de Bisognosi, plan the marriage of their children, Clarice and Silvio. Before the wedding, however, Clarice's former fiancé appears, who was thought to have died in a fight. In reality, the fiancé is Beatrice who, in disguise, is desperately searching for her lover, Florindo Aretusi from Turin. Between the two fiancés, Truffaldino will deploy his ingenious stratagems. Throughout the 10 paintings, he manages to complete the tasks imposed by the two masters, being a master in the art of interpreting what is wanted and what is not wanted. The action, which unfolds at a dizzying pace, with lively dialogues, qui-pro-quos and lots of humor, culminates with a perfect happy ending, which foreshadows no less than three weddings, as each has (re)found their soul mate: Clarice-Silvio, Beatrice-Florindo, Truffaldino-Smeraldina.
Distribution:
Truffaldino: Jean Sandulescu
Trousers: Constantin Simionescu
Clarice: Doina Urlățeanu
Emerald: Doina Ioja Vasiu
The doctor: Radu Reisel
Silvio: Eugen Nagy
Florindo: Serban Bogdan, Ricardo Colberti
Beatrice: Sanda Ghiculescu Pena, Cristina Tacoi
Brighella: Aurel Decu, Grig Schiţcu
The waiter: Grig Schitcu, Gheorghe V. Gheorghe
The porter: Al.Mitea
A gondolier: Francisc Belényi
A servant: Marcel Segărceanu
Gondoliers, servants, etc.
The action takes place in Venice.
Artistic director: Ion Dinescu (National Theatre Cluj-Napoca) Assistant director: Dorel Urlăţeanu Scenography: Eliza Popescu
Premiere date: May 12, 1957
Built according to the patterns of a fairy tale, the play "The Man with the Bag" benefits from a mythical structure, hidden in the frames of everyday life. The modest archivist Chirică sees a hidden order in the course of things and awaits the event that will transform the world around him. His profound intuition is directed towards the racehorse Pharaoh V, considered by everyone to be the "king of the worlds". For this reason, Chirică becomes the target of general ridicule, is fired and abandoned by his wife, Ana, who runs away with Nichita, one of the archivist's childhood friends. Like a modern Don Quixote, Chirică firmly believes in his ideal, even proving to be a passionate believer in the absolute who wants everything or nothing: "Nene, ori-ori". The course of events brings a total reversal of the situation, in which the man and the donkey are linked by the same destiny: Pharaoh V becomes the great winner of an important race and the attitude of the entire city towards Chirică changes radically: the mocker becomes an enlightened one, almost a saint. Astonishment turns into misunderstanding: "Who are you? What kind of man are you if you see what we cannot see?".
Ion Vartic believes that "through the transformations and spiritual enlightenments that it reveals on stage, comedy The man with the donkey It falls within the realm of expressionist theatre, but also contains premonitory accents of the future theatre of the absurd." (Analytical dictionary of Romanian literary works, coord. Ion Pop, Cluj-Napoca, House of the Science Book, 2007).
Distribution:
Chirica: Dorel Urlățeanu
Varlam: Misu Vladimir
Nikita: Zacharias Volbea
Anna: Lulu Popescu, Doina Urlăţeanu
General Inspectorate: Constantin Simionescu
The man with ideas: Radu Reisel
The horse's owner: Aurel Decu, Ioan Pater
The Provincial: Grig Schiţcu
The owner of the house: Valentin Avrigeanu
School principal: Septimiu Pop, Jean Sandulescu
Archivist's help: Serban Bogdan, Gheorghe Vilceanu
The high school student: Al.Mitea
Fira: Sanda Ghiculescu-Pana, Doina Ioja Vasiu
An officer: Eugen Tugulea
An old woman: Stefania Popescu
A delegate: Marcel Segărceanu
A word: George V. George
The youngest child: Ion Simea
The eldest child: Liviu Varadi
Play in three acts (ten scenes) by Boris Gorbatov
Translation: Xenia Stroe
Artistic direction: Corneliu Zdrehuş Scenography: Paul Fux
Premiere date: April 20, 1957
Russia, 1919 – a small town caught in the fever of civil war. Doctor Loghinov and his daughter try to detain a young man wounded by a bullet for medical care. „I know you’re red,” the girl tells him. The young man struggles to understand where he is and, in the absence of caregivers, jumps out the window, fleeing to his family.
With this episode, Colonel Stepan Reabinin begins his story, the story of his youth and his generation, the first Komsomol members. In the city devastated by the war, Reabinin, together with his comrades, Dasha, Anton and Ocikar, decide to create a network of Komsomol organizations, which would guide the youth and help the front. Each member has important responsibilities: agitation in the factories, organizing the cultural activities of the youth, mobilizing volunteers to strengthen the Red troops. Each action is accompanied by energy, passion and romance.
The appeal of the enthusiastic fighter Reabinin is also vibrant: "Yes... we didn't even have time to realize how our busy youth passed... But you must be better than us; at your age, you know more than we, once children."„
Distribution:
Stepan Reabinin: Ion Vilcu
Elena and Natasha Loghinova: Alla Tautu
Nikolai Sergeevich Loginov: Eugen Tugulea, Constantin Simionescu
Anton: Andrei Bursaci
Efimcic: George V. George
Ocicare: Marcel Segărceanu
Dasha: Florica Veres
Fedya: Jean Sandulescu
Marusya: Doina Ioja Vasiu
Evdokia Petrovna: Stefania Popescu
Ivan Egorovich Soroh: Zacharias Volbea
Vasya: Eugen Nagy
Nadia: Doina Urlățeanu
Bariba: Grig Schiţcu
Artistic director: Dorel Urlăţeanu Decor: Gheorghe Oriold Costumes: Eliza Popescu
Premiere date: March 9, 1957
In "The Recipe for Happiness", as in other comedies by Aurel Baranga, the characters are defined by professional and marital coordinates. Marin Vuia is a simple man, who through honest work has obtained a position as a director. However, he does not have enough spiritual resources to resist the various temptations he encounters: he becomes conceited, harsh with subordinates, indifferent to friends and is ready to leave his wife, Eliza, for the sake of an affair with the tempting Ina. His drama therefore reaches multiple levels.
Engineer Dan Voinescu also shares the illegitimate love for Ina, but at the decisive moment, he realizes that the true "recipe for happiness" lies in his own home, with Emilia.
As the play's director, Dorel Urlățeanu, states in the show's program booklet, the play shows that "the art of being happy" is built through the trust and appreciation of those around us, co-workers and family members; therefore, this art consists of modesty and the knowledge of valuing our fellow human beings, with their virtues and flaws.
Distribution:
Dan: Valentin Avrigeanu, Andrei Bursaci Ina: Doina Urlățeanu Alexander: Marcel Segărceanu Eliza: Lili Mihailescu Mara: Alla Tautu Andrew: Misu Vladimir Aurora: Doina Ioja Vasiu Marine: Zacharias Volbea Lucian: Grig Schiţcu Teresa: Florica Veres
The puppet scene from Act I was performed with the participation of the actors of the Oradea State Puppet Theater.
Artistic director: Valentin Avrigeanu Decor: Gheorghe Oriold
Premiere date: December 31, 1956
The action of the play "Titanic Waltz" takes place in a provincial town where Spirache, a clerk at the prefecture, leads a modest life with his family, consisting of his wife (Dacia), two sons (Traian and Decebal), two daughters (Miza and Gena, from a previous marriage) and his mother-in-law (Chiriachiţa). The family's only hope of enrichment is represented by the death of Uncle Tache, Spirache's brother. As Laura Pavel observes, the metaphorical title refers to the reversal of the situation that triggers the "waltz" of the play's family, love and political tribulations: the shipwreck of the ship Tracia (a parodic local version of the Titanic), in which Uncle Tache dies. As a result of the inheritance, the family rises in the social ladder, becomes wealthy, adopts aristocratic habits, and the women aspire to a deputy position for Spirache, being even ready to secretly buy this position.
A belatedly discovered testamentary clause mentions that Tache's fortune was not directed correctly, but that it should have been granted to the first heir, that is, Miza's newborn child, taken over by Gena, in order to save her sister's honor. The end of the play presents, in a mirror, the love stories of the two girls: Miza will marry Lieutenant Stamate, and Gena with Petru Dinu. It is also revealed that Spirache had known from the first moment about his daughters' loves and that he had arranged things in the happiest way possible (including inserting a false clause in the will). Thus, the character who is apparently the most erased and oppressed by the family turns out to be the most influential, and the play ends in the most perfect happy ending, with a photograph of the now happy family.
Distribution:
Spiracles: Dorel Urlăţeanu, Aurel Decu
Dacia: Lili Mihailescu
Chiriachiţa: Stefania Popescu
Stake: Alla Tautu, Lucy Chevalier
Gene: Cristina Tacoi
Trajan: Andrei Bursaci
Decebal: the student Traian Ilie
Peter Dinu: Eugen Nagy
Captain Stamatescu: Septimiu Pop, Jean Sandulescu
Radulescu-Nercea: Valentin Avrigeanu, Gheorghe V. Gheorghe
Emilian Procopiu: Misu Vladimir
Neighbor: Eugen Tugulea
A photographer: Radu Reisel
Maid: Elena Drozd, Rodica Schuller
Nurse: Doina Ioja Vasiu, Cornelia Brezeanu
Comedy in three acts by Alexei Arbuzov
Translation: Margareta Bărbuţă
Artistic direction: Corneliu Zdrehuş Scenography: Francisc Tóth
Premiere date: December 25, 1956
The poetic story of the comedy "Meeting with Youth" takes place at the headquarters of an experimental vegetable resort on the Kama River in the Soviet Union. The resort's director, Maxim Golubchin, has turned forty, leaving behind the enthusiasm of youth, when the whole world seemed to have opened its doors to him. From that creative impulse, Maxim slowly descended to the level of an idealless existence, to an attitude of self-sufficiency.
The events of the play demonstrate how Maxim rediscovers the true meaning of existence and regains his spiritual youth, but not alone; he finds his dreams and his old love, Mașa, and by his side are the young Alenca, Colea and Tosea Cijova, as well as his father, elderly but endowed with great spiritual freshness, Chiril Ivanovici.
Satirical comedy in three acts (eight scenes) by Jean-Paul Sartre
Translation: Aurel Baranga
Artistic direction: Corneliu Zdrehuş Decor: Marga Ene Bogdan Costumes: Hortenzia Mottl Musical direction: Mihai Vasilescu
Premiere date: November 21, 1956
Set at the crossroads of political theater and comedy, the play "The Shooting Club" takes place in the midst of the Cold War. Georges de Valera, an international swindler pursued by the police, poses as a Soviet minister who has fled to the West "to choose freedom." Endowed with a brilliant intelligence that allows him to inflict two hundred blows with impunity, he commits another illegality on which the entire action of the play is centered: he empties the pockets of the entire Parisian financial elite.
At the same time, he sells information to the editorial staff of a major French daily, "Soir à Paris", whose circulation is constantly decreasing and whose page dedicated to the anti-communist movement is in crisis of topics. The satire touches the creators of political lies, from journalists, councilors, deputies, to inspectors and policemen. The only character who remains safe from the satirical verve and laughter is Veronique, the daughter of a conservative journalist. She works for a progressive newspaper and, seduced by the charm and genius of George de Valera, will leave with him, perhaps to save him, perhaps to share his fate.
Distribution:
Jules Pallottin: Jean Sandulescu
Fifi: Lulu Popescu
Sibbiloth: Constantin Simionescu
Tavernier: Ion Vilcu
Périgord: Grig Schiţcu
Sheep: Misu Vladimir
The tramp: Lili Mihailescu
The Tramp: Alexandru Fierascu
George de Valera: Dorel Urlățeanu
Inspector Goblet: Radu Reisel
Veronica: Doina Urlățeanu
Unfinished: Valentin Avrigeanu
Lerminier: George V. George
Charivet: Septimiu Pop
Shepherd: Marcel Segărceanu
Baudouin: Eugen Tugulea
Chapuis: Andrei Bursaci
Madame Bonnoni: Stefania Popescu
Demidoff: Aurel Decu
An agent: Serban Bogdan
Another agent: Eugen Nagy
A guest: Alla Tautu
Another guest: Cristina Tacoi
Third guest: Doina Ioja Vasiu
Fourth guest: Eta Csoknyai
Guardian I: Vasile Zigre
Guardian II: Karoly Albert
A little boy: Gelu Ivascu
A nurse: Balazs Dajka
Second nurse: Mihai Culici
by William Shakespeare
Translation: Ion Frunzetti and Dan Duţescu
Artistic direction: Corneliu Zdrehuş Decor: Gheorghe Oriold Costumes: Hortenzia Mottl Fencing Master: János Szántay
Premiere date: October 6, 1956
Belonging to Shakespeare's first creative period, "The Comedy of Errors" is the shortest and among the most serene comedies of the English playwright. Aegeon, a merchant from Syracuse, is sentenced to death for stepping on the land of Ephesus, which is at war with Syracuse. Many years ago, Aegeon lost his family during a storm at sea and has been looking for them everywhere since then. From this family tragedy, the threads of a thrilling action begin, in which coincidences play an overwhelming role.
The two sons of the old man Aegeon, twin brothers, have been separated by fate since childhood. Fate also reserves an accidental reunion for them: Antipholus of Ephesus and Antipholus of Syracuse, together with their servants (also twins, of course), Dromio of Ephesus and Dromio of Syracuse, find themselves in Ephesus at the same time, to the amazement of the citizens and relatives. They believe that Antipholus and Dromio have gone mad or are possessed by evil spirits, since they move from one place to another as if by magic, they are irritated and do not understand anything that happens to them. The identity confusion culminates in the undeserved beating of both servants, the arrest of Antipholus of Ephesus and the imminent destruction of his marriage to Adriana.
When the tension seems to be reaching its peak, the Abbess of Ephesus, Emilia, unravels all the knots. She turns out to be Aegeon's long-lost wife, with whom he will find his happiness. In turn, Aegeon gains the forgiveness of the Duke of Ephesus, and the play ends with the image of the reunited family proclaiming their joy at being together again.
Distribution:
Solinus: Septimiu Pop
Aegeon: Eugen Tugulea
Antipholus of Ephesus: Alexandru Fierăscu, Eugen Nagy
Antipholus of Syracuse: George Tomescu
Dromio of Ephesus: Ion Vilcu
Dromio of Syracuse: Jean Sandulescu
Balthazar: Misu Vladimir
Angelo: Constantin Simionescu
A merchant: Valentin Avrigeanu
Second merchant: Marcel Segărceanu
Pinch: George V. George
Emilia: Stefania Popescu
Adriana: Alla Tautu
Luciana: Cristina Tacoi
Light: Doina Ioja Vasiu
A courtesan: Lulu Popescu
The officer: Grig Schiţcu
An executioner, a scoundrel and other companions
The action takes place in Ephesus.
Musical comedy in three acts (six scenes) by B. Dâhovicinâi and M. Slobodskoi
Translation: Sanda Diaconescu and Xenia Stroe
Song lyrics: Dorel Urlăţeanu
Artistic director: Dorel Urlăţeanu Sets: Gheorghe Oriold Music: Nikita Bogoslovski and Zoltán Matolcsi Choreographic arrangement: Ilona Tóth Kovács Musical direction: Zoltán Matolcsi
Premiere date: August 25, 1956
„"Love is No Joke" is a stage show, a light, entertaining musical comedy, full of liveliness and humor, sprinkled with unexpected situations. It presents in an optimistic and bright tone an aspect of the working and pleasure life of the youth of the Soviet Union. The characters are three boys and three girls who are cheerful and always up for pranks. Prepared to leave on a research expedition, the three students believe that love could tie them to a marriage that is incompatible with such a long separation. To their great surprise, they are conquered by the very love they wanted to joke about. In the end, all their fear of love and marriage proves unfounded, because their new life companions are also good companions on the great expedition.
Distribution:
Kostik: George V. George
Andrew: Jean Sandulescu
Mark: Marcel Segărceanu
Professor Simelnikov: Constantin Simionescu
Zoya: Eliza Plopeanu, Silvia Tabacu
Nastenka: Cristina Tacoi
Olive: Doina Ioja Vasiu
Alexandra Fyodorovna: Stefania Popescu
Artistic direction: Corneliu Zdrehuş Scenography: Francis Demeny
Premiere date: May 16, 1956
The play "Our Heart" is about the socialist transformation of the Romanian village; the action takes place in a village in Moldova, in the house of the peasant Grigore Hîncu, a space of fierce personal confrontations unfolding against the backdrop of unprecedented historical changes. Against the will of the family, Grigore Hîncu marries his daughter Ioana to Costea, the son of a peasant. Deceived by illusory well-being and loving Costea, Ioana marries without appreciating the love that Voicu, a young foreman from the newly established collective farm, bears her. Grigore Hîncu's family gradually falls apart. Costea proves to be a harsh, brutal, heartless husband. At the cost of great suffering and seeing the abundance and joy of the collective farmers, the father and daughter realize that this is the new direction to follow.
Distribution:
Grigore Hâncu: Alexandru Fierascu, George Tomescu
Rafira: Lulu Popescu
Joanna: Cristina Tacoi
Nica: George V. George
Ghita: Ion Vilcu
Radar: Stefania Popescu
It cost: Septimiu Pop
Florea Popa: Aurel Decu
Peacock: Alla Tautu
Rarity: Eliza Plopeanu, Doina Ioja Vasiu
Voice: Eugen Tugulea
AWARDS (National Drama Decade, Bucharest, 1956)
– First Prize for Female Performance: Cristina Tacoi
– Third Prize for Performance: entire cast
– Third Prize for Direction: Corneliu Zdrehuş
MENTIONS:
– Eliza Plopeanu, Ion Vîlcu, Demény Francisc
In the most perfect spirit of communist ideology, the play "The Advancement of the Chief" aims to demonstrate how the new man, trained and educated by the party, can bring a breath of fresh air even in the most remote sector of activity: a provincial train station. The old chief Vasile Bîrcă governs the train station as he pleases, wanting at all costs to advance in the Directorate. The symbol of his attitude stuck in the past are the mill wagons, which he keeps blocked on a line, for personal gain. He is opposed by Ion Ionescu, a former acar, who through hard work and education has become an employee of the movement; the railway workers at the station support him, seeing in him a man of modern times, who wants to establish a regime of honesty and fairness. The end of the play rewards their struggle, as the employee Ionescu is promoted to the position of station chief, and the wagons are unblocked, leaving the line free.
Distribution:
Ion Ionescu: Marcel Segărceanu
Victoria Visinoiu: Alla Tautu
Vasile Barca: Constantin Simionescu
Boat Poop: Lulu Popescu
Gavril Motroasca: Ion Vilcu
Costișor Gâzulice: Jean Sandulescu
Napoleon Baltanouiu: Misu Vladimir
Manole Boboşca: George V. George
Grigore Văluriş: Eugen Tugulea
Anisoara Procopiu: Doina Ioja Vasiu
Teodor Barca: Aurel Decu
merchant: Grig Schiţcu
Cepherist I: Alexandru Fierascu
Cepherist II: Eugen Nagy
Cepherist III: George Tomescu
Author: K. Treniov
Translation: Traian Niţescu and Ludmila Bucşan
Artistic director: Radu Penciulescu Sets: Gheorghe Oriold Costumes: Adriana Leonescu
Premiere date: December 28, 1955
1905. In a provincial town in the vastness of Russia, the historical upheavals that will shape the life of the country for almost a century begin to be foreshadowed. Treniov's high school students, "helmsmen of the future revolution" are imbued with the significance of the era. They are ready to set off to fight for the overthrow of the old orders and the establishment of a new regime, assuming all the risks: they will be humiliated, expelled, perhaps imprisoned or deported to Siberia. Going through a complex process of clarification, Olga becomes, together with Pavel and George, the soul of the illegal circle of students, who organize and lead their struggle. The performance highlights the path that the group of students will take from the "conspiracy game" in the first scene to declaring a strike and joining the workers' struggle. Beyond the atmosphere strongly impregnated with communist ideology, the play preserves its revolutionary romantic spirit intact.
Distribution:
Leagushev: Ion Vilcu
Adamov: Constantin Simionescu
Sardanapalenko: Septimiu Pop
Braghin: Valentin Avrigeanu
Father Myron: Andrei Vajda
Khreashchev: Eugen Tugulea
Prozorovskaya: Maria Vasilescu
Karaseva: Lulu Popescu
Jugov: Misu Vladimir
Victor: George Tomescu
Chernitsikin: Aurel Decu
Olga: Cristina Tacoi
Irina: Alla Tautu
Voronina: Stefania Popescu
Paul: Eugen Nagy
It was going: Eliza Plopeanu
George: George V. George
Butenko: Grig Schiţcu
Pijov: Jean Sandulescu
Artichoke: Alexandru Fierăscu, Valentin Avrigeanu
A police commissioner: Grig Teodorescu
A student from the lower grades: Nicholas Barosan (debut as a student)
A guard: Anton Popa
Artistic direction: Corneliu Zdrehuş Scenography: Charles Kudelász Costumes: Hortenzia Mottl
Premiere date: November 26, 1955
A major achievement of Caragiale, the comedy "A Lost Letter" demonstrates, by exploiting the valences of hilarity, like the sketch "Telegrams", that the dispute actually involves not differences in ideological principles, but only petty personal interests; as soon as these are covered, the conflict subsides.
The plot captures an event that seems minor, but which is ready to shake everyone's security: Zoe Trahanache inadvertently loses a love letter she received from the county prefect, Ştefan Tipătescu. Reaching the hands of Nae Caţavencu through the torment of the anonymous voter, the letter becomes an object of blackmail. After stirring up everyone's spirits, the letter returns to the possession of the Tormented Citizen, who, a former "postman", returns it to the "andrisant", that is, to Zoe. The critic Pompiliu Constantinescu appreciates in "Scrieri elese" that "the classical symmetry of the plot is Molieresque". There are two similar letters in the play: that of Tipătescu to Zoe - with a circular meaning and that of a "beaker" from an important person - with a unique meaning. The letter itself becomes a presence, an animated object, but also a symbol of power, of hidden immorality, of restless conscience.
The political conflict of the play is motivated by the circumstances in which the action is set: in 1883, when the issue of revising the Constitution was raised and elections for deputies were organized. The local organization of the government party, chaired by Zaharia Trahanache, supports the candidacy of lawyer Tache Farfuridi. Having the exponents of key institutions alongside them: the prefecture-through Ștefan Tipătescu and the police-through Ghiță Pristanda, the party has a chance to win. At the opposite pole is the independent (dissident) group, led by Nae Caţavencu. In the end, when the letter is found, Caţavencu, threatened, after a humiliating fall to his knees, admits that he forged the letter; moreover, he is forced to lead the celebration organized in honor of the election as deputy of Agamemnon Dandanache, sent from the center, an amalgam of stupidity, cunning and hypocrisy.
Distribution:
Stefan Tipatescu: Valentin Avrigeanu
Agamemnon Dandanache: George Tomescu
Zacharias Trahanache: Aurel Decu
Tache Farfuridi: Ion Vilcu
Iordache Branzovenescu: George V. George
Nae Catavencu: Constantin Simionescu
Ionescu: Alexandru Fierascu
Pope: Eugen Tugulea
Ghita Pristanda: Misu Vladimir
A tormented citizen: Grig Schiţcu
Zoe Trahanache: Lulu Popescu
A son, voters, citizens and the public
Technical direction – Dalma Simionescu
Prompter – Cornelia Brezescu
In the novel "Maitreyi" the autobiographical component is essential; however, the novel does not summarize Eliade's life in India, but rather artistically capitalizes on an episode of it. The young European engineer Allan, employed in Calcutta, meets the renowned engineer Narendra Sen, the father of Maitreya, a poet appreciated in Bengali intellectual circles at only sixteen years old. The erotic attraction between the two gradually insinuates itself, Allan discovering in the girl's love a completely new expression of eros. Upon discovering the relationship between the two, Allan is banished, and Maitreyi gives herself to an apple seller, only to be banished by her parents as well.
The theatrical version captures the key moments of this fascinating story, integrating numerous images of traditional India: with its rituals (wedding, prayer, funeral) and its beliefs, so picturesque to the European eye.
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The storage or technical access is strictly necessary for the legitimate purpose of enabling the use of a specific service explicitly requested by the subscriber or user, or for the sole purpose of carrying out the transmission of a communication over an electronic communications network.
Preferences
The technical storage or access is necessary for the legitimate purpose of storing preferences that are not requested by the subscriber or user.
statistically
The technical storage or access that is used exclusively for statistical purposes.Technical storage or access that is used solely for anonymous statistical purposes. Without a subpoena, voluntary compliance from your internet service provider, or additional records from a third party, information stored or retrieved for this purpose alone cannot usually be used to identify you.
Marketing
Storage or technical access is necessary to create user profiles for the purpose of sending advertising, or to track the user across a website or across multiple websites for similar marketing purposes.
