show-coup\u00e9<\/p>\n
Artistic director: Magda Bordeianu<\/strong> Picnic on the battlefield<\/strong> Distribution: At the end of the war, the Emperor wishes to celebrate his victory over his fiercest enemy with a grand celebration in the city. On the way to the festivities, he meets the poor Beggar, glued to the ground, sadder than ever after the loss of his only companion, his faithful dog. In the spirit of victory, the Emperor wants to prove his magnanimity by allowing himself a conversation with the humble Beggar.<\/p>\n Thus begins an exceptional debate between ruler and subject, a lesson about rich and poor, a clash between two worlds, an inspired dialogue about history, truth and life. But are the two really conversing, or are they just holding two parallel monologues, passing each other by? The answer remains a mystery, as do the answers to the tormenting questions: what does it really mean to be a master, to rule over people? Is there history? Is the beggar a stoic sage or a fool? Who sees the situation clearly? And what does clairvoyance mean, after all?<\/p>\n Only at the end of the play do the audience understand that the Beggar is blind. Which raises another question: Would the Beggar have spoken the same way if he had known who he was talking to?<\/p>\n The beggar or the dead dog<\/strong> At the end of the war, the Emperor wishes to celebrate his victory over his fiercest enemy with a grand celebration in the city. On the way to the festivities, he meets the poor Beggar, glued to the ground, sadder than ever after the loss of his only companion, his faithful dog. In the spirit of victory, the Emperor wants to prove his magnanimity by allowing himself a conversation with the humble Beggar.<\/p>\n Thus begins an exceptional debate between ruler and subject, a lesson about rich and poor, a clash between two worlds, an inspired dialogue about history, truth and life. But are the two really conversing, or are they just holding two parallel monologues, passing each other by? The answer remains a mystery, as do the answers to the tormenting questions: what does it really mean to be a master, to rule over people? Is there history? Is the beggar a stoic sage or a fool? Who sees the situation clearly? And what does clairvoyance mean, after all?<\/p>\n Only at the end of the play do the audience understand that the Beggar is blind. Which raises another question: Would the Beggar have spoken the same way if he had known who he was talking to?<\/p>\n Distribution: Technical director: Dalma Simionescu \u00a0<\/p>","protected":false},"excerpt":{"rendered":" Spectacol-coup\u00e9 Regia artistic\u0103:\u00a0 Magda Bordeianu Scenografia:\u00a0 Valeriu Cristian Data premierei:\u00a0 23 februarie 1980 Picnic pe c\u00e2mpul de lupt\u0103 de Fernando Arrabal Traducerea: Alexandru Baciu Distribu\u0163ia: Zapo:\u00a0 Mircea Constantinescu Domnul Tepan:\u00a0 Liviu Rozorea Doamna Tepan:\u00a0 Anca Miere Chiril\u0103 Zepo:\u00a0 Radu Vaida La terminarea r\u0103zboiului, \u00cemp\u0103ratul dore\u0219te s\u0103 celebreze victoria asupra celui mai aprig du\u0219man al s\u0103u […]<\/p>\n","protected":false},"featured_media":0,"template":"","meta":{"_acf_changed":false},"categorie-arhiva":[494],"class_list":["post-10142","arhiva","type-arhiva","status-publish","hentry","categorie-arhiva-unsorted"],"aioseo_notices":[],"aioseo_head":"\n\t\t\n\t\n\t\n\t\n\t\n\t\t\n\t\t\n\t\t\n\t\t\n\t\t\n\t\t\n\t\t\n\t\t\n\t\t\n\t\t\n\t\t\n\t\t\n\t\t\n\t\t\n\t\t\n\t\t\n\t\t\n\t\t\n\t\t
\nScenography: Valeriu Cristian<\/strong>
\nPremiere date: February 23, 1980<\/p>\n
\nby Fernando Arrabal
\nTranslation: Alexandru Baciu<\/p>\n
\nZapo:\u00a0 Mircea Constantinescu<\/strong>
\nMr. Tepan:\u00a0 Liviu Rozorea<\/strong>
\nMrs. Tepan:\u00a0 Anca Miere Chiril\u0103<\/strong>
\nZepo:\u00a0 Radu Vaida<\/strong><\/p>\n
\nby Bertolt Brecht
\nTranslation: Petre Stoica<\/p>\n
\nThe Emperor:\u00a0 Radu Vaida<\/strong>
\nThe beggar:\u00a0 Liviu Rozorea<\/strong><\/p>\n
\nPrompter: Florence Szabo
\nLighting: Vasile Blejan
\nSound: Dumitru Olea<\/p>\n