show-coup\u00e9
\nPremiere date: December 5, 1984<\/p>\n
Water<\/strong> by Dumitru Solomon A theoretician calls two philosophers into a flooded cellar to debate a solution to get out of the closed space. Exiting through the door is possible, but completely excluded from the beginning. This is the situational pretext imagined by Dumitru Solomon to create a parable about \u201ethe process of the birth and proliferation of an aberrant psyche in the face of a radical danger that threatens a collectivity. Following in the footsteps of D\u00fcrrenmatt, Ionescu or Max Frisch, Solomon follows the phases of the process \u2013 from the generalized nonsense that forgets the meaning and purpose for the sake of speculation itself, to the stubborn refusal of the evidence. And which projects, from a certain moment, with violence, human beings into a primary zoological kingdom\u201d (Valentin Silvestru, \u201eRomania literar\u0103\u201d, January 3, 1985). Through conceptual oppositions (culture\/humanism), the play captures in poetic accents man's struggle to preserve his humanity unaltered, despite the adverse conditions of existence.<\/p>\n Distribution: Technical direction and prompter: Florence Szabo Show distinguished with: The Gates (Bright Week)<\/strong> by Mihai Saulescu \u201eThe Gates\u201d is an adaptation of the symbolist play \u201eThe Bright Week\u201d by Mihai S\u0103ulescu, whose pretext is the popular belief that only those who die during this spiritual interval can be forgiven all their sins. In this case, the dying man is a robber, surrounded by the Mother, the Guard and the Priest. As Marian Popescu noted in the December 21, 1984 issue of the magazine \u201eFlac\u0103ra\u201d, \u201eas in Maeterlinck\u2019s theatre (\u201dThe Intruder\u201d, for example), death is a corrosive presence.\u201d The agony is unbearably prolonged, in a terrifying atmosphere, full of fear and obscure allusions. The tragic ceremonial ends with a so-called useful crime, without the perpetrators being absolved of their own darkness. Absolving the dying man of sins does not mean that everyone is innocent\u2026<\/p>\n Distribution: Technical director: Maria Goina AWARDS: \u00a0<\/p>\n \u00a0<\/p>","protected":false},"excerpt":{"rendered":" Spectacol-coup\u00e9 Data premierei:\u00a0 5 decembrie 1984 Apa de\u00a0 Dumitru Solomon Regia artistic\u0103:\u00a0 Victor Ioan Frunz\u0103 Scenografia:\u00a0 Adriana Grand Un teroretician cheam\u0103 \u00eentr-o pivni\u0163\u0103 inundat\u0103 doi filosofi pentru a dezbate o solu\u0163ie de a ie\u015fi din spa\u0163iul \u00eenchis. Ie\u015firea pe u\u015f\u0103 e posibil\u0103, dar exclus\u0103 cu des\u0103v\u00e2r\u015fire de la \u00eenceput. Acesta este pretextul situa\u0163ional imaginat de […]<\/p>\n","protected":false},"featured_media":0,"template":"","meta":{"_acf_changed":false},"categorie-arhiva":[494],"class_list":["post-10179","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
\nArtistic director: Victor Ioan Frunz\u0103<\/strong>
\nScenography: Adriana Grand<\/strong><\/p>\n
\nX:\u00a0 Daniel Vulcu<\/strong>
\nY:\u00a0 Nicolae Barosan<\/strong>
\nZ:\u00a0 Dan Badarau<\/strong>
\nThe child:\u00a0 Robi Bordas<\/em><\/p>\n
\nLights: Iosif Balogh
\nSound: Valentin Bodonea<\/p>\n
\n-Grand Prize
\n-Directing Award at the Short Theatre Week, 6th edition (Oradea, 1984)<\/p>\n
\nStage adaptation and artistic direction: Alexandru Darie<\/strong>
\nAssistant director: Cristian \u015eofron<\/strong>
\nScenography: Maria Miu<\/strong><\/p>\n
\nParent:\u00a0 Mariana Vasile<\/strong>
\nSon:\u00a0 Emil Sauciuc<\/strong>
\nThe guard:\u00a0 Nicholas Thomas<\/strong>
\nThe priest:\u00a0 Cristian Sofron<\/strong><\/p>\n
\nPrompter: Iuliana Chelu
\nLighting: Vasile Blejan, Iosif Balogh
\nSound: Valentin Bodonea<\/p>\n
\n-Mariana Vasile was awarded the F\u00e1klya Newspaper Award for her performance at the 6th edition of the Short Theatre Week (Oradea, 1984)<\/p>\n