by DRPopescu
\nAbsolute premiere<\/p>\n
Artistic direction and scenography: Sergiu Savin<\/strong> A thematic continuation of the plays "The Balcony", "Skakespeare's Bird" and "Like the Mulberry Leaf in Heaven", "Sleeping on a Snake" is a drama of conscience that raises the same questions about the need for truth in interpersonal relationships. The development of the conflict is passionate, including murders, attempted murders, adultery, and consuming loves, but the emphasis is not on the epic, but on the ethical.<\/p>\n Ilarie, a former revolutionary and hydroelectric power plant builder, has abandoned his ambitions and ideals, taking refuge in a world of torpidity, guilt, and perverted values. He is married to the much younger Ella, who has an illicit love affair with Tavi. Re-enacting the mythical triangle Agamemnon-Clytemnestra-Aegisthus, the young people plot and carry out the murder of their old husband. However, as Ion Cocora (Tribuna, September 24, 1987) notes, the crime cannot be entirely justified by the passion of adulterous love, but is favored by an existential climate degraded in all its levels. However, beyond the omnipresent guilt, the unpredictable trajectories, the deformations and aberrations, through love, the two access a state of grace that allows them to see and speak the truth.<\/p>\n As in any polysemantic creation, the subject of the play is the "base of access to the symbolic plane" (Marian Popescu, in the program of the show). The equivocation is introduced from the beginning, through the three subtitles of the play ("The bed of fire", "The man who brings snow", "On this green seashore"), which testify to both its poetic valences and polemical intentions. The biblical allusion is not missing from the title either, referring to the existential condition of man after the loss of paradise. "To sleep on a snake can mean living in guilt and unconsciousness, outside moral laws, to be in ethical disorder, in imbalance, to deviate from the elementary obligations imposed by the norms of behavior, to cheat one's existence, degrading it into lies, compromises and cowardice." (Marian Popescu, in the program of the show).<\/p>\n Distribution:<\/p>\n Hilarie:\u00a0 Eugen Tugulea<\/strong> Technical director: Elena Varlam de D.R.Popescu Premier\u0103 absolut\u0103 Regia artistic\u0103 \u015fi scenografia:\u00a0 Sergiu Savin Asistent regie:\u00a0 Eugen Harizomenov \u015fi \u015etefan Farkas Pictur\u0103 \u00een decor:\u00a0 Maria Minchevici Data premierei:\u00a0 8 iulie 1987 Continuare tematic\u0103 a pieselor \u201eBalconul\u201d, \u201ePas\u0103rea Skakespeare\u201d \u0219i \u201eCa frunza dudului din rai\u201d, \u201eDormind pe un \u0219arpe\u201d este o dram\u0103 a con\u0219tiin\u021bei care ridic\u0103 acelea\u0219i \u00eentreb\u0103ri despre nevoia […]<\/p>\n","protected":false},"featured_media":0,"template":"","meta":{"_acf_changed":false},"categorie-arhiva":[494],"class_list":["post-10198","arhiva","type-arhiva","status-publish","hentry","categorie-arhiva-unsorted"],"aioseo_notices":[],"aioseo_head":"\n\t\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\n\t\t
\nAssistant director: Eugen Harizomenov and <\/strong>STEFAN <\/strong>Farkas <\/strong>
\nDecorative painting: Maria Minchevici<\/strong>
\nPremiere date: July 8, 1987<\/p>\n
\nAnton:\u00a0 Ion Abrudan<\/strong>
\nGeorgette:\u00a0 Alla Tautu<\/strong>
\nDarcopol:\u00a0 Ion Tomorrow<\/strong>
\nElla:\u00a0 Cristina Schiopu<\/strong>
\nThank you:\u00a0 Marcel Seg\u0103rceanu<\/strong>
\nTrays:\u00a0 Petre Panait<\/strong>
\nCapisizu:\u00a0 Laurian Jivan<\/strong><\/p>\n
\nPrompter: Iuliana Chelu
\nLighting: Vasile Blejan, Iosif Balogh
\nMusical illustration and sound design: Marius Munteanu<\/p>","protected":false},"excerpt":{"rendered":"