by Frank Wedekind
\nTranslation: Simion Danila
\nNational premiere<\/p>\n
Artistic direction: Laurian Oniga<\/strong> Considered by critic Mircea Morariu as a character study, the play "The Master Singer" resumes the debate on the issue of the artist's condition in society. "The modernity of the text lies in the very special way in which the theme is presented. Gerardo, the protagonist of the play, is no longer the marginalized artist, the misunderstood aspirant to celebrity, condemned to fight to affirm his value; a Wagnerian singer of great talent, he is a public idol, a kind of "luxury item" for the fashionable world, a slave to success that leads him to dehumanization. He is a simple puppet performing a mechanical ballet meant to show him in a counterfeit grandeur to the superficial and blas\u00e9 world that idolizes and devours him. The self-imposed vitality, the controlled arrogance, the false halo that make him remain under the glass bell that suffocates his personality, counterpointed by the encounter with the "intruders" who threaten the hero's safety and inhuman coldness, create a nightmarish atmosphere around him." (Mircea Em. Morariu in "Steaua" no. 3\/1988).<\/p>\n \u201e"Assailed by admirers \u2013 from excited girls to fellow actors who would like to establish an artistic dialogue, making him the depositary of their trust \u2013 Gerardo proves incapable of any relationship, the brilliant interpreter of Tristan, Tannh\u00e4user or Siegfried being in "civilian" a depersonalized individual, subject to the point of slavery to contracts, professional obligations, conventions of all kinds that not only take up every bit of his time, but have annihilated him spiritually, confining him to a simply amoral egoism. In fact, the play consists of three revelatory encounters for the configuration of the titular hero (as an emotional handicapper, executioner and victim at the same time), and decisive for the three partners, namely a teenage girl who confuses the character with the interpreter, letting herself be seduced by the brilliance of the former and ready to fall into the arms of the latter; an old, unfulfilled musician \u2013 eager to obtain an authoritative opinion on his work, to break the wall of indifference that he has been struggling against for a lifetime; and a woman in her prime who loves him totally, irreducibly and, in the end, fatally. In each of the three dialogues, Gerardo will prove incapable of communication and understanding. Lucid at times (\u201eWe, the artists, are a luxury item of the bourgeoisie\u201d), sketching a timid protest (\u201eMy chains are tighter than the harness of a carriage horse\u201d), but ultimately converting everything into vanity and self-admiration (\u201eI do not belong to myself, I belong to my art\u201e), he persists with delight in voluntary slavery where there is no room for either love or understanding.\u201d (Dumitru Chiril\u0103 in \u201dFamilia\u201e, March 1988).<\/p>\n Distribution:<\/p>\n Gerardo:\u00a0 Daniel Vulcu<\/strong> Technical director: Elena Varlam de Frank Wedekind Traducerea:\u00a0 Simion D\u0103nil\u0103 Premier\u0103 pe \u0163ar\u0103 Regia artistic\u0103:\u00a0 Laurian Oniga Scenografia:\u00a0 Maria Mali\u0163a Coloana sonor\u0103:\u00a0 Mircea Piciu Data premierei:\u00a0 2 februarie 1988 Considerat\u0103 de criticul Mircea Morariu drept un studiu de caracter, piesa \u201eMaestrul c\u00e2nt\u0103re\u021b\u201d reia dezbaterea problemei condi\u021biei artistului \u00een societate. \u201eCaratele de modernitate ale textului constau \u00een modul cu totul […]<\/p>\n","protected":false},"featured_media":0,"template":"","meta":{"_acf_changed":false},"categorie-arhiva":[494],"class_list":["post-10205","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: Maria Mali\u0163a<\/strong>
\nSoundtrack: Mircea Piciu<\/strong>
\nPremiere date: February 2, 1988<\/p>\n
\nMrs. Helena Marowa:\u00a0 Eniko Kovacs<\/strong>
\nProfessor D\u00fchring:\u00a0 Marcel Seg\u0103rceanu<\/strong>
\nMiss Isabel Koeurne:\u00a0 Lioara Bradu<\/em>
\nVoices:
\nMuller:\u00a0 Marcel Popa<\/strong>
\nThe servant:\u00a0 Nicolae Barosan<\/strong>
\nThe lift driver:\u00a0 George Voinese<\/strong><\/p>\n
\nPrompter: Florence Szabo
\nLighting: Vasile Blejan, Iosif Balogh
\nSound: Alexandru Tudose<\/p>","protected":false},"excerpt":{"rendered":"