Play by Antonio Gala
\nTranslation: Alina Cambir
\nFirst in the country<\/p>\n
Artistic director: Anca Bradu <\/strong> The debate that playwright Antonio Gala proposes in the modern tragedy "Birds' Graveyard" demonstrates that, just as there is an indestructible link between man's desire for freedom and his fear of it, much-coveted freedom, understood from an individual perspective, can easily become a danger, even a new tyranny.<\/p>\n A closed, suffocating space, devoid of light and perspective. This is the house of the Aguayos family \u2013 a family where hatred, contempt and suspicion reign, where the very idea of freedom and flight is annulled by the existence in the setting of a collection of stuffed birds by an omnipresent and dictatorial old man, mercilessly crushing any spark of will or personality in those around him. The sons \u2013 Deogracias and Nicodemo, already almost old themselves, are two weak beings, puppets with a questionable sense of ethics, helpless and irresponsible. Their wives are also weak, resigned creatures, living in illusions, but at least once in their lives, they know the extraordinary taste of freedom: in the end, Emilia will kill Miguel, the old man's illegitimate son, witness to all the antics that have taken place in the house, proving to herself that she is capable of action, even a horrible one; Martina, at fifteen, before being raped by the old man, gives herself to the first stranger who comes her way.<\/p>\n The celebration of Deogracias' sad silver wedding with Emilia becomes the occasion for a plot against this tyrannical "pater familias", like a tireless genius of evil. The song "Happy Birthday" coincides with the pouring of poison into the old man's glass, but he plays a trick on everyone by dying before drinking, leaving them without a deed, only with the oppressive sin of intention. The news of the old man's death triggers a kind of revolution in the Aguayos house and everything is engulfed in a purifying fire in which the infamous collection of stuffed birds also burns. Having emerged from the old man's dictatorship, the residents of the house are faced with a new existential difficulty: "I have come out of one tyranny, I am not willing to enter another; the tyranny of freedom is worse." (Emilia). From the grave, the old man deals one last blow to the family members, disinheriting his sons and leaving everything to Miguel and Laria. This one, like a living, graceful, delicate bird, will leave, but will she find her place in the outside world? Is this world clean enough? Or is Laria herself spotless? However, she will give birth to a child, perpetuating the miracle of life and leaving room for hope, however frail and uncertain.<\/p>\n Distribution:<\/p>\n Emilia:\u00a0 Mariana Vasile<\/strong> The original music of the show was performed by the Oradea State Philharmonic Orchestra, under the direction of conductor Romeo R\u00eembu. Technical director: Eugenia Popa ","protected":false},"excerpt":{"rendered":" Pies\u0103 de teatru de Antonio Gala Traducerea: Alina Cambir Pemier\u0103 pe \u0163ar\u0103 Regia artistic\u0103:\u00a0 Anca Bradu Scenografia:\u00a0 Vioara Bara Data premierei:\u00a0 10 februarie 1994 Dezbaterea pe care o propune dramaturgul Antonio Gala \u00een tragedia modern\u0103 \u201eCimitirul p\u0103s\u0103rilor\u201d demonstreaz\u0103 c\u0103, dup\u0103 cum exist\u0103 o leg\u0103tur\u0103 indestructibil\u0103 \u00eentre dorin\u021ba de libertate a omului \u0219i teama de ea, […]<\/p>\n","protected":false},"featured_media":0,"template":"","meta":{"_acf_changed":false},"categorie-arhiva":[494],"class_list":["post-10246","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: Vioara Bara<\/strong>
\nPremiere date: February 10, 1994<\/p>\n
\nMartina:\u00a0 Mariana Neagu<\/strong>
\nThanks:\u00a0 Ion Tomorrow<\/strong>
\nNicodemus:\u00a0 Ion Abrudan<\/strong>
\nMichael:\u00a0 Dorin Presecan<\/strong>
\nLaria:\u00a0 Elvira Platon R\u00eembu<\/strong>, Lioara Bradu<\/strong><\/p>\n
\nThe performer of the aria for cello and guitar: Maria Trendler.<\/p>\n
\nPrompter: Florence Szabo
\nLighting: Vasile Blejan, Iosif Balogh, Laviniu Goron
\nSound: Sorin Domide<\/p>\n