by Eduardo de Filippo
\nTranslation: Angela Ioan<\/p>\n
Artistic direction and scenography: Mihai Lungeanu<\/strong> \u201e"The "Art of Comedy" is constituted in a dramaturgical, apologetic essay, in a discourse for home <\/strong>through which art, giving up its fictional props and donning the untransfigured garment of reality, tries to emerge from behind the curtain of indifference to occupy its central place in the sphere of human concerns. This is not an easy thing to achieve because, yesterday as today, those who direct power are in a bad relationship with the idea, with transcendence. (\u2026)<\/p>\n The first half of the play, set in the office of a new prefect in a provincial town, shows us His Excellency de Caro, the prefect, Giacomo Franci, his secretary, and Veronesi, the doorman, who are forced to endure the visit of an actor, the director of a theater troupe, Oreste Campese. Thus begins a long and rather theoretical dialogue \u2013 sometimes even didactic \u2013 about theater, about the social condition of the actor, about the causes of the crisis in which theater finds itself. (\u2026)<\/p>\n This first part, with all its plea in defense of theatrical art, is nothing more than a theorem whose artistic solutions will be solved in the second part. Oreste Campese did not come to the new prefect to request small material facilities, but to invite him to the theater, thus setting a good example for the other inhabitants. However, the prefect \u2013 although he played theater in his youth \u2013 no longer has time for such trifles, he has the high mission of administering the temporal things of everyday reality. Annoyed by this refusal, the director of the small troupe \u2013 whose theater has just burned down \u2013 draws the prefect's attention to the lessons that can be learned from theatrical art, even for his earthly concerns. He also does not forget to draw his attention to the fact that he managed to save a few beards, mustaches, and the makeup kit from the fire and that \u2013 taking the list of names of those registered in the audience \u201eby chance\u201d \u2013 he could send him the disguised actors, and the prefect would not be able to distinguish them from the real people. (\u2026) From this moment on, through the entry into the scene\/reality of Dr. Quinto Basseti, Father Salvati, Teacher Lucia Petrella, and the sacristy, the play demonstrates the validity of the well-known phrase of art \u2013 mirror of life. Mixing in indecipherable doses the realism of art with the fiction of reality, the play makes it impossible for us to distinguish art from life, a moment tense to the maximum by the real death, faked \u2013 we do not know \u2013 of the pharmacist. Art and life join hands in a chain whose limits cannot and should not be drawn. So, as much art, as much life and\u2026 vice versa.\u201d (Ioan F. Pop in \u201eNoua Gazet\u0103 de Vest\u201d, no. 147, Year III (no. 44), November 2 \u2013 8, 1994)<\/p>\n Distribution:<\/p>\n His Excellency the Diamond:\u00a0 Eugen Harizomenov<\/strong> Technical director: Florin Popescu de\u00a0 Eduardo de Filippo Traducerea: Angela Ioan Regia artistic\u0103 \u015fi scenografia:\u00a0 Mihai Lungeanu Data premierei:\u00a0 22 septembrie 1994 \u201e\u00abArta comediei\u00bb se constituie \u00eentr-un eseu dramaturgic, apologetic, \u00eentr-un discurs pro domo prin care arta, renun\u021b\u00e2nd la recuzita fic\u021bional\u0103 \u0219i \u00eembr\u0103c\u00e2nd haina netransfigurat\u0103 a realului, \u00eencearc\u0103 s\u0103 ias\u0103 de dup\u0103 cortina indiferen\u021bei pentru a-\u0219i ocupa locul central […]<\/p>\n","protected":false},"featured_media":0,"template":"","meta":{"_acf_changed":false},"categorie-arhiva":[494],"class_list":["post-10250","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
\nPremiere date: September 22, 1994<\/p>\n
\nGiacomo Franci:\u00a0 Dorin Presecan<\/strong>
\nVeronese:\u00a0 Tiberiu Covaci<\/strong>
\nOreste Campese:\u00a0 Ion Tomorrow<\/strong>
\nQuinto Bassetti:\u00a0 Ion Abrudan<\/strong>
\nFather Salvati:\u00a0 Petre Panait<\/strong>
\nLucia Petrella:\u00a0 Ileana Iurciuc<\/strong>
\nGerolamo Pica:\u00a0 Eugen Tugulea<\/strong>
\nA mountaineer:\u00a0 Marcel Popa<\/strong>
\nHis wife:\u00a0 Mariana Presecan<\/strong>
\nA paraclyser:\u00a0 George Voinese<\/strong><\/p>\n
\nPrompter: Iuliana Chelu
\nLighting: Iosif Balogh, Laviniu Goron
\nSound: Sorin Domide<\/p>","protected":false},"excerpt":{"rendered":"