{"id":9498,"date":"2012-06-06T15:28:47","date_gmt":"2012-06-06T15:28:47","guid":{"rendered":"https:\/\/teatrulreginamaria.ro\/2012\/06\/06\/hateganu-maria\/"},"modified":"2012-06-06T15:28:47","modified_gmt":"2012-06-06T15:28:47","slug":"maria-hateganu","status":"publish","type":"arhiva","link":"https:\/\/www.teatrulreginamaria.ro\/en\/arhiva\/hateganu-maria\/","title":{"rendered":"Hateganu, Maria"},"content":{"rendered":"

Set designer painter<\/p>\n

Date and place of birth: 06.03.1940, Ianova<\/p>\n

Studies: "Nicolae Grigorescu" Institute of Fine Arts, Bucharest, prof. Mihai Tofan, Alexandru Br\u0103t\u0103\u015fanu, Paul Bortnovski<\/p>\n

A stage painter and designer with excellent studies at the "Nicolae Grigorescu" Institute of Fine Arts in Bucharest, Maria Ha\u0163eganu (for a while, after marriage, she also signed Birea), began her professional activity at the State Theatre in Oradea right after graduation (1965), and remained there all her life, until her death, which unfortunately occurred when she could still have worked. She signed the sets and costumes for dozens and dozens of shows at the two sections of the theatre. In recent years, she has worked almost exclusively for the Hungarian section, to which she has devotedly attached herself. Her daughter, Florina Bellinda, also attended the Faculty of Fine Arts, and today she is employed by the Oradea Theatre, also with the Hungarian troupe. It is a kind of emotional relay, which the mother handed over to her daughter, with the idea of continuity.<\/em><\/p>\n

<\/p>\n

She was a set designer who was always interested in designing both the set and the costumes of a show. The costumes of a show, a particularly complex creative work, involving a lot of fantasy, the set designer being the creator of the imaginary universe of the show. Her set and costume sketches \u2013 elegantly elaborated \u2013 were always based on careful study of the era, detailed information, but also a close connection with reality which in theater means, on the one hand, the necessary financing, the budget for the production, on which the choice of materials depends, and on the other, their suitability (especially for costumes) with the characters and\u2026 the personality of the actors. Relatively complicated matters, if we consider that, being a delicate being, a well-educated person, she was, for a long time, a person too understanding of the financial needs of the institution, accepting, with too much ease, to give up on many of the more ambitious projects, or, as is known, if a set had to be both inexpensive and easy to assemble (the theater having numerous trips to small stages in the county and in B\u0103ile Felix), it could only be thought of more simply. This is how things happened with quite a few successful sets, for the shows: "Un loc ra\u015fmas liber" (by Ionel Hristea), "Fii cuminte, Cristofor" (by Aurel Baranga) or "G\u0103rg\u0103unii dragostei" (coup\u00e9 show) - supported by technical and artistic plans designed in detail. Experience has shown us that those artists who were also fighters, who insisted and did not easily give in to the "temptation" of saving at any cost, imposed their scenographic proposals in exactly the desired forms. However, when her collaborators were directors who did not easily give in to the insistence of resorting to economical scenographic solutions, such as Sic\u0103 Alexandrescu, Ion Lucian, Alexandru Colpacci, Valeriu Grama, Mihai Raicu, Farkas \u015etefan, Sergiu Savin, Szombati Gille Otto, the sets and costumes acquired the "weight" and value imposed by the director's integrative vision. Examples are numerous: "The Posket Family Secretary" (by Arthur W. Pinero), "What It Means to Be Honest" (by Oscar Wilde), "A Stormy Night" (by IL Caragiale), "The Man Who..." (by Horia Lovinescu), "The Pre\u015ful" (by Ion B\u0103ie\u015fu), "Snowmen with Masks" (by Ion Lucian and Virgil Puicea), "Is Life Like a Wagon?" (by Paul Everac), "The Nameless Star" (by Mihail Sebastian), etc. The competition was fierce, because at that time two older stage designers, both very good, were working in the theater, Tatiana Manolescu Uleu and Eliza Popescu. However, it seems that they got along quite well, each having something to learn from the other.<\/em><\/p>\n

The costumes designed by Maria Ha\u0163eganu, in numerous performances (some of which she only designed the costumes), "The Counter Reader" (by Paul Everac), "The Heart" (by Mircea Bradu), "Interview" (by Ecaterina Oproiu), "A Lost Letter" (by ILCaragiale), "Charley's Aunt" (Brandon Thomas) and others, have always stood out for their harmony of colors, the matching of materials with the silhouettes of the characters, attesting to the careful documentation and elaboration of the fantasy-filled costumes and set designs, as well as the careful monitoring of the productions in the theater's production workshops: "Interview" (Ecaterina Oproiu), "Confusing the World" (A.de Herz), "What is Life Like a Wagon?", "The Florentine Hat" (Eug\u00e8ne Labiche), "The Father, the Girl and the Three Kings" (BPHa\u015fdeu), "The Golden Forest" (Valentin Avrigeanu), "What Does It Mean to "Be Honest" (Oscar Wilde).<\/em><\/p>\n

Otherwise, no one could dispute her documentation (in an interview she stated that she learned from Professor Alexandru Br\u0103t\u0103\u015fanu what correct and precise documentation and attention to detail mean). Unfortunately, the reviewers were quite stingy with their appreciations, sometimes fleetingly passing over the real contribution of the set design to the success of a show. However, we can firmly state that part of the well-deserved praise given to a show, even if the name of the set designer is only mentioned, is owed to him in a reasonable proportion, the set designer having a very important role alongside the director in the role of creator.<\/em><\/p>\n

(Presentation by Elisabeta Pop)<\/em><\/p>\n

Artistic sheet \u2013 Oradea State Theatre<\/strong><\/p>\n