{"id":9519,"date":"2012-06-07T06:02:42","date_gmt":"2012-06-07T06:02:42","guid":{"rendered":"https:\/\/teatrulreginamaria.ro\/2012\/06\/07\/mainea-ion\/"},"modified":"2012-06-07T06:02:42","modified_gmt":"2012-06-07T06:02:42","slug":"tomorrow","status":"publish","type":"arhiva","link":"https:\/\/www.teatrulreginamaria.ro\/en\/arhiva\/mainea-ion\/","title":{"rendered":"Tomorrow, John"},"content":{"rendered":"

Actor<\/p>\n

Date and place of birth: 23.09.1929, Bucharest<\/p>\n

Studies: "ILCaragiale" Theater Institute, Bucharest, class of Prof. Marcel Anghelescu<\/p>\n

With certainty, Ion M\u00e2inea was, along with two or three colleagues, for many years, in fact until his regrettable final departure, what is called a star (even if not recognized as such), a master, an authentic artist in all the power of the word.<\/em><\/p>\n

He joined the Oradea State Theatre in 1966, and remained there until his retirement, acting for many years and then, in his last years of life, being a collaborating director at the "Arcadia" Children and Youth Theatre in Oradea.<\/em><\/p>\n

<\/p>\n

Ion M\u00e2inea came to Oradea after many years of remarkable activity in Bucharest (Teatrul Mic, Teatrul "Ion Vasilescu") and Baia Mare, as an actor with a rich stage activity. Very serious and brilliantly intelligent, with an immense thirst for knowledge, a good psychologist, well-versed in the backstage of the profession, Ion M\u00e2inea quickly and deservedly built a place of honor for himself within the Oradea institution. Destined for the main roles of great scope, capable of covering both drama, tragedy and comedy roles, he proved, at the same time, qualities as a director, managing not only to bring many young people closer to him, to whom he soon became a mentor and master, instilling in them respect for the acting profession, but also to work with them, as a director. Many young actors have recognized this. Let us recall, in passing, Cristina \u015echiopu, Oana Mereu\u0163\u0103, Roxana Ivanciu, Mirela and Sebastian Lupu, Igor Lungu, etc. All of them \u2013 and many others \u2013 confessed that they owed him enormously on a professional and human level. It is true that his sometimes exaggerated demands and stubbornness made some directors rightly label him \u201ea difficult actor\u201d, but, in the end, they recognized that the roles played (hard-born, it is true) by him had weight, bearing, complexity, in a word, they bore the mark of a true artist. Regardless of the roles entrusted to him, whether he played a sleazy Director or a Lawyer (like the one in "Pre\u015ful" by Ion B\u0103ie\u015fu), a High Character (from the show "Omul care..." by Horia Lovinescu), Hepaistos (from the controversial show "Critis" by Radu Stanca), Britannus (from "Caesar and Cleopatra" by G.B.Shaw) or in the difficult role of an artist of Michelangelo's stature (from the show "Michelangelo" by Al. Kiri\u0163escu), Ion M\u00e2inea was, every time, with each character, profound, original, interesting. He played famous historical characters, to whom he gave a stature worthy of their name: Logof\u0103tul T\u0103ut ("Sunset" by B.\u015et.Delavrancea), Stare\u0163ul ("Vlad \u0162epe\u015f in January" by Mircea Bradu), Kog\u0103lniceanu ("The Decision" by Mircea Bradu), Grigore Ghica in the emotional, multi-awarded show "Occisio Gregorii...", Menumorut ("White Night" by Mircea Bradu), Ioan ("I, Mircea Voievod" by Dan T\u0103rchil\u0103), Bishop Szabo ("Heart" by Mircea Bradu). In the role of the Stare\u0163ul (writes Radu Enescu) Ion M\u00e2inea had "a remarkable evolution", and gave Menumorut "monumentality". He was the performer of several roles and the director of shows played with great success in the large hall or in the Studio: in "Cerc vicios" he interpreted several scenes of a very special picturesqueness, displaying the hypocritical faces of the Mazilian characters, in "Telegrams" he proved that he could sustain a two-hour show alone. "The list of successful shows, writes Dumitru Chiril\u0103, begins with the show "Vicious Circle", the five Mazilian plays constituting "so many sheets of social pathology"".<\/em><\/p>\n

He was the favorite actor of all the very young or not so young directors: Alexandru Colpacci, Sergiu Savin, Alexandru Darie, Anca Bradu, Victor Ioan Frunz\u0103, but also Marietta Sadova, Zoe Anghel Stanca, Nicoleta Toia, Sanda Manu, Ion Cojar, Mihai Fotino, Dan Alecsandrescu, \u015etefan Farkas, Szombati Gille Otto.<\/em><\/p>\n

He played with aplomb, in good classical tradition or, on the contrary, in modern style, proposed by the directors, the Caragiale characters: Nae Ipingescu and Chiriac in "Noapte furtunos\u0103", the tormented citizen in "Scrisoare pierdut\u0103". Directed by Alexandru Colpacci, he admirably interpreted at least two roles: David Osipovici in "Plo\u015fni\u0163a" by Mayakovsky and Dorn \u2013 whom he "relieved with finesse and in crescendo of tone" (writes Dumitru Chiril\u0103) in "The Seagull" by Chekhov, Leontes in "Pove\u0219ta de vinci" by William Shakespeare, C\u0103\u015fin\u0103 \u2013 "an impeccable mask of imposture" in "The Balcony" by DRPopescu.<\/em><\/p>\n

With Sergiu Savin he collaborated in the most professional way possible in outlining complex characters in the dramatic or absurd register \u2013 like those in "Anniversary" by Harold Pinter or "Casa evantai" by Marin Sorescu, or Darcopol in "Dormind pe un \u015farpe" by DRPopescu, or in the comic register (an intelligent and serious comic) in the show "Porunca a s\u0103ptea" by Dario Fo. Not to mention how many facets the actor showed in the character he exceptionally interpreted in the show "\u00centr-un parc\u2026 pe-o banc\u0103" by Alexandru Ghelman, alongside a remarkable actress: Cristina \u015echiopu \u2013 a show that he himself, as a director, would bring to the stage, after many years, giving other young people the opportunity to "attack" the offering scores. Ion M\u00e2inea (in "Anniversarea", an intelligent, very well-finished show) once again proved to be a very good actor, managing "to fulfill the game very well with the drama closed within him, and then, open, as much as the horror valve allows" in that "refined and fantasy-filled construction".<\/em><\/p>\n

With Szombati Gille Otto created several main roles that honor the artistic credentials of both; let's remember Edgar in "Play Strindberg" by Friedrich D\u00fcrrenmatt, a role to which (having Simona Constantinescu and Marcel Popa alongside him) gave him an unimaginable consistency, ("the comedy of the "tragedy of bourgeois marriage" found a very good incarnation in Oradea" (Dumitru Chiril\u0103). He played, proving to be their equal, not a "provincial actor" - alongside Radu Beligan, Mihai Fotino, Ion Caramitru, Virgil Og\u0103\u015fanu, Tamara Buciuceanu-Botez, \u015etefan B\u0103nic\u0103, Marin Moraru, Florian Pitti\u015f - in the show "Parada vedetelor", being also a remarkable double for Octavian Cotescu in the show "A oppsprezecea c\u0103mil\u0103" by Samuil Alio\u015fin.<\/em><\/p>\n

Ion M\u00e2inea always understood his characters after long studies, readings, discussions with directors, literary secretaries or colleagues. In comedy, the actor brought a kind of well-argued humor, intelligently perceiving both the language and the situations. He was a deliberately naive George Dandin ("The Deceived Husband" by Moli\u00e8re) or a cheerful and party-loving Lisardo ("The House with Two Entrances" by Calder\u00f3n de la Barca), a cunning Posket ("The Secrets of the Posket Family" by Arthur W. Pinero), a cautious Geronte with moderation ("The Tricks of Scapin" by Moli\u00e8re), a Gra\u0163iano always caught with his cat in the bag ("The Trevi Fountain" by Gian Lorenzo Bernini), but also profound, complex, ground by internal contradictions, in Deogracias from the show so well done by the young Anca Bradu ("The Bird Cemetery" by Antonio Gala). He obviously raised the artistic level of the show "Ten Laughter", in the important and complex role of a Theater Director, annoyed by the lack of money, the whims of the actresses and, above all, veiled, by the unwelcome interference of the "party forums".<\/em><\/p>\n

Professionally, Ion M\u00e2inea reached the highest peaks in the extremely difficult role, Salieri, in the show "Amadeus" by Peter Shaffer, directed by Alexandru Darie, a show rated as one of the best in the country, in the year of grace 1986. In this difficult, long-term role, of the rival composer of the brilliant Mozart, Ion M\u00e2inea proved that he fully deserves the attribute of master. He managed to masterfully embody mediocrity, but also the suffering of the ordinary creator, the envy that eats away at him, comparing himself with the rare rising geniuses, more than once, in what places and what kind of "vile" beings, derisory, in appearance. "Ion M\u00e2inea is a convincing Salieri, he fills the playing space, changes masks with aplomb, distances himself from the character to take over the role of the director" (Ion Calion). Moreover, he was invited, with his famous monologue, to the well-known theatrical meetings organized in Arad by the late Victor Parhon.<\/em><\/p>\n

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

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