{"id":9522,"date":"2012-06-07T06:15:07","date_gmt":"2012-06-07T06:15:07","guid":{"rendered":"https:\/\/teatrulreginamaria.ro\/2012\/06\/07\/manolescu-uleu-tatiana\/"},"modified":"2012-06-07T06:15:07","modified_gmt":"2012-06-07T06:15:07","slug":"manolescu-oil-tatiana","status":"publish","type":"arhiva","link":"https:\/\/www.teatrulreginamaria.ro\/en\/arhiva\/manolescu-uleu-tatiana\/","title":{"rendered":"Manolescu Uleu, Tatiana"},"content":{"rendered":"

Set designer painter<\/p>\n

Date and place of birth: 21.04.1929<\/p>\n

Studies: "Nicolae Grigorescu" Institute of Fine Arts, Bucharest, 1958<\/p>\n

Tatiana Manolescu Uleu came to Oradea, together with her husband, the actor Octavian Uleu, in 1961, and remained here until her retirement. She designed sets and costumes, and for a few performances only the costumes, for a relatively small number of performances, if we compare their number to the seasons, which means that, with some exceptions, she signed about two performances per season, i.e. the norm imposed by the position. It is important to note, however, that the theater always featured a reasonable number of set designers (Nagy S\u00e1ndor, Eliza Popescu, Maria Ha\u0163eganu, B\u00edr\u00f3 I.G\u00e9za, Vioara Bara, in addition, there were no shortage of prestigious collaborators \u2013 Romulus Pene\u015f, Tody Constantinescu, Fran\u00e7ois Pamfil, \u015etefan Hablinski, Paul Bortnovski, Vladimir Popov, Dan Jitianu, etc.). But, since not only the number of performances is important, but also the value of the works, we note an indisputable fact: the performances on which he collaborated with creative directors, with whom he met on the fragile terrain of stage metaphor, the results were remarkable. <\/em><\/p>\n

<\/p>\n

This is how things happened with the shows "Diogenes the Dog" (by Dumitru Solomon), "These Sad Angels" (by DRPopescu), "The Empty King" (by Evgheni \u015evar\u0163), "The Emigrants" (by Slawomir Mro\u017eek), "The Bomb of the Day" (by Ben Hecht and Charles McArthur) - with Alexandru Colpacci,\u00a0<\/em>\u201e"The Dictator" (by Al. Kiri\u0163escu) \u2013 with Sergiu Savin, "Act vene\u0163ian" (by Camil Petrescu), "Tartuffe" (by Moli\u00e8re) and "Interesul general" (by Aurel Baranga) \u2013 with Marietta Sadova, "Casa cu dou\u0103 intr\u0103ri" (by Calder\u00f3n de la Barca), "Moartea ultimului golan" (by Virgil Stoenescu) \u2013 with Nicoleta Toia, or "Occisio Gregorii..." \u2013 with Ion Olteanu. To these is added the creation of true poetic spaces of poetry from the recitals within the caff\u00e9-th\u00ea\u00e2tre, or the Studio hall (the Bacovia show \u2013 "I hear the matter crying" \u2013 performed by the actor Octavian Uleu, the Eminescu or Horv\u00e1th Imre show).<\/em><\/p>\n

From the very beginning, Tatiana Manolescu Ulei was entrusted with the scenography of a difficult show: "The Police Inspector" by JBPriestley, an opportunity with which she demonstrated her skill, both in her relationship with the director and actors, and with the workshops. She probably used, for the beginning, the collaboration with Dorel Url\u0103\u0163eanu, an artist with a solid theatrical school. She later worked with him on the show "I Believe in You" by V.Korost\u00eeliov.<\/em><\/p>\n

He also collaborated well with Ion Deloreanu. The set design of the show "Luceaf\u0103rul" (by B.\u015et.Delavrancea) - with extremely suggestive decor, of a contained, unostentatious modernity, elegantly stylized costumes; Florian Potra noted the success of a show with one of the plays about which it was written that it was not "scenic", observing in passing that "only theaters that think themselves small shrink". It was the first important success after the successes signed by Radu Penciulescu and Valeriu Moisescu, the mark and the beginning of the series of a historical cycle, we then refer to the poetry of the artistic show "Veac de iarn\u0103" (by Ion Omescu) and to the exceptional decor, of a suggestive simplicity, of the multi-awarded show "Occisio Gregorii...", an authentic cultural fact.<\/em><\/p>\n

For shows like "The Boga Sisters" (by Horia Lovinescu), "A Wrong Move" (by Virgil Stoenescu) or "Public Opinion" (by Aurel Baranga) she created carefully thought-out, suggestive play spaces, and the costumes were carefully chosen, defining the characters' personalities.<\/em><\/p>\n

The performances signed together with the master teacher Marietta Sadova bear the mark of the refinement specific to the remarkable interwar theatrical school: Venice \u2013 \u201ewhich had not yet exhausted its former glory\u201d (\u201eAct venetian\u201d by Camil Petrescu), a bourgeois cosmic universe stylized with refinement (\u201eTartuffe\u201d by Moli\u00e8re), a villainous space, soaked in hypocrisy, with people dressed \u201enormally\u201d and behaving naturally, so that they can deceive more easily (\u201eInteresul general\u201d by Aurel Baranga). Regarding the setting of \u201eCasa cu dou\u0103 intr\u0103ri\u201d (presented successfully also in Debre\u0219in), the chronicler writes that \u201eit contributed, being simple, made up of movable elements\u201d, to the success with the audience. The lively, temperamental play of the actors (the costumes had their own humor) was also appreciated by chroniclers and the audience.<\/em><\/p>\n

With the performances "The Naked King" (by Evgheni \u015evar\u0163), "These Sad Angels" and "The Balcony" (by DRPopescu), the set designer garnered numerous accolades, with reviews noting the creators' subtlety, but also their unity of views, the stage metaphor making it possible to understand the abusive Aesopian language, present in all of Colpacci's performances.<\/em><\/p>\n

Accompanying Sergiu Savin in the strange universe of "The Dictator" (by Al. Kiri\u0163escu), she designed a superb set and costumes of great refinement, worn with distinction by actresses Alla T\u0103utu and Simona Cosntantinescu.<\/em><\/p>\n

The humor and the absence of shocking, ostentatiously realistic images meant that the sets and costumes of shows like "Geranium from the Window" (by VIPopa), "Double Game" (by Robert Thomas) or "Confound the World" (by A.de Herz) were received exactly as the director intended.<\/em><\/p>\n

Tatiana Manolescu Uleu's works have always borne the imprint of culture, good taste and the refinement of a serious school of painting.<\/em><\/p>\n

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

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