{"id":9567,"date":"2012-06-07T08:22:34","date_gmt":"2012-06-07T08:22:34","guid":{"rendered":"https:\/\/teatrulreginamaria.ro\/2012\/06\/07\/presecan-mariana\/"},"modified":"2012-06-07T08:22:34","modified_gmt":"2012-06-07T08:22:34","slug":"mariana-presecan","status":"publish","type":"arhiva","link":"https:\/\/www.teatrulreginamaria.ro\/en\/arhiva\/presecan-mariana\/","title":{"rendered":"Presecan, Mariana"},"content":{"rendered":"

Actress<\/p>\n

Date and place of birth: 19.09.1964, Dumitre\u015f<\/p>\n

Studies: "Szentgy\u00f6rgyi Istv\u00e1n" Theatre Institute, T\u00e2rgu Mure\u015f, class of university lecturer Constantin Doljan, 1986<\/p>\n

She graduated from the theater institute as the head of her class. She and her husband, Dorin Presecan, came to the State Theater in Oradea through ministerial assignment. They also debuted together, in the play \u201eThe Three Nights of a Love\u201d by Hubay Mikl\u00f3s (directed by Dan Alecsandrescu, who knew them from T\u00e2rgu Mure\u015f). About the role of Iulia, the Poet\u2019s wife, in this truly \u201epoetic\u201d play, critic Valentin Silvestru wrote that \u201eIulia is more terrestrial (in contrast to Daniel Vulcu \u2013 The Dreaming Poet, nn), but gracefully floating through events with discretion and charm, understanding and not understanding, suffering and enjoying youthfully\u201d. Prof. Ileana Berlogea noted, in her review, that Mariana Presecan was \u201eimpressive in her vain attempts to protect her husband, the one in the play, naturally, from the attacks from those around her\u201d.<\/em><\/p>\n

<\/p>\n

Mariana Presecan \u2013 tall, slim, with a ballerina's body, blonde, very feminine, fragile in appearance, will very soon prove a special ability to communicate with both partners and the audience, will demonstrate that she possesses remarkable energy, resistance, work capacity, and seriousness. To these data is added a creative intelligence and an exceptional memory. In other words \u2013 all the data that will decisively contribute to the artistic path of the future star. Because, yes, in addition to all the listed data, she has that something, a mystery that gives her a special charm.<\/em><\/p>\n

This was followed, according to the repertoire, by comedy and drama roles, constant presences in poetry performances; in the poetry performance "At your disposal", the poet Mircea Dinescu, present in the hall, made the obviously subjective remark that only Mariana Presecan recited the verses "as he thought them". Eminescu, \u015et.Aug.Doina\u015f, Ana Blandiana, and Mircea Dinescu were not absent from any poetry performance.<\/em><\/p>\n

Naturally, she played roles appropriate to her age \u2013 mischievous, mischievous, cheerful, lively young ladies, young ladies, aristocratic ladies or simple girls: Doralice (in "Matchmaking" by Carlo Goldoni), Nuti (in "The Ladybug" by Ion B\u0103ie\u015fu), Dana Barbu ("Midnight Waltz" by Viorel Cacoveanu), Annie (in "Aunt Charley" by Brandon Thomas), Jessica (in "The Crazy Holidays" by Carolyn Green), Marina (in "The Adventurer" by Emil Braghinski), Oretta (in "The Wits of Love" by G.M.Cecchi). All these roles contributed, to a greater or lesser extent, to the future roles, of great scope, scope and artistic responsibility, that would follow. "For me - the actress declared in the interview given to the poet Ioan F. Pop ("Noua Gazet\u0103 de Vest", November 5, 1992) - all roles are important, all have marked me, in one way or another". One of them was that of Anya in "The Cherry Orchard" by A.P. Chekhov, to which she lent sensitivity and innocence; other roles followed, which would all contribute to the formation of the actress, to the shaping of her professional stature. Apparently frivolous, the well-known characters Delia Moon ("The Scandalous Affair..." by J.B. Priestley), Giacinta ("Arrivederci Livorno" by Carlo Goldoni), Juliette ("The Thieves' Ball" by Jean Anouilh), Lady Bracknell ("Good Evening, Mr. Wilde!" by Oscar Wilde), Penelope ("How to Win Men" by W.Somerset Maugham) laid, even if it is hard to believe, a brick each, to the solid edifice that would soon become the actress's artistic career.<\/em><\/p>\n

Roles after roles followed, demanding, complex, which Mariana Presecan coped with brilliantly: the Flutist ("The Slaughterhouse" by Slawomir Mro\u017eek), Eliza Doolittle ("Pygmalion" by GBShaw), full of life, serene, energetic, with a captivating sincerity, Dona Elvira, feminine, loving, warm ("Dom Juan" by Moli\u00e8re), Estelle, unpredictable, displaying a strange desperation ("Closed Doors" by Jean-Paul Sartre), and then she tried her hand at the role of Didina Mazu ("D'ale carnavalului" by ILCaragiale), in which she found absolutely original tones and tics. With Alexandru Hausvater she created a memorable role in the show "The Night of January 16" by Ayn Rand, (Karen) the main role, a character full of contradictions and great complexity. In "The House of Bernardei Alba" by FGLorca she played the beautiful Magdalena; there was a somewhat more thoughtful Mona ("The Nameless Star" by Mihail Sebastian), playing alongside her husband, Dorin Presecan. In an exceptional tandem with Mariana Vasile, she played the role of the unhappy Martha in "The Misunderstanding" by Albert Camus ("cold, petrified, as if from another world").<\/em><\/p>\n

With Mihai M\u0103niu\u0163iu she created a memorable role \u2013 that of Electra, about which dozens of reviews were written and for which (after her transfer with the whole show to Sibiu) she won an important performance award at a Festival in Spain. In the show \u201eShoah. Primo Levi Version\u201d \u2013 (directed by Mihai M\u0103niu\u0163iu), in the role of the reporter and in the chorus, Mariana Presecan arouses a deep emotion. Her performance, with an exceptional partner (also in Electra), Marian R\u00e2lea, highlights even better the complicated and complex relationships (with Primo Levi or with Oreste). A great creation is also due to her in the show signed by Petru Vutc\u0103r\u0103u, \u201eDespre sexul femeii\u2026\u201d by Matei Vi\u015fniec, where she had Elvira Platon R\u00eembu as her partner \u2013 also at an appreciable value.<\/em><\/p>\n

She also acted in average value shows or in boulevard comedies, but with the seriousness that characterizes her, she never left room in her interpretation, neither for kitsch, nor for vulgarity, nor for the ridiculous. A one hundred percent professional, the actress was in a competition with herself.<\/em><\/p>\n

For a while, she led the "Iosif Vulcan" troupe of the Oradea theatre. The exact reasons for her dismissal are not known, but we believe that, although her projects and programmes featured collaborators from the front lines of Romanian directing, she did not know how to manage her internal duties with sufficient maturity (using human and material resources at a better level), which caused her numerous inconveniences, and even the refusal of some colleagues to collaborate with her anymore, and colleagues who were not willing to forgive her possible mistakes.<\/em><\/p>\n

Her departure to Sibiu left a void in the troupe's composition that was not easy to fill. On the other hand, professionally, fate smiled on her: she played major roles in top shows in Cluj and Sibiu, directed by Mihai M\u0103niu\u0163iu, Andrei \u015eerban or Radu Alexandru Nica. Let us recall the roles of Arkadina in "The Seagull" by A.P. Chekhov or that of the Queen ("Hamlet" by William Shakespeare). At present, Mariana Presecan is among the leading actresses of the "Radu Stanca" Theatre in Sibiu. Is it true that - as she herself says in the interview published in Elisabeta Pop's volume "Theatre from the Inside..." - "at a certain point, actors distribute themselves"? Possibly. And she also speaks convincingly about the necessary "dictatorship of value" in the theatrical institution. We agree with her. <\/em><\/p>\n

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

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