{"id":9583,"date":"2012-06-07T09:01:58","date_gmt":"2012-06-07T09:01:58","guid":{"rendered":"https:\/\/teatrulreginamaria.ro\/2012\/06\/07\/simionescu-constantin\/"},"modified":"2012-06-07T09:01:58","modified_gmt":"2012-06-07T09:01:58","slug":"constantin-simionescu","status":"publish","type":"arhiva","link":"https:\/\/www.teatrulreginamaria.ro\/en\/arhiva\/simionescu-constantin\/","title":{"rendered":"Simionescu, Constantin"},"content":{"rendered":"

Actor<\/p>\n

Date and place of birth: 01.03.1899, Bucharest<\/p>\n

Constantin Simionescu had an artistic destiny similar to that of many actors who began their career in the interwar period. He also played in the Dem.Mih\u0103ilescu Br\u0103ila revue company, and was an actor at the National Theatre in Cluj-Napoca.\u00a0<\/em>In 1946 he came to Oradea, together with his wife, Dalma. They played at the newly founded Western Theatre after the liberation and the return of Transylvania to\u2026 Romania. After its dissolution, they worked with amateur teams, fighting with exceptional selflessness for the reopening \u2013 this time \u2013 of the Romanian section. Their dream came to life, and in 1955 the opening of the Romanian section was inaugurated with the performance \u201eA Lost Letter\u201d by IL Cargiale, directed by Corneliu Zdrehu\u015f. In the role of Nae Ca\u0163avencu, Constantin Simionescu created, say those who saw the performance, a character of particular subtlety: intelligent, cunning, but at the same time, full of charm, conquering.<\/em><\/p>\n

<\/p>\n

Dalma, his wife, was, for over three decades, an exceptional technical director: attentive to the actors, caring for the technicians, full of respect for the work on stage and for authentic value, Constantin Simionescu was, for the entire theatrical world, Uncle Titi, and Dalma, Mutti.\u00a0<\/em>There was a time when his vice (the pleasure of alcohol) prevented him from playing the roles he deserved. Surprisingly, however, a man of character, one day he promised to give up drinking, and he did so forever. His artistic trajectory was that of a truly professional actor: he played absolutely everything he was given: small roles, even extras, with the same devotion with which he solved roles of greater scope. He played small episodic roles in shows directed by Radu Penciulescu, Valeriu Moisescu (Adamov in "The Lyceums" by K. Treniov, Grandfather in "The Tale of the Golden Forest" by Valentin Avrigeanu, An engineer in "The Aristocracies" by Nikolai Pogodin, A Capuchin monk in "Cyrano de Bergerac" by Edmond Rostand, etc.). He acted with the same dedication and collaborated exemplary with directors Ion Deloreanu, Dan Alecsandrescu, Valeriu Grama, etc. He was a Pantalone full of verve and humor in "The Servant of Two Masters" by Carlo Goldoni. Even if the roles did not have many lines, such as, for example, that of George Duduleanu in "The Roosters" by Alexandru Kiri\u0163escu, he knew how to give them something of his personality: culture, serious reading, mastery of stage techniques, discipline, humor.\u00a0<\/em>Constantin Simionescu entered the stage with a shyness that actually meant maximum responsibility. His preparation for creating the characters began long before the rehearsals began. His kindness and not altruism, his generosity and charm contributed immensely to shaping the profile of this actor loved and respected by his colleagues and the audience. <\/em><\/p>\n

(Presentation by Eugen \u0162ugulea)<\/em><\/p>\n

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