{"id":9602,"date":"2012-06-07T10:21:43","date_gmt":"2012-06-07T10:21:43","guid":{"rendered":"https:\/\/teatrulreginamaria.ro\/2012\/06\/07\/tugulea-eugen\/"},"modified":"2012-06-07T10:21:43","modified_gmt":"2012-06-07T10:21:43","slug":"eugene-tuguela-2","status":"publish","type":"arhiva","link":"https:\/\/www.teatrulreginamaria.ro\/en\/arhiva\/tugulea-eugen\/","title":{"rendered":"Tugulea, Eugen"},"content":{"rendered":"

Actor<\/p>\n

Date and place of birth: 10.04.1931, Vaslui<\/p>\n

Studies: Theater Institute, 1955<\/p>\n

Eugen \u0162ugulea is one of the few actors who came to the Oradea State Theatre after graduation and stayed until retirement. Moreover, he led the institution in two terms, between 1960-1968 and 1972-1977.\u00a0<\/em>He was also, for many years, a professor of acting at the Popular School of Art in Oradea and also a professor of expressiveness of stage speech at the Acting Department of the Faculty of Music in Oradea. After 1990, he contributed enthusiastically to the establishment of the school theater troupe at the \u201eNicolae B\u0103lcescu\u201d High School in Giula (Hungary). He is also the author of an autobiographical book \u201eSome confessions about oneself, about others and\u2026 others\u201d, appreciated by both readers and critics: \u201e\u2026expresses sincere opinions, assumed with frankness\u201d, \u2026 \u201ethe author defines himself through a marked ethical elegance, from the position of which he regards\u2026 the world and its performances.\u201d (Constantin Paraschivescu in Teatrul Azi, no. 5-6-7\/2009)<\/em><\/p>\n

<\/p>\n

The actor, whose critical and self-critical spirit is well known and appreciated, which is why I began his portrait sketch differently. He played approximately one hundred and forty roles, signing, not infrequently, also directing some shows. As an actor, Eugen \u0162ugulea has proven seriousness both in approaching small, episodic roles, as well as the main ones, which are not few.<\/em><\/p>\n

Let's name a few from both categories: David M\u0103rian from the play "Horia" by Mihail Davidoglu, two episodic appearances in "Luceaf\u0103rul" by B.\u015et.Delavrancea or Mera from "Inima" by Mircea Bradu, or Mircea from "Io, Mircea voivod" by Dan T\u0103rchil\u0103, Odoacer from the play "Romulus cel Mare" by Friedrich D\u00fcrrenmatt, Hetmanul Arbore in "Apus de soare" by B.\u015et.Delavrancea, Verhov\u0163ev in "Spre stele" by Leonid Andreev, Vlad III in "Casa evantai" by Marin Sorescu. Chroniclers have noted \u2013 perhaps not always and with the same consistency \u2013 the rigor, responsibility, seriousness, a well-controlled, carefully controlled sensitivity with which he always built his characters. In "Anniversarea" by Harold Pinter, Eugen \u0162ugulea "resolves beautifully, with sad comedy, a rather thankless role" (Al.Andri\u0163oiu). In the role of the protagonist in the play "Iovi\u0163\u0103's Book", the actor "was very accurate", it was written, but I would add, very convincingly, because he wanted to express, in addition to the ideas-thoughts-reflections of the character, some of his own opinions related to the world, the society in which he lived. He played in the play "Jolly Joker" by Tudor Popescu, a thankless role, let's say, of a high-ranking character, a communist activist. He knew that he was exposing himself, but, like all the actors in the play, he tacitly accepted the situation, acting "indifferent". He calls this attitude a "common front". He also signed a successful dramatization of the famous novel "The Most Beloved of the Earthlings" by Marin Preda, with the title "If Love Is Not..." (1998), also directing the play.<\/em><\/p>\n

In the main role in the play "Mihai Viteazul" (by Octav Dessila) he played without patriotic discursiveness, humanizing the figure of the legendary voivode. Then there was an interiorized, warm Mircea ("I, Mircea Voievod" by Dan T\u0103rchil\u0103), playing tenacity without ostentation, without false pathos. In "Revolta de pe Caine" (by Herman Wouk) he convincingly embodied a lawyer "anointed with all the ointments (Greenwald); in "Noapte alb\u0103" (by Mircea Bradu), a chronicler notes "the convincing way in which he outlined the contradictory personality of the Usubuu chief". "Perfectly credible in the turmoil and contradictory states of the Father ("The Balcony" by DRPopescu), an exceptional Farfuridi ("A Lost Letter" by ILCaragiale), who remains a reference role for the actor". An Iovi\u0163\u0103 ("The Book of Iovi\u0163\u0103" by Paul Everac) thought out in the "smallest details, played with subtlety and the necessary subtext, with exceptional energy: a man who is challenged and loses everything, like the biblical Jonah, but remains steadfast in his convictions".<\/em><\/p>\n

He collaborated very well with directors, perhaps because he never accepted to blindly follow instructions, but tried to develop his roles on his own. Let's remember Radu Penciulescu, Valeriu Moisescu, Sanda Manu, Alexandru Colpacci, Sergiu Savin...<\/em><\/p>\n

As a director, he has produced several intelligent, solidly constructed and well-received shows. This is the case of the show "How Catinca the Old Girl Came to Be" by Nelu Ionescu, admirably "sentimental in the best sense of the word", with an undeniable audience success (it had one hundred and thirty-eight performances). And not only that...<\/em><\/p>\n

Awards: in 2004 he was awarded the Diploma Pro meritis from the Directorate for Culture, Cults and Heritage of Bihor County.<\/em><\/p>\n

Retired, he continues to act, with the same dedication and sincere love for theater, after more than fifty years since he came to Oradea. Quite a feat, right? <\/em><\/p>\n

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

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