{"id":9608,"date":"2012-06-07T10:31:16","date_gmt":"2012-06-07T10:31:16","guid":{"rendered":"https:\/\/teatrulreginamaria.ro\/2012\/06\/07\/urlateanu-dorel\/"},"modified":"2012-06-07T10:31:16","modified_gmt":"2012-06-07T10:31:16","slug":"urlateanu-dorel","status":"publish","type":"arhiva","link":"https:\/\/www.teatrulreginamaria.ro\/en\/arhiva\/urlateanu-dorel\/","title":{"rendered":"Urlateanu, Dorel"},"content":{"rendered":"

Actor, emeritus artist<\/p>\n

Date and place of birth: 23.02.1912, Bucharest<\/p>\n

Studies: Bucharest Conservatory of Music and Dramatic Art, 1941<\/p>\n

Dorel Url\u0103\u0163eanu is part of the "chosen" group of actors who began their profession in the 1930s, in a prosperous and somewhat happy Romania, continued it after the war, then crossed, with amazement and, more than once resigned - or, on the contrary, rebellious - the communist period. Some found it impossible to resist, to adapt, others were thrown into prisons, a few, very few, made, not easily, a pact with the devil... Just as some became heroes, fighting, with weapons specific to art, against the communist regime. If we remember what destiny an artist like the immortal Constantin T\u0103nase had, we will better understand how this generation emerged and survived.\u00a0<\/em>Dorel Url\u0103\u0163eanu was a very important actor, the only emeritus artist in the Oradea theater. He trained alongside great theater people, notable personalities: VIPopa, playwright and director, I.Maximilian, Ion Livescu, George Vraca, Ion Sava, Maria Filotti, Sonia Cluceru, Aura Buzescu, etc.<\/em><\/p>\n

<\/p>\n

\u015ei-a \u00eenceput cariera artistic\u0103 juc\u00e2nd \u00een trupe particulare. A fost, o vreme, \u015fi profesor la Conservatorul din Cluj-Napoca. A venit la Oradea, la foarte scurt\u0103 vreme dup\u0103 \u00eenfiin\u0163area sec\u0163iei rom\u00e2ne (1955) \u015fi, \u00eenc\u0103 de la \u00eenceput, a f\u0103cut parte din elita trupei. A fost un artist complex, partener excep\u0163ional, at\u00e2t pentru colegii tineri, c\u0103rora le-a fost mereu maestru, dar \u015fi pentru regizorii care apreciau inteligen\u0163a, exigen\u0163a \u015fi disciplina, \u015fi, nu \u00een ultimul r\u00e2nd, harul \u015fi cultura artistului, capacitatea de concentrare, seriozitatea. A Interpretat peste 150 de roluri \u2013 cele mai multe principale. Jocul s\u0103u era puternic influen\u0163at de o \u015fcoal\u0103 teatral\u0103 solid\u0103: dasc\u0103lii s\u0103i au fost \u015fcoli\u0163i la Paris, la Viena, la Berlin. R\u0103m\u00e2n de referin\u0163\u0103 roluri \u201emarca Url\u0103\u0163eanu\u201d: Arhiepiscopul din spectacolul \u201eCioc\u00e2rlia\u201d de Jean Anouilh, Inspectorul Gool \u00een spectacolul \u201eInspectorul de poli\u0163ie\u201d J.B.Priestley, Cad\u00e2r \u00een spectacolul \u201eTache, Ianke \u015fi Cad\u00e2r\u201d de V.I.Popa, Chiric\u0103 \u00een spectacolul \u201eOmul cu m\u00e2r\u0163oaga\u201d de G.Ciprian, Alfred III \u00een spectacolul \u201eVizita b\u0103tr\u00e2nei doamne\u201d de Friedrich D\u00fcrrenmatt, un admirabil Willy Loman \u00een \u201eMoartea unui comis-voiajor\u201d de Arthur Miller, Dr.J\u00fcttner \u00een spectacolul \u201eHeidelbergul de alt\u0103dat\u0103\u201d de Wilhelm Meyer-F\u00f6rster (\u00een care, al\u0103turi de el, a jucat, \u00een c\u00e2teva reprezenta\u0163ii, Florin Piersic, c\u0103ruia i-a fost \u00eenv\u0103\u0163\u0103cel, la Cluj-Napoca). A fost Noe, nu doar b\u0103tr\u00e2n, ci \u015fi bl\u00e2nd \u015fi \u00een\u0163elept, \u00een spectacolul \u201eArca bunei speran\u0163e\u201d de I.D.S\u00eerbu, Spirache \u00een spectacolul \u201eTitanic vals\u201d de Tudor Mu\u015fatescu; Profesorului Serebreakov din \u201eUnchiul Vanea\u201d de A.P.Cehov i-a conferit o sobrietate care ad\u00e2ncea \u00eenc\u0103 mediocritatea personajului.<\/em><\/p>\n

Regizorii cu care a lucrat \u2013 Radu Penciulescu, Valeriu Moisescu, Dan Alecsandrescu, Ion Deloreanu \u2013 au apreciat energia, inteligen\u0163a \u015fi creativitatea actorului, capacitatea de a aborda deopotriv\u0103 roluri de comedie \u015fi de dram\u0103.<\/em><\/p>\n

Regia n-a constituit pentru Dorel Url\u0103\u0163eanu un capriciu, un debu\u015feu, ci o voca\u0163ie. Dovada: spectacolele semnate de el au avut succes, dar nu unul facil, \u201ede public\u201d, cum se spune, ci au fost recunoscute ca valoroase \u015fi din punct de vedere estetic. Unele se adresau \u015fcolarilor (\u201eMomente \u015fi schi\u0163e\u201d de I.L.Caragiale, \u201e…Escu\u201d de Tudor Mu\u015fatescu, \u201ePoveste neterminat\u0103\u201d de Alecu Popovici), altele, spectacole de estrad\u0103, publicului larg (\u201eSorcova vesela\u201d, \u201eSus cortina\u201d), sau spectacole cu piese din dramaturgia clasic\u0103 sau contemporan\u0103 (\u201eCerere \u00een c\u0103s\u0103torie\u201d de A.P.Cehov, \u201eCred \u00een tine\u201d de Vadim Korost\u00e2liov, \u201eRe\u0163eta fericirii\u201d de Aurel Baranga, etc.). Spectacolele \u00een care juca Nea\u2019 Dorel \u2013 cum \u00eei spuneau to\u0163i colegii, \u00a0erau \u00eentotdeauna marcate de prezen\u0163a me\u015fterului: sobrietate, nu o scor\u0163o\u015fenie, lejeritate ce se voia naturale\u0163e bine controlat\u0103, nu superficial\u0103 abordare a rolului. <\/em><\/p>\n

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

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