{"id":14101,"date":"2025-07-13T15:00:00","date_gmt":"2025-07-13T12:00:00","guid":{"rendered":"https:\/\/www.teatrulreginamaria.ro\/?p=14101"},"modified":"2026-03-27T13:31:39","modified_gmt":"2026-03-27T11:31:39","slug":"faracal-from-r3-to-c1","status":"publish","type":"post","link":"https:\/\/www.teatrulreginamaria.ro\/en\/faracal-de-la-r3-la-c1\/","title":{"rendered":"(No) horse, from R3 to C1"},"content":{"rendered":"

Text taken from The Dramatic West<\/a> | author: Doru Mare\u0219<\/p>\n\n\n\n

Richard III<\/em> Andrei M\u0103jeri's work outlines the geography of a series of couples, in turn generated by the doublet demonism \u2013 fascination. Taking the Shakespearean text, the one in Horia G\u00e2rbea's translation from the monumental Volceanov edition, published by Tracus Arte, the stage version worked on by the director together with Alexandra Felseghi, with inserts from Henry VI<\/em>, brings to the stage all generations, actors and characters, from Luca Bran, a 10-year-old kid with a measured aplomb of naturalness (in the role of Richmond), and Robert Balint, only five years older and in a triple role (the crown princes, in the mirror during the adolescent reactivity generated by the primacy to the throne, but also a page), to the undisputed stars of the "Regina Maria" Theater in Oradea, Ioana Drago\u0219 Gajd\u00f3 and Richard Balint (in four roles quickly changed and with exceptional individualization). The key to the story (which was once a turbulent and extremely violent period in England, when the Hundred Years' War ended with the fall of Constantinople at the other end of Europe, only to have the War of the Roses begin just two years later, for another 32 years), which ends two years before the end of the conflict between the houses of Lancaster and York, is one that goes beyond factual history, to unfold almost Faustically, through the Richard - Buckingham couple, created by Petre Ghimb\u0103\u0219an and R\u0103zvan Vicoveanu. The first, a fascinating demon, a kind of Mephisto for whom crimes are both mischief and substantial strategy at the same time, the second a Faust without a portfolio, whose only emotion is the fascination exercised by Richard, coupled unacknowledgedly, if not unconsciously, with certain interests of rank and wealth, of exercising power according to the model of the manipulative idol.<\/p>\n\n\n\n\n\n\n\n

Petre Ghimb\u0103\u0219an's Richard is a hyperactive spirit with ADHD equal to hellish eternity, the actor proving true physical and vocal performances in representing the character. Both Richard and Buckingham calculate their steps, but if the former is monstrous in the voluptuousness and playfulness of crime, the latter, the temporary reverse of the medal, is the monster in the nascent state<\/em>, with a kind of timid self-control, of paradoxical tenderness in the apprenticeship to the mechanisms of the exterminating carousel.<\/p>\n\n\n\n


For it is a carousel in the setting imagined by Adrian Balc\u0103u, a toy that is the world, with the application called the world of power, spinning like the entire planet with, on one side, an interior bordered by fragments of armor, the center of which is a bed (suggestion of essential events: birth, perpetuation, death, making plans) and a black wardrobe with multiple drawers of the inner world, on the other a double series of stairs, ending with the throne platform, a public area of exercising, undermining, cheating and gaining coveted, perverted power, appropriated in bloodbaths. Above, concluding the vertical of the planes, the video design of Andrei Cozlac, with a pair of eyes that seem rather like a reversal in the negative, a height of the "deep", where black birds pass, clouds that slide into each other and a kind of haunting moth. On the stairs, up and down, the characters who, after all, start from one and the same Plantagenet family, from an Adamic Edward III, and who grind themselves to the limit. Like the world, right? Only, on the other hand, beyond the plank we are here and now, in the order of the continuous present, with Edy, Bucky and their kind. Diminutives that have nothing funny or friendly, but mildly derogatory, announcing probable and provoked deaths.<\/p>\n\n\n\n


The costumes, also conceived by Adrian Balc\u0103u, are an ingenious combination of medievalism and modernity, the dissonances only ensuring the clarity of the ideas that structure the show: sometimes a mini under a princely cloak, sometimes metal hand, shoulder or chest protectors, sometimes iPhone headphones, sometimes professional killers' hoods (obviously, Richard and Buckingham). Central and continuous, the bizarre rat on Richard's shirt.<\/p>\n\n\n\n

A rat in the absence of a righteous Hamlet, not of the implacable rules of fate, but of the macabre inventory of the condition of power: the show ensures its circularity by using the Richmond child who is visible from the very beginning, in the first row of the hall, supported by the extension of the forestage, almost like a directorial defect\/audience accident, a place from which he will ascend in the end (with a determined-persuasive monologue), stabbing Richard and ascending the throne, in the royal chlamys, as a sign that history will inevitably repeat itself, who knows how long.<\/p>\n\n\n\n


In the context, women, mothers or wives of kings in office or long-gone from the living, as a consequence of the madness of the times, are forced to put their ability to slip (if not otherwise, at least erotically) through the cracks of the carnage to the test (the three Ladies \u2013 Elisabeth \u2013 Denisa Irina Vlad, Anne \u2013 Alina Leonte, Margret \u2013 Corina Cernea are proof), the only moment of revolt seeming to remain with the Duchess of York (Ioana Drago\u0219 Gojd\u00f3 with her memorable monologue towards the end). Between the sexes, so to speak, Richard Balint's Cardinal is rather ambiguous than neutral (in the botanical sense, not grammatical), therefore sufficient to itself, with a sapiential unctuousness suitable for circumstantial skating.<\/p>\n\n\n\n


There remains the collection of glasses with white milk from nature, from the black cupboard of the conjuncture. Have we all "sucked the blood with milk"? In a kind of perpetual infantilization, in which cruelty is part, if not essence, of the game? Who knows? What is certain is that, before his death, Richard, with the chlamys and then with the sheet, seems to repeat the gesture attributed to Caesar (the first, Julius), who would have hidden his face in his toga waiting for Brutus' dagger. Without changing the kingdom to any knight, according to how many pieces he had eliminated from the chessboard.<\/p>","protected":false},"excerpt":{"rendered":"

Text preluat de pe Vestul Dramatic | autor: Doru Mare\u0219 Richard III al lui Andrei M\u0103jeri contureaz\u0103 geografia unor serii de cupluri, la r\u00e2ndul lor generate de dubletul demonism \u2013 fascina\u021bie. Prelu\u00e2nd textul shakespearian, cel \u00een traducerea lui Horia G\u00e2rbea din monumentala edi\u021bie Volceanov, ap\u0103rut\u0103 la Tracus Arte, versiunea scenic\u0103 lucrat\u0103 de regizor al\u0103turi de Alexandra […]<\/p>\n","protected":false},"author":1,"featured_media":12320,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[213],"tags":[],"class_list":["post-14101","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-aparitii-media"],"aioseo_notices":[],"aioseo_head":"\n\t\t\n\t\n\t\n\t\n\t\n\t\n\t\t\n\t\t\n\t\t\n\t\t\n\t\t\n\t\t\n\t\t\n\t\t\n\t\t\n\t\t\n\t\t\n\t\t\n\t\t\n\t\t\n\t\t\n\t\t\n\t\t\n\t\t\n\t\t\n\t\t