{"id":4490,"date":"2020-02-27T10:41:11","date_gmt":"2020-02-27T10:41:11","guid":{"rendered":"https:\/\/teatrulreginamaria.ro\/2020\/02\/27\/revizorul-februarie-2020-mircea-morariu-amfiteatru-com\/"},"modified":"2020-02-27T10:41:11","modified_gmt":"2020-02-27T10:41:11","slug":"the-reviewer-february-2020-mircea-morariu-amphitheater-com","status":"publish","type":"post","link":"https:\/\/www.teatrulreginamaria.ro\/en\/revizorul-februarie-2020-mircea-morariu-amfiteatru-com\/","title":{"rendered":"THE REVIEWER: February 2020 \u2013 Mircea Morariu (amfiteatru.com)"},"content":{"rendered":"

Text author: Mircea Morariu
Taken from amphitheater.com<\/a><\/p>\n

A new translation made from the perspective and in accordance with the intentions of the show (signed by Elvira R\u00eembu), a director with a consistent, honorable and hopeful calling card, a director who, by the way, is not at his first encounter with Gogol's text (Petru Vutc\u0103r\u0103u), a spectacular, dynamic, energy-generating set, and numerous spaces that intelligently and efficiently value almost all the kinetic and expressive possibilities offered by the revolving stage (Adrian Damian), a set enriched by the remarkable contribution of light design (Bogdan Gheorghiu) and video creation (Ioana Ila\u0219-Badale), by a scenic movement that is itself efficiently elaborated, with a clear focus on spectacularity, a movement from which images are created in which realism merges or sublimates into the fantastic (Andr\u00e1s L\u00f3r\u00e1nt), a large cast with a successful coordination of group moments, with several well-performed roles (\u0218erban Borda, Eugen Neag, Pavel S\u00eerghi), others who would have had the chance to be like this if their queen had been found and especially preserved (R\u0103zvan Vicoveanu, Sebastian Lupu, Alexandru Rusu).<\/p>\n

<\/p>\n

These seem to me to be, in general, the arguments that could be brought in favor of the performance of the play "The Inspector" at the "Regina Maria" Theater in Oradea. A performance that I have every reason to believe was conceived not only as an event of the Oradea season, as its peak, but also as a chance given to the natural desire of the producing institution to return to the forefront of the national theatrical movement.<\/p>\n

There was another reason why it would have been desirable for the show with "The Inspector General" to succeed in its entirety. To overcome the stage of partial, fragmentary success, which, unfortunately, it is confined to. It should have functioned as a revenge for the relatively embarrassing situation of about 20 years ago, when "The Inspector General" still figured in the repertoire projects of the Romanian Section of the State Theater of Oradea at the time. A project that had to be abandoned for various reasons. From the fact that the old translation by Sic\u0103 Alexandrescu, the only one existing at that time on the market, no longer sounded good and artistically plausible, to the reality that the actor who was entrusted with the difficult role of Khlestakov was, by far, surpassed by the complexity of the character and that the director did not really have the necessary professional scope either.<\/p>\n

Why does the current production not go beyond the stage of partial success? Undoubtedly because the director Petru Vutc\u0103r\u0103u has not found a genuine integrative vision. That everything is presented as a succession of sequences that seem to be aspiring to summarize various moments in the history of universal theater and ways of stage treatment that are defective in the integrative vision. We are basically dealing with an amalgam of styles, tracks, solutions tried and then completely abandoned. The feeling I had at the end of the performance is that we were offered a melange in which we can find something from "The Lost Letter" (the first appearance of the Dobcinschi-Bobcinschi couple cannot help but make you think of Farfuridi and Br\u00e2nzovenescu, just as the police commissioner Uhovertor, played by David Constantinescu, is an alcoholic Pristanda), and from the Chiri\u021bel cycle or from "The Roosters" (this is how Gabriela Codrea evolves from one end of the show to the other in the role of Ana Andreevna, as well as Anca Sigmirean, played by Maria Antonovna), and from Pirandello (at one point it was as if we were confronted with a quote that appeared out of nowhere from "Six characters in search of an author"), and from "The Diary of a Fool" (unfortunately, in this exaggerated key, the great, famous monologue of Khlestakov is conceived and performed by R\u0103zvan Vicoveanu, and not through his fault), and from "The Phantom of the Opera" Opera\u201e (Mr. \u201dN\u201e, given to Alin Stanciu in this stylistic area evolves towards the end of the first part, a part that ends with a nightmare of the Mayor, which beyond its undeniable spectacularity, means nothing more than a moment of absolute gratuitousness).<\/p>\n

Many of the costumes created by Tatiana Popescu are shocking. The most blatant is the operatic vampire attire that the same undeservedly wretched R\u0103zvan Vicoveanu is forced to wear, who, however, has many good moments, especially in the sequence in which the character enjoys receiving the bribe offered to him by the city's notables (Petre Ghimb\u0103\u0219an, Sorin Ionescu, Pavel S\u00eerghi, Eugen Neag, Alexandru Rusu, Sebastian Lupu). A scene that I would have liked to have been more dynamic, with increasing acceleration. The first sequence in the show seemed as long as a fasting day and predictable to me, also compromised by the fact that absolutely all the performers speak from their throats.<\/p>\n

I wondered, and not really, why Osip (Andrian Locovei) is so little visible, I didn't understand the multiplication of endings. I would have liked it all to end with highlighting the unrest stirred up in the cities with the arrival of the false auditor and who, as Lucian Raicu well observed (cf. "Gogol and the Fantastic of Reality" (Editura\u00a0The Romanian Book,<\/em>\u00a0Bucharest, 1974) does not end with his disappearance. A final solution was preferred that would stimulate applause, not meditation. Too bad.<\/p>\n

"Regina Maria" Theater in Oradea \u2013\u00a0<\/em><\/strong>\u201e"The Inspector General" by N. Gogol<\/em><\/strong><\/p>\n

Translation:<\/em><\/strong>\u00a0Elvira R\u00eembu
<\/strong><\/em>Artistic director: Petru Vutc\u0103r\u0103u
<\/em><\/strong>Assistant director: Elvira R\u00eembu
<\/em><\/strong>Scenography - decor: Adrian Damian
<\/em><\/strong>Set design \u2013 costumes: Tatiana Popescu
<\/em><\/strong>Set design assistant \u2013 costumes: M\u0103d\u0103lina Baciu
<\/em><\/strong>Choreography: Andr\u00e1s L\u00f3r\u00e1nt
<\/em><\/strong>Light design: Bogdan Gheorghiu
<\/em><\/strong>Video creation: Ioana Ila\u0219-Bodale<\/em><\/strong><\/p>\n

Distribution:<\/em><\/strong><\/p>\n

Anton Antonovich Scvoznic-Dmuhanovschii, the mayor of the city \u2013\u00a0Serban Borda
<\/strong><\/em>Anna Andreevna, his wife \u2013\u00a0Gabriela Codrea
<\/strong><\/em>Maria Antonovna, his daughter \u2013\u00a0Anca Sigmirean
<\/strong><\/em>Luca Luchici Hlopov, school inspector \u2013\u00a0Petre Ghimbasan
<\/strong><\/em>Ammos Feodorovich Lyapchin-Tyapchin, judge \u2013\u00a0Sorin Ionescu
<\/strong><\/em>Artemii Filipovici Zemlianica, administrator of charitable institutions \u2013\u00a0Pavel Sirghi
<\/strong><\/em>Ivan Cuzmici \u015epechin, the postmaster \u2013\u00a0Eugene Neag
<\/strong><\/em>Piotr Ivanovici Dobcinschi, local landowner \u2013\u00a0Alexander Rusu
<\/strong><\/em>Piotr Ivanovici Bobcinschi, local landowner \u2013\u00a0Sebastian Wolf
<\/strong><\/em>Ivan Alexandrovich Khlestakov, Petersburg official\u00a0\u2013 Razvan Vicoveanu
<\/strong><\/em>Osip, his servant \u2013\u00a0Andrian Locovei
<\/strong><\/em>Mr. "N" \u2013\u00a0Alin Stanciu
<\/strong><\/em>Stepan Ilyich Ukhovertov, police commissioner \u2013\u00a0David Constantinescu
<\/strong><\/em>Avdotya, maid in the mayor's house \u2013\u00a0Lucia Rogoz
<\/strong><\/em>A waiter at the inn \u2013\u00a0Ciprian Ciuciu
<\/strong><\/em>Prostitutes, beggars, guests, rats\u00a0\u2013<\/strong>\u00a0Carina Bunea, Maria Teisanu, Miruna Lazar, Giorgiana Coman, Calita Nantu, Daniela Purcarea
<\/strong><\/em>Rats, guests, passers-by \u2013\u00a0Ciprian Ciuciu, Pavel S\u00eerghi, Petre Ghimba\u015fan, George Dometi, Eugen Neag, David Constantinescu, Ionu\u021b \u0218erban, Igor Lungu<\/strong><\/em><\/p>\n

Performance date: February 18<\/em><\/strong><\/p>\n

Photo: Remus Toderici<\/em><\/p>\n

\u00a0<\/p>","protected":false},"excerpt":{"rendered":"

Autor text:\u00a0Mircea MorariuPreluat de pe amfiteatru.com O nou\u0103 traducere f\u0103cut\u0103 din perspectiva \u0219i \u00een conformitate cu inten\u021biile spectacolului (o semneaz\u0103 Elvira R\u00eembu), un regizor cu o consistent\u0103, onorant\u0103 \u0219i d\u0103t\u0103toare de mari speran\u021be carte de vizit\u0103, regizor care, de altfel, nu se afl\u0103 la prima \u00eent\u00e2lnire cu textul gogolian (Petru Vutc\u0103r\u0103u), un decor spectaculos, dinamic, […]<\/p>\n","protected":false},"author":6,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[213],"tags":[383,391],"class_list":["post-4490","post","type-post","status-publish","format-standard","hentry","category-aparitii-media","tag-cronica","tag-revizorul"],"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