{"id":5220,"date":"2020-08-28T10:15:15","date_gmt":"2020-08-28T10:15:15","guid":{"rendered":"https:\/\/teatrulreginamaria.ro\/2020\/08\/28\/sarpele-in-iarba-claudiu-groza-tribuna-magazine-2-2\/"},"modified":"2020-08-28T10:15:15","modified_gmt":"2020-08-28T10:15:15","slug":"the-snake-in-the-grass-claudiu-groza-tribuna-magazines-2-2","status":"publish","type":"post","link":"https:\/\/www.teatrulreginamaria.ro\/en\/sarpele-in-iarba-claudiu-groza-tribuna-magazine-2-2\/","title":{"rendered":""Author Portrait" Festival \u2013 Mircea Morariu (contributors.ro)"},"content":{"rendered":"

Text author: Mircea Morariu
Taken from contributors.ro<\/a><\/p>\n

The Regina Maria Theater in Oradea officially opened its new season with a recap of the previous theater season's productions and not only (Vinnegar Tom, Genul acustativ and Opera de trei parale were thus able to be seen again), with a premiere or, more correctly, with a complete restoration of a show originally produced in the independent environment (P\u00e2na c\u00e2nd moartea ne va despar\u021bi), but also with a mini-festival entitled Portret de autor. Dedicated to a highly successful trilogy by a French playwright who is by no means minor. On the contrary. Currently in great demand on Romanian stages. It's about Florian Zeller.<\/p>\n

Now, to be fair, the festival was more of a crisis, if not necessarily a rescue, in any case. A prosperous city and county where we are told to the point of oversaturation that everything would run smoothly thanks to someone who is more sunny than Louis XIV and more thirsty for megalomaniac constructions than the Genius of the Carpathians, Oradea and Bihor do not really have, unfortunately, the resources to support the return to life, after the pandemic, of the oldest short theater festival, which over time became FITO. That is, the Oradea International Theater Festival. Other, and not culture, but, at best, subculture, popular manifestations are the priorities of the authorities in whose pen the allocation of funds is. It seems true to the saying How beautiful is our country\/Whether Wednesday, or Thursday\/There is no such thing as existing\/Citizens with sad faces.<\/p>\n

<\/p>\n

The management of the Theatre did not adopt a mioritic attitude, it was not satisfied to say that this is the situation, but thought of capitalizing on the opportunity represented by the consistent presence on the Romanian stage of Zeller's writings, a presence enriched by the host institution. Which presented for the first time in the country The Son. The third part of the trilogy that made the French playwright famous. A celebrity that refuted all those who, out of the desire to loudly support the death of French culture, argue their assertion through an alleged precariousness of today's French literature. Implicitly also of that intended for the stage.<\/p>\n

How can you say that dramaturgy in the Hexagon is in clinical death since Zeller's writings are performed almost everywhere in Europe and beyond, and The Father has metamorphosed into the script of a film honored by the presence of the name of the great actor Anthony Hopkins in the credits? A film that won the much-coveted Oscar in the Best Screenplay category. And The Son, a play written in 2018, whose theme is "the horror of being a parent", as the playwright himself claims, also became a film script. A film that was not without success on the occasion of its world premiere at the 79th edition of the Venice International Film Festival. This after being considered a masterpiece by the prestigious magazine Le Point, after receiving several awards and nominations for awards, after being printed in numerous editions, some even for school use. After it came to be studied in high schools. Or. School, literary critics and theorists argue, is one of the main instances that contribute to the institutionalization of an author.<\/p>\n

I have written a few times about Zeller and his creations. I did it first in 2018, when the Ioan Slavici Classical Theater in Arad presented the national premiere of Father, directed by Radu Iacoban. Then in the spring of 2022, after I saw the national premiere of Mother, online. A premiere thanks to the Nottara Theater and director Cristi Juncu. The Author's Portrait Festival gave me the opportunity, in the first two days, to meet again with the aforementioned performances.<\/p>\n

Like the Son, a text and performance that I hope to return to at leisure next week, Mother, a writing dating from 2010, and Father, from 2012, talk about a deeply unsympathetic subject. About illness. About how fragile mental health is, about the dangers it faces, about how something unexpectedly collapses in the intimacy of the human being. At the age of senility in the Father, at that of maturity in the Mother, in adolescence in the Son.<\/p>\n

Son, Mother, Father are not at all melodramatic writings about the terrible weaknesses of the human being who has become a victim, about the morbid confusion between reality and the apparent, about the increasingly diluted perception of reality and about its morbid rewriting. About how easily and, through this, how tragically once firm contours are lost, about how everything that was previously certain is consciously but mostly unconsciously dynamited. About how individual identities or family life are tested and shattered. About how an accident occurring precisely in family life (a divorce, an infidelity or, simply, the maturation of children who claim their right to their own lives) can lead to memory loss (i.e. Alzheimer's), hospitalization in a clinic or even suicide.<\/p>\n

In Father, Florian Zeller's pen has created an exceptional character and role. Andr\u00e9. The play tells the tragic story of a man who, over the course of several years, increasingly loses his memory. At first, everything seems like a game, viewed with fear, with conditional understanding, with relative resignation, with concern by his daughter Anne and son-in-law Pierre. Things get complicated, finding a nurse becomes an obsessive matter, Anne and Pierre reach their limits. They desert. They decide to admit the man who is collapsing before our eyes to an asylum. Andr\u00e9 was once a charming man, who still retained something of himself even in the first sequences of the collapse. First, he can no longer find his watch, later he no longer recognizes his daughters and son-in-law.<\/p>\n

During the festival that is the subject of my notes today, I re-watched the Ioan Slavici Classical Theatre show, almost four years after its premiere. One based \u2013 how else? \u2013 on emotion and the warning that what happens to Andr\u00e9 could happen to us at any time.<\/p>\n

Perhaps this is where the basic idea of the scenography created by Tudor Prodan comes from. Most of the action takes place in the space of a plastic parallelepiped that reminds us of the antithetical relationship between transparency and obstacle. Between caution and risk. Between the desire and the impossibility of foresight. Of isolation.<\/p>\n

Undoubtedly, the staging has preserved both its impact and its value. We observed in the premiere review that Radu Iacoban \u201ccredited the actor Ovidiu Ghini\u021b\u0103, the interpreter of Andr\u00e9, to the maximum, one could say to the white canvas, and drew the winning card. We thus have a true acting recital by this special artist who finds for each situation the appropriate tone, the appropriate form of individualization of the dramatic situation, of the temporal leaps. Nothing extra, no attempt at thickening, not even in the moments when Andr\u00e9 explicitly asserts his cabotinism. Ovidiu Ghini\u021b\u0103 never loses the right measure\u201d.<\/p>\n

I now countersign the assessments from then. Ovidiu Ghini\u021b\u0103 has preserved his strength, his elegance, his toughness, his tenderness, and his ability to suggest the evolution of the helplessness of the man affected by the disease. All the more tragic since it is not made aware by the victim. Good luck to Andrei Elek in Pierre, and Roxana Sab\u0103u, the performer of Anne. Andrei Elek plays the mimed security who, in front of his wife, wants to play the role of the man who is ready to understand everything, but who quickly reaches the end of his patience, hence the aggressiveness and uncontrolled attitudes towards Andr\u00e9. Which are real or just conceived by Andr\u00e9's sick imagination? Roxana Sab\u0103u highlights the disorientation of the woman who feels that she can no longer face the terrible trials that life has in store for her. A life that she would like to live normally. If at the premiere the role of Laura was played by Iulia Dinu, if later it fell to Cecilia Donath, now it has fallen into the hands of Cali\u021ba Nantu. Hands that are proving to be very good.<\/p>\n

Mama de la Nottara is a recent show. It entered the repertoire sometime in the spring. Almost at the same time that the same director, Cristi Juncu, an expert in stage miniatures of great subtlety, was giving the show with Tat\u0103r at Bulandra. Which makes the last role in the impressive, fabulous career of the great Victor Rebengiuc possible. As I was saying, I saw Mama in the livestreaming version. Now I saw it again in the theater. Undoubtedly, time and the run-in with the audience have left their favorable mark on the staging as a whole. The protagonist \u2013 Catrinel Dumitrescu \u2013 who even on the occasion of the first meeting with the show seemed to me to be performing a role that certifies her artistic maturity and what is called the carats of mastery, has acquired even more strength. I have appreciated the value of her interpretation since the spring. She told me that she would have preferred to see the show in the theater. I think she was absolutely right. The play itself now seemed to me to be somewhat better than I had appreciated it to be in the premiere review, perhaps because the show gained in dynamism. As they say, it tightened up.<\/p>\n

Sorin Coci\u0219, the holder of the role of Pierre, has acquired an added presence in the economy of the show. The actor has noticeably diminished his inclination towards melodramatic visible in the final moments of the show. In the role of Nicolas, Rare\u0219 Andrici puts his personal stamp. He is more vehement in his relationship with the Mother, perhaps even crueler than Vlad B\u0103lan was in the same role (this within the framework of the stylistic exercises assumed by the dramaturgy which, as I said, writes and rewrites the complicated, at times psychoanalyzable relationship between mother and son). Alexandra Mur\u0103ru\u0219 also evolves in accordance with him. Her character is the Vampa who could not help but become unbearable to the mother, the woman certain that she will be the winner in the war whose stake is the regaining of her son.<\/p>","protected":false},"excerpt":{"rendered":"

Autor text:\u00a0Mircea MorariuPreluat de pe contributors.ro Teatrul Regina Maria din Oradea \u0219i-a deschis oficial noua stagiune cu o recapitulare a produc\u021biilor anteriorului sezon teatral \u0219i nu numai (au putut fi astfel rev\u0103zute Vinnegar Tom, Genul acuzativ \u0219i Opera de trei parale), cu o premier\u0103 sau, mai corect spus, cu o refacere din temelii a unui […]<\/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":[319,394,393],"class_list":["post-5220","post","type-post","status-publish","format-standard","hentry","category-aparitii-media","tag-festival","tag-fiul","tag-portret-de-autor"],"aioseo_notices":[],"acf":[],"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