Theater queen maria from Oradea officially opened its new season with a repeat of the productions of the previous theater season and not only (so they could be seen again Winnegar Tom, accusative case and Opera of three parallels), with the premiere or, more precisely, with the restoration from scratch of the original show created in the environment independent (Till death do us part), as well as with a mini-festival called Portrait of the author. Dedicated to the extremely successful trilogy of a far from secondary French playwright. Vice versa. Now in great demand on Romanian stages. It is about Florian Zeller.

To be honest, the festival was rather, if not a crisis, then a lifesaver in any case. A prosperous city and county, where we repeat ad nauseam that everything will be fine thanks to one who is more the Sun than Louis XIV and more thirsty for megalomania than Genius of the CarpathiansOradea and Bihor do not really have the resources to support the return to life after the pandemic of the oldest Short theater festivalbecome over time PHYTO. That is, the International Theater Festival in Oradea. Other, and not culture, but, in the best case, subculture, popular manifestations are the priorities of the government, on whose pen is the allocation of funds. It seems to be true How beautiful it is here/Wednesday or Thursday/There is no such thing/Citizens with sad faces.

The management of the Theater did not take a majority position, they were not satisfied with this this is the situationm., but it was thought that it would make use of the opportunity presented by the constant presence on the Romanian scene of Zeller’s works, a presence also enriched by the host institution. The premiere of which took place in the country sonny. The third part of the trilogy that made the French playwright famous. The celebrity, who refuted all those who, wanting to loudly support the death of French culture, also argues for his claims by the alleged shakiness of French literature today. What is intended for the stage is also unclear.

How can you say that drama in the Hexagon is in a state of clinical death, as Zeller’s works are performed almost everywhere in Europe and beyond, and father turned into a script for a film honored by the presence in the credits of the name of the great actor Anthony Hopkins? The film that received such a coveted Oscar in this category Best case scenario. AND sonnyThe play written in 2018, the theme of which is “the horror of being a father”, as the playwright himself claims, also became a film script. A film that was not successful at its world premiere at the 79th Venice International Film Festival. This is after counting the prestigious magazine Le Point the masterpiece, which received several awards and nominations for awards, was printed in numerous editions, some even for school use. After that, she entered high school. Or. the school, according to literary critics and theorists, is one of the main institutions that contribute to the institutionalization of the author.

I have written several times about Zeller and his creations. We did it for the first time in 2018, when Teatrul Clasic Ioan Slavich from Arad is presented for the first time in the country father, directed by Radu Jacoban. Then in the spring of 2022, after I saw the premiere in the country online Ia) Premiere thanks to the Theater Nottara and directed by Christy Juncu. Festival Portrait of the author during the first two days I had the opportunity to meet the above-mentioned shows again.

Also To my sontext and performance, which I hope to return to at my leisure next week, havedated 2010, and father, since 2012, talk about a deeply unsympathetic topic. About the disease. About how fragile mental health is, about the dangers that threaten it, about how unexpectedly something sneaks into a person’s private life. At the age of aging in fatheruntil maturity in havein adolescence sonny.

Son, mother, father these are by no means melodramatic works about the terrible helplessness of a person who has become a victim, about the painful confusion between reality and the relative, about the increasingly rarefied perception of the real and about its painful repetition. About how easily and because of this, how tragically once solid contours are lost, consciously, but especially unconsciously, everything that was certain until recently is destroyed. About how individual identities or family life are tested and torn apart. About how an accident that happened in family life (divorce, betrayal or, simply, the growing up of children who claim their right to their own life) can lead to memory loss (i.e. Alzheimer’s disease), hospitalization in a clinic or even suicide.

IN father Florian Zeller’s pen created an exceptional character and role. Andre. The play tells the tragic story of a man who has been losing his memory more and more over the years. At first, everything gives the impression of a game, which is watched with fear, with conditional understanding, with relative humility, with concern for daughter Anna and son-in-law Pierre. The matter gets complicated, the search for a nurse becomes an obsessive task, Anne and Pierre are exhausted. He deserts. I decide to give shelter to someone who is collapsing before our eyes. Andre was once a charming man who still retained something of himself even in the first episodes of his collapse. At first he cannot find his watch, then he does not recognize his daughters and sons-in-law.

On the occasion of the festival, about which I am taking notes today, almost four years after the premiere, I saw the performance of the Classical Theater again Ioan Slavich. On the same basis – how else? – on emotion and the danger signal that what happens to Andre could happen to us at any time.

Perhaps this is where the main idea of ​​the scenography created by Tudor Prodan comes from. Most of the action takes place in the space of a plastic parallelepiped, which reminds us of the opposite relationship between transparency and obstruction. Between caution and risk. Between desire and impossibility of provision. Insulation.

Undoubtedly, the mount has retained both strength and value. In the chronicle of the premiere, we noted that Radu Jakoban “maximally included the actor Ovidiu Ginice, Andre’s translator, even on the white canvases, and drew the winning card. Thus, we have a real actor’s recitation of this special artist, who finds the appropriate tone for each situation, the right form of individualization of the dramatic situation, time jumps. Nothing superfluous, no attempt at condensing, even in the moments when Andre clearly declares his Cabotinism. Ovidiu Ginita never loses the right measure.”

Now I mark the grades from that time. Ovidiu Ginice retained his strength, his elegance, his firmness, his tenderness and his ability to convey the evolution of the helplessness of a person touched by the disease. Especially since she does not know the victim. Andriy Elek as Pierre and Roxanne Sabeu as Anna. Andriy Elek plays the facial expression of a bodyguard who, in front of his wife, likes to play the role of a person who is ready to understand everything, but who quickly runs out of patience, hence the aggressiveness and uncontrolled attitude towards Andre. Which are real or just made up by Andre’s sick imagination. Roxanne Sabeu underlines the despair of a woman who feels that she can no longer face the terrible challenges that life has in store for her. A life he would like to live normally. If at the premiere, the role of Laura was performed by Yulia Dinou, if later it went to Cecilia Donat, now it has fallen into the hands of Kalitsia Nantu. Hands that turn out to be very good.

have from Nottara this is a recent show. It entered the repertoire sometime in the spring. Almost at the same time that the same director, Christy Juncu, a master of stage miniatures of great subtlety, gave Bulandra show with father. What is the reason for the last role in the impressive fairy-tale career of the great Viktor Rebengiuk. Like I said, I saw it have in the variant Streaming. Now I saw him again in the gym. Undoubtedly, the time and access to the public left a favorable impression on the assembly as a whole. The main character Catrinel Dumitrescu, who even at the first meeting with the play seemed to me to be an acting role, which testifies to her artistic maturity and what are called karats of skill, gained even more power. Since spring, I have appreciated the value of his interpretation. He told me that he would prefer to see the play in the hall. I think he was absolutely right. The performance itself now seemed to me a little better than I estimated it in the chronicle from the premiere, perhaps due to the fact that the performance gained dynamism. As you say it dragged onRead the entire article on Contributors.ro