1. Revision Chenchi family

On a great occasion in person National Theater Days “Vasyl Oleksandr” with Iasi, I had the opportunity to see two new productions directed by Silviu Purkerete. Not just a first-rate director, who has shown himself to be such during the last two or three seasons, seasons in which the very idea of ​​theater, the very purpose of this art, has been called into question (in my opinion, Purkerete was from macbeth, from the Hungarian State Theater in Cluj-Napoca, p The plowman and death And with Cenci from Iesian National, which can be called an absolute leader), but also a permanent employee of the Theater from the capital of Moldova. Each of his visits to the respective theater is a special moment.

This is how things have been going since 2009. And in a relatively controversial case presented by the play Giants of the mountains Pirandello, and also in the case of comedies Florentine hat or cafe, here’s how things are going now with the latest installations The plowman and deathin accordance Chenchi family.

So I was happy to see it again Chenchi family. To be able to recall the emotions of the premiere, to be able to contrast the opinions expressed in the chronicle published in the summer. Undoubtedly, the show from Iasi has a great cultural dimension. And not only because this is the first production on the theater stage of Romania of a single play by one of the most outstanding figures of the theater of the last century. 20th century. A century of royal power. That he understood completely differently than Stanislavsky, Meyerhold and many others imagined. Artaud contemplated and dreamed of a different kind of theater, which he theorized in several seminal texts such as Theater and plague, Theater of cruelty, Theater and its double. He was a well-known opponent of Aristotelian theater. He wanted to undermine the supremacy of vorbei, language. He spoke against the comfort of the viewer, drew on the face the so-called digestive theater.

But was there any distance between Artaud’s theatrical theories and how the playwright of the same name manifested himself in his only work in this field? is there this Chenchi family accurate expression of these theories? But is it also a real theater? A separate aesthetic product? These are natural questions to which I answered affirmatively in the chronicle from the premiere. ago. The Yésian show is primarily an argument in favor of the complementary relationship between Artaud’s two main artistic problems. He writes about the theater and for the theater. I have no doubt that the production of the 1935 play also brought with it the revelation of a third dimension to Artaud’s personality. What the director has. The revolutionary of the production. It is certain that in “Purkerete” he imagined a dramatic scenario, in the solitude of which he combined this very strange work and fragments from Artaudi’s theoretical texts. He came up with a character called buffoon , Melina Lazar plays beautifully. To whom he lent his own voice, a fact which, on a symbolic level, amounts to conjecture.

Therefore, Silviu Purkerete did not intend to limit the performance, which was staged at the National Theater in Iaşi, to the important cultural dimension mentioned above. He didn’t just want to make restitution for something that didn’t get enough attention here, or anywhere else in Europe or the world. He not only made what I would call a gesture with implicit didactic value. I use this phrase, which I have every reason to suspect will not exactly sit well with the director, precisely because I know that in Romanian theater circles Artaud is quoted rather than read. Lends his voice to a character buffoon, Purkarete proceeded to confess his faith. It is confirmed, among other things, by the fact that Artaud’s teachings which also greatly influenced Ionesco can also be found in the show p Macbeth also staged by Silviu Purcarete at the Hungarian State Theater in Cluj-Napoca.

Chenchi family it’s mostly a visual show. Read the entire article and comment on contributors.ro