In the collective volume coordinated by Professor Liviu Malica (cf. Don’t look back. Communism, drama, societyPresa Universitară Clujeană, Cluj-Napoca, 2022) a constant number of authors were asked to say which plays and authors from the communist period they thought would pass what I once called stability tests. That is, how much and what of what was written before December 1989 could still be of interest to today’s audience.

Apart from some obvious confusion, ignorance, letter attitude or errors of taste that can be detected from the mail, some conclusions can still be drawn. Among which is what it could be SAVED without (big) problems, the works of Dumitru Solomon, Josyp Nagiu, Marin Sorescu, maybe even D.R. Popescu. And, of course, Teodor Mazilu.

In the introductory study of the book, Liviu Malitsa talks about a completely special experience, in my opinion, extremely commendable, of the director Viktor Ioan Frunze, who at a certain point made an aesthetic program Check it out great successes of the past. Performances with texts, e.g identity from the Theater named after Maria Filotti from Brăila, capitalized on the part Dramatic parables Dumitru Solomon, Morgan’s girlfriend the same playwright (Theater of Romanian Playwrights), Head of the soul sector Alexander Mirodana (Theatre of Comedy) or Furniture and pain Theodore Mazilu (UNESCO Cultural Center) also seems to me to be a benchmark achievement.

I am happy now to record a great show with Fools under the moonlight mounted by Felix Alexa in the theater Oleksandr Davila from Pitesti. A beautiful, percussive show (yes, I admit, the word is abused!) with many reflexes, in no way imposed in our immediate present. A performance that has the important characteristic that, despite the fact that the director, as the author of the stage version, almost cut down the text too drastically, it remains essentially Mazyliv. More specifically. Felix Alexa records in his play in Pitesti the fact that Teodor Mazilu practiced realism of a completely different quality than the usual one. Mazilu does not do this in his best works PLAYING simply and land to land epoch. His swindlers, whether sentimental, sleepy or moonlight, all amoral by definition, form a universe of their own. They mutually condition each other, feed each other, experience the adventures of language, get pleasure from self-determination, talk about themselves with obvious lust. Basically, he adores and magnifies his faults. That they don’t think it’s bad, but the opposite. They do this by often resorting to the wooden language of the era they are merely celebrating. They also have an obsession and enjoyment of phrases or phrases like field of work, financial control, I am cynical, I have no character, piss me off and leave me alone!, I am neither salary nor happy, I struggle and I answer to you. It is this specificity that makes it wrong to capture them on stage in a realistic manner. It is necessary to observe the heroes of Mazilu’s plays, to present them as if they were taken out of an insectarium. In addition. The specificity of Mazil characters does not lie in the difference between appearance and essence. Most often, Mazil’s essence and appearance coexist.

This is something that Felix Alexa perfectly understands, this is what is perfectly suggested in the performance in Pitesti by Maria Miu’s set. Everywhere there is vegetation, in fact, Adam’s garden (luxe, calme et voluptThis is, what else? Everything undermined by the inevitability of the arrival of financial control) garden of pleasures, no matter how immoral those and those we see on the stage.

In the show directed by Felix Alexa, the characters behave, as Doina Modola rightly observed years ago, “like mad robots trying in vain to learn the lost alphabet.” For example, the scene in which Camelia (Ramona Olteanu) and Hortense (Ada Dumitru) try to teach Gogo (Adrian Titieni) to be something he is not, and in the end he is something he does not want to be, is excellent. be . Honest person. The ending is also great. But until then, one should observe the truly exemplary evolution of Gogu Preda in Emiliana (I even think that for Gogu Preda he taught distribution in the show with Nonsenseunder the light of the moon it means an opportunity to prove himself as a very good, rare Masilian actor) and Adrian Titiani’s effort not to fall into imitation of the way he performed the role during the absolute premiere (Teatrul Bulandraseason 1962/1963, director: Lucian Pintilier) the great Octavian Cotescu. Very often SUMMONS its intonations are visible even in the playing of some performers, who, primarily due to age reasons, as well as due to the fact that the absolute premiere was played very little, a special role in removing it from the poster was played by a terrible article published by Dina Zasoleno in The spark of youth) could not see Kotescu in this role. Only the voice and intonations of the great artist are not a myth, but a treasure of the Romanian theater. – Read the entire article and comment on Contributors.ro