14 years after graduation, four former colleagues, moreover, former neighbors, gather not around, but at the table. On which is located almost everything that is usually found when mentioning someone who is no more. The fifth, named Ovidio, was not only the star of the class, a boy who somewhat resembled Denis, a character from Explosive, played by Eliza Wilk, but the character who marked the existence of all the other four in one way or another died in a motorcycle accident. The memorial service was organized by Carmen, Ovidio’s third cousin.

Actually, she only invited Denis and Valentina to the wake. Ivanka, who had settled in Spain in the meantime, was not welcomed at all. She is more or less elegantly invited by Carmen to leave. He won’t do it because he has old scores to settle. The one that concerned the final clarification of the issue of paternity.

It will be seen later that, in fact, each of the four has something to clarify. About myself, about the family from which he comes, about relationships with former colleagues. It’s about things that are kept silent or that, if they are talked about, either in corners or in whispers. At the time when these secrets were relevant, the main rule, which is probably inherited from communism and its specific mentality (the characters were born at the end of the 80s and spent their childhood and youth in such a turbulent first post-communist decade), is not to talk about them. Now in this conversation after the funeral, a conversation in which the cards are finally revealed and the masks come off almost completely, she will prove that keeping a secret costs money. That the bill was and will remain, at least for some time, very spicy.

This, in general, is the theme of the play we don’t talk about it recently entered the repertoire of the theater Odeum. It is about the third work of Oleksandra Felsagi in the production of the same director. Adina Lazar. There were others Green slicewhich is played by a private association from Zalău, and Stop taking up the line! Which appeared, perhaps still appears in the repertoire of Cluj National. Both were well received by both the critics and the UNITER jury. Perhaps also because they are part of the perimeter of social theater, which if you don’t pay attention to, don’t rave about, don’t declare yourself a fan of for life, regardless of the actual value of the text and the stage performance, you’re really not very K and you are dealing with a new, revolutionary criticism. Whoever comes, comes, comes, tramples everything. He even clouded the minds of some UNITER leaders:

Unfortunately, this new article by Oleksandra Felseghi (followed Goddesses of category B who also has faults, I pointed them out and Andrii Mayeri got mad at me again!) doesn’t prove that the playwright (no, look, I did, I also gave credit to feminism!) meanwhile didn’t make much progress in terms of dramatic construction. Praise and praise in excess of booty. The game is more like Lego. That is, something else is added, regardless of whether this something is really necessary. I mean that makes real sense. A clear indicator that before teaching others (Alexandra Felsegi teaches at the Faculty of Theater and Television in Cluj), she still has a lot to learn herself.

Director Adina Lazar, with the support of scenographer Andrey Tekla, tried to ensure the most convincing coherence of the performance. He partially succeeded. But, unfortunately, adhesions are still felt. It would have been perhaps even stronger if the show had Odeum it wouldn’t have benefited from an absolutely wonderful cast. Vlad Birzanu collected in the role of Denis, a complex guy who remains so in adulthood, nicknamed the shadow of Ovid, Ruksandra Maniu, so determined Jovanka, Anda Salteleki, in the terrorized by the rule of silence Carmen, Eduard Trifa, clearly introverted Vali fak muni. They are absolutely admirable. And not only in the already mentioned roles. Each of them is tasked with creating/interpreting at least three or four more characters. Parents, teachers, people louches. Cruel in their own way. Some of them are obsessed with maintaining their appearance and respectability. Even if it is done at the cost of influencing the personality of children. With trauma for life.

Nothing dense, nothing grotesque, nothing superfluous in a role-playing game. The Theater is pleased to have such young actors.

Theater ODEUM from Bucharest

WE DON’T TALK ABOUT THAT with Oleksandr Felsegi

Director: Adina Lazar

Scenography: Andrea Tekla

Light design: Andriy DThis islczeg

Graffiti: Nico Becker

with: Vlad Birzanu (Denis), Ruxandra Maniu (Ivanka), Anda mattresses (Carmen), Eduard Trifa (valentine)

2. Goodbye!

In the summer of 1981, Romania was experiencing a crisis of imminent default. The foreign exchange resources of the country were so depleted that there was no currency even to pay interest. According to the testimony of Florea Dumitrescu, then the governor of the BNR, Nicolae Ceausescu was a huge fear, and it was she who was at the heart of the draconian currency restrictions that followed. That could not but affect the culture as well. That is why the appearance of such films as Green ice or Sometime, some shows as they were Amadeusfirst of all Juleshti and then, in 1986, in Oradea, Memoirs of Sarah Bernhardt from Notary, with Olga Tudorake and Stefan Iordake, were considered real miracles.

It was almost the same with the installation of the work good night mom! Which appeared in 1988 in the repertoire of the Maly Theater. Director Dinu Chernescu cast Olga Tudorache and her former student Liana Ceterki for two roles. Thus, the custom, which had its predecessors in The effect of gamma rays on anemones since 1977 and Butterflies, butterflies since 1983.

good night mom! an award-winning 1983 work by American author Marsha Norman Pulitzer and award nomination Ton, in Olga Tudorache needed a glove. The character entrusted to her, a woman named Thelma, is a mixture of hardness and sensitivity, marked by both a comfortable unconsciousness and hidden guilt and remorse that boils over in a moment of crisis. The works belong to the generous category of texts intended for major actresses with established film careers who return to the theater between two films. good night mom! it was staged in the most selected theaters, but, interestingly, until yesterday, with the exception of the performance from ArCuB, staged there in 2014 by director Mircea Cornishtianu with Cherasela Iosifescu and Florina Chercel in the cast, no relapses have been recorded in Romania, as far as I know. And this despite the fact that the play was filmed. And shows attract the theater, as you know. The number of characters in the film increased, Anne Bancroft played Thelma, Sissy Spacek played Jessie.

In 1988, I saw a performance of small on the occasion of the publication Short theater weeks from Oradea. Now is an international theater festival. On the occasion of the 2023 edition, I was able to see, about two years after the premiere, a production carried out in the same Teatru Mic by the director Vlad Massatsi. During the pandemic, production was repeated, mainly on Increase, and the director Vlad Massachi had the idea that the two heroes could communicate using the same medium. Absolutely interesting stuff and proof that Massacci has a sense of proportion, that he respects the actor, that he does not impose technology, that the introduction of his show into the program Theater for actors … and only with actors these were not empty words, it is the fact that the editing does not for a single moment resort to video projections. Thelma spends most of her time in front of the computer, Jessie communicates with her mother using a mobile phone for the last time. The two actresses – Dana Dembinski-Medeleanu and Andrea Gramoshtianu rarely get up from their seats, they almost become part of the darkness of the stage (scenography: Ioana Pashka), they do not look at each other even for a second.

With her mother’s help, Jessie finds the gun she will use to complete her plan to end her days. She announces her plan to kill herself to her mother, who, succumbing to the flood of words, initially seems unaware of the seriousness of the announcement. In the first part of the play, the relationship between the two actresses contrasts, and from a certain moment they become complementary. Jesse sums up his life, actually a series of failures. A whole series of other blows were added to the physical suffering from epilepsy. Sentimentality, professional failures, inability to blend into society, closed-mindedness, closed in on oneself. Jessie, focused, without too much drama, carefully avoiding falling into melodramatics, blames absolutely no one for her failure. He rejects the mother’s attempt to assign retroactive attribution. As Thelma fails to convince her daughter to surrender, more sympathy develops between the two women. We are dealing with some kind of communication In process. Dana Dembinski Medelianu abandons high tones, the white in Andrea Gramoshtianu’s voice acquires shades. read the whole article and comment on Contributors.ro