We note in the chronicle dedicated to the performance of Macbeth from the German section of the National Theatre Radu Stanka from Sibiu, that the very young director Botond Nagy over time approached several great names of universal dramatic literature without any complexes. This does not mean that he would be indifferent to modern drama. Just like his generational colleague Andrei Mayeri, Botond Nagy writes texts whose relevance, I would even say, speed up, he feels it at a certain point in his career. With commendable indifference to the pressure of a certain toxic group in Romanian theater criticism of this moment. Who wouldn’t want to see nothing but social theater, journalistic theater, and political newsrooms on stage.

A few years ago, Botond Nagy performed here in the Theater Matei Visnets from Suceava Hidden holdings of abuse, and now, in the same theater, the young director offers us an emotional and exciting performance with the role of the spiritual patron of the institution. with Requiem.

It should be noted that this is not the first time the young director has come across Vishnets’ works. In 2016, when he was still a master’s student, Botond Nagy offered us in Tirgu-Secuescu, a place where at that time there was not even a professional legal theater, an extremely exciting and modern performance with an already quasi-classical The story of panda bears…

It’s true. Requiem it’s not what you’d call a brand new piece. Somehow related to horses in the window having a pronounced but not cheap and indeed propagandist anti-war message, Requiem was published in Vol The history of communism, told for the mentally ill in 2001 and then republished in 2011 in an anthology A person in a circle (Publishing house Parallel 45). It is surprising and not very, considering the well-known goal of the Romanian theater, Requiem it had, however, only one stage version. One from 2016, from Bucharest National, thanks to director Alexandru Dabija.

In Suceava, Requiem crossed The way back home and, importantly, has neither the shape of a canned text nor the taste of a warm soup. It is a testament to the past century and a warning of what seems to be in store for our age. Requiem metamorphosed into The way back home it becomes, thanks to Botond Nagy, his loyal collaborator Kali Agnes and the actors from Suceava, a text that burns, burns.

We have long known that the 20th century was nowhere near, as Michel Winnock called it, century of intellectualswhich, on the contrary, was a whimsical mixture between good temptation and memory of evil, as Tsvetan Todorov qualified it. And now we will learn from Niall Ferguson’s book World War. Age of Hate (Publishing house Polirom, 2022) that it will match the label deadly century. The British historian provides countless arguments in his volume in favor of the proposed label. Unfortunately, with the transition to another century, the series of carnage did not stop, and even in the months of preparation for the premiere and in the days of the first curtain raising of the performance in Suceava, the city more than others saw with their own eyes and with their own eyes what the fear of death means.

It is about death and what it means even after the proclamation and decree of forgiveness the way back home implements, in an extremely modern formula, Sutsev installation. The characters of the series are dead, people are probably in Purgatory. Former creatures ordered to organize them by the multi-medal and visibly over-sweating general (Cătălin Ștefan Mîndru), endowed with a huge sack of fluff and his order, Vasile (Alexandru Marin) glorious back home. In view of the parade and the honor associated with it.

Apparently, but only apparently, the big problem of those who died for the Motherland, whether they were shot in the heart, whether they were poisoned by gas or bad treatment and food, whether they were heroes or pretenders, is who will open the parade. Hence the dispute. They are given expression in choruses, in group scenes, in monologues, the actors are carefully guided by Botonda Nadi. We are talking about Bohdan Amuricei, Rezvan Banuts, Horia Butnara, Christina Florea, Diana Lazar, Dela Lukacsi, Klara Popadyuk in the impeccable choreography of George Pope. They do this by moving from more or less sharp or frivolous claims to poetic formula and folkloric sounds carefully mixed by Claudio Urse. And, my God, what an emotional cry Christina Florea sings at the end!. And attention. This mixture of states has a given and undetermined form and content. It means admiration and humanity. Read more at Contributors.ro