There is no doubt that the performance Moldavian rehearsal Kostake Karaghiali, a play that was in the theater’s repertoire for a relatively short time Tardini fans from Galati, this is what is called a good show.

As well as the idea of ​​re-inviting director Christian Bahn, who before the pandemic also filmed in Galata, turned out to be a good idea mothers, whose script was a collective creation. Otherwise, not without reason, the installation in question received a nomination in the category The best show ever of UNITER awards related to 2019. Only from here to see you in the Galați show or even in the writing of Caragiali (are we joyfully, unconsciously returning to the protochronism of a sad memory?), who knows what virtues of Pirandello seem to me a long way. And critical abuse the size of a house.

However, in Kostake Karaghiali’s play of 1843, as well as in the play directed by Christian Bahn (as part of a larger project Project 9. Modern Romanian theater) is all based on constant ins and outs of the role. On improvisation. The actors, who possess obvious qualities as well as an undeniable delight in improvisation, sometimes play their characters in a comical way, sometimes assume them, sometimes clearly have fun, but in measure at their expense, never falling into crude or grotesque caricature (the biggest Great Danger was b in the case of the performers of Mr. and Mrs. Mase – Cristian Gheorghe and Cristina Uya Neagu), but they are playing themselves. But that is not what Pirandelism is. Which, to be honest, had and has very few real fans in the Romanian theater. Things are pretty much the same as in the case theater of cruelty Antonina Artaud. To which many turn, but the meaning of which few know well.

Christian Ban and the performers of the Galățian show achieve a fruitful dialogue between the Romanian theater as it was at the beginning of its existence and as it is today. If not Moldavian rehearsal it becomes, in its modern and modernized version from Galats, a game placed between parallel mirrors. Such a parallel between two epochs.

Unlike the first decades of the 19th century, today only professional actors perform on Romanian professional stages. More correctly, holders of diplomas certifying completion of courses at a specialized higher educational institution. However, today there are also undisciplined people, cabotins, and egoists. Not to mention the tendency to overestimate. There are also actors who are assigned a certain role, but on stage they do something completely different (as in the case of Miss Khomichanu, who was very well played by Elena Angel), there are also fake divas with hair (as in the case of Mrs. Mase, who performed the necessary duets Christina Uya Neagu), there are also self-styled masters (as in the case of Greciano, with obvious pleasure in the performance outlined by Ionuc Moldovianu), and cute actresses (like Margiolica Oaney Mogos). ), as well as false and stuttering ones (like poor Anton, whose interpretation fell to Rezvan Klopotel). There are also the so-called, in general, stage shots that also secretly dream or even confess to be seen by the public (for example, Florin Tom’s Boian or Vlad Ideru’s Idieru), there are also self-conscious juni primi (the case of Bonciu, played with aplomb by Stefan Forir). There are also problematic directors, as it was during the time of Kostake Karaghiali, with countless shades painted by Radu Gorgidan. Improvised directors obsessed with money, numbers and balance sheets survive and survive well, as Mase once did, as I said, well interpreted by Christian Gheorghe. That’s right, today they are called managers. There are also low-budget or no-budget shows with ready-made scenery from the existing one. Iconic in this sense, the installation created for Moldavian rehearsal from the Theater named after Tardini fans from Galatsia Andrea Sandulescu.

Today’s Romanian theater show no longer has to contend with French or German groups that had priority in both rehearsal space and performance schedules. Only Romanian drama can still be a kind of Cinderella today and be considered correct stupid, as it happens on purpose, with skepticism in the editing from Galats. The legal framework is currently inadequate and there are no signs that it will go beyond snoring anytime soon.

All these situations mistakes, as they say, is presented with humor that is not ostentatious and non-didactic in a show directed by Christian Bahn. The play, the main advantage of which is that it is, first of all, a lesson in the history of Romanian theater. Lesson teach with talent, with humor, with a sense of humor. With love for art. This is more obvious than in other monologues, in which almost all the actors participate. Read the entire article and leave comments on Contributors.ro