Since its existence, the theater has liked to reflect on its own state. He did it in different ways, in different genres. In light comedies, Gen Revenge of the prompter Viktor Ion Popa, or meta-parts, as they were called improvisation. When I say this, I mean the works of a certain Moliere (Versailles impromptu), Giraud (Paris impromptu) or Ionesco (L’Impromptu de l’Alma). And the examples (genres, modalities and titles) go on and on. I stop there because I do not intend to summarize the problem within the limits of this chronicle.

It is only natural that this kind of reflection has increased during the pandemic. A time when some, perhaps inspired by the works of Antonin Artaud, hoped that after the cursed virus was gone, we would have another theater, others sat in fear, with no guarantee of survival. It is, of course, about INDEPENDENT, those whom the Romanian state only pretended to help. He gave them something with one hand and took it away with two.

If at the Teatrul Tineretului in Piatra Neamka Gianina Carbonariu, in his dual role of playwright and director, perhaps even in his third role of manager (well, there it is, I leave it to you, dear readers, to find the feminine gender in the word) imagined the show in genre of science fiction – it is about WILL FOLLOW. On the mirror planet (I will return to this a little later), la A reactor of creation and experimentation from Cluj-Napoca, playwright (sic!) Alex Becanu (the one I reviewed a few years ago for a play It seemed to mebut who has a much more consistent dramaturgical portfolio), and director Leta Popescu and their many collaborators created the show Get out of the sun.

Show with Reactor. is one in law. This does not apply to exceptions. It had and has scenography (Mihai Pakurar), costumes (Teodora Frinku), stage music (Radu Dogaru and Adonis Tanza) and stage movement (Mihai Michalca) created, as you can easily see, by recognized professionals of the genre. It had and still has a very good cast (Andrea Aytai, Rada Dogara, Raluka Mara/Alina Mišok, Oana Mardare, Cosmin Stenila, Adonis Tanza), the advantages of video inserts made by outstanding Cluj National actors (Ionuc Karas, Ramona Dumitrean, Anka Hanu, Radu Larjanu, Oleksandr Tarche and Iryna Vintse). Get out of the sun also benefits from the blessing and video presence of director Alexandru Dabig (filmed as he is, in the flesh), but also has a delicious line (please look similar) in a reasonable interpretation of Radu Dogar.

The show begins with a funeral, like during a pandemic, in which the family of the deceased participates. increase or skype. It continues with a symbolic funeral for the political theater and the old theater in general (he does a great job as the very talented priest Adonis Tanzi), so the stage is littered with wreaths and wreaths. Then repeat the story reactor-ule, and restores it to the subjective mode, insisting on the fact that it was born as a negation of everything that was considered old, dusty, and continues with the news that master Dabija would come to arrange something in the Theater on the occasion. This is a sign that the intergenerational gaps are not so great, that words are more than reasons for quarrels, that there is still a chance for reconciliation. Only that sand comes, doesn’t, sends conflicting messages, so faute de mieuxuse the services of director Leta Popescu.

From here, everything turns into an intersection of life stories reactor-ului, Oleksii Bekanu and Letei Popescu. In the end, we learn that it, the show, would not exist without the three mentors. Aleksandru Dabija, the late CC Buricea-Mlinarcic and the ever so lively, omnipresent, downright mythical Miruna Runkan. The impulse of the tribute is so strong that it also leads to the mystification of the history of the theater. No, not the Theater Reactor, but of the post-revolutionary Romanian theater. In 1991, the CFR Workers’ Theater was not called that for decades, and the name named after Juleshti it was changed to Odeum even in 1990, during the directorship of Vlad Mugur. His deputy was the scandalous (today) Ekaterina Oproyu.

If I were not afraid of being likened to some evil hero, perhaps even to the Emperor Joseph II, I would say that in Get out of the sun is too many notes. Too many topics, too many words, that’s why the show got longer, Caragiale’s words, like fried cheese. And that Alexa Bakana (and, unfortunately, not only her) forgot hers Motto: Better concise than boring.

Naturally, the Youth Theater from Piatra Neamts took advantage of this 33rd Theater Festival that it is hosting (remember, it is the oldest theater festival in Romania) to present at least part of its latest productions. They were visible Babylon 11:4 or All things began, Oau, THE MYTH SHOW is a story of mistrust, mounts that I have observed and written about before. The show was unique and, at the same time, for me WILL FOLLOW. On the mirror planet, as I said, the writer and director is Gianina Carbonariu. Who, like a true director who loves the Theater she leads, ignored the fact that some flawed legal provisions did not allow her to collect a proper fee, only a measly percentage of the revenues.

as i said WILL FOLLOW. On the mirror planet it’s a sci-fi show. Competing with this impression is the set design by Dorothea Curio, a set design that makes excellent use of the theater’s exterior, greatly appreciated by the lighting design by Cristian Niculescu and the video design by the incomparable Andrii Kozlak and music by Alex. Daw. Similar to the costumes invented even by Dorothea Curio. Read the whole article and comment on Contributors.ro