1. The phone that will change everything

Saved in the final selection of the 2018 competition Song of the year organized by UNITER, performance Returnwritten by Laurenciu Blaga, saw the lights of the ramp at the end of the 2020-2021 season at the Small Hall of the National Theater in Tirgu Mures.

Adrian or, please, Adi Iklenzan (it has become quite fashionable to use diminutives on theater posters, so Adrian is Adi, and what was once known as Christian has become Christie, probably with the secret idea of ​​confusing future historians of the theater) staged him, and also made the scenography of the play. Plain, obviously made of existing

As far as I know, Laurenciu Blaga graduated with a MA in Drama at the Faculty of Theater in Romanian at the University of Arts in Tirgu Mures. If everything is so, we can say that Laurenciu Blaga had an extraordinary chance to have as a teacher Alina Nelega, a real playwright who showed with brio as such And who, which is rare today in higher education institutions of art, actually knows what he is talking about. That is, it has an active, in Resume, opera.

For his part, Laurenciu Blaga duly conducted his lessons. He undoubtedly has a sense of repartee, he knows how to choose words well, against the horizontal construction of his work very few objections could be made. A young playwright still needs additional experience in focusing, developing and managing dramatic conflict. It comes with time.

Return it’s something like that It happened one night, does not necessarily have anything to do with the famous Frank Capra film. Remember to the point An unexpected evening Harold Pinter. But, obviously, the two plays of Edward Albee are the closest to her genre. Who’s Afraid of Virginia Woolf? (and not only because one of the heroes, lawyer Mihai, drinks a considerable amount of whiskey) and A delicate balance. The piece that sounded here and under the title Unstable balance.

Return tells the story of two married couples (Mikhaj and Kristina, George and Alexandra, respectively), who unexpectedly learn that their old friend Vlad, who has been living in the USA for a long time, will return. Vlad informed about his arrival on the phone given to George, who is a surgeon by profession. Why George and not him? Mihai was interested. Who still has some anxieties and some inferiority complexes. And here the troubles begin. The past claims its right to unexpectedly break into the lives of four heroes. Vlad was also friends with Mihai, and with George he was the lover of Christina, now Mihai’s lover, and with the same Vlad, Oleksandra cheated on her husband. I mean Mihai. Masks fall, truths flow, tensions rise, and couples and friendships, as they are, tend to explode beyond repair. When there is almost no solution or rescue left, Vlad returns with a phone, through which he announces his oncoming arrival. All is well again, the four reconcile and look forward to dessert.

Adi Iklenzan has revived how this work has been better understood, so far mostly argumentative He resorts to the services of video cameras, which record the details of the heroes’ reactions and facilitate their interaction with the audience. A clear sign that the characters, provincial intellectuals, are interested in what is commonly called mouth of the world. The most effective technique is the use of microphones. Which amplify or reverberate strings and which replace some phones.

The strong part of the show is represented by the cast. It consists entirely of young actors. Andy Gerge dominates, perfectly conveying the multifacetedness and complexity of the character. But Sifra has nerve, dynamism in the way she plays Alexandra, Georgiana Gerga is a wife who only obviously endures a lot to suddenly boil over, Stefan Mura plays a cowardly surgeon who is always looking for an explanation for his cowardice. And for his conscious mediocrity.

National Theater from Tirgu Mures – Company Liviu Rebreanu

RETURN: office Lavrentiy Blaga

Direction and scenography: Adi Inclenzan

Assistant stage designer: Adrian Matei

with: Andy Gerge (Mykhailo), Stefan Moore (George), Georgiana Gergu (Chrystyna) El Tifra (Alexandra)

2. Quickly, forward

In the Romanian theater there are a number of stage adaptations of fairy tales Youth without old age and life without deathcollected by Petre Ispirescu.

However, the one belonging to the late theater actor Eduard Kovala, who for a long time was the secretary of the Youth Theater in Piatra Neamka, is of great importance. First, due to its dramatic value, then due to the fact that in September 1975, this screen adaptation, actually a dramatic poem, saw the light of the stage. And not just any way, but in the performance of the future great director Catalina Buzoianu with Horatio Melele in the lead role. Both at the beginning of their careers. And what a career!

show I don’t miss anythingco-production of the puppet theater department Ioan Slavich from Arad and the Theater named after Merlin from Timisoara, begins with a dramatic poem written almost 50 years ago by Eduard Kovali, which I have focused on as far as I can tell. La and turned into a collective script, while the director Stefan Iordenescu modernized the stage transposition of the literary and dramaturgical support received in this way as much as possible.

Here, for example, Geonoaya uses the computer to create the dangers that the emperor’s son, played decently by Raoul Lazarescu (when he doesn’t rush and predict recklessly), must face as he tries to reach the kingdom where he who was promised at birth can to be found Youth and eternal life. The set design, created by Dorothea Iordenescu, also follows the same intention, helped in this sense by the lighting design created by Lucian Moga, as well as the video design and mapping created by Lucian Mattei. Read the entire article on Contributors.ro