After several decades, new criticism Marcel Proust’s French inspired essay proclaimed death of the author and the futility of the so-called research biographies, starting in 1980, interest in the writer himself impressively returned to the forefront of literary analysis. The whole world reminded itself that, after all, the very option for a certain topic, for a certain topic, says something about the personality and intimacy of the writer, about what he is currently worried about. X.

The situation is roughly the same in the theater, and with regard to the director’s versions of a certain text. Therefore, I am convinced that the great director Andrii Sherban chose the production at the Hungarian State Theater by chance. Gergely’s tsiks from Timisoara, a performance with a performance doctor. A modern retelling, from the point of view of modernity, made by director Robert Icke Professor Bernhardi. The work, which is considered the second shelf of Artur Schnitzler’s work.

IN doctor it’s about the destructive effects of political correctness and culture woke upqualified in an interview by Andrii Shcherban as a kind yellow jaundice what America is suffering from today. America and beyond. It is known that because of such devastation, Andrii Cherban resigned from the post of honorary professor Columbia University. Undoubtedly, after the end of the act of rebellion, the great director felt the need to clarify with himself. And I like it absolute theatrical person, Sherban could not explain himself otherwise than through the show. Once completed and released to the community, it provides an opportunity for its own clarification. Didn’t Andriy Shcherban himself say that “the theater is a place where we, people, come to see ourselves in the mirror as we are, not as we would like to be, to see our own lives reflected on the stage by actors . more substantial and intelligible way than what we ourselves can see about ourselves”?

What, in fact, it is about doctor? About Professor Wolff’s refusal to allow the priest access to the hospital room where a 14-year-old girl who had an abortion without the family’s knowledge spent her last hours. On the refusal of the last communion without the consent of the dying person on the grounds that neither his faith nor his will are known. About how medical ethics too often contradicts faith, religion, an infinite number of rules and prejudices. Things that a certain part of society takes seriously, especially when Professor Wolff is a woman, she is Jewish, has a complicated personal life, vainly keeps away from the eyes of the world, and the patient who dies incommunicado is Catholic. This decision of Professor Wolff, who stubbornly believes that his personality can be attributed to the profession of a doctor, causes a real tsunami. In the clinic, which depends on sponsors, among the brothers or, on the contrary, opponents of Dr. Wolf, in the press, in audio-video, which is eager to turn human tragedies into a show, in religious circles, in politics. And, of course, last but not least, in the professional and personal life of a doctor. Wolf with two etc.

It is not entirely easy to bring the scale of the above to the stage tsunami. Especially since the stage of the Hungarian State Theater in Timisoara is relatively small. Andrii Sherban, however, had on his side the skill of stage designer Iryna Mosku, who, using the turnstile and the advantages given to the theater thanks to modern video technology (Sorin Mokan and Ioan Bledea), leads us into the meeting room Elizaveta Institute, either in the house of Professor Wolf, where he is haunted by the mystery of Charlie’s suicide, a death that explains a lot, or on the set of a television studio with a moderator who sacrifices all the remains of humanity in the name of what is called Shari and rating Also, Andrii Sherban had perfect sound and light design (by Bayer Sebastian and Guido Zoltan respectively), as well as wonderful stage music that creates a crescendo of anxiety in the audience. Kari Tibor wrote it, he performs it In Play Bogdan Buică (drums) and Kiss Attila (guitar).

Actually, this is the great success of the show. In the exemplary communication he establishes with the viewer. The viewer, who, thanks to a direct appeal, turns him upside down, stirs up, prompts, makes him think and ask questions. After all, who was right? Dr. Wolff or a priest? How justified is the intervention of society, what was once called Public Opinion, in private affairs, such as sickness, death, life? Does disease, life, death transcend any affiliations such as ethnicity, religion, gender or sexual orientation? Do these milestones allow for trade-offs? How much of the doctor’s decision is explained by the strictness of the profession, the rules reduced to the rank of dogma, and how much by the unclear areas of his own existence? Read the whole article and comment on Contributors.ro