More than ten years ago, when I commented on another broadcast of Marriage of Figaro (the one from the Theater Serbian ID with Petroshani, directed by Alexandru Dabija), I noticed that, in my opinion, he is not HistoryFrench literature not to mention an important detail, by the way: when Beaumarchais read his play (1782) before King Louis XVI, he categorically rejected it, saying that the Bastille should be destroyed so that its presentation would not mean a dangerous act.

however, Marriage of Figaro was presented, after the playwright’s fierce struggle with censorship, but even after that he made some concessions. The action was transferred to Spain, the lines were cut, but the famous soliloquy in which Figaro denounces the selfish inconsistency of justice, made not only because he was corrupt, but also because he took into account the wishes of the upper classes, remained intact. There is also a monologue in the performance of the Theater scream and is uttered with great pathos by the excellent interpreter of the title role, Sébastien Hunor, currently undoubtedly the male star of the group. Et pour cause. I mean, really!

Beaumarchais also paid for the play by spending some time in prison, but in the end he had the satisfaction of having his script performed with great success directly in front of the victims of his satire.

Between April 1784 and February 1785, the show had 75 performances. The Bastille fell in 1789, and since 1989 the French Revolution has undergone a series of critical reassessments. More than welcome.

Traditional literary criticism was sensitive to what is called the “ideological charge” of the play. Saint-Beuve saw in Figaro the “revolutionary Gilles Blas”. Jean Fabre said this Marriage of Figaro or The craziest day) is a “total comedy”, and I have every reason to believe that the management of the Theater thought the same. scream as well as director Botosh Balint. It will not be superfluous to say that the premiere took place in the evening of December 31, and the tinsel that greets the audience at the entrance is the same in the decorations of the first part of the performance. This is a set created by Golicsa Elöd. In the second part, which unfolds at night in the garden, the decoration is made of fringe. Among them, heroes move, collide, hide from each other. The idea is not bad, it helps to raise the tone of the show. Which, to be honest, is faster The craziest night. The formula of the theater within the theater, which was chosen in the first part, a little boring, a little slow and a little rhythmless, and which in the last part is preserved by the adventures of the wonderful Cherubino, wonderfully played by the young actor Skurtu David himself, will be abandoned in the second part. .

The costumes created by Jeli Luca Sara also take into account social differences. Almaviva, always powerfully played by Szabo Eduard, is dressed in white and has black boots. Master. The countess, with her recognized talent and elegance, brought to the stage by Tasnadi-Sahi Noemi, is dressed in a red dress and wears a blonde wig, while the vast majority of the other characters are dressed in certain robes. Besides, of course, Marcellina (Firtos Edt), Bartolo (Kardos M. Robert will show his true worth in the second part of the production), the eternal alcoholic Antonio (Sotyori Jozef) and so on. Beautiesplace (Barkoczi Réka, Kerekes Dalma, Törteli Dalma), who invite us not only to the performance, but also to the space where the events of the craziest day will take place. Madness also manifested itself in the performance that I saw, or rather, before it, because fleeting and human reasons demanded a quick replacement of the performer Suzanne. Trabalka Cecilia bravely took on the role, coped well with it and brought a disappointed Suzon on stage, who definitely did not want to negotiate.

Trabalka Cecilia herself created the music for the show. A combination of classic and modern. Quotations from famous Mozart operas are introduced from time to time, and we also listen to translated arrangements In Play today’s hits. The second part opens with a Mozartian aria performed by Cardos M. Robert, who was kicked off the stage by Barabas Hunor (Simple Major and Double Major).

As I said, this second part, done in a deliberately parodic way, is convincing. The already named actors become more relaxed, more confident, enter into relationships, Figaro is more noticeable, Cherubino is even tastier. Rosine seems to have become more elegant and wiser, Suzon is sharper, Almaviva is almost comparable to Matamor from a comic illusionMarcellin is more complex, Bartolo involved aqua forte. Basil (Balog Attila) also becomes pregnant.

There are also excellent acting reinforcements. First of all, it causes affection of the public and – why not? – and Kovacs’s critic Levente, who brings Brid’Oison to the stage, filled with absolute mockery. He cannot utter a word, only sounds, sound imitations come out of his mouth, he waves his hands. It’s like a puppet. The very young Benci Tekla (Fanchet) and the veteran of the group Haidu Geza (Pedril) also left their mark. Read the whole article and comment on Contributors.ro