The name of the American playwright Lucas Hnat, whose works are very popular in theaters overseas and beyond, is not well known to the Romanian audience. They played in front of you Dollhouse – part twowhich is currently on the posters of at least three performance institutions in Romania (Megapolis from Bucharest, National from Timisoara and Theater named after Andriy Muresanu from Sfantu Gheorghe), Lukas Gnat gained some popularity in our country thanks to the play christians. Translated and performed on the stage of the Theater named after queen maria from Oradi Radu Jacoban. The series, undeniably good, brought actor Rezvan Vykovean his first nomination for the UNITER award.

Lukas Hnat himself was awarded for achievements in drama (award Obey) as with the prize Drama table for the best play (2016). Well-deserved accolades, because Lukas Gnath not only writes well, he also writes clever. He perfectly masters the art of dosing dramatic situations, his works represent an endless series of theatrical touches, reflect a good knowledge of argumentative strategies, lines have both intelligence and color. Absolutely mandatory conditions when planning the development of a sequel to Ibsen’s most famous play. bride or A doll house. What all textbooks on the history of the world theater do not forget to specify is that the history of the establishment of feminism in the theater begins with the door slammed by Nora, who gave away her husband Torvald, leaving him and thereby defying all social conventions.

In Lukas Gnath’s play, Nora returns to her home and Torvald vingt ans aprisWITH. He does this with the participation of Anna Marie, an old nurse. In the twenty years since Christmas Eve, Nora has been through a lot. Now she has become a woman. Nora wrote books in which she vehemently opposed marriage slavery, which became what we call today influencer. Other women left their husbands, slamming the door, reclaiming their freedom and dignity. He seems to have done it under the influence of Nora’s books. Who again became an enemy of the people, although he writes under a pseudonym. Nora was engaged in business, money. Own substantial real estate and accounts. But for many years he ignored one detail. Namely, that Torvald did not ask for a divorce. He posed as an unhappy man with an increasingly sick wife, who, in the end, went to the Lord.

Why did Torvald do all this? Why did he lie or encourage lies for nearly 20 years? Not only to enjoy the sympathy of the community, but also to guarantee respectability. It remained important to him what‘en dira-t-on?, as the French say. So Torvald took his statue away.

Nora returns to the house, where she has almost no traces of her time (much of the old furniture is gone, the piano is gone, as well as the portrait of the main character’s mother), only the door remains. was thinking that you would ask her husband for a divorce. What he desperately needs to avoid the threats of the judge. Which, if they revealed the whole story, would cause Nora a lot of trouble. Why doesn’t Nora file for divorce herself? Because women still do not have equal rights with men. Nora had to come up with a number of reasons, some of which were inconvenient to her, nor to Torvald, nor to their three children, Torvald not. Apparently, he was taking no chances, which is a clear indication that Nora has more to fight for. And then, throughout the play, Nora turns out to be both good and bad (the merit of Lukas Gnat is that he does not depict his characters only in black and white, none of them is perfect, that he does not fall into the sin of aggressive feminism and political correctness thinking) and, turning all possible arguments, sometimes upside down, sometimes upside down, after more and more instructive discussions with Anne Marie, with Torvald, with her daughter Emma, ​​she decides to leave doll house the second time I decided to start the fight from the beginning.

to Metropolis Theater from the capital Dollhouse benefits from what is undoubtedly a perfect cast. It is no small thing that the names of some of the actors appear first-hand on the playbill of Alexander Mikhail (a long-time director who works in the USA). As well as Oana Pellea, Vlad Ivanov and Victoria Kocias, as well as the younger Katinka Maria Nistor. Which, if not contradictory, would be in the position of temporary director of the Theater named after Bulandra or at ICR London she is a good actress. I realized this many years ago when I watched her Step nine, I see the same thing now, when Katinka Maria Nistor plays the daughter-in-law in the mirror. And to those who are ready to throw stones, I remind you of the proverb from Literary Dacia:”We criticize the work, not the author”. Shortthe point of chronicling the performance is not to resolve or even consider the controversial aspects of the lives of those who appear on the stage.

Set designer Maria Miu joined the real quartet of aces. Who imagined the simple decoration dominating the door in question. Sound design created by Valentyn Luka is periodically celebrated with theatrical hits.

Dollhouse from the Theater named after Megapolis this is, first and foremost, Oana Pellea’s show. The actress stays (no, she doesn’t sit, but stays not just like that, but actively in the scene) for about 100 minutes. At the beginning, his hero shows that he is confident in himself, he convincingly presents his arguments to Anna Marie (Anne Marie, who is sometimes brave, sometimes aloof, sometimes self-confident, sometimes kicking, becoming unintentionally comic, somewhat played by Viktoria Kočas) act 20 years ago. Nora has what is called the art of persuasion. She is clearly determined to file for divorce and is obviously smug. About what he has achieved since standing on his own two feet. She will be surprised by the unexpected arrival of Torvald. Which, performed by Vlad Ivanov, turns out to be a high-class manipulator. This is where Nora’s vulnerability comes into play.

At some point, a kind of cat-and-mouse game begins between the spouses. A real war of minds. It is completely different from Strindberg’s plays. At one point, Torvald plays a big card of generosity, sacrifice, Nora is ready to fall into a trap. It becomes melancholic, lyrical. Nora loses her self-confidence. This is replaced by doubts. However, surrender is impossible. So Nora finds herself, she becomes the old Nora again. One who is made to fight Read the whole article and comment on Contributors.ro