Finished in 1915-1916, very quickly staged (in March 1916) on the stage of the Bucharest National Theater (the role of Tofana was then performed by Elvira Popescu), it is considered by many critics to be a turning point in the evolution of national drama. Red passionoriginal name Abnormal loveafter Wire edgessometimes represented by a title tofu, — the most famous work of Mykhailo Sorbul intended for the stage.

The final title is indirectly explained in one of Sbiltz’s lines in which he analyzes the exaltation achieved by Tofana: “in medicine it’s called overload, and in the people it’s passion.”

More than 100 years after its premiere, the play can still be interesting thanks to its mixture of psychology and philosophy, the passionate and the painful. A feature noted by critics since the premiere were commentators such as E. Lovinescu, who placed the play in the light of Zola’s naturalism (both Tofana and Sbilc are marked by heredity, descent from the Hingera family) or in the fact that Gorky’s realism. Mihail Dragomirescu believed that Shbilts would be a character of Shakespearean origin. Tudor Vianu, prompted by the work’s tragicomedy status, traces its origins to the sentimental drama of the 18th century.

Even if Red passion it can in no way be classified as a museum or archival piece, even if its place is still on the stage and not just on the library shelf, I don’t know if it has been played very much in recent years. Now he approached her, in the People’s Theater Aurelius Manaeus from Turda, a very young director named Luana Haghiu, who dresses her in new, completely unexpected clothes. Sometimes even extravagant. Luana Hagiu reads the text from the perspective of our day, or at least intends to do so red passion now playing with the name passion , means a passionate story to which Tofana responds. Who here is a mixture of a fierce, hot-tempered woman, a future teacher who both didactically and pedagogically explains to us why she and the adventurer Rudy prematurely left for the other world, and diseseuses.

ago. Tofana and Rudy are introduced to us from the very beginning as characters d’outre tombe and for about 80 minutes the story of their deaths is detailed. The directors formulate a series of questions to which Tofana answers. It is about questions like: actually, why did these two die? Or: Why did Tofana kill Rudy and why did she end her days? Why didn’t she agree to Castrish, who is also rich, influential and head over heels in love with her? The answers, of course, are coming. Everything happens because Rudy, the eternal conqueror, here without a guitar, relapsed, became a victim of his former bad habits, as Kryna reproaches him. Unfortunately, the show doesn’t make it very clear to us how Kryna knows about Rudy’s turbulent past. And why Tofana prematurely grows weary of the supposedly comfortable life that marriage to Castrish could offer her, instead preferring the boisterous Rudy. Who experiences a moment of wandering, but from a certain moment does not want to, does not give up.

Luana Hagiu deconstructs the text. It generalizes it, concentrates it, modernizes it. Sometimes, unfortunately, it is even straightened out. Probably intending to turn Sorbul’s tragicomedy into a dark comedy. If not so cabaret noir. The show at Turda also involves singing and dancing, sometimes to the rhythm of Argentine tango performed by mariachis, sometimes in the form of break dance. The decor, created by Eliza Labantz, is one of a kind thriller and mystery. All the characters are dressed in cloak-like costumes, as if the actors wearing them are preparing to play Hamlet. But playing in passion, some do it well. This is the case of Vali V. Popescu, who is the real Castrish. Others do it only passably. It is about Gheorghe Sfetka, who is really believable, except for the moment of death, or about Aleksandra Kondurat, who is filmed in Shbilka, but the actor needs to work on his voice. I don’t know the reasons why Anka Marcos was forced into a revue series, the one with coffee, her confrontation with Rudy. The choice of actress Ingrid Njaxu for the wonderful role of Tofana seems wrong to me from the beginning.

National Theater “Aureliu Manea” from Turda

PASSION after RED PASSION with Mykhailo Sorbul

Director: Luana Hagiu

Scenography: Eliza Labanch

with: Ingrid Neaxu (Tuffana), Vali V. Popescu (Kastrish), Alexander Kondurat (Sbilt), Anka Marcos (lily), George Sfetku (Rudy)

2. More smiles for the third age

An industrious author of tabloid plays, many of which were turned into film scripts, Pierre Barrier experienced the peak of success in collaboration with Jean-Paul Grady. Their artistic and longest-lasting, best-selling product Cactus flowerwriting, which became a textbook example of what the iron rules of the so-called well made pieces.

Cactus flower it quickly entered the repertoire of theaters everywhere, but the degree of its representation increased after the film version of the story hit the screens of cinemas around the world. The main asset of the production, which began in 1969 thanks to director Gene Sachs, was undoubtedly the cast. As the cute and sensitive little but sentimental con (or limited liability con please) that is Dr. Desforges, an expert in pious lies whose role it is to assist his sender in virginity preservation operations by inventing of all kinds of family history turned Walter Matthau into an extremely dedicated, experienced nurse (actually, a registrar) avant la lettre and in what we now call PR and making chicken sandwiches, you could see Ingrid Bergman, while a then very young Goldie Hawn was played by Toni Simmons. And she did it so well that the actress received an Oscar nomination for the role of the second plan. – read the entire article and comment on Contributors.ro