This false and uncultured spirit of economy is becoming more and more obscure and harmful, because of which we no longer find any trace of the program at theatrical premieres. At hand is only a miserable, bitter sheet, compiled in great haste, on which only the names of the director, scenographer, actors (sometimes not even the name of the role is indicated, although it is written promisingly in front of it). and tall distribution) and that’s all. “You will find other information on the Internet!”.

But what to do when we don’t find anything there either? How things are going, for example, in the case of the premiere of a play with a play The meaning of Emma’s life, a copy mounted by the director Radu Afrim at the Company Tompa MickleaWITH National Theater from Tirgu Mures. Nothing but a bad list of manufacturers. Nothing about the playwright (Fausto Paravidino), nothing about the play either, the meaning of the phrase remains a mystery stage adaptation. More clearly. Shaw c The meaning of Emma’s life or does it start with something other than a stage-specific scratch? From a novel, perhaps? If we are talking about the reworking of a work belonging to the epic genre, wouldn’t it be elementary to say who did it? Just as it would be fine for the title of the adaptation to be listed, even if the dramaturgical changes are involved. Does it, the adaptation, belong to Rad Afrim? As it has been for several years. Secrets, riddles, flaws.

I acutely felt all these disadvantages of information not only for purely professional reasons, but also for subjective reasons. Firstly, because Afrim is not just a director. Secondly, because all his performances in Tirgu Mures National, starting with Expulsion of the devil and Quietly Attila Bartis, meant real events. And not only for the Theater there. The event is undoubtedly the show of The meaning of Emma’s life. One of the best, most balanced, most devoid of excesses, most realistic and most emotional creations of the director of recent times. I say this, although some viewers may feel some discomfort and the detail that the first part of the performance lasts almost two hours, and the second – a little more than 50 minutes. However, the dramaturgical material is strictly distributed here. I really don’t think it could be any other way.

Finally, I think it was necessary to inform the audience, regardless of whether they are Hungarian or Romanian, that The meaning of Emma’s life marks Afrim’s third encounter with the works of the Italian Fausto Paravidino. That the first two are A disease of the M. family from the National Theater in Timisoara and Iova’s butcher shop from Ieşean National – meant success. true Not fake. Both were long running shows. A disease of the M. family, for example, which premiered in May 2008, and still holds the poster. With all the changes that needed to be made to the distribution. The three works have a common theme. One is present in almost everything showWEBSITES theater African Family theme. The family is either sick, or dysfunctional, or falling apart. About a dying family.

IN The meaning of Emma’s life, which, only at the end, we learn that it aspires to be a film made before our eyes by Marco, Emma’s brother (therefore the infusion of footage, thanks to Barbasa Ede, complemented by a wonderful video mapping signed by Trucza Samu), presents the trajectory of two families in a complementary relationship. The family of Antonietta and Marco (flawlessly played by Fülep B. Eršebet and Barta László Zolt) on the one hand, and Clara and Giorgio (very good Nagy Dorothy and Varga Balas) on the other.

Both couples met at the end of the 60s, during the years of revolutions of various kinds, from sexual to political and mental. It is more correct to say, the 1968s Prague spring which meant the first big step in the process of breaking communist illusions (let’s not forget that at that time the Communist Party of Italy was strong, had many members and sympathizers, among them the young people from the Paravidino play), with the famous, controversial May 68. That was not limited to shaking the foundations of the Sorbonne’s austerity.

The story of two couples is presented to us, with all its avatars and crises, over a wide period of time. It is very close to our days. Changes in time intervals are communicated to us through musical curtains. Just a sign, just a sign that Afrim is consistent with himself and true to the idea and formula of the show. The landscape is complemented by the appearance of neighbors and friends (and here Radu Afrim effectively uses the topos of the block), it is worth noting the presence of Berta and her story (the evolution of the actress Berekmeri Katalin has a great effect) or Mario’s father (Kovach Botond).

The playwright, his camera, as well as the subtle eye of the director insist on Antonietta’s family. Hence the privileged place occupied by the children of Antonietta and Carlo. These are Marko (Rosa Laszlo), Julia (Kadar Noemi) and finally Emma. Outraged by the profession. Heavily drawn by Simon Boglarka-Catalin. This is despite the fact that the actual physical presence of the character is relatively small. “I wanted to build a play about a missing woman. Woman portrait. Emma is a woman, we know her because of the testimony of people who knew her.” A portrait found by Marco and then destroyed by Emma in a showroom in England will also appear. But the great find of set designer Afrim and Kupas Emma is the huge mouth in the background. A mouth that not only speaks, that is, simulates a conversation in several voices about Emma’s fate and eccentricities, but in which she also hides. He finds his shelter. Or, please, an observation point. This is how it is done in a show company Tompa Miklos, Paravidino’s welcome absence turns into a powerful presence. – Read the entire article and comment on Contributors.ro