Thomas Ostermeier means a relatively frequent presence on Romanian theater stages. This is from the time when he was considered the monstrous child of the German royal family. Directors inspired by festivals or theatre, such as Emil Borogine (Craiova), Tompa Gabor (Cluj-Napoca) or Constantin Kyriac (Sibiu), constantly invited him to perform in Romania, and the director always accompanied them, and in this respect an example which, perhaps it would be good for his Romanian compatriots to take note.

I think that Ostermayer and his speaking tours, as well as the Romanian Andrey Sherban, the latter was ignored with brazen indifference by the curators of the last successive editions of FNT, an indifference encouraged either by cowardice or negligence that has become the operating rule for UNITER , all doubled by the lack of reaction of its president (why Mr. Bukhagyar could not repair the image of the director by not inviting to the show with doctor from the Hungarian State Theater in Timisoara?), we owe the Romanian rediscovery of Ibsen’s plays. His and I don’t know which critic plus the indignant director, in front of whom the same president who contemptuously attributes this merit almost sat down.

But before Ibsen, at least for me, it was like that Hamlet. I saw the show in 2011 or 2012 at the Festival Shakespeare from Kraiova. Many viewers and –Unfortunately!- and extremely many critics at that time were mainly impressed by the novelty of the stage equipment. On the other hand, few noticed or appreciated the exceptional performance of such actors as Urs Uecker (Claudius), Lars Eidinger (Hamlet), Judith Rosmayr (Gertrude, Ophelia), Robert Beyer (Polonius, Osiris, Sebastian Schwartz (Horatio, Guildenstern) Stefan Stern (Laertes, Rosencrantz).

Vlad Christake, a talented young director and for some time the inspired director of the Bucharest Theater Excelsiorto whom we now also owe the first edition of the festival X-Festmanaged to bring to Bucharest A history of violencemainly the production of the Berlin Theater Shaubun The editing director is the same Ostermayer. In the grammar of which we can also find shot insertions (a great idea to use those concerning the disinfection of the main character’s room both at the beginning and at the end of the play), insertions that bring sequential added value (here the contribution of Sébastien should be mentioned Dupuis), as well as beautifully performed music by Nils Ostenderf In Play of Thomas White, true orchestra manand very good lighting design (Michael Wetzel).

The Bucharest audience of two performances in Bucharest expressed their disappointment with the scenography thanks to Nina Wetzel. It is true that she is neither rich, nor flamboyant, nor ostentatious, but I think it was the right thing to do. It has a very good, balanced ratio of complementarity with the filmed sequences and, above all, emphasizes the performance of the actors. One is better than the other. No one became a victim of harshness. What can a show with the word “violence” in the title ever tempt you to do.

A history of violence — a rewriting for the stage of the autobiographical novel of the same name by the Frenchman Edouard Louis. It was created by the novelist, whose real name is Eddie Bellegele, together with Florian Borchmeier and the director himself.

The book was also published in Romanian letter, tells a terrible story that happened on Christmas night. The night during which the main character Edward was extremely violent with an immigrant woman named Reda. A feature that largely depends on his status as a Kabyle, as an immigrant who belongs to the population that lives in the mountainous regions of Algeria. Which he himself informs us that it will be characterized by anger and violence.

And the young bourgeois intellectual Edouard, who reads Claude Simon, Faulkner, Nietzsche and Hannah Arendt and seems to be proud of the fact that he carries their books under his arm and lustily quotes from them, and Reda belongs to the gay community. Both of them suffered because of the guilt of being different. Eduard was rejected by his parents, he does not feel like himself at all, Reda very often uncontrollably settles both his immigrant status and his alleged illness. First of all mental. He does it even now, as he has been doing for a while now, with a blonde he’s wanted for one night.

Both models of behavior have a basis fear. The dominant feeling on which the play is built. The montage contains not only Edward’s confession, punctuated by tendentious comments from his sister and brother-in-law, to whom he had the bad idea to turn for help, but also the confession of a man terrorized by fear. For her part, Reda is also overcome by fear. Diffuse and complex minority fear. Both ethnically and sexually. The novel and series tell us more about Edward’s fear. About the fear caused by family rejection, about the fear of the consequences of random adventures (Edward periodically checks himself for AIDS), about the fear of starting a new relationship. Or about the fear of it qu’en dira-t-on? that marked his life. As well as the fear imposed on her by Reda’s violent behavior. I mean robbery, the threat of a revolver, the consequences of rape. Fear and regret after reporting to the police.

The essence of Ostermeier’s performance is the very depiction of the many consequences of fear. And in promoting an antidote to its consequences. Disregard. The ability to deny reality. This possibility, suggested to Eduard by a phrase found in Hannah Arendt’s book, is at the heart of Reda’s willful forgiveness.

Fear, moreover, is a central theme of reflection for a direct theatrical thinker like Ostermeier. We will remind you that the director is the author of the book with the same name. Theater and fear. Published in 2016 in the Romanian version, by the Bucharest publishing house do not worry Let’s also remember that fear is one of the biggest themes of the theater. Not just the one created by Thomas Ostermeier. But since when has there been a theater in this world. Fear can be found from the Greek tragedians to Shakespeare and Racine to Ibsen and Beckett. And from there on.

Impeccably cast by Ostermeier. With the fragile, sensitive, fearful Eduard, always ready to find an explanation, an excuse, a detailed role played by Lorenz Kaufenberg (who somewhat resembles Eduard Louis) and with an exceptional Reda, played impeccably by Renato Schuh. Whose evolution is worth a close-up video. Which serve to emphasize the actor’s expressive facial expressions. Both characters are supported by Christoph Gawenda and Alina Stiegler, who essentially teach how to create a so-called supporting role. About the culture of this kind of development. – Read the entire article and comment on Contributors.ro