In one of the essays generously distributed by the late theater critic George Banu in An old dilemmaor in cultural columnist, precious texts, fortunately saved from oblivion in books published posthumously by the publishing house June from Iasi and Bucharest Tracus Artswe find reservations about the speed with which Romanian critics are quick to accuse some theatrical productions of suffering from excessive duration.

I read this observation carefully, I couldn’t help but agree with whoever made it, and I confess that since then I think twice before making this diagnosis. This was the case with the play with the play Goddesses of category B Alexandra Felseghi, based on the idea of ​​Andrei Magheri, was staged last on the stage of the Bucharest Theater Theatersin a joint production with Cluj National and Teatrele Mihai Eminescu from Botoshani and Director Maria from Oradea.

I have been saying this from the beginning. The show is what is called an interesting experience. Challenge. It seems to me an impeccable, exemplary performance, three performers, albeit provincial actresses (nothing offensive in this, they themselves recognize their condition, yes, with some coquetry, both in the text of the play and in the performance) emotionality. , devotion, involvement. The three compensate with irony and self-irony for a certain excess of verbosity that is difficult to avoid. A story, an epic, a story, falling into theoretical expositions are not always among the most useful. Some of them are even taken from the category of those that, according to legend, the famous and late actor could only qualify as good things to say on New Year’s Eve with doctors.

I know, I repeat, this is about excesses, which are difficult to avoid, because it is not easy to do something on stage that is terribly similar to the famous one. Mon coeur mis to No. That is, to talk first of all about yourself, about your life, which implies not only roles in Hamlet, Violinist on roof or in Chekhov’s great plays. Elena Ivanka was Gertrude Hamlet performer Vlad Mugura, but she was also disallowed for a long time and undeservedly on the line (and through no fault of her own), Ioana Dragos Hajdo was emotionally connected to the role she played in fiddler on the roof a performance that has been holding a poster in the Theater for ten years or more queen maria from Oradea, but also from Nodes and plates in which she used a painful personal experience, a show that was killed too soon, and Silvia Luca, an actress originally from Bessarabia, was indeed a good interpreter of Zarecinija. Perhaps other Chekhov heroes.

Their lives, these actresses, are also knots in the throat or in the stomach and the expectation of a new role, which may or may not come due to who knows what whims, because the director wants it or not (be it Andrei Măjeri, whose name we often heard on stage in a childish and rather cheap immersion in egolatry), because age also has its say, from a certain point, because the director likes you or does not like you, and at the second the situation dictates something so irresponsible Too much Hydea (the story is strictly authentic, I certify it), and the confrontation between history and geopolitics. The latter is more obvious in the case of Silvia Luka. Family life also comes into play, and the presence or absence of children, and the illnesses and sufferings of parents, and more or less collegiate trifles. And as the playwright called it The strange role of chance. And waiting for the UNITER award, a modern reflection of the golden apple, which has caused much controversy since antiquity.

Now, to be honest, the part at the beginning where we reminisce about the ancient legend felt too long since I wrote it, and the making fun of the UNITER award made me think of the sour grapes story. Or nemerus in the Mediterranean Sea, because its water will be too cold.

If the actresses are good, if all three are products of Stanislavski’s method, which makes it easy for them to harmonize their performance (be careful, harmonization in no way means uniformity), if the scenography is impressively minimalist, if we look at the costumes created by Lucian Brosketean, the same one with Andrii Medzheri cooperated so well during the show with Las Meninas, if the performance is not devoid of emotions and humanity, if it lasts a little more than 90 minutes, then how can it be argued that it is long and loses interest from a certain point? They forget that it is possible. Unfortunately. So you, critic, don’t feel guilty anymore when you mention Marcel Proust and the philosophy of long time to confirm your diagnosis. When you notice that Alexandra Felseghi’s text is watered down and the blame is also shifted to what she does a handsome young man, this Paris that still is or would like to be directed by Andrii Magheri. Who should have resorted more decisively to scissors and a red pen. This is how Oleksandra Felsegy is shown. You also notice, even at the risk of June Majeri impaling you facebook and it seems show(that’s what the director likes to say, modeled after Radu Afrim), suffers from hypogastric pain and has at least three or four limbs. You will also notice that the organicity is replaced by agglutination in some places. And that in the last fifteen to twenty minutes, emotion, authenticity is replaced by empty chatter and feeling deja vu. Flaws, Flaws, Flaws that even what we’re told would be a sonic experience signed by Adrian Piciorea can’t cover them.

The director does not rely solely on the human voice. Dramatize everything. Create a real spectacle. Or, get over it, show it. It does not camp in the area of ​​the radio theater brought to the stage. Andrii Mayeri plays, he especially asks actresses to play, because – right? – the actor is most afraid of the state homo ludens.

The performance enlivens scenes and roles, reproduces times, events of various caliber. From the childhood and youth of Elena Ivanci in Botosani, from Sfantu Gheorghe Ioana Gaydo, from the Moldavian Soviet Socialist Republic Silvia Luka. A special moment is reserved for the beginning of a career. Of course, Elena Ivanka insists on meeting the great Vlad Mugur at that famous event Hamlet who was not forgotten by anyone who had the opportunity to see him.. And overgrow, on master he is played beautifully by Joana Gaido. Silvia Luka talks about her student life in Moscow. With all that communism meant in art faculties. Ioana Dragos Gaido lyrically and ironically recalls her experience as an ensemble actress. From the Theater named after Andriy Muresanu by Sfântu Gheorghe, a Theater founded in the last years of the communist regime and which was about to be abolished the crimes of the participants in hostilities in 1990-1991

The actresses support each other, complement each other, “push” as good professionals do, comfort each other, discuss what motherhood, or lack thereof, has meant to their professional development. They also theorize, but the theoretical part falls, as I said, into the realm of common places. I’m talking about the transience of acting, I mention the names of colleagues who are no longer there and who, unfortunately, were forgotten too quickly. He periodically refers to the beautiful Paris and his alter ego, which seems to be Andrii Mejheri.

A little selfish Majeri, who still hasn’t realized that it’s not good to make a carved face. But to whom we forgive some mistakes, for what is good in his performances. Read the whole article and comment on Contributors.ro