In 1971, there were devastating July theses. From this moment on, everything can be banned again in communist Romania. Not that there weren’t enough bans by then, or a steady stream of signs that the timid liberalization of the last years of Gheorghiu-Deja’s rule, continued for a while by his successor Nicolae Ceausescu, was also preparing for a ban. The case with the film is symptomatic Reconstruction Luciana Pintili removed from poster in 1970, after Innocent was banned earlier (1966) A movie with a charming girl. Director Lucian Brata and screenwriter Rada Kosasa are accused of serious ideological confusion.

The regulatory act of the same year of 1971 prohibited listening to foreign radio stations, so putting your receiver, most often Soviet-made, on the wave of not only scary, but also scary, became a great sin, punishable by criminal law. Free Europe, and Radio Luxembourg. Where young people who, according to the new directives, could be detained at any time for having too long hair, found music The Rolling Stones, example. Music that Radio Romania no longer broadcasts.

After putting on a performance under fire Hood over the eyes from Bulandraat the same time, the Theater would be prohibited Inspector Luciano Pintilier. The clues became more and more dangerous.

After 1971, other signs and bad news. The prohibitions mentioned above became more and more categorical. But the others, we, were wreaking havoc. And 1973 will make it more than obvious that there are no longer obstacles for the cult of personality. The mania for the greatness of the anniversary of the leading couple then began on the eve of the New Year, continued on the 7th (anniversary They) and, even more noticeably, on January 26 (day Him) and reached its peak in December, on the occasion of the ceremonial opening of the new TNB building. When Ceausescu was going to be announced as the new Pericles.

In 1978, a celebration with splendor, with festive shows, with letters and telegrams, signed. forums Elena and Nicolae Ceausescu no longer surprise anyone. It became a habit.

For ordinary Romanians, January 26 meant nothing. At most, a cause of immense boredom. Perhaps the only thing that matters is the discomfort of not being able to see a few decent shows on TVR that God only knows how escaped the watchful eye of the censor. How was, for example, the series Roots, which recreated the saga of a black family. The film that all Romanians called by the name of the respective family, Kunta Kinte. I myself remember that the popularity of the series in question became so great that at the beginning of the summer of 1978, when Nicolae Ceaușescu decided to switch to daylight saving time, all Romanians, either cheerfully or offended, recited: Ceausescu, dear dad, you are moving the clock forward / We work like Kunta Kinte.

Since the ritually obligatory anniversary of January 26, as well as its cancellation of the broadcast during the week of honor To the most beloved son of the people the long-awaited episode Roots begins a broad, rich story with an extraordinary number of ramifications, which the creators of the show tell us for almost five hours, with obvious symphonic advantages, 1978, entered the repertoire of the Hungarian State Theater Gergely’s tsiks from Timisoara. The authors of the show are Simona Semenich and Tomi Janezhych, directed by Tomi Janežić, performed in three different rooms in the former building of the Faculty of Hydraulic Engineering in Timișoara by the actors Balaž Attila, Borbeli B. Emilia, Časar Monika, Ciuvek Lorand, Jancho Elod, Kiss Attila, Lighter Marco Ernesto, Matias Jolt Imre, Simo Emese, Schollosi Esther , Vajda Borok, sets by Branko Hjnik, costumes created by Maryna Sremak.

It should be said from the very beginning that the choice of this space is by no means a whim. Something done for the sake of popularizing the unconventional. This hall with old, dirty walls that have not been painted for a long time, with radiators from which not even a trace of heat penetrates, poorly lit, is very reminiscent of the communist quarters of the 60s and 70s. Blocks of the wagon type, in which smells from the kitchen, where in the last communist decade some of the small it was a given they ended up in the living room or bedroom. This will happen sometime in the second part of the show.

This greatly contributes to the undoubted success of the installation (in my opinion, 1978 year it is part of that whimsical category of artistic productions that, while not being perfect, mean, above all, proof that the theater is still alive and always will be) music and exceptional sound design thanks to Samo Quin and Eduardo Raon (in the third part, the two install sound space of the end of the world), choreography by Dobrey Denes and videos signed by Carlo Zoratti. Which we see taken at the beginning of the second part. A little later, we will understand that this short intermezzo means the first and important indication that the action of the play will take place not only in Timisoara, in the apartment of the communist quarter where Jolt, a child who was only ten years old, lived. 1978, and his family lives in it. That is, parents (Balas Attila and Shimo Emeshe), mother’s brother (Jancho Elod), grandfather, great-grandfather Attila (Kis Attila) and where welcome visits from a close relative who recently retired (Wajda Boroka) will meet. with occasional ones from a neighbor (Borbély B. Emilia). Not just any. But the Chekist’s wife.

The story, the search, the challenge and the disappearance of memories (which are also lost, as the furniture in the rooms disappear) will also be consumed in Nova Gorica or Isonzo. Where 12 bloody battles will take place during the First World War, the warring parties will be the Austro-Hungarian Empire and Italy. Nova Gorytsia is a locality located today on the territory of Slovenia. So 1978 year will not only recall the history of an ethnic Hungarian family from Timișoara, it will not only mean bringing its roots to the fore, it will not be limited to a memory recall to bring back to the present what happened in Romania in 1978, a Romania with communist quarters endowed courtyards with carpet breakers, but begins with a desire to explore the history of a part of Europe. It became a kind of real and symbolic kingdom of death.

January 26, 1978 was not an ordinary day for Zholt and his family. Vice versa. Hence the periodic exclamations of the mother, What a day!. Zolt (the character is mostly present as a voice, and Matthias Zolt Imre’s voice is excellent) successfully completed the mission, of course with the help of his mother (Simo Emese), writing a letter of tribute to Ceausescu. And the teacher called my mother with congratulations. Hence the memories of other characters, such as those played by Esther Schollösi, Časar Monika or the multifaceted Lighter Marco Ernesto. Dude Lorand.

The anniversary of Ceausescu, a letter of tribute, the personal stories of an uncle who is preparing to escape to Yugoslavia, the story of the band “Phoenix”, the stories of Nik Kovac and Mircea Banic, the fate of the family of guards with whom the Yellow family lives, the neighborhood means only moments of show economy, preparatory to the story great-grandfather’s stories. Also born on January 26. The story is announced more clearly from the second part and became a large-scale, impressive, moving, hard-hitting theme of the show in the third. The part where what seemed like an extraordinary attempt to invade the great-grandfather’s life (Attila’s Kiss) turns into a terrifying, heartbreaking flashback. The past part of humanity.

This third installment is built on an extraordinary and bold application/development of the theater-within-a-theatre formula. It is brought here even to the last imaginable limits. Zholt, who became a theater artist, accidentally finds the text. Testimony? Scenario? Even Yellow is not very clear. Entering a creative trance, Zholt wants to edit a play or script for a reason. In a spectacle in which the devastating battle on the Isonzo is presented to us in the greatest detail. _ Read the entire article and comment on it on Contributors.ro