It seems that more and more and even more thoroughly, the books that Ion Moldovan dedicated and dedicates to the great artists, thanks to whose contribution he wrote, with good and bad, but above all with great efforts, energy and a generous expenditure of dedication and talent, the history of Romanian theater of the second half of the last century and the first two decades of our century ended up on the library shelf.

Volumes dedicated to Adele Merculescu, Lucia Muresan, Valeria Gagealov, Draga Olteanu Matei, Alexandrina Halic, director Cornel Todea, Simona Bondoc, the “royal couple” Carmen Stanescu and Damian Krasmar (and I’m afraid the list is not quite complete). ) were recently added to the one whose main character is Constantin Dinulescu. Who, for almost sixty years of his career, spent on the stages of the Nationals in Iasi and Bucharest, on the TES stage, on the sets, in the studios of TVR and Radio Romania, is associated with distinction, elegance, subtle appearance, all this is complemented by a voice, which you cannot fail to recognize out of a thousand or a million, a certain wonder. Something completely personal, a detail that allowed the actor not to remain unnoticed even in smaller roles.

Looking at the sequence Theatrography inserted in the last pages of the volume Konstantin Dinulescu – Theatrical life and theatrical life (only in Iasi, where he stayed in 1955-1968, Constantin Dinulescu played more than 40 roles) you can see how great the interpretive diversity of the actor’s work was. His creative personality was formed, naturally, over time more consistently, acquired additional and complementary valences. Only the eyes, which seem to me to be an inheritance from my mother, seem to have remained the same. As the voice remained.

“The strange role of chance,” said Beyesu, also had its say in the case of Constantin Dinulescu. The one to whom colleagues and relatives say bobsy He was born in Alexandria in a family of people with “serious” work (father Aurel was a Romanian teacher, and mother Sofia was a teacher), later moved to Calarasi), eventually became an amateur repairman, but skilled and passionate about watches, the future great actor first had to experience the bitter aftertaste of failing to enter the architecture department (mathematics, oh well!) to get family permission to enter the theater. The father did not really believe in the seriousness of the work, perhaps even in the son’s talent in this field, but how a possible success in acting could save his child from long army troubles, said the wizard at last. Fine!. After that there was another mess. The candidate initially lost his voice, was saved by the intervention of maestro Gheorghe Timic, and was therefore included in the reception list. He was not a favorite of Oleksandr Finca, the director of the class in which he studied, he earned his first money in the theater as a student, acting, although at that time the professional standards of the Institute did not allow students to do this, as a student ready for a small strike, he gave his production and heeded the advice of the future great director Vlad Mugur to spend the first years of his career on the legendary stage of the National Theater. Vasyl Oleksandri. He set out with four other students. No, he was not accepted with bread and salt in Iasi, but over time, as he made a name for himself, he was given more and more important roles. He played alongside legendary names (many of them known to me through Stefan Oprea’s books) — such as Milotse Georgiou, Anni Braeski, Margareta Baciu, Ion Laskar — in both good and bad plays (let’s not forget the ideological limitations time), faced Paul Everack, in Iasi he also cheated death. If you read the book, you will know the details. Read the whole article and comment on Contributors.ro