May-June are months rich not only in awards (some on time, others to make up for lost time), but also in festivals. Theaters with consolidated traditions, located in the theaters of Bacău, Buzău, Baia Mare, Oradea (theatre queen maria), Sfantu Gheorghe (Theatre Tamasi Aron), Timisoara (Hungarian Theater named after Gergely’s tsiks), and the list risks not being completely complete, new ones will be added, for example Days of the “Matei Vishnets” theater. from Suceava, an international festival in Turda, another in Suceava or Day after tomorrow Theater named after scream from Oradea or the one with the hasty and stupid English name from Reshita. Festivals that are not limited to simple and methodical repetition of their own productions.

Some ancient manifestations of theatrical culture have changed their names. Sometimes this is justified because they have rethought and expanded their profiles (A short theater week from Oradea, for example, it has been a long time PHYTOi.e Oradea International Theater Festival), others only to satisfy the arrogance of the new directors. Who also wanted to stand out. At least for a while. To make them feel more important in the executive chair.

As in previous years, those who wrote about them, unfortunately, less and less professionally – and this despite the fact that the country is full of theater graduates – directly or subconsciously formulate two questions. Be the first what a good thing there are so many festivals“I have already said and also written that the question in question is a synonym what is the use of such a culture?. The second comes from the observation that the same performance is on offer at several festivals.

Or, if it is not about imposing certain profiles, about a mutually beneficial exchange between directors, an exchange of how I come to you andyou me and we both have what is written in the annual evaluation reports, the fact has an explanation. Firstly, that there are relatively few good productions that can really be chosen, and secondly, that the festival is made for the public, not for critics, and the public in each city is completely different. In addition, it is very good if these festivals, which the late critic Valentin Silvestro called so and rightly considered pulse measurement, they host the same show, which is either very good or indicates a revival of the production establishment. As with the show heroines from the Theater named after Mihai Eminescu from Botosani, managed by the young, fast and talented Andrii Mejeri. The show was also in Buzău, Oradea and Baia Mare. No, heroines far from a perfect show, not the best in the country, not even the best from the clearly contradictory track record of the artist (because we are talking about an artist, not a craftsman), but it means a revival in The existence of the Botoshan Theater was exciting, even tormenting. And the revival is closely connected with the arrival there of the (still) young Andrei Magheri.

heroines it was also in Oradea, as was another show directed by the same artist. It is about Everything Alois took from mebased on the text by Kosmin Stanil, staged by a A reactor of creation and experimentation from Cluj. Regarding the second, I presented my opinion in time, which I reinforced during the review. It seemed even better, livelier, more emotional than the first meeting. The production holds up primarily due to the exceptional performance of the actress Kato Emeke, well managed by the director. The actress received an award for the best female role.

about heroines I will write more in detail, maybe sometime in the future. For now, I’m content to note that Andrii Mejheri has inexplicably juxtaposed some really good things with solutions that I felt did not match the refinement and attitude of a true intellectual that characterized his earlier writings. All the more pressure on those who are inspired by great works of humanity, great myths, which are now reformulated. Majeri knows very well what the alternation of heroization and deheroization means, he knows how to stage the alternation of burning and discharge. He knows how far he can go with demystification. This time the sense of proportion was relativized. Is it about concessions to the public? Wasn’t the representation from Oradea the best? Could social media fatigue set in, where the director has become the debatable champion of the genre? Did the disqualifying position of Commissioner Javert, taken by the same director, speak for itself, or was there premature complacency in the middle? In any case, in the context of the recently concluded Oradean Festival, Andrei Mayeri deserved the award. Let him be useful! And for the soul and for the mind. Especially for the mind.

PHYTO had a competition section in which productions belonging to the short theater genre could be seen. Returned to the regulatory provision, according to which short means a show that lasts a maximum of 90 minutes. Thus rejecting the aberration imposed by the old, unprofessional and aggressive management of the Oradean Theater. Who, instead of coming to the performances of the Festival, preferred to sit at home and, sometimes, spank (also) on Facebook. Unfortunately, the Theater named after Odeum he also broke the rule and failed to deliver on his promises, which resulted in a production disqualification We don’t talk about it. Although the performance of the actors Ruksandra Maniu, Anda Salteleki, Vlad Birzanu and Eduard Trifa was quite remarkable. The text (Alexandra Felsegi) and direction (Adina Lazar) are less.

I believe that the competition part was successful, although some performances, few, left much to be desired and it was better not to invite. It happens. However, having shows like the competition is no small feat Zinc boys from Bulandra (director: Yurii Kordonskyi), Messico-production of the National Theater named after Radu Stanka from Sibiu and theater from Bucharest (director: Andrey and Andrey Grosu), Girls and boys from the Theater named after act (director: Christy Juncu), Black mirror (director: Roberto Bacci) and The lost letteron the concert (director: Ada Milea), both from National Cluj. Cluj got the second show Special jury prize. The award was made possible by the sad, disturbing reality that none of the scenography in the competition stood out for its superior artistry.

It is no small thing that great actors and actresses such as Mariana Michutz, Camelia Maxim, Mirela Gorea, Dana Dogaru, Profira Serafim (Bulandra), Kato Emoke (Reactor), Raluka Aprodu (ACT), Ophelia Popii, Michaela Trofimov, Richard Bovnotsky, Marius Turdianu (Sibiu and Theater), Jonuts, Karas, Cornel Raylianu, Anka Hanu (Cluj-Napoca), Mircea Andreescu (ArCuB), Marius Manole (present in the performance at Teatrul Alex Mateevich from Chisinau), Dana Dembinski-Medelyan and Andrey Gramoshtyan in good night mom from the Maly Theater (director: Vlad Massatsi). Thus, the desire of Oradea residents to see the stars was satisfied.

The theater owner introduced himself last Mimi Branescu, directed by Denis Vlad, Evolution by Pavel Sirgi was awarded the award for Best Actor and Till death do us part Pojai Jolt (Director: Daniel Vulcu), which earned Georgia Kaprerin a well-deserved nomination for the Female Performance Award. Theater scream from Oradea presented quite a show at the competition The Shmurts family after Empire builders Boris Vian (Director: Dyerfi Chaba), a physical theater show in which Barabas Gunor has noticeably evolved as the Father.

The international section was not just a fad. Just something scripted. Didn’t see, for objective reasons, Ballad of Narayama from Tokyo, however ‘Thiel Deseparate us from Mesket State Drama Theater from Georgia (directed by Romanian Radu Gilash) and Romeo @ Julias Unplagued Traumstadtproduction Polish Dance Theatre they brought me complete satisfaction.

In addition to the competition, several important Romanian productions were invited. AS The Addams Family from Excelsiordirected by Rezvan Mazilu, with the sensational Oana Predescu and Lucian Ionescu in the cast, as well as Dan Puginianu, who in a few days will deservedly receive the UNITER award, Herbarium from the band Liviu Rebreanu and Seaside stories from the State Theater of Konstanz, both directors Radu Afrim, and The plowman and death from Ieşean National, directed by Silviu Purcărete. Big shows, good shows, shows with stars (Niku Mihoč, Elena Purea, Mirela Pane, Nina Udrescu, Celin Cirila) and with wonderful young actors who delighted the audience. –

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