Entries tagged with “Bertold Brecht”.


M-am simtit in acea seara dintre putinele petrecute in scurta mea vizita bucuresteana de acum cateva zile, ca transportat si transfigurat in timp cu vreo patru decenii si mai bine in urma, in anii de vraja in care Liviu Ciulei impreuna cu o cativa colegi regizori de mare talent, profunzime si curaj si cu o echipa de actori care aduna impreuna unii dintre cei mai mari actori ai multor generatii ale scenei romanesti de la Clody Berthola trecand prin George Constantin si Stefan Iordache pana la Florin Pittis si Ion Caramitru, creasera la Teatru Bulandra unul dintre centrele de greutate ale teatrului lumii. Incerc sa evit cuvintele mari si voi spune doar ca in acei ani am vazut pe cele doua scene ale Teatrului Bulandra – cea din Gradina Icoanei si cea de langa Podul Izvor multe dintre cele mai bune spectacole de teatru cu care am fost si voi fi binecuvantat vreodata.

 

sursa http://agenda.liternet.ro/articol/18952/Mihaela-Marin/Galerie-foto-Omul-cel-bun-din-Seciuan.html

sursa http://agenda.liternet.ro/articol/18952/Mihaela-Marin/Galerie-foto-Omul-cel-bun-din-Seciuan.html

 

Revederea cu spatiul din Gradina Icoanei este intr-un fel pentru mine o calatorie in timp. Uitasem de adancimea scenei. Imi amintesc spatiul ca multi-functional si flexibil ca pozitie a scenei – ‘Elisabeta’, ‘Furtuna’, si altele cred, mi le amintesc cu scena in mijloc. Acum insa se revine la configuratia ‘proscenium’ si la sala in panta, ceea ce aduce actorii mai jos de ochii majoritatii publicului. Intr-o perioada in care fragilitatea constructiilor in care isi joaca de multe decenii spectacolele teatrele romanesti de traditie, sala din Gradina Icoanei nu este – sper – amenintat acu vreo relocare sau inchidere, desi foierul si caile de acces tare ar mai putea beneficia de o renovare. Pentru mine a fost parca un motiv in plus de nostalgie, dar indisponibilitatea unui program de sala pentru un spectacol de o asemenea tinuta cum este ‘Omul cel bun din Seciuan’, care se joaca de mai bine de un an, si care a apucat deja sa fie premiat cu un important premiu al anului teatral care a trecut, a adaugat un element ne-necesar de reamintire a timpurilor de restriste.

 

sursa imaginii http://stiri.tvr.ro/happening-marca-andrei-serban-la-muzeul-de-arta-contemporana-din-capitala_33641.html

sursa imaginii http://stiri.tvr.ro/happening-marca-andrei-serban-la-muzeul-de-arta-contemporana-din-capitala_33641.html

 

Nu l-am cunoscut niciodata personal pe Andrei Serban, dar am totusi cu el o intersectie biografica interesanta. Prin anii 60 invatam in particular engleza de la aceeasi profesoara – Doamna Ghinopol, fie odihnita, o femeie cu o biografie franta de o condamnare politica, singura ei vina fiind ca in anii imediat de dupa razboi lucrase la Biblioteca Americana. Eu eram un baietel in pragul adolescentei cand dansa imi povestea despre perechea de prieteni – un tanar regizor extrem de talentat, si un critic de teatru pe masura – care ii sunt elevi si de care era extrem de mandra. Cativa ani mai tarziu numele lui Andrei Serban si George Banu incepeau sa faca istorie in teatrul romanesc, si apoi in teatrele lumii. Engleza invatata de la profesoara noastra comuna a fost suficienta pentru a-i permite lui Andrei Serban, ajuns in lumea cea mare in 1969, sa frecventeze studiile cu Peter Brook si apoi sa realizeze in 1971 prima sa punere in scena importanta in Statele Unite, cea cu ‘Medeea’ la teatrul ‘La MaMa’ din New York.

Andrei Serban a fost in Romania si in acest an si am avut ocazia sa-l vad intr-un interviu televizat. Pare mult mai tanar decat cei 72 de ani pe care ii are astazi, si tineretea sa nu este doar fizica si ci spirituala, si pare sa vina in mare parte din interior. Seamana mult fizic cu Paul McCartney, unul dintre cei doi supravietuitori Beatles, dar isi poarta varsta (foarte apropiata) mult mai bine decat acesta. Dar inainte de toate pare a fi in plina forta creativa, si ‘Omul cel bun din Seciuan’ la Teatrul Bulandra este o excelenta dovada.

 

sursa http://www.danasota.com/omul-cel-bun-din-seciuan/

sursa http://www.danasota.com/omul-cel-bun-din-seciuan/

 

Andrei Serban descifreaza textul lui Brecht dintr-o perspectiva contemporana care combina politicul cu umanul. Personajul principal, tanara Shen Te din Seciuan, este pusa la proba de zei, asa cum se intampla intotdeauna in teatrul lumii de la clasicii greci incoace. Este ea ultimul om bun de pe suprafata planetei, cea a carei bunatate poate salva omenirea, macar in ochii zeilor? Ea se va stradui, dar sunt oare suficiente bunele intentii in lumea in care traia Brecht sau in lumea in care traim astazi? Inactiunea este condamnabila din start. Actiunea insa are de multe ori consecinte neasteptate si contrare intentiilor, lumea este construita stramb si oamenii sunt manati de interese meschine, cel care actioneaza in numele binelui este folosit, furat si manipulat iar actiunile grupurilor sociale protestatare nu numai ca nu dau rezultatele asteptate dar se intorc impotriva celor care ar trebui sa beneficieze in urma lor. Putem discuta desigur daca intrebarile puse de Andrei Serban in mod destul de explicit despre protestele sociale de acum cativa ani si ‘primaverile’ de tot felul care s-au transformat repede in toamne reci si ploioase prevazand ingheturile iernilor, sunt puse dintr-o perspectiva personala conservatoare. Eu cred ca ele intentioneaza sa genereze o discutie intre spectatori si in mintile si sufletele acestora. Si asta este bine – este unul dintre scopurile teatrului bun, care poate fi politic fara a fi propagandistic.

A trecut vreo jumatate de secol de cand Andrei Serban epata burghezia proletcultista a Romaniei anilor 60 cu un ‘Iulius Cezar’ in stilul teatrului Kabuki, despre a carui moarte lenta, in ‘slow motion’, s-a scris si s-a discutat enorm. In spectacolul de acum am putut descoperi sau redescoperi aceeasi maiestrie a alegerii formei care pune in cea mai buna si mai expresiva forma continutul. Remarcabil este si faptul ca alegerea este facuta dintr-un registru larg de traditii si tehnici teatrale, care sunt combinate intr-un ansamblu de joc actoricesc, muzica, miscare, costume perfect integrate. Si in plus spectacolul distreaza. Teatrul este o arta si o forma de divertisment, si nici unul dintre marii regizori ale caror puneri in scena am avut sansa sa le vad nu omite aceasta – de la Brook la Ciulei, Pintilie, Andrei Serban sau Purcarete. ‘Omul cel bun din Seciuan’ combina elemente din teatrul antic, ‘commedia dell’arte’, circul, baletul modern, costumele orientale, cabaretul perioadei lui Brecht si un fond muzical inspirat dar evitand sa devina dominant. Am remarcat o singura nota stridenta, in parodierea vorbirii evreiesti a unuia dintre personajele negative – o tipologie etnica nenecesara si de gust indoielnic dupa parerea mea. Altfel este de admirat realizarea unui spectacol unitar si consistent care nu ar fi fost posibila fara o perfecta sincronizare a tuturor componentelor spectacolului, fara o munca sisifica si perfectionista la nivelul ultimului detaliu. Rezultatul este spectaculos. Intreaga echipa de actori joaca la nivelul marilor echipe de actori ale Teatrului Bulandra pe care le-am vazut cu decenii in urma. Nu pot sa nu mentionez numele lui Vlad Ivanov (actor urias si pe scena si in film), Ana Ularu sau Rodica Matache, dar facand asta simt ca fac o anumita nedreptate restului echipei, caci toti au fost excelenti.

Un spectacol de mare tinuta, demn de traditia acestui mare teatru.

I know that the program of the opera season must be established years in advance, so it must be a happy coincidence to see ‘The Rise and the Fall of the City of Mahagonny’ set in Tel Aviv at the New Israeli Opera in an original staging directed by Omri Nitzan, one of the best directors of classical theater in Israel, and also the author of several successful performances on the stage of the local opera. The subject of the libretto written by Bertoldt Brecht with its strong anti-Capitalist message sounds more than actual after the summer of the tents and of social discontent that crossed Europe and the whole world and did not spare Israel either.

 

source http://www.israel-opera.co.il/eng/?CategoryID=423&ArticleID=1299

 

Yes, the text is more actual than ever in 2011 and 2012, but for me it receives a double significance here in Israel, which it seems to me did not escape director Nitzan, as the motto about the city of Mahagonny existing because the evils of the world around applies up to a certain point to the country we live in. The merge of music, danse, theater and cabaret that is specific to the works of Brecht and Weil create the premises of modern and attractive show, and the staging in Tel Aviv was up to the expectations.

 

(video source OperaOfTheYear)

 

Israel is not the only opera house which found fit to stage Brecht and Weil’s work this year, here is a promo of the version which was broadcast by Mezzo – and also entered the contest of the best operas of 2011 in Europe – put on stage at the Royal Theatre in Madrid.

 

(video source chocolateheroine)

 

On the lighter side, here is a version of one of the best known songs in the opera – ‘Alabama Song’ sung by … David Bowie

 

(video source IsraeliOpera)

 

Here are conductor David Stern and director Omri Nitzan talking about the work and the production. Director Nitzan added to the melting pot of arts that is ‘Mahagonny’ cinema and television, and this worked well and gave a dynamic and contemporary touch to the whole screening. The NIO version of the City of Mahagonny is a City of Sin that can blossom in any Capitalist desert. German singer Wolfgang Schwaninger and Swiss soprano Neomi Nedelman gave good performances in the principal roles, and David Stern directed the orchestra in a way that was both exact and fun. The side turn taken by the Israeli Opera relative aside from its classical repertoire was successful.

Brecht would have liked the way the Cameri Theater in Tel Aviv approached his ‘Caucasian Circle’, despite the fact that it departs in many moments from the text he has written. He was himself more interested by the political engagement and with the contemporary messages of his plays than by texts (or better said pretexts) that built the performances. As playwright and director he let to the actors a wide space of freedom in expression, and combined the stage movement with songs in a manner that never tired or fell into desuetude in the many decades since his plays were written.  The text of the ‘Circle’ draws its inspiration from two sources – a 14th century Chinese play by Li Xingdao and the Biblical story of Solomon’s trial.

source http://cameri.co.il/index.php?page_id=2030

Director Udi Ben Moshe’s adaptation in Tel Aviv changes the wrapper of the story. There is almost no mention of the post World War II kolhoze story created by Brecht. In Tel Aviv it is replaced naturally by the conflict between two people who claim the same piece of land as their own. The theater in which the theater performance is played is replaced by our own universe, despite the denials of the character and raisonneur judge Azdak (whose name has also Hebrew intonation as ZDK is the radical for the word justice). There is however more in the young director’s version that enhances his adherence to the free theater principles. Usually amateur versions of the well-known plays are being taken over in schools, here he takes on the stage of the (arguably) best theater in Israel a version he has put on stage a few years ago for a high school performance of the play. The usage of chalk on blackboard as set designs is simple and expressive and so well fits into the context and the name of the play that it seems like the most natural thing in the world (stage design – Frieda Klapholz-Avrahami).

source http://cameri.co.il/index.php?page_id=2030

The performance in Tel Aviv is over all catchy and entertaining, trying to keep an appearance of improvisation, with two parts that look quite different in style and content. While the first part sets the context and plays more on the situations and characters comedy, the second one includes most of the political messages and relies on a great extent upon the personality of Shlomo Bar-Aba, who dominates the scene in one of these great performances that are to be remembered over years. All the other actors belong to the young generation and some of their replicas are up to the maestro’s show of power. Neta Garti is energetic and emotional in Grusha (one of these powerful Brechtian women who save the Universe with their deeds), while Andrea Schwartz gets the maximum from the Governor’s widow role, mastering the negative part in the comical register while playing as a supporting team member in scenes that require supporting acting. Udi Rothschild is an ingenuous Simon, and also fills-in a number of supporting parts. As in many of the performances written by Brecht music plays an important role, and there is a wide choice of existing scores, as well as the option of creating a new one. The Tel Aviv theater went for an original version, with the music composed by Keren Peles, who became in the last few years the house composer of the Cameri, leaving her print on a number of performances to be remembered for the music (supplementary to other aspects) and the version of the ‘Circle’ can be added to the series.

(video source aftaabtheatre)

Unfortunately I could not find any sequence from the performance in Tel Aviv. What I did find was another very interesting filmed excerpts from a performance put on stage in Afghanistan. The Aftaab Theatre was founded by Ariane Mnouchkine of Theatre Du Soleil in July 2005. Among other the opening scene in the clip seems to use traditional Jewish music. It’s a symbol of the fact that true theater as any true art transcends borders, may they be geographical and spiritual borders, and that the text written by Brecht at the end of the biggest conflict in history is so fit for other conflicts that still divide people world-wide. I am just left wondering what was the story that envelops the story that was presented to the Afghan audiences.