Entries tagged with “theatre”.

The performance with ‘The Trojan Women’ put on stage by the Cameri Theatre in Tel Aviv and the Tokyo Metropolitan Theatre is a proof of the way great theater transcends time, and to what extend a tragedy written 24 centuries ago can be so actual and can speak so directly to the issues of modern history or even of the contemporary times. It certainly tells a lot about the genius of Euripides, but also about human nature, and about the world we live in. The play deals with the fate of the Trojan women, waiting for the Greek victors to decide their fate – slavery or death – after the defeat of Troy. It can be seen as a long lament and a dispute with the gods about the fate of a vanquished nation, the destruction of a homeland, the loss of freedom and the vicissitudes of the condition of women in times of war.


source https://www.cameri.co.il/index.php?page_id=2532


The ambitious project now on stage (for only one week) in Tel Aviv is the result of the collaboration between the Cameri Theatre and the Tokyo Metropolitan Theatre. Director Yukio Ninagawa is a well-know name in Japan, very high regarded for his staging of Shakespeare and Ancient Greece playrights. He  is not at the first tentative to work with an Israeli theatre. The history of his collaboration and involvement with the problems of the region and some of his thoughts and experiences during the realization of the current production are described in an interview given a few weeks ago to the Japan Times. It is no easy task to bring together on the same stage Japanese, Jewish and Arab actors, to make them work as one team, to bridge the cultural barriers, to defuse the political tensions and the tensions created by the text and subtext. Because of its perennial nature  Euripide’s text can be read as a metaphor of Hiroshima and the disaster of Japan in the 2oth century, of the Holocaust, or of the Palestinian exile and occupation. The mission of the director was to transform these tensions into artistic tension, in art.


source https://www.cameri.co.il/index.php?page_id=2532


I find the result spectacular. The stage is deprived of any garments, all the rendition of drama is left to the actors and to the stage music which combines intonations of Japanese music with Middle Eastern lamentation tones. The cast is composed of Japanese, Jewish Israeli and Arab actors, in an almost mathematically equal  distribution. All actors speak their own language, and the chorus (composed of five Japanese, five Jewish and five Arab actresses) repeats each incantation three times, once in each language. Although text translation is offered, at some point in time it becomes irrelevant. While director Ninagawa allowed or maybe even instructed each sub-team of actors to act in their own (classical Japanese, modern European, and melodramatic Arabic)  styles, the whole performance has a definite Japanese atmosphere, and especially in the second part stage movements and intonations became more important than the words of the text.  A great contribution is brought to this esthetic quality by the lead actress Kayoko Shiraishi in the role of Hecuba. She dominates the whole performance, melding the personalities of a hero of Greek tragedy with the calculated drama of a Japanese acting star. I will not mention other names, but the whole rest of the team is homogenous and very well directed.

This version of Trojan Women is an event from many points of view. It stages almost every day of the week until Saturday. For these of you who can reach this week Tel Aviv, love theatre, and can find tickets my strong recommendation is not to miss it.


Playwrights do not have an easy task writing about the Israeli contemporary realities. How strong and impressive you can be writing a tragedy about the Israel of today when thousands of people in the land called Holy have lost their lives or seen their destinies destroyed by wars and the conflict between Jews and Palestinians that seems to never end. What credible dramas can be written when every newsflash in Israel brings several dramas with social or human background that exceed whatever was ever written for stage or in books? How political satire can work when the daily reality brings under the lights of the political stage characters that seem to exceed in behavior, corruption, absurdity the sharpest imagination a satirical writer can have. Never and nowhere the saying that reality exceeds fiction seems to have applied better than in Israel Today (capitals intentional).


source http://www.nrg.co.il/online/47/ART2/383/581.html


Yet, the Israeli audiences love satire. The satirical shows are on the top of the TV and audio ratings. Last night the audience at Habima in Tel Aviv filled a hall with a capacity of about one thousand people, near me sat a pair of what looked like elder kibutznikim, in the row in front of a bunch of young religious people, the whole hall was a mosaic of people who came to laugh about ourselves in a play that could have been the subject of a tragedy as well as of a wild comedy. Israel is under attack from North, South and West. The war is ravaging the country taken by surprise, and the prime-minister and the members of an inept government seem busier with saving their own skins and personal real estate assets, dealing with political intrigues, and most of all, covering themselves for the inquire commission that follows inevitably all the wars of Israel since the Six Days War.


(video source israelnews)


While the text written by popular entertainer and radio show host Shay Goldstein provides many moments of good comedy, the opportunity of asking any more serious questions – to the politicians, to ourselves – is missed. The performance at Habima is a good comedy show but a very superficial satire, which says nothing new or different of what was said in shows like A Wonderful Country (Eretz Neederet) on TV or Shay and Dror on the radio. Moti Kirshenbaum is an experienced TV producer and host, and does a good job in directing a team of actors which has the popular comedy actor Eli Yatzpan (as the prime-minister) in the center. However, the result is not much different than a ‘Yatzpan show’ and the good feeling results from remembering the laughs and the fact that for an hour and a half the reality on the stage seemed to be more dangerous and absurd than the reality in our lives.


Teatrul cu adevarat interesant de multe ori nu se petrece in marile teatre de repertoriu ci pe micile scene, in cluburi si in cafenele.  Acest adevar cunoscut de iubitorii de teatru din intreaga lume incepe sa se petreaca si in Bucuresti. In conditiile in care la spectacolele bune de la Bulandra sau National gasirea unor bilete are cam aceeasi probabilitate de reusita ca si castigul la loterie mai ales pentru vizitatorii ocazionali, teatrele mici, independente, cele pe care in New York le-am numi off-Broadway sau chiar off-off-Broadway au din ce in ce mai multa cautare, succes si dupa cum arata acest spectacol si reusita artistica. De fapt  ArCuB nu poate fi caracterizat chiar ca un teatru mic si in plus beneficiaza de o locatie ultra-centrala in fosta sala ARLUS. Cum-necum saptamana trecuta a fost prima data cand am ajuns in acea sala, spre rusinea mea de bucurestean la origine. Rau nu mi-a parut.


source http://www.clujlife.com/2010/11/24/o-lume-pe-dos-casa-de-cultura-a-studentilor/


‘O lume pe dos’ este o colectie de trei piese scurte apartinand unor autori americani contemporani, avand in comun personaje care sufera de o imensa singuratate si isi cauta alternativa in bizarerii si sexualitate, un actor exceptional (Tudor Chirila, talent multiplu, actor, textier si solist la Vama Veche) pe care l-am vazut cred pentru prima data, si regia Iarinei Demian (si ea un talent multiplu, regizoare si actrita, si nu in ultimul rand mama lui Tudor :-) ). Prima piesa ‘Preludiu si Liebestod’ a lui Terrence Mcneil (autor nascut in acelasi oras in care s-a nascut si Janis Joplin) este si cea mai complexa ca psihologie si structura, construita fiind in jurul dirijarii unei bucati muzicale compuse de Wagner, cu dirijorul ca centru al universului scenic. Acest prim act ii prilejuieste si lui Tudor Chirila sa-si dovedeasca talentul exceptional, si Iarinei Demian sa gaseasca o solutie scenica ingenioasa pentru un text care reprezinta o piatra de incercare pentru orice regizor.



source http://tudorchirila.blogspot.com/2011/03/o-lume-pe-dos-in-imagini.html


A doua parte a spectacolului ‘Problema’ este razboi in cuplu presarat cu surprize si intoarceri de situatii si cu un text (semnat de A.R.Gurney jr.) care in momentele cele mai bune are nuante ionesciene. Smaranda Caragea da aici o replica excelenta lui Chirila, si este vorba aici despre inca o actrita pe care departarea de scenele bucurestene la care ma gasesc in cea mai mare parte a anului nu mi-a dat ocazia sa o cunosc.



source http://www.modernism.ro/2012/02/06/o-lume-pe-dos-sau-adevarul-lumii-in-care-traim-arcub/


In a treia parte intitulata ‘Naomi in camera de zi’ avem bucuria de a o vedea pe regizoare alaturandu-se celor doi actori principali pentru a juca rolul unei mame ramasa cu trairile (sau poate readusa de vreo boala degenerativa) in perioada flower power si careia cuplul format din fiu si nora este obligat sa-i joace in struna. Din pacate aceast al treilea text apartinand Christopher Durang este si cel mai firav in continut, si spectacolul se incheie din aceasta cauza cu o usoara dezamagire.


(video source agentiadevise)


Din fericire sunt multe alte motive de satisfactie in aceasta seara de teatru solid, si uneori, mai ales in primul act, captivant. ‘O lume pe dos’ ofera alternativa unei seri teatrale de calitate pe care o puteti risca chiar si in alte situatii decat cea in care nu ati mai gasit bilete la Nationalul vecin. Veti ramane poate ca si mine pentru multa vreme in memorie cu imaginea Dirijorului asa cum nu il vedeti de obicei in concerte, cu fata indreptata spre public, dirijand muzica si sentimentele din sufletele spectatorilor.





peste tot


Horatiu Malaele este una dintre acele personalitati artistice complexe care resping categoriile si categorisirile. Unul dintre motive este desigur multitudinea de talente si de ocupatii artistice – actor, regizor, caricaturist, patron de galerie, poet. Alt motiv este ca talentul sau (ma sfiesc dar sunt nu departe de a folosi cuvantul G….) transcende genurile.


sursa http://www.produsin.ro/lingua/horatiu-malaele-fr/


L-am vazut acum o saptamana pe scena Teatrului de Comedie din Bucuresti. Norocul face sa fi avut ocazia de a ma ‘intalni’ cu el si cu ocazia turneului sau in Israel acum doi ani, si in vizitele mele in Romania, desigur el in rolul de creator, eu in cel de consumator, amator si avid, al artei sale, fie ca spectator in sala, fie ca vizitator al Atelierului de Caricatura pe care l-a infiintat in zona renascuta a Lipscanilor si Blanarilor.


Atelierul de Caricatura


Eu sunt orb este un recital care dureaza ceva mai mult de o ora, in care Malaele, singur pe scena, cu o minima ilustratie muzicala dialogheaza cu publicul, recita din Nichita si din Brumaru si din Paunescu si din altii, povesteste, tace. Este un dialog intens, in care actorul-recitator-improvizator reuseste sa capteze permanent atentia publicului din sala si sa-l faca sa vibreze cu trairea sa de interpret. Pe mine m-a captivat chiar si atunci cand nu am rezonat deplin cu textele, caci arta sa de interpret transcende continutul, chiar cand recita din Paunescu sau isi asuma o versificatie cu tenta nationalista. Improvizatia nu lipseste, dar raportul dintre text si improvizatie este mai degraba in traditia spectacolelor de muzica si poezie incepute la Bulandra la inceputul anilor 70 de Pittis si Caramitru (acompaniati in timp de muzicieni ca Dan Aldea sau Anda Calugareanu), si la fel se simte respectul profund al marelui actor roman care a devenit Malaele pentru scrisul literar si mai ales pentru poezia romana.


(video source vicontele13)


Desi respectul fata de textul scris pare a fi o preocupare importanta, Horatiu Malaele vizibil a ajuns la o treapta de desavarsire a artei actoricesti si la o relatie cu publicul in cadrul unui recital in care aproape nu mai are nevoie de text, sau nu prea mai conteaza ce spune. Este suficienta prezenta sa fizica, tacerile creaza tensiunea artistica in aceeasi masura cu vocea sa inimitabila. Este deja la nivelul de maturitate la care ajunsese Toma Caragiu la apogeul carierei sale. Un compliment mai inalt nu stiu a scrie.


In her book On Death and Dying, Elisabeth Kubler-Ross, MD describes five stages of coping with the malady that she observed in the psychology of many people hit by cancer. The stages may last for different periods of time and will replace each other or may exist simultaneously: denial, anger, bargaining, depression, acceptance. There is one common feeling through all these stages: Hope.

This information is well known by everybody who faced a disease that can be terminal or who had somebody close and dear who had to cope with such a malady.  Playwright Anat Gov not only has the chutzpah to bring to stage the very delicate and emotional subjects of dealing with cancer and the perspective of death, but also does it with artistic tools and from a perspective different from the one taken by the majority of the artists or writers who did it before.


source http://cameri.co.il/index.php?page_id=2195


There is no melodrama in the text of Sof Tov (which could be translated as Good End or even Happy End) written by Anat Gov and the staging of Edna Maze at the Cameri Theater in Tel Aviv. We are watching a comedy and a musical and if there is anything that is close in genre it is not the psychological journal or reflections on life and death but rather the kitsch medical soap operas that are quite popular on TV. However, the subject and the approach are unexpected. A famous actress enters hospital for chemotherapy for an advanced form of cancer. Statistics are not on her side, the disease was discovered late, she can at best win a few more years of life spent in hospitals and treatments, probably slowing but unable to stop the disease. She seems unable or unwilling to cope with the five stages of the relationship between sick people and fate, and decides to fight back her own way, refusing treatment soon after it started. Does she have the right to do it to herself and her family, has the medical personnel around the right to assist or must they continue the treatment against her own will? The moral and emotional questions asked by the play are smart and difficult if not impossible to answer. The amazing thing is that the low key approach and the comical register work so well in dealing with them on stage.


source http://cameri.co.il/index.php?page_id=2195


The mix of comedy text, music and dance on such a serious subject succeed to ask the right questions, put in move emotions and entertain most of the time in the version of the play created by Edna Maze. The emphasize is on the strong acting with a wonderful Anat Waxman in the main role, and a supporting cast in which the three actresses playing each one of the other three fellow patients creates wonderful portraits of the ex-rock girl, of the Auschwitz survivor and of the young haredi woman brought together by the destiny of the same malady. Oded Leopold as the doctor was the only actor which I liked less in the performance, he fits the exterior of the role but does not catch and relay the human vibration. Dancing and singing are not the best, the Cameri knows to do much better, and certainly Broadway or West End will do better if they will have the inspiration to take and remake this play. I am pretty sure that they will do it, as the daring and well written text of the play deserves an international career.


If the first selection in the Beit Lessin theater season was on the safe side, the second one we attended on Saturday morning was much more daring. ‘Peace Syndrome’ is a documentary theater coproduction of Beit Lessin with the Theater and Orchestra of Heidelberg in Germany, part of a two years project which included shared work of German and Israeli actors, authors and directors. It was presented together with other events in the ‘Open Stage’ festival organized each fall by the Tel Aviv theater.



(source http://www.nachtkritik.de/index.php?option=com_content&view=article&id=5567:the-peace-syndrome-der-heidelberger-stueckemarkt-eroeffnet-mit-einem-stueck-wirkungsvollen-politischen-theaters&catid=111:heidelberger-stueckemarkt)

A few months ago I wrote about a similar project that resulted in the performance with Post-Trauma at Habima. While the subjects are both in the complex and fascinating area of the relations between the German and the Jewish people in the aftermath and shadow of the Holocaust, there are many differences. In the case of ‘Peace Syndrome’ the text is compiled by author Torge Kübler from the testimonies of the German activists who take part in the activities of NGOs like Action Reconciliation Service for Peace (ARSP) or Medico International and focuses on their experiences when faced with the complex situation in the Middle East and especially with The Conflict, the feelings of collective guilt, the personal need to take a position when faced with injustice, but also the difficulty in taking or not taking sides or even expressing an opinion in a dispute that is so intrenched, passionate, and violent.


author and director Torge Kübler


The team of four actors (two Israelis and two German) succeeded to bring life to the text, and after the overcoming the first few minutes of difficulty caused by the bi-lingual experience (with one language that I know only at very basic level) the rules of the game played on stage became visible and we were more and more absorbed in the exchange of ideas and the dilemmas of the real-time characters that they represent.


debating after the performance


The performance on Saturday morning was followed by a debate with the performers and the authors of ‘Peace Syndrome’. The most interesting aspects of the debate were the ones related to the experiences of the actors on the two sides, and the differences in how they related to the overall situation were obvious. While the German actors approached the show with the curiosity involved in knowing new cultures and events, for the two Israeli young actors the material was close to their daily lives and experiences. For ones it was a deep-dive in a reality they knew only from far away, for the other it was a more drastic change of perspective. All were bound by the language of art, and by what the final replicas in the text describe so well as the principal symptom of the people who get under the influence of the Peace Syndrome – Hope. The message that good will of good people is the only chance for humanity to prevail in the conditions of a complex conflict with no visible solution in sight is a good ending to take home, especially in these days.



We have a busy theater weekend ahead, with two Beit Lessin performances (one, today, part of the ‘Pothim Bama – Stage Opening’ event) and one tomorrow at Habima. It is the start of a new season, and I am eager to see what the four theaters in Tel Aviv we are subscribed to are preparing for this year.  


Hana Azoulay Hasfari - source http://he.wikipedia.org/wiki/%D7%A7%D7%95%D7%91%D7%A5:%D7%97%D7%A0%D7%94_48.JPG%D7%99


‘Mimouna’, the play that we saw last night is written by playwright and actress Hana Azoulay Hasfari. She is born in Beersheva and I wrote about her as the principal partner of Sasson Gabai in the excellent TV series Polishuk. Her plays as most of the roles she undertakes are related to contemporary Israel social problems – status of women, conflicts between the ashkenazi and sephardi communities and between tradition and modern life. She is rightly building to herself the image of a talented (and beautiful) artist engaged in multiple creative ways in the life around.


source http://www.lessin.co.il/Data/ShowsImgs/%D7%9E%D7%99%D7%9E%D7%95%D7%A0%D7%94.jpg


‘Mimouna’, directed by Cfir Azoulay, fits well in the profile of Beit Lessin, a theater that tries (and succeeds) to survive in the competitive commercial theater environment of Tel Aviv while bringing up from time to time social and political issues on stage in a manner that is ‘digestible’ by weekend audiences, and also makes room and for the creation of Israeli original playwrights. It is not great theater in most cases (not to my taste in any case) but it succeeds sometimes to bring to stage some artistic emotion and triggers reflections on the current problems of the world close to us. This is the case for Azoulay Hasfari’s play which provides an insight into a second and third generation of a family of Morocco descent, with connections in politics, with the fights between tradition and modernity, between family and social conveniences and the different forms of rebellion of the young generation. Maybe too many problems are being brought into the time of 90 minutes of stage action, but overall the story works. The play is well written, the action is paced and the characters are credible and well acted (special mention for Sarah Von Schwartze who is playing the role that the author would have played if distributed). No surprises, but a better than average start for a new theater season.

Una dintre amintirile copilariei si adolescentei este legata de pasiunea mea pentru film. Locuind aproape de ceea ce era si nu mai este ‘bulevardul cinematografelor’ adica portiunea din bulevardul cu multe nume pe care la un moment dat erau sase cinematografe si inca cel putin ateata prin jur, in multe din vacantele ‘mici’ de iarna sau de primavara vedeam cate un film pe zi. Am incercat o performanta asemanatoare in vacanta noastra bucuresteana din saptamana trecuta programandu-ne sase spectacole de teatru pentru cele sase seri pe care le-am petrecut in Bucuresti si am fi reusit sa o realizam dar la unul dintre ele s-a imbolnavit un actor si spectacolul a fost contramandat, asa incat seara de teatru s-a transformat in … seara de film … la televizor. In realizarea aproape-recordului am fost desigur ajutati de bunii nostri prieteni din Bucuresti care ne-au comandat biletele si s-au dus sa le ridice pe cele comandate de noi prin telefon. Din pacate teatrele bucurestene (cu exceptia cred a teatrului Bulandra) nu au adoptat inca sistemele de comanda a biletelor prin Internet sau macar prin telefon care sa garanteze ca biletele pot fi ridicate la casa in seara spectacolului – ceea ce face dificila daca nu imposibila comandarea de bilete si asigurarea locurilor in avans din strainatate.

Conu Iancu ne priveste

Daca tot vorbim despre bilete, pretul acestora se ridica la cel mult 30-32 de lei noi pentru locurile cele mai bune, ceea ce echivaleaza cu vreo 11 dolari americani – a zecea parte din pretul unor bilete pe Broadway, intre o treime si a cincea parte din pretul biletelor off-Broadway sau la spectacole similare in Israel. Daca pentru spectatorul roman biletele sunt destul de scumpe, raportul de preturi este greu explicabil intr-o tara in care preturile au ajuns comparabile ca nivel cu cele vest-europeene in majoritatea domeniilor. Impactul acestor preturi reduse relativ se resimte si in bine si in rau. Pe de o parte salile sunt pline, toate spectacolele bune se joaca cu casa inchisa si biletele la ele se epuizeaza in dimineata zilei in care sunt puse in vanzare. In sali majoritatea spectatorilor sunt tineri, lucru firesc daca ne gandim la faptul ca un bilet de teatru costa cel mult dublu fata de un bilet de film (in Israel raportul este cam 6 la 1). Pe de alta parte actorii sunt prost platiti si te doare sufletul auzind despre maestri ai scenei romanesti care iesiti la pensie abia isi duc zilele daca nu reusesc sa fie distribuiti in roluri pe scena sau in filme (si in Romania cele mai bine platite fiind telenovelele).

personajele lui Caragiale in viziunea lui Ioan Bolborea in fata Nationalului din Bucuresti

Doua decenii si jumatate si transformarile sociale si politice prin care a trecut Romania in aceasta vreme nu puteau sa nu-si puna amprenta asupra teatrului bucurestean. Si totusi parca elementele de continuitate sunt cele care predomina. Nucleul de teatre de valoare a ramas exact acelasi si apropriata a ramas si ierarhia dintre ele. Teatrul Bulandra continua sa fie in frunte, Nationalul si Comedia il urmeaza de aproape, apoi Nottara si Odeon. Putine teatre noi, Metropolis (pe care il vazusem cu ‘Podu’ in Israel cu cateva saptamani in urma) fiind unul dintre putinele nume care nu existau si acum 30 de ani. Au disparut in eternitate multe dintre fiintele actorilor romani pe care ii indragisem in anii 70 si 80, unii la varsta fireasca, altii (George Constantin, Stefan Iordache) prea devreme, consumati de intensitatea vietii pe care au trait-o si artei pe care au creat-o. Au ramas dupa ei amintirile si traditia. Si totusi i-am mai putut prinde pe scena chiar si in aceste numai cinci seri pe Mircea Albulescu, pe Ion Lucian si pe Ileana Stana Ionescu (in rol secundar). Regizorii de marca sunt unii dintre cei pe care ii cunosteam din anii tineretii – am vazut un spectacol al lui Giurchescu, am aflat (si vazut la gala UNITER care a avut loc in acele zile) ca David Esrig sau Andrei Serban s-au intors macar temporar din exilurile lor pentru a monta din nou intr-o Romanie fara cenzura si presiunile politice care i-au indepartat de tara. Desigur lista de monstri sacri ai scenei romanesti de astazi arata altfel dar ii regasim aici pe cativa dintre cei care se aflau deja in galeria de onoare (Albulescu, Rebengiuc) si pe cei pe care puteam paria de atunci ca ii vom afla astazi pe podium – Mircea Diaconu, Ion Caramitru, George Mihaita, Horatiu Malaele. Nu intamplator toti acestia mentionati de mine sunt astazi si directori de teatre si este reconfortant sa vedem marile personalitati actoricesti ale generatiei mature la conducerea teatrelor in functiile de mare raspundere pentru destinul teatrelor care devenisera conditionate politic in perioada de dupa revolutia culturala ceausista. Ceea ce este insa cel mai important este ca au aparut generatii noi care includ nume pe care eu nu le-am cunoscut – actori excelenti si regizori cu talent si viziune care nu sunt cu nimic mai prejos decat cei din marile generatii care i-au precedat.

(video source SensoTvRO)

Cel mai bun spectacol pe care l-am vazut in aceasta scurta stagiune personala a fost ‘Arta’ al Yasminei Reza la sala Studio a Teatrului Bulandra. Piesa se ocupa de felul in care clasa mijlocie din lumea occidentala de astazi se raporteaza la arta si de modul in care arta influenteaza relatiile de prietenie intre cele trei personaje ale piesei. Serge (Serban Pavlu) plateste 35 de mii de euro pentru un tablou … perfect alb. Marc (Vlad Zamfirescu) incearca sa-i explice absurditatea alegerii sale. Yvan (Gheorghe Ifrim) incearca sa intervina si sa aplaneze conflictul escaland dintre cei doi prieteni. Urmeaza o discutie despre arta, despre prietenie, despre modul in care ne raportam la obiectul de arta, despre valoarea artei si valoarea prieteniei. Primele 30 de minute ale piesei au fost poate cea mai buna jumatate de ora de teatru pe care am vazut-o in ultimii ani, dar toata reprezentatia in general se mentine la un nivel inalt, captiveaza si absoarbe in pofida temei aparent abstracte. Regizorul este Cristi Juncu, regizor relativ tanar, fost student al Catalinei Buzoianu, care intr-o cariera care se intinde pe doar 16 ani pare sa fi realizat multe spectacole interesante pe scene romanesti in special in provincie, acesta fiind debutul sau la ‘Bulandra’.

Doamne, ce macel! - sursa http://www.ziarulring.ro/stiri/15367/doamne-ce-macel-la-teatrul-de-comedie

Dramaturga franceza Yasmina Reza pare a fi o autoare foarte in voga in acest moment in Bucuresti, cu trei spectacole la trei teatre diferite din Capitala. Am mai vazut un spectacol al ei in ultima mea seara teatrala in Bucuresti la sala Studio (sala mica) a  Teatrului de Comedie. Titlul romanesc al piesei este ‘Doamne, ce macel!’ si regia ii apartine lui Lucian Giurchescu. Intriga piesei aduce in scena doua cupluri din aceeasi clasa mijlocie franceza a caror copii avusesera o altercatie pe o strada a unui oras de provincie. Situatiile care urmeaza se refera ca si in ‘Arta’ la doua planuri – cel al relatiilor dintre personaje in permanenta dinamica pe toata durata spectacolului si cel al relatiei intre personaje si o Cauza externa majora – in acest caz situatia Africii despre care unul dintre personaje scrie carti. Derizoriul si vulgarul cotidianului va inunda scena si va determina evolutia personajelor intr-un spectacol in care experimentatul Giurchescu pare sa fi dorit sa puna accentul pe partea de divertisment si pe constructia migaloasa a unei  tensiuni comice care explodeaza spre final. Spectacolul place desi in amintire ramane mai ales tipologia si burlescul. Il ajuta excelent echipa de actori formata din Tania Popa, Marius Drogeanu, Delia Nartea si Alexandru Conovaru.

Comedia norilor - sursa http://www.tnb.ro/admin/galerii/1109_big.jpg

Al doilea spectacol ca nivel calitativ (dupa ‘Arta’) pe care l-am vazut in aceste zile a fost ‘Comedia Norilor’ dupa Aristofan la Teatrul National. Acest ‘dupa’ din titlul spectacolului indica din start ca avem de a face cu unul dintre acele spectacole care plecand de la un text clasic (‘Norii’ in acest caz) il adapteaza si ca forma de exprimare si in multe cazuri si ca tema si mesaj. Asa se face ca textul antic care in contextul sau original era o pledoarie pentru judecata dreapta si aderenta la traditie amenintate de retorica si elucubratiile filozofilor sofisti intr-o Atena abia iesita din ciclul razboaielor cu Sparta devine in prelucrarea moderna si adaptarea lui Dan Tudor (care semneaza si regia) si Andrei Marinescu o parabola care vorbeste mai mult despre societatea romaneasca, politica si moravurile ciocoilor si neo-parvenitilor contemporani. Dan Tudor care trebuie sa fie cam coleg de generatie cu Cristi Juncu creaza un spectacol dinamic si antrenant, care imbina jocul teatral cu miscarea si dansul, cu muzica si cu efectele speciale. Mircea Albulescu straluceste in rolul unui Socrate cu casca de motociclist, din restul unei distributii excelente i-as mai mentiona si pe Alexandru Bindea (in rolul lui Strepsiade), Monica Davidescu si Ilinca Goia (Rationamentul Drept si Nedrept).

escu - sursa http://www.comedie.ro/index.php?pagina=spectacol-poza&id=166&id_spectacol=21

Tot despre politica romaneasca se vorbeste si in piesa ‘…escu’ a lui Tudor Musatescu pusa in scena de Alexandru Dabija la Teatrul de Comedie. In perioada comunista se reprezenta mai ales ‘Titanic Vals’ si mai putin sau deloc aceasta urmare care include o acerba satira a pestritei politici romanesti interbelice, inclusiv a celei socialiste, motiv suficient pentru a fi pusa la index sau macar tinuta strans sub vizor. Am spus politica interbelica, dar probabil mai exact ar fi al eternei politici romanesti si nu numai romanesti. ‘…escu’ este dupa parerea mea o constructie dramatica solida, are dialoguri spumoase si se aproprie in multe momente de piesele marelui precursor Caragiale. Spectacolul de la Comedie este conceput la modul solid si cu respect fata de text, bazandu-se in mare masura pe jocul unei excelente echipe de actori care isi fac cu prisosinta datoria. In rolul cameleonului politic Decebal Necsulescu devenit senator, devenit (aproape) ministru straluceste Vladimir Gaitan, actor ajuns in maxima forma si capacitate de expresie a carerei sale. Ion Lucian este Iorgu Langada si la varsta sa acest veteran al scenei face fata cu brio rolului si cerintelor a doua ore si 50 de minute de spectacol. L-am vazut acum cativa ani in ‘Comedia rosie’ la National, poate cel mai bun rol al carierei sale, si nu ma pot opri sa nu admir din nou evolutia la senectute a acestui actor pe care marturisesc ca nu l-am apreciat destul in tineretea lui (si a mea). Din restul distributiei ii voi mai mentiona pe Marius Florea Vizante (mi s-a spus ca este actor de mare suces, cred ca este prima data cand il vad pe scena) si pe Delia Nartea.

Filarmonica de comedie - sursa http://www.comedie.ro/index.php?pagina=spectacol-poza&id=810&id_spectacol=87

Ultimul spectacol despre care am de relatat este ‘Filarmonica de comedie’ din nou al Teatrului de Comedie. Este vorba despre un proiect care aduce pe scena o colectie de sketchuri inspirate din actualitatea moderna romaneasca, desi din nou multe dintre situatiile comice ar avea rezonanta cam in orice loc in lume. Echipa de actori din care fac parte Marius Florea Vizante, Gheorghe Ifrim şi Radu Gabriel reusesc sa anime in unele momente de comedie buna scena, dar totusi nivelul general al spectacolului nu mi s-a parut ca atinge cerintele uneia dintre primele scene ale Bucurestiului. Ceea ce se potriveste bine intr-un spectacol de revista sau intr-un show de televiziune are nevoie de o scanteie sau de un element de culoare deosebit pe scena de teatru profesionist pentru a se transforma intr-un spectacol. Acestea mi s-au parut a lipsi in acest caz.

Nu stiu cat de reprezentativa a fost selectia pe care am facut-o din spectacolele stagiunii bucurestene. Nu a fost de fapt chiar o selectie, ci mai mult o colectie instantanee, un ‘snapshot’ determinat si de date si de accesul la bilete. Fata de anii precedenti teatrul romanesc mi se pare a fi intr-o forma buna, salile sunt din ce in ce mai pline, spectacolele mai rotunde si mai profesioniste, cu momente de nivel excelent. Daca ceva mi-a lipsit a fost piesa de actualitate, satira sau analiza politica, raportarea la prezentul pe care romanii il traiesc cu intensitate si cu o atitudine extrem de critica. Se poate discuta despre prezent pe scena folosind texte clasice cum a fost in ‘Comedia norilor’ sau in ‘…escu’ dar parca nu este suficient, parca lipsesc echivalentele scenice ale filmelor romanesti de succes din ultimii ani care sunt multe dintre ele foarte ancorate in realitate sau in trecutul imediat. Poate le-am ratat eu in selectia neselectie, sau poate ele ma vor astepta la intalnire in vizitele viitoare in Bucuresti.

The Israeli mainstream theaters suffer from a repertory policy which encourages commercial plays and leaves too little room to my taste to innovation – both in what concerns the selected texts as well as the means of expression. The Beit Lessin Theater is no exception. When something is more interesting or more daring there are good chances that it comes from what they use to call the ‘young artists team’. This is the case with the performance that I saw last Friday. The selection of the text is a classic actually – an adaptation by Yaacov Shabtay of Niccolo Macchiavelli’s comedy La Mandragola – an early 16th century story of an pre-Don Juan type who cheats his way to the bedroom of the young wife of an old and rich notary – a play already staged twice in Israel in the 70s and in the 90s. The difference is in the means of expression and the result is a well paced and funny performance which can satisfy both the spectators looking for quality theater as well as the broader audiences.

Niccolo Machiavelli - source http://en.wikipedia.org/

The current adaptation keeps the basic premises of the play while taking a lot of freedom in the dialogs which add here and there a lot of hints for the contemporary Israeli audiences. Yet the principal message of of the play about fraud prevailing over virtue, religion and morality is well emphasized, and does not sound at all history on the stage in Tel Aviv. The 28 years old director Gilad Kimchi builds a well paced staging, which uses the basic techniques of the comedia dell’arte and mixes them with the modern concepts of total theater that combine text, music and stage movement. The team is composed of actors who all graduated from the Israeli theater schools in the last decade and they all give a good and very homogeneous performance. At the end this version of La Mandragola succeeds with its freshness of staging and enthusiasm of the young actors to earn the laughs and the applauds of the Friday night audiences in Tel Aviv looking for a good entertainment.

Infiintat in 2007 Teatrul ‘Metropolis’ din Bucuresti este o aparitie recenta in viata teatrala bucuresteana. Nu am ajuns inca sa vad niciun spectacol la sediul lor din strada Eminescu din Bucuresti, dar pe Web site-ul http://www.teatrulmetropolis.ro/ se poate citi ca este vorba despre un teatru cu un repertoriu ambitios si de calitate din care nu lipsesc nici piese clasice cum ar fi ‘Hamlet’  ‘Azilul de noapte’, sau ‘Visul unei nopti de vara’, nici repertoriul modern, iar echipa actoriceasca include nume pe care le cunosteam de pe scena romaneasca de acum 30 de ani si mai bine ca Olga Tudorache, Alexandru Repan, Tamara Cretzulescu, actori in plina maturitate ca Razvan Vasilescu sau Dana Dogaru pana la generatia mai tanara pe care eu nu am cunoscut-o. Din fericire Tesu Solomovici a adus ‘Podu” una dintre reprezentatiile acestui teatru in Israel si nu pot decat sa regret ca evenimentul nu pare sa fi fost anuntat in afara comunitatii de limba romana din Israel. Este un spectacol de nivel cel putin egal multor altora al teatrelor care vin in turneu pe aici, si cred ca ar fi putut trezi si interesul publicului care nu cunoaste limba romana cu conditia ca spectacolul sa fi fost titrat in ebraica.

source www.teatrulmetropolis.ro

Autorul piesei este Paul Ioachim (1930-2002) actor, dramaturg si fondatorul teatrului ‘George Ciprian’ din Buzau. Piesa adaptata si regizata de Horatiu Malaele care in versiunea sa originala se numea ‘Podul sinucigasilor’ este una dintre acele creatii de sertar a caror soarta a fost sa ramana necunoscute publicului romanesc in toata perioada comunista, nereusind sa treaca bariera cenzurii in ciuda interesului unor teatre ca Nationalul sau Teatrul de Comedie din Bucuresti si a unor regizori ca Sica Alexandrescu, Lucian Giurchescu sau David Esrig. Abia dupa schimarea regimului politic piesa vede lumina scenei la Teatrul National din Bucuresti pentru a fi readusa la ‘Metropolis’ de catre Horatiu Malaele.

Textul initial a fost scris in anii 60 si este vizibila influenta teatrului absurdului si a unor dramaturgi ca Ionesco sau Becket, si chiar a unor ecouri ale neuitatului spectacol cu ‘Asteptandu-l pe Godot’ cu Gheorghe Dinica si Marin Moraru din anii 70. Textul insa are originalitatea si puterea sa expresiva si comica proprie si ideea raportarii personajelor dezabuzate de viata la sinucidere impinge limitele intr-o directie mai putin explorata. Pe un pod al sinucigasilor trei personaje isi petrec ceea ce va fi poate ultima ora a vietii lor. Sunt trei dezamagiti ai vietii, a caror disperare vine fiecare dintr-o directie diferita. Unul este Neintelesul (Horatiu Malaele) intre ale carui idei si vise si lumea reala exista o bariera de comunicare de netrecut. Infricosat de perspectiva apocalipsei isi aduna filozofia si inventiile de o viata intr-o carte, pe care o traduce in … ebraica, pentru a o face lizibila la finele zilelor macar de catre Fiul Domnului. Al doilea este Indragostitul (George Ivascu), arhetipul vesnicului tanjitor, care are insa nesansa de a fi mic de statura, si nici vitaminele si nici rigorile meseriei sale (metrolog – deci stapanind dureroasa stiinta a masurarii) nu il pot ajuta sa-si surmonteze handicapul si sa cucereasca inima singurei fiinte care conteaza. Trioul este completat de Artista (Meda Victor) a carei incercare de a crea si de a intrupa se izbeste de neputinta concretizarii. Trei personaje ale caror esecuri in viata reala legate de lumea visului si intelectului, de cea fizica si emotionala se amesteca pe scena intr-un dialog comic spumos si absurd, si intr-o suita continua de gag-uri in care comicul si disperarea se amesteca in doza potrivita pentru a produce momente de teatru sublim amestecat cu aproape neintrerupte hohote de ras.

(video source kolearautu)

Cei trei actori reusesc fiecare in parte performante remarcabile pe masura talentului lor individual, si lucreaza in perfecta sincronizare ca echipa. Horatiu Malaele este de mult un nume de marca pe scena romaneasca, care aduce in orice spectacol in care joaca o imagine proprie construita in timp, amestec de cabotin si de rezoneur blazat. In ‘Podu” el adauga o dimensiune filozofica si umana care il face sa domine spectacolul si sa apara ca personajul capabil poate sa-i salveze pe ceilalti sau macar sa le descifreze ceva din sensul dezamagirilor lor. Pe George Ivascu nu l-am vazut cred pana acum in niciun spectacol pe scena, si mi s-a dovedit a fi in acest spectacol un actor de o mare expresivitate, cu talent comic si cu fior dramatic (de notat ca el este si directorul teatrului ‘Metropolis’). Meda Victor furnizeaza contrapunctul feminin si le da replica celor doi mari actori cu prezenta scenica, vitalitate si sensibilitate. Scena de la Centrul Leonardo din Tel Aviv nu este poate cea mai profesionala scena pentru spectacole de teatru, dar are o configuratie care o inalta fata de public si care s-a potrivit excelent ideii spectacolului. A fost o dupa-amiaza de teatru de calitate, din acelea din care un iubitor de teatru isi doreste sa aiba parte cat de des.