Entries tagged with “Vlad Ivanov”.


The landscape plays a central role in Dogs (Caini) the first long feature film of Romanian director . Visuals, actually, together with acting play the most important tasks in this film, which is very different from many other features that can be seen on commercial screens or in festivals. One may say this is at the expense of story telling, although there are a few very interesting elements in the story as well. It takes place in a frontier land, at the Eastern border of Romania, where wild fields burnt by the sun meet the Danube at the end of its trip across Europe. As many frontier spaces, it’s a place with its own rules, where applying state laws and even morality or simple human laws implies risks. It is also a space which is far from cities and civilization, but not from the side effects of urban crime and especially of corruption which seems a recurring theme in all Romanian movies (it was featured in all the three Romanian films I have seen at the International Film Festival in Haifa).

 

http://www.imdb.com/title/tt5088794/

http://www.imdb.com/title/tt5088794/

 

There are two sources of inspiration for this combination of strong drama and violent thriller. The first can be found in the deep hisotry of Romanian literature which had a distinct naturalistic trend at the end of the 19th century and in the first half of the 20th century, with tough stories and characters in short stories and novels about family feuds, conflicts about owning land, and erotic passionate intrigues, mostly located in the Romanian rural space (which was at that time the dominant social environment). The second one is from the gangster and horror movies of the last two decades. I do not know whether Tarantino has seen this film, but I am pretty sure that Mirica has seen Tarantino’s, as well as some of the Korean horror movies. The combination of the two sources of inspiration together with the excellent sound and image work, plus a dose of humor, make some of the toughest scenes that I have seen lately surprisingly palatable.

 

(video source TransilvaniaFilmRO)

 

Acting is in many cases the strong part in Romanian films, which owes so much to an excellent local school of theater acting. I will start with the relatively weaker role – the one of the young man from the city who inherits his grandfather’s property and comes in the strange area, triggering the events. fights with a role that is incompletely conceived, maybe intentionally. This weaker part is compensated by the splendid role of the old policeman (), dying of an incurable disease, whose last and pathetic fight to fix things that have gone wrong so many years, a role which brings together moral fiber, emotion, and humor. The trio is completed by the local gang leader played by , one of the top actors of Romania today, if not simply the best, an actor who cannot do wrong.

‘Caini’ belongs to a new phase of the Romanian cinema. No more ‘New Wave’, no more Communism or transition as principal themes. Another type of story, a different approach to film making. Aesthetics are at least as important as the story. There are many good reasons to see this film, quite different from many other. Go for it.

 

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.

With Pozitia Copilului (Child’s Pose)  the Romanian cinema seems to complete a cycle that started almost a decade ago with Moartea Domnului Lazarescu (The Death of Mr. Lazarescu). The path was marked by a number of prizes at important cinema festivals around the world, with the first candidacy of a Romanian film for an Academy Award, but more important by the recognition by viewers that Romania is one of the locations where some of the most interesting movies come from, and that a specific style, a consistent set of themes, and a typology of characters combine to make the Romanian cinema distinct from other film schools. It did help that many of the actors in these films are constant collaborators of the leading directors of the ‘wave’, some of them becoming familiar faces to world cinema spectators. Luminita Gheorghiu and Bogdan Dumitrache – the lead actors here – acted also in Moartea Domnului Lazarescu, while Vlad Ivanov was the evil figure in 4,3,2.

 

sursa www.imdb.com/title/tt2187115/

sursa www.imdb.com/title/tt2187115/

 

As many of the good Romanian films in this period Calin Peter Netzer‘s movie can be seen and interpreted at multiple layers. One of them is composed of the social realities of Romania more than two decades after the fall of the communism. Class disparities are more obvious than in other places and contrast with the forced (and false) egalitarianism that dominated the Romanian society for most of the second half of the 20th century. The introductory scenes build for the viewer the context of the relations of the mid-upper class where the main heroes belong, with bourgeois occupations and family crisis, stylish social events and opera master classes. The obsessive relationship between the dominant mother and the spoiled son who seems to behave like an ingrate brute defines the second layer, the one of the personal relations between the characters. When the road accident that turns the world of the heroes upside down happens, the heroes will be obliged to make contact with the other Romania, the one of the pauper country people, with course manners but maybe with more character and moral strength. The system of relations and corruption is immediately put in motion by the mother, trying to protect her son and make him avoid the consequences of his behavior – a social comment about today’s Romania which does not go lost neither for the Romanian nor for the foreign viewer. While this part is more clearly cut, there is no moral judgment made on the rest of the relations, and this is a smart choice made by the director.

 

(video source megatrailer)

 

The rest is left to the actors and they are simply said wonderful. Luminita Gheorghiu as the possessive mother and Bogdan Dumitrache as the traumatized son who makes all the wrong moves at the wrong moments in order to cut-off the invisible umbilical cord  play one of the most meaningful and highly charged mother-son relationships that I have seen lately. Most of the actors in the supporting cast give sincere and expressive performances, which I would rather describe not as acting but as living their roles. A few memorable scenes (the master class at the beginning and the final scene of the confrontation with the family of the kid killed in the accident) may live in the memory of the viewers even longer than the rest of the film. Dealing with a subject that could have easily turned into melodrama or soap opera Pozitia Copilului succeeds to make a sharp social comment that works well with the more universal story of a suffocating love which is touched by miscommunication and tragedy.