The last time

Festivals are strong alcohol. Severe and contagious, but also dangerous. Young man, how many festivals I have tasted in all my life; I searched for them, for they drew me like a bewildered butterfly in the night. The festival is an event out of the ordinary and out of the daily rhythm: a disruption of habit, a chance to experience a concentrated theater fever, not ordinary social, but artistically motivated. This summer, after the pandemic, I spent it again at festivals. I found them. Sometimes they made me dizzy. For a while, resistance to states waned.

At the Craiova Festival, under the banner of Shakespeare, I traveled to this restored theatrical continent in all its richness full of contradictions, because here the highway of informative masterpieces limits the path of pedagogical exercises. Both are necessary. The festival only allows this roaming with dangers, surprises and revelations. unexpected example MacbethIt was signed by Botond Nagy in the German section of the National Theater in Sibiu. Now the play has become a clear and violent discussion of power. Direct political theater, not dogmatic, but implicated. this is Macbeth
She refuses to shut down the stage in a world of alternating between addressing the audience directly and withdrawing into the imagination. a Macbeth Which I absorbed in political rhetoric. Silviu Purcărete . Edited Macbeth By Ionesco at the Hungarian Theater in Cluj. Here, Ionesco’s text calls for an ongoing game of irony and hard thinking about dictators and their totalitarian practices. Purcărete amuses herself by watching the Ionescian match, where we are not sure of anything. The skepticism of the author and the director who go together in the context of the supposed theater and presented as a fiction whose construction – in the physical sense – disintegrates before our eyes. Ugliness and irony – this is the alliance! We listened to the nocturnal monologues of Macbeth and other characters in a meticulous pedagogical exercise conducted under the direction of Hariclea Nicolau.

punishable by weather conditions and technical accidents, Richard IIIThe tenth Directed by László Bocsárdy, with Sorin Leoveanu as the protagonist, it hasn’t found its full audience. I also missed him. sin. Instead, I discovered a hilarious version of it village
Performed by The Tiger Lillies, who, through the astonishing navigation of recorders, seduce the dialogue between today’s arts, through a mixture of humor and sadness, music and poetry. Shakespeare relaxes without being vulgar, sad without discouraging. Feast.

A few days later, we resumed the festival pilgrimage to be present in Sibiu. This is where the dialogue between MacbethBotond Nagy’s and Macbeth Alessandro Serra whom I saw intrigued at the Bouffes du Nord. Performed by amateur Sardinian actors, they bring the energy and vocal involvement that, a long time ago, I was also discovering in Sibiu thanks to the group Isa V. electrically Directed by Mihai Minyocho. this is Macbeth The turbulent village and darkness of a rare game-drama get involved. A one-of-a-kind theatrical experience of unparalleled power that drives us into the heart of Shakespeare’s Night. During the conversation I was having with Alessandro Serra, as we were evoking Brooke’s Theatre, the French ambassador, Laurence Auer, stood discreetly, approached us and whispered: “Peter Brooke has just died.” A unique moment whose memory remains definitive. Under the banner of Shakespeare… The great unknown.

Ionesco was present and captured in Sibiu. Several great performances have modernized his work. chairs, Directed by Gabor Tomba and a scenography by Drago Buhagjar, the musicians alternate, as usual with him, gruesome drama, passion and irony, especially thanks to Oana Pellea who highlights free, casual and earnest theatrical as a masterpiece of Ionesian interpretation. It was a big surprise to see the king dies
Directed by Ionesco directed by Klaus Behmann, the famous radical German director and polemicist from the end of the last century. Lively and uncompromising, he abandoned his previous authors, Bernhardt, Jelinek, Handke, to assert – big surprise! – That “the truth of our days lies in absurdity.” A puzzling conclusion, but at the same time a rejection of the rigidity of a non-rigid artist who, avoiding the “emotionalism” of Ionesco’s play, also cultivates the connection between playful irony and existential panic. Lesson
Generous and humorous, Felix Alexa’s signature is distinguished by the alarming dimension and lyrical quotes that intervene in this text about the effect of force on the young student. Complex Ionian Trinity!

Any successful festival is a fan that includes personal choices, and it is clear that it makes mistakes, regrets and sabotage. From what I saw, it produced a strange impression Miss Yulia By Strindberg, directed by The Grosu Family. A violent and cold show, a contemplation of a criminal motive is set in an everyday space cut down to the basics: a kitchen/butcher shop. Adagio can be contrasted about great pianist Clara Haskell, who relives her journey poetically and economically through the show dedicated to her, with Letitia Casta in the lead role.

the love It was one of the most emotional achievements signed by Bebo Delbono. He appears in a white suit, like an elegant vacationer, who hides his huge body and takes refuge in the back of the room where he is still…absent/present. In the set there are musical sequences, mainly Portuguese, with high intensity, heartbreaking songs, accompanied, at first, with passionate love lyrics that become hugely colorful to end with true elegance when Pippo comes on stage. He returns, hesitating and confused, falling asleep and disappearing into the strings of these adequacies that accompany his end. This is an artist, I said to myself, whose tragedy of losing Bobo, his double, or the latest pandemic of the pandemic has allowed him to create two masterpieces:
And the the love.


Then, diligent pilgrim, you headed to Avignon. to see black monk After Chekhov, it was borrowed and established by Kirill Serebnikov. The expectation was a partial disappointment. Too much scene, too loud sounds, very offensive dance attendance. It seduces some wonderful allegorical solutions or some shamanic projections on the palace wall. The mysteries of the soul were placed in the most symbolic place in the theatre.

Iphigenia, directed by Anne Theron based on the text of Thiago Rodrigues, calls, on the contrary, like worldly prayer, silence and a serious confrontation with the tragic. Meditation that evokes the spirit of the original Greece. But, from the short clip through Avignon, I am particularly reminded of the show that reconstructed the emotional relationship between Gérard Philippe and Maria Casares. It remains, as Bart said, the pointLee to paraphrase the title, say I loved it “endless”.

I caused the heat, with diminishing material resources, and turned into a state of chronic fatigue, I remembered, on my return, the Angel Parra song I had heard when I arrived in France. The phrase was “Next time I’ll be more loving…Next time I’ll be more careful…Next time I’ll be more devoted,” but it ended heartbreakingly: “There’s no time to come.” “There’s no time to come,” I said to myself, resigning after experiencing this exhausting summer of holidays. It’s the last time.”

George Bano theater critic. Latest published book: Les récits d’Horatio (Actes Sud), published in the Romanian version by Tracus Arte Publishing House.

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