Molière 400. The Subversive Genius of Romania’s Stages (Part Two)

about the same topic

The hatred , An intellectual comedy par excellence, it entered big and triumphantly into contemporary Romanian theater in 1989, with its premiere at the Teatro Pollandra, directed by Valerio Moisecu, a well-known fan of Molière.

The show was prepared and performed during the most difficult years of the dictatorship, when theaters suffered from lack of heat and poor funding, which is why rehearsals took place in the director’s house. The main concern was the realization of a new translation by the director himself. Moreover, in his Memories memory persistence appeared in the group Roman theater exhibitionAppendix Check out the theater todayIn 2007, Moisescu detailed why a new translation was necessary, knowing that adaptation to the language and customs prevailing at the moment is crucial to a true realization, especially in theater, where a relationship with the audience is essential. Hard work based on the consultation of all current editions and some studies of the era and the power relationship between Louis XIV and Molière led to a version first appreciated by the band: When I read the new cast, Moisescu wrote in the aforementioned book, They admitted to me that they were finally beginning to understand why The Misanthrope is an unparalleled masterpiece of world literature that Goethe always re-reads, and considers among the best plays in the world.

The director’s edit also resulted in some text changes: Valerio introduced a new translation, absolutely fantastic, but at the same time he reorganized the scenes in the dramatic economy of the text, Irena remembered Petrescu, interpretation climina. And I thought the performance as a kind of rehearsal of a tribute show was set up for the Sun King. Well, this was similar to what was happening to us at the time. In fact, the text is shockingly objective in all respects. Yesterday, today and maybe tomorrow.

The director’s most important theatrical innovation was the representation of the back of the scene through the scene. In accordance with the idea of ​​a theater within a theater, young director Nina Promosillo was asked to imagine a reverse reflection. The actual stage background was the ramp of the Palais Royal Theater from the time of the Sun King.

In this context, indicating the duality of relationships between the characters, she met and discussed the odious Alceste and Cèlimene, the frivolous but intelligent and capable woman, who in the interpretation of Irina Petrescu became the focus of the debate on morality. Sartrian dilemmaThe director notes that the choice between his lover and his radical moral principles makes Alceste a tragic hero. Learning of Montaigne’s essays, the moralist demanded of his beloved and of the society in which he frequented, more hypocrisy, honor, and a hardening of value judgments. And here, the topic of the artist’s relationship with the palace, with the noble ranks, due to the conflict between Al-Sisti and an influential figure, a sailing poet who dares to criticize, enters into an intense debate. The argument with which the arguments are made is the main feature of the performers, actor Virgil Ogano, who was awarded in 1990 for the role of clarity and faith that makes discussions between the two a real intellectual property, supporting the tension of the show at the thought level.

The audience read between the lines the accusations against the situation in which the theater found itself, the culture controlled by the regime and its denial of freedom of expression. The audience was stunnedremembered Virgil Ogano years later. He couldn’t imagine that such fiery thoughts could still be said on stage in Romania. The word was burning. Moliere’s line was Nara. I felt the terrible force with which they pierced the hearts of the spectators. And their applause was so convincing that I could tell we got exactly where we wanted to go. (Valerio Moisecu, memory persistence)

The end, in which Alsisti’s hatred of men is manifested by the desire to withdraw completely from the world, has given satisfaction to those, more and more, who, like him, felt the stifling atmosphere of terror in society.

The show received critical acclaim, as well as appreciated for its aesthetics and exemplary stylistic expression. From the costumes, to the theater and performance atmosphere, the show exudes true art, a theater made to have immediate social impacts, but also to please and exhilarate.

He is considered representative of his Protestant tendency, The hatred , The Polandra theater, in 1990, was shown in Paris, at the Assemblée Nationale, as part of an exhibition on resistance through culture in the dictatorship. On this occasion, Valerio Moisecu, in response to the French critic Jean-Pierre Thibodat, explained: I built the show by envisioning a direct relationship between Molière and the character of Alceste… The action did not take place in Celimena’s apartment, but in the theatre, on stage, backstage and in his booths. A curtain seen from behind rises at one point, revealing the lit slope, as it was in Molière’s time with a series of candles.

The critic said that the sergeant asked him to take out the candles, but instead did not notice that the director had inserted into the performance the code that Moliere wrote for dummy patient, as well as a display of local deities, shepherds and shepherds glorifying the king, in reference to the Ceaușescu and Cântarea României festival glorifying the “genius of the Carpathians”. Instead, Moisescu notes in his memoirs, For 4-5 years the theaters were unheated, subsidies were reduced … to guarantee salaries, and performance organizations were forced to offer off-stage activities, making wedding dresses, funeral wreaths, and coffins.

After 1989, in the years of democracy, comedic performance The hatred Know the shift in focus.

Great theatrical version appearing in the 1999-2000 season in Hungarian theater From Cluj, director Tomba Gabor. The performance was the tone and color of the room’s composition, bringing the audience closer to the actors. Alceste (Bogdan Solte) has shown us a disappointment, which has developed in the atmosphere of a salon inhabited by a society of boredom, philosophizing with pedantry. (…)

Director Tomba Gabor received an award for directing the show at the Cluj Theater both nationally and internationally, and returned to the play in 2016, when he presented The hatred to me Vasily Alexandre National Theater from Yash Casting Soren Levigno as Alceste, the brilliant translator of Hamlet with surreal overtones, the director draws on his own charisma and incompatibility. Beneath the appearance of a ruddy cultured with armrests and distinctive portraits, Alceste can’t resist the raucous community caught up while partying with a shamanic treat. The gesture of hiding under the piano in the room says all about seeing human hatred, not as outright rejection, but as rejection (…)

The show can be considered a special case of Molière’s play on Roman theaters Gentleman Bourgeois Directed by Alexandro Dabiga. width from Notara Theater It premiered on the evening of December 16, 1989, when the first victims of the revolution fell in Timisoara. Coincidence or not, the performance unleashed an attitude of rejecting dictatorship, and the downright revolutionary audacity of embodying the leader, on stage, under the guise of Mr. Jordan.

The artist George Constantine, one of the greatest actors presented to them by the Roman theater, modeled himself, under the direction of the director, the very character of the dictator, imitating his clothes and ridiculous gestures. Wearing the proverbial proletarian hat, her companion, Mrs. Jordan, showed off a bun hairstyle for the women at Elena Ceauتشيescu’s party, wearing other accessories from select stock. The festivities in the house of the bourgeoisie were also reminiscent of the official ceremonies seen on television, and the dressing of the Mamamuseo and the ironic meeting with the Arab guest (Arafat) was a direct reference to the last state visit of a crowned president. From a country where terrorism was taught. The audience laughed uncontrollably, and frightened observers demanded more and more changes. The show is actually set, from the decoration, to the costume, to the spoken language, to illustrate the obsession of social and political rookies that the proletarian bourgeoisie and its leaders are fed up with from Bucharest. It seems that the text was written yesterday, and the irony perfectly adapted to its title and reached its goal.

Same Alexandru Dabiga, author of the revolutionary quote quote with Gentleman Bourgeoisone of the most interesting directors of Roman theater today, and was recognized for the intellectual prowess of his performance, for the quality of his humour, in 1998 he created an unprecedented show with Wives School The Teatrul Mic, Bucharest, is among the few that can be cited with this comedy.

George Constantine and Diana Luescu in The bourgeois man, Notara 1989

A rather unique concern in the director’s theater, the situation of women is addressed here from the perspective Imbalances in gender relationsAs Mirona Roncan notes in the book dedicated to the artist (Habarnam in the city theaterLimes Publishing House, Kluge, 2010). With an introduction that proposes the school and its teachings on the subject, the principal moves on to a careful analysis of the relationships between the fictitious, principled teacher Arnulf and those he takes as his wife after believing he taught her obedience and all that a woman can do. Are you married? But limiting her liberties specifically caused the poles of power to shift — the show told us. By multiplying by the number six, a number dedicated in antiquity to the goddess of love, the heroine (Agnes), he takes up the fight by force. The show takes text from the area of ​​superficial perception, finding in the deeper meanings of the incident’s connections with today’s world, as noted in the press. (…)

All these productions and many more, after researching the landscapes born of passion and interest for Molière’s theater and its theatrical masterpieces, speak to the contemporary value of the message of subversive genius, compelling the conclusion that Molière is still a source in form and content. Inspiration for today’s theater. //

(Fragments from the study on his acting Molière in Romania In the modern and contemporary era, included in Vol. Molière, hors de l’hexagonis currently being published in France on the occasion of the 400th birthday of the great comedian.)

Leave a Comment