Revista NR. 16

Nr. 16 decembrieianuarie 201112nscenarea lui lui rreeeaaa lunnnsssccceeennnaarreDostoievski DELINCA4AMARA4ODORUBAM Next WaveMMM NextWaveNNeeexxtt WWWaaavveeNew YorkNOUjFRONTIERjASPECTACOLULUI de Mihaela Michailov ipostazeale corpului contemporan n dans MOVING ROMANIA de Cristina Modreanu REDCAILiviu Ciulei sNFRUMUSEEPESCENjKarin Coonrod- INTERVIU -Teatrul cu sabiede Andrea TompaEDITORIAL1Occasioning December 1st. Whats a national theater good forHaving Romanias national day celebration in sight the editor in chief of Scena.ro evaluates the impact of national ethos on creativity and the arts. Expounding Arjun Appadurais theory that the nation state is a political and social unit ill-equipped to deal with todays globalized and digitized world Cristina Modreanu invites readers to a debate on the issue of Whats a national theater good forJSXS0YGMER7TXEVMYMHEGzIXSWYPREMSREPzTIGEVIRIEQSFMRYMXHIEXXEZVIQIWPGSRWMHIVQTSMXMZIWXITIVMGSPYPEWGYRWVREGEVIRIMRITIPSGQTMIHMGRHRIWIZSPYQWGSQYRMGQHIWGLMWGYPYQIEWMIMQHMRERSRMQEXGEEVXMXMGVIEXSVMWEYMRXIPIGXYEPMTYFPMGMrGEWSGMIXEXIRYQEMTYMREGMHIIEGWYZIVERMXEXIEYRYMWXEXEVIPEJYRHEQIRXYPWYzKIRMYPREMSREPzEXIRMIHEGRYPEZIQIPXVIFYMIMRZIRXEXIWXIYRERYHSEVTVSJYRHHIQSHEXHEVMRXMQTYVMPITIGEVIPIXVMQrTIVMGYPSEWTVIGYQSKVIREHGYJMXMPYPscos dejan cartea sa Fear of small numbers1 profesorul Arjun Appadurai WYWMRIGXVMQYRQSQIRXRGEVIWXEXIPIREMYRIWIWMQXEQIRMREXIHIYRTIVMGSPJVGLMTGSRWXRHGLMEVRWGLMQFVMPITVMRGEVIXVIGIPYQIETSWXKPSFEPMEVIZEPYVMHIIQMKVERMWIQMGHMRPSGRPSGRSMPIXILRSPSKMMTIVQMXGSQYRMGEVIEVETMHHIZPYMVIEXYXYVSVzWIGVIXIPSVHIWXEXzMQSFMPMEVIERZIHIVIETVSXIWXIPSVMEVIZSPYMMPSVTMIIPIJPYGXYIEGSRWXERXZEPSEVIEFERYPYMIMQTSWMFMPHIETVIGMEXTIXIVQIRPYRKMEVRTPYWYRVYQMWXIVMSWEMRJIWXEXSQIRMVIErXIVSVMWQYPITSEXIJEGIWXEXYPGEWMETIVIKVERMIPIJMMGIMTSPMXMGIRXVYREWIQIRIEGSRXIXRIPMRMXMXSVIEVQITSEXIIPWJSPSWIEWGMGIVSPEVIGYPXYVERacest context alarmantIEQEMMRXIVIWERXMTSXIHMRGEVXIEPYMTTEHYVEMIWXIEGIIEGJSVQYPERWMHIWXEXREMYRIWEVTYXIEWJMIHITMXMMRGETEFMPWJEGJERSMPSVVIEPMXM2YMXVIFYMITVIEQYPXWTMVMXHISFWIVZEMIGEWZIMGTIPRKPMTWEYRSVWSPYMMHIVIZMXEPMEVIIGSRSQMGYRWXEXREMYRITVIGYQGIPVSQRZWPIXIKVISMMRKSPQTSXVMZEYRSVZEPYVMGEVIEQIRMRWPMETIWYWRXMQTGIVIEPMXMPIHMRMRXIVMSVYPWYWIQSHMJMGGSRWXERX6IGIRWQRXYPHMRPYRESGXSQFVMIEJSWXSTVSFREGIWXWIRWTIPRKGIPITIGEVIPITYXIQSFWIVZEJMIGEVIHMRXVIRSMRZMEEHIJMIGEVIMMVIQEVGEXGJSVEGEPMJMGEXHIQYRGEHMWTVYXHMR6SQRMEEJIGXRHXSEXIHSQIRMMPIMZYXGHIERMFYRMWIEJPTVMRXVIRSMRYRYQEMQEKLMEVMKIVQERMMVSQMGMMGLMRIMrSQMRSVMXEXIEPGVIMRYQVIRGVIXIVIHEGTVMQEKIRIVEMIHIGLMRIMHMR6SQRMEETVSETIGRYMTVWIEGSQYRMXEXIEGSTMMMPSVEGYQIPIZMRGSPMPIVSQRIXMWYRXHINEMRXIKVEMMVIWMQXHINEWXEVIEHIQMRSVMXEV2EMRXPRMXQGEVSHEXREZMSRSHSEQRRZVWXSJXRHGXVIFYMIWYVGITIRXVY1 Arjun Appadurai – Fear of small numbers. An essay on the geography of anger Duke University Press 2006 Public Planet BooksDe 1 decembrie.ACEBUNUNTEATRUNAIONALTVMQEHEXWEYEHSYEEXVIMEERSYERXVSEWIQIRIEzEVXEVIzGEWQIEVKTRRQIVMGEYVSTEYWXVEPMEIXGWEMFKVMNHIRITSIMMRWGYMEGSPSMHIGXISVMEYMMZSVFMRHYWIHIWTVIXSEXIEGIWXIERWTEMYPTYFPMGVSQRIWGrWEYGEWENYRKIQPEWYFMIGXTIscenele teatrelor n discursul QYIMWXMGWEYRGYPXYVERSEWXVRgeneral TTEHYVEMQEMWTYRIGMRGIVXMXYHMRIETVSZSGEXHITIVQERIRXIPIWGLMQFVMWSGMEPIEQIRMRWKWIEWGRZMSPIRQIXSHEQEGEFVHIVIKWMVIEIGLMPMFVYPYMMSPIREQTSXVMZEceluilalt a celui diferit a QMRSVMXEVYPYMz7XEXYPREMYRIEJSWXVIHYWGSRWXERXPEJMGMYRIEIXSWYPYMWYGEYPXMQVIWYVWGYPXYVEPEWYTVEGVIMEMTSEXIIIVGMXEHSQMREMEHITPMRz2MSPIRERYRXVMIWETEVRTPERcultural la Budapesta extrema HVIETXEzEVIWXEXzYRXIEXVYRYQMRHEFYMZYRHMVIGXSVMTVSQMXIRHIGPEVEMMTYFPMGIWPTYRRWPYNFEETVVMMzZEPSVMPSVREMSREPIzJVWRIPIEKGEGIWXIEXVIFYMIredefinite n contextul global. VXMGSPYPRHVIIM8SQTEITPMGEGIWXGEMMQTPMGEMMPIWEPITEKLa Paris spectacolul lui Romeo Castellucci -Sur le concept du visage HYJMPWHIMIYIWTVIGSRGITXYPHIGLMTEPJMYPYMPYMYQRIIYHIWTVIcare a relatat de la Avignon Mirella 4EXYVIEYRRYQVYPXVIGYXEPVIZMWXIMEWXVRMXTVSXIWXIZMSPIRXI2 Arjun Appadurai – Fear of small numbers.HMRTEVXIEJEREXMGMPSVGVIXMRMGEVIEYJSWXMRYMPEHMWXERHI8LIEXVIHIPEMPPIGYKEIPEGVMQSKIRIMJSVITSPMMIRIXMRETVEVIEEVXMWXYPYMs-au ridicat voci majore ale teatrului IYVSTIERHYTGYQTYXIMGMXMTIsite-ul www.revistascena.ro9RHIMQEMKWIXIPSGYPEVXMWXYPMGYQTSEXIJMETVEXPMFIVXEXIEPYMHIITVIWMIRXVSPYQIHSQMREXHISERMIXEXIKIRIVEPMEXMRJMPXVEXEHRGRSRETSPMXMG7SPYMETVSTYWHITTEHYVEMRFear of small numbers este tocmai RGYVENEVIEREXIVMMYRYMzEPXVIMPIEWTEMYzYRWTEMYHIVIEGMIEMRXIPIGXYEPMPSVTYFPMGMMEEVXMXMPSVGEVIWITPMGITVMRQMNPSEGIPIPSVWTIGMJMGIGIIEGIWIRXQTPEWXMRWSGMIXEXIETSWXKPSFEPMEXMWQTMIHMGIEWXJIPGVIXIVIEZMSPIRIMMEXIVSVMWQYPYMYGXQEMQYPXIXMQYRMMHIWTVIEPMMGYEXXQEMTYMRZSQRYXVMHSVMREHIERIEXEGEreciproc.GIWXIEJMMRHWTYWIGYQXVIFYMIWarate n societatea de azi repertoriul YRYM8IEXVY2EMSREPWEYEPSVMGVIMQERMJIWXVMHIRYQMXIGYEGIWXEHNIGXMZ2YGYQZEEZIQSFPMKEMEWRIRXVIFQWIVMSWGIQEMRWIEQREWXMzREMSREPzGRHZMRIZSVFEHIEVXETIGEVISTVEGXMGQWEYSFWIVZQwww.revistascena.rowww.revistascena.roSINOPSISURI de noi piese contemporane42HIWTVIPYQIEWTIGXEGSPYPYMMRXIVREMSREPLINKYVMGXVITVMRGMTEPIPIIZIRMQIRXIJIWXMZEPMIVIEPIERYPYM7GIREVS-772Redactor-TUCristina Modreanu2TVXdSTaTSPRXTMagdalena Boiangiu Anca Rotescu Iulia PopoviciMTVMER1EVMRIWGYWIGVIXEVHIVIHEGMI-SRY7SGMYPRPSVIRXMREVEXJERSJCaPSdRTaTQTVTi-PMRGE8EQEVE8SHSVY2RTXTVaPUXRAntal Szilrd3XbcaXQdXPXRTiXEXME4EWGEVMYSCENACoperta IChris Nietvelt n Cries and WhispersCourtesy of Brooklyn Academy of Musicfoto Richard Termine8MTEV8IEXVYP2EMSREP8MQMSEVEMWXVMFYMXTVMRMRXIVQIHMYPTEVXIRIVMPSVRSXVMCu Scena.ro ETIPESCENALUMII3CENAROsIADUCEINTERVIURICUPRACTICIENIISCENEIROMhNETIIINTERNAIONALEcroniciLASPECTACOLELEROMhNETIDETEATRUDANSIOPERjdezbateriPETEMEINCITANTEPRIVINDVIAATEATRALjROMhNEASCjESEURI SEMNATEDETEORETICIENIDEPESTEGRANIERUBRICIDERISTINA-ODREANULINA.ELEGA6ISKYNDRAS-IRELLA0ATUREAU0ARIS-IHAELA-ICHAILOV3AVIANA3TjNESCU.EW9ORKRINAONESCUONDRAIMULIALICOLABORATORIDINARjIDINSTRjINjTATEDOSARESPECIALEANUALEDEDICATETEATRULUICONTEMPORANDINALTEjRIINCLUSIVSYNOPSISURIDEPIESENOIBONEAZjTEITUPENTRUScrie-ne la scena.rogmail.com.0REULUNUIABONAMENTNOULEI LEIEI0RELUNGIREAUNUIabonament existentLLELE0LI75USPRIJINULSabo3UMAR0MFVVMMPIUMANITASM0MFVVMMPIjRTURETIHMRXSEXEVEEAINjRIAERNSCHUTZ Lipscani0MFVVMERKPIENTHONYROST6IOLETAS6INTAGEITCHEN0MFVVMEUMjTATEA0LINjHMRYGYVIXM0MFVVMEOOKORNER din ClujSalonul ERNSCHUTZREMIARIGORESCULibraria VANTARDE din IasiLibraria ARTEADE.ISIPHMR8MQMSEVEODOTAFE4EATRUINTERVIU 3Karin Coonrod5Meg StuartEVENIMENT 7Moving RomaniaFESTIVAL 11IWXMZEPYPYM2EMSREPHI8IEXVYYGYVIXM14RXPRMVMPIIPPY2EYQ17IWXMZEPYP-RXIVREMSREPHI8IEXVYy4SZIXMzPFE-YPME18ITPSVIERGIERH4IVJSVQERGIIWXMZEPCRONICA DE TEATRU 214YVMJMGEVIVIKMEPIERHVY1KVIERY224SZIXMHIJEQMPMIVIKMEPEHVMWXEGLI240SRKMWXERGIJJEMVGSRGITXHIRE1VKMRIERYINOUT -25Bam Next Wave 2011ESEU -296EPYGE4STr8IEXVYPWXYHIRMPSVEQEXSVMHIXIEXVY32-PMRGE8EQEVE8SHSVYrnscenarea lui DostoievskiRUBRICI 37PMRE2IPIKErHYTMYPIM381MVIPPE2IHIPGY4EXYVIEYrTerrribilul Pyrrrusroi dEpirrre40-VMRE-SRIWGYrPina Bausch…417EZMERE7XRIWGYrSGEyTYVMXERMWQEQIVMGERzVOICE OVER 42RHVIE8SQTErTeatrul cu sabie44EVQIR0MHMEMHYr-SRVPHIERYGSFSYPQIY462A834BA420A44A8CBEA14C8IN MEMORIAM 47Liviu Ciulei48C8A86IZMWXIHMXEXHI0bRXPXPATcadPromovarea Artelor Spectacolului – ARPASINTERVIEWINTERVIUUUU3IInterview Karin CoonrodLike Liviu Ciulei I believe in beauty on stage.CristinaModreanuasks New Yorkdirector KarinCoonrodabout theyears of apprenticeshipwith Liviu Ciulei her former teacher at Columbia University. The fond memories of collaboration and friendship with the Romanian expatriate are at the root of her current involvement with Romanian theater. Karin Coonrod has been stagingin U.S. plays by Visky Andrs and will be directing a play by Charles Mee at the Hungarian National Theater in Cluj. 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La un moment dat elEHIGMWGEJIQIMPIWETEVTIWGIRRNYVYPYRSVJSGYVMHIXEFVMEVIYREQJSWXJSEVXIRGRXEXHIEWXEMi-am spus… Apoi n timpul EZERTVIQMIVIPSVEVIZIRMXMEHIGMWWVIRYRIPEMHIIEREXYVEPMWXEJSGYVMPSVHIXEFVMRPSGHIEWXEWPIEPMRMIITIJIQIMHIEPYRKYPunui perete din fundal de unde eleMWTYRIEYGYZMRXIPIWXRHRpicioare ceea ce a creat o schimbareYVMEHIXSRYWMHIIRIVKMIQInterviu realizat de Cristina MODREANUfoto Ching GonzalesINTERVIUINTERVIEW4RGSRXEGXGY8IEXVYP2EMSREPHIEGSPSWTIVEWPYGVIR6SQRMEaQPQXRPRTPbcXUdTPdX2XdTXaTRdXaSRXXTXcPXTTTgXRUPcdRspectacolele tale sunt foarte europene ceea ce te face un caz aparte pe scena din New York. 2dcTbXXRPTdaTPprintre americaniGMYHEXTIRXVYGWYRXTINYQXEXIMXEPMERGTINYQXEXIEQIVMGERGHEVJEGTEVXIHMRWGIRERISVOI1EHYGTIQMRIRXSXGIIEGIJEGMGLMEVGVIHREGIEWXVIEPMXEXITSIXMGGIVIMHHMRGSPSHIETEVIRIMJEGIGEXLEVWMWYPEXXHITYXIVRMGEXYRGMGRHHIZMRIZMMFMPIYRHIMVIPEMEQIETYXIVRMGGYMWORHVEWrMEQQSRXEXHINEHSYXIXIMEVITIVMIREPYMHIZMEXVIGYXRXIXHIXIEXVYIEXXHITVSJYRHIXVESVHMREVWXEQJEGIHMRRSYWQWMQXGEEGEWISGSRZIVWEMIGEVIQQFSKIXIApoi am creat n Italia propria mea companie am adus acolo actori EQIVMGERMMQYMGEQIVMGERGEWPYGVQSWIVMIHIWTIGXEGSPIHIWXVEHrTSZIXMHMRFMFPMIGYMGSRSKVEJMEPYMVERKIPMGSGYYRlimbaj corporal inspirat din commedia dell arte1METPGYXIRSVQGTYXIQWEHYGIQXMQTYVMPIRSEWXVIQSHIVRIRTMEIXIGIMTWXVEYEIVYPHIEPXHEXWHYGIQXIEXVYPEJEVHMRXIEXVYEGSPSYRHIEJSWXMRZIRXEXMWVIJEGIQPIKXYVMpeste timp. 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IEWIQIRIEEMRYXYRSVOWLSTTIRXVYXMRIVMHERWEXSVMMGSVIKVEJM-EG3TUARTInterview Meg Stuart You cant but evolve when you create together with people in whose approaches you always find yourself.MRE IVFRIWGY MRXIVZMIW GLSVISKVETLIV 1IK 7XYEVXwho brought to Bucharests eXplore dance festival three performances and also held a workshop. The Belgium based American dancer and teacher shares some insights into her pedagogy practices and talks about her own training and aesthetics.JSXS8MRE6YMWMRKIV8LIJEYPXPMRIWJSXSZEYVHMRKIV6INTERVIUINTERVIEWTVUPcdRPeTXRPaXTaPacXbcXRXaTbXPcbdcTXRdbRdccaTPVPdTXpentru workshop-urile extrem de TUXRXTcTTRPaTTaVPXiPXCare ar fi caracteristicile stilului SdTPePbcaTSPVVXR.1MWITEVIIXVIQHIMQTSVXERXWMWXMQYPITIWXYHIRMMQIMWMKWIEWGRQSHPMFIVTVSTVMMPIQMNPSEGIHIITVIWMIMWMENYXWIZMXITIGXTSWMFMPGESVMSRXYPPSVWWIRKYWXIIRGIVGWMKLMHIGXVIGSRWXVYMVIEYRYMGQTGXQEMPEVKHISTMYRMPERMZIPYPIPEFSVVMMYRYMstil coregrafic. 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Am studiat dansul modern contact improvisationMrelease techniqueMWYRXTIVQERIRXMRXIVIWEXHIVIPEMEHMRXVIHERWMEVXIPIZMYEPIHIQSHYPRGEVIIPIWIMRJPYIRIEMMRXVRWMRXI4VMRYVQEVIPMQFENYPmeu coregrafic are pe de o parte VHGMRMRQIHMYPRGEVIQEQformat n ceea ce am studiat pe de EPXTEVXIRRXPRMVMPIHMRXVIHERWMEVXIPIGEVIMQTVSWTXIEparadigmele.8aeXiPXPPaTdaTbTXPRaTPXPSdTPebcacXdRaVPXiPXPBP5aPRXbRdTgTaXTcRPaTbTdTcTtable improvisationRPSadRadXPXeXcPXSXUTaXXPacXcXqEMRZMXTIVJSVQIVMGSVIKVEJMHERWEXSVMWEYXISVIXMGMIRMGEVIWXEYPEEGIIEMQEWGYTYFPMGYPMWIHMWGYXHIWTVIMQTVSZMEMIRXMQTGIWIHERWIEWXJIPWIENYRKIHMRXVSSRGSRGVIXRXVYRTPERRGEVITSXHIZIRMJYRGMSREPIEWTIGXIPIJSEVXITIVWSREPITVSMIGMMPIWEYJERXIMMPITEVXMGMTERMPSVWXIYRXVEWIYRXVIHMWGYVWMTVEGXMGRXVIZIVFEPMEVIMQEXIVMEPMEVI2PaTTbcTcXedTadRPaTPXSTRXbbebcPQXXX4daPbUPRTXSX1adgTTbRXdSdTPePbcaPacXbcXRdSTPXUSPcRPXTRPaTPXUdTPcconsiderabil soarta dansului contemporan europeanA fost un traseu care s-a petrecut de la sine. n timp ce eram n New SVOEQJSWXWIPIGMSREXTIRXVYYRJIWXMZEPHMRIPKMETSMXSXRIPKMEEQGVIEXTVMQEQIETMIWMQTSVXERXDisfigure Study n HYTTVIIRXEVIEGVIMEEQTVMQMXSVIMHIRTIRXVYIPEFSVEVIEYRIMRSMGVIEMM1MWEWYKIVEXWRGIVGWETPMGTIRXVYSFMRIVIEYRSVJSRHYVMTIRXVYGVIEVIETVSTVMIMGSQTERMMDamaged GoodsRIQIVWYPEEZYXWYGGIWMEQHIGMWWVQRRVYIPPIWMWGSRWXVYMIWGWXVYGXYVEEVXMWXMGMSVKERMEMSREPEacestei companii. Ulterior m-am mutat n Zurich iar acum mai am YRGQMREVXMWXMGIVPMRYP2PQa005000e30058000f00520064000f005c0064005b00e30058000f0050005b00e30058000f0050006100630058009f00630058001d000f003200c70063000f00530054000f0058005c005f005e006100630050005d00630054000f00620064005d0063000f005f0054005d006300610064SdTPePbcaPRTbcTcXaXPacXbcXRT.7YRXJSEVXIMQTSVXERXIZSVFIEQHIMRXIVIWYPQIYTIRXVYEVXIPIZMYEPISPEFSVIGYEVXMXMMZMYEPMXSGQEMTIRXVYGWYRXGSRZMRWGEWXJIPHIRXPRMVMENYXHERWYPGSRXIQTSVERWIZSPYIITVMRRSYETIVWTIGXMZTIGEVIEVXIPIZMYEPIPIKIRIVIEGYTVMZMVIPEGSRGITXYPHIQMGEVIPEEFSVHVMPIGSVIKVEJMGIMPEWXVYGXYVEHMREQMGEEVXIMperformanceYPYMRXPRMVMPIGYEPMGSVIKVEJMGYQEVJM4LMPMTTILQEGLIVWEYIRSMX0EGLEQFVIQMEYHMZIVWMJMGEXEFSVHVMPIGSVIKVEJMGIQMEYIGLMPMFVEXSTMYRMPIQEYRZEXWITPSEXIGXQEMFMRIGIIEGIQWYVTVMRHIGIIEGIEHYGIRSYGSPEFSVEVIEGYIMRHGVIIMQTVIYRGYSEQIRMREPIGVSVEFSVHVMRYXIVIKWIXMRXSXHIEYRERYEMGYQWRYIZSPYIMTIRXVYGWIHIWGLMHTSVMGXVIWTEMMPYRXVMGIHIGVIEMITIGEVIRYPIEMJMEGGIWEXPYGVRHWSPMXEV2TTabTRcXePeTXPbdaPdQXRddXRdeaPacPXPaTiTPbTRcPcaddX.4VMRWMQTPYPJETXGISTVIIRGEVIEWMWXPEGIZEGIWITIXVIGIRXMQTVIEPTVMRJETXYPGIQEVXSVYPYRIMGVIEMMWTIGXEXSVYPEVIVSPYPPYMGIWXVSPIWXIEGXMZQEMEPIWEXYRGMGRHIWXIMQTPMGEXIJIGXMZRWTIGXEGSPGRHIWXIMRZMXEXWITPSVIIHMJIVMXIWTEMMQTVIYRGYEVXMXMM4IRXVYQMRIIWXIMQTSVXERXGEWTIGXEXSVMMWRYJMIHSEVTVMZMXSVMMTEWMZMEMYRIMGVIEMMIIWIRMEPGEEGXYPEVXMWXMGPEGEVIEWMWXWGSRWXMXYMISITIVMIRVIEP1MWITEVIPEJIPHIMQTSVXERXGEIMWWIWMQXTVSZSGEMMRXVMKEMHIWTIGXEGSPMWWIGSRWMHIVIPMFIVMWWIMRXIVSKLIIGYTVMZMVIPEGIIEGIZH8LIJEYPXPMRIWJSXSZEYVHMRKIVJSXS8MRE6YMWMRKIVEVENIMENTEVENTT7Moving Romania HIWJYVEXRXVIMWITXIQFVMIPE4SWXHEQETVSTYWQEMQYPXIJSVQEXIHIEGMYRIEPIGSVTYPYMGSRXIQTSVERRWTEMYPHERWYPYMGSRXIQTSVER7TIGXEGSPIPITVIIRXEXIRGEHVYPJIWXMZEPYPYMEYJSWXRWSMXIHIYREXIPMIVHIGXIZEMPIHIHIFEXIVMTIXIQIHMJIVMXIMREGIPEMXMQTMRXIVGSRIGXEXIHIRXPRMVMMTVIIRXVMEPITMIWIPSVHERWEXSVMPSVTVIIRM4VMRXVIXIQIPIEFSVHEXIWETYWYREGGIRXGSRWMWXIRXTIRIGIWMXEXIEIHYGVMMTYFPMGYPYMTIHIZSPXEVIEYRSVEVLMZIVIWYVWTIRXVYWTIGXEGSPYPGSRXIQTSVERTIQSFMPMXEXIEGYPXYVEPMTIIZSPYMEVIIPIPSVHIGSQYRMGEVITIIPEFSVEVIEYRSVTVSMIGXIGEVIWHIWGLMHGXQEMQYPXTSWMFMPWJIVEHIMRJPYIREHERWYPYMGSRXIQTSVERTVMRWXEFMPMVIEYRSVGSRIMYRMGYQEMQYPXIXMTYVMHIGSQYRMXMTIIJMGMIRXMEVIEHERWEXSVYPYMMGSVIKVEJYPYMRWIRWYPRGEVIVSPYPWSGMEPEPEGIWXSVEWHITIEWGdomeniul strict al dansului. S-a vorbit de fapt despre strategii deQMGEVIRWTEMMHMZIVWIGEVIWTVSFPIQEXMIIXIRWMYRMPIGSVTYPYMperfomativ.n cea de-a doua zi a dezbaterilor s-au format grupuri de lucru careEYEFSVHEXRJYRGMIHITVISGYTVMPIGSQYRIERYQMXIXIQI XHIMRWYPEVIWXIEGMYRIEEVXMWXYPYMGSRXIQTSVERGEVIWRXQIGERMWQIPITIGEVIPIEZIQTIRXVYERIJEGIZMMFMPMREVXEGSRXIQTSVERMGIXMTHIWTEMMTEVEPIPIWMWXIQYPYMTYXIQGVIEGYQWIJSVQIESGSQYRMXEXIIHYGEMSREPMHIGIMRWXVYQIRXIHMWTYRIrEYJSWXHSEVGXIZEHMRXVITYRGXIPIJMIVFMRMEPIHMWGYMMPSVMoving Romania a ncorporat pe PRKXSEXIEGIWXITIVWTIGXMZIextrem de relevante pentru ca unJIWXMZEPWRYJMIHSEVSTVSKVEQEVIHIWTIGXEGSPISEVLMZZMHISHIWTVIGSVIKVEJMMVSQRMGEVIWEYMQTYWRYPXMQMMIGIERMVLMZEGSRGITYXHISKHERE4EWGEPMKRHMXWYFJSVQEYRIMMRWXEPEMMVITVIMRXYRHSGYQIRXQVXYVMIHIWTVIQYXEMMsemnificative din dansul GSRXIQTSVERVSQRIWGMHIWTVISGSRJVYRXEVITIVQERIRXGYVSPYPacestui domeniu marginalizat n arta HMR6SQRMEVLMZEIWXISJIPMIHIMWXSVMIVIGIRXEYRYMJIRSQIRGEVIluat-o de prea multe ori de la zero TIRXVYEMTYXIEHIJMRMSMRJPYIRQENSVRTIVJSVQERGIYPHIPERSMSpectacolul care a avut premiera nGEHVYPJIWXMZEPYPYMrUET – a fostGSRGITYXHIGXVIQYMGMERYPPEMGYSPGIEMHIHERWEXSVYP7IVKMY1EXMUETGVIIEYRXIVMXSVMYHIMRXIVWIGMITIVJSVQEXMZRXVIVMXQYPenergizant al muzicii compuse de SPGIEMGSVTYPWSRSVMEXEPPYMMatis.4YXIMGMXMYRMRXIVZMYGYGIMHSMEVXMXMRTEKMRMPIGEVIYVQIEMoving RomaniaThe dance festival Moving Romania that took place in Postdam inSeptember engaged the public withperformances video installations workshops talks and exhibitions.Central issues of debate have been the presence and the impact of the performer in the contemporary artworld and the society at large. MOVING2-.IPOSTAZEALECORPULUICONTEMPORANsNDANSMihaela MICHAILOVJSXS0YGMER7TXEVMY-OVING2OMANIAEVENIMENTEVENT8EaQTcTXdXSTbaTbcdSXXTTRPaTTPXURdc6TaPXPRTSXaTRXTcTPdPYdcPcRTPXmultAm ajuns la Academia din MannheimGYSFYVWHIWXYHMMZIEQERMMera primul pas spre libertate. 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Colaborarea cu SashaEPXQMSJIVTSWMFMPMXEXIEWlucrez cu oameni extraordinari cuEVXMXMIXVIQHIXEPIRXEMHMRXSEXlumea. Compania este foarteHMREQMGMIWXIYRTYRGXHIVITIVRlumea dansului contemporan. 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Anul viitor va fi un An Caragiale mai mult ca WMKYVTIRXVYGWIQTPMRIWGGMJVIVSXYRHIHIPEREXIVIMHIani de la moarte. Teatrele din 6SQRMEEYRGITYXHINEWQSRXIIWTIGXEGSPIHYTXIXIHIEVEKMEPIEHEVJVRHSMEPGWIPIGMEZEXVIFYMWMRGSRXHIEGIWXPYGVY1MEHSVMGEEGIWXIWTIGXEGSPIWJMIFYRIETXYPGEZIQYRHVEQEXYVKREMSREPQEVIRYRWIEQREYXSQEXGWTIGXEGSPIPIGEVIEYHIEJEGIGYIPWYRXMIPIQEVM1MEHSVMGEEGIEWXTSVRMVIHIEVIEPMEWTIGXEGSPIEVEKMEPIWRYJMIZYXGEYRJIPHIRHEXSVMVIHIWIVZMGMYTIGEVIWSFMJQMTIYVQWRIZIHIQHIXVIEFz0EWXFYXRSXPIEWXEQEMZVIEWQIRMSRIPEGETMXSPYPyVIYMXIzHMWGYMMPIMRXPRMVMPIGYVIKMSVMGYdramaturgi cu actori autori de carte WEYGVMXMGMHIXIEXVYPQYVMXSEVIHEVMTVSZSGEXSEVIMRGMWMZIEEGYQse cuvine unui festival. Medana WEIDENTThe Chekhovian universe and 0SaTXTaQPzbfaZPccWTRaTof the National Theater Festival in BucharestUnder the title Chekhovisions three Chekhov plays and a Bergman adaptation all directed F RHVIM IVFER rUncle Vanya Three Sister Ivanov and VMIW ERH LMWTIVW rformed the RYGPIYW SJ XLMW IEVW 2EXMSREP 8LIEXIV IWXMZEPMedana Weident also mentions other notable shows produced by national theaters across the country and narrates a discussion with critic Alice ISVKIWGYXLIEVXMWXMGHMVIGXSVSJ28MULACESTANIMALCIUDAT5NIVERSULCEHOVIANICREAIALUINDREIERBANsNCENTRULESTIVALULUI.AIONALDE4EATRUDELAUCURETIJSXS-WXZRVJSXSWXIVSVHSRJSXS-WXZRV34612GYQGMZEERMRYPXMQEWIEVHI28QMEQPYEXPYQIERGETMRPSGWTEVXMGMTPERGLIMIVIEJIWXMZEPYPYMQEQHYWPEYRJMPQI8EVERXMRSVEKYVEHIEIVGEVIQMPMTWIEHYTIGIMPIRGEVIWTIGXEGSPIPIFYRIJYWIWIVYQFVMXIHIEPXIPIQEMTYMRFYRIVEYQMGMPIyWYVTVMIzWIQREXIHIRYQIHIEQKMXSVHIQEVMGEVIREZIEYnimic din ceea ce criticul Marian 4STIWGYRYQIXIEJMteatru de comunicare. Spectacolele erau n schimb teatru de VITVIIRXEVI cu EHVIWEFMPMXEXIWYTYWIWXIXMGYPYMEHMGYRXIEXVYWXIVMPEYXSVIJIVIRMEP1RGIVGWPIWGYJSPSWMRHGYZMRXIGSQTPMGEXIMPIRYQIWGWYVTVMIJMMRHGIVEYITIPI IHMMIMGEWSWTYRTIPMQFEeliberatoare a publicului larg care WTYRIIEGXGIKRHIXIIPTYMRpe net.1EVMER4STIWGY7GIRIPIXIEXVYPYMVSQRIWGHMXYVE92-88YGYVIXM2004 pag. 245aXPAPaTC8406INUCURETICUCELEMAIBUNEINTENIISRGPYMEEGIWXIMVIXSVMGMGYMTESTXMWXIWXIGR28IMWXHSYWIPIGMM9REEHMVIGXSVYPYMEVXMWXMGGVMXMGYPPMGIISVKIWGYMEPXEQEMWYFMIGXMZEWTIGXEXSVYPYMGIPYMGEVIJMIWIRGVIHIRWMRSTWMWYVMGXREMZMXEXIJMITYRIQREPESGLMMJEGIYRMKEKRGVIXSVTVMRXVIXMXPYVMPIHMRJIWXMZEPHSEVHSEVPZSVHYGITEMMPEunul EHIZVEXHEXIVQIRGYPIWXSXHMRPIMGYPTYFPMGYPYM-EVIYYRYPVIJYWGVIHGRSVSGYPWXPEFEEYRIMJVYQSEWIITIVMIRIHIWTIGXEXSVHISVMGIJIWXMZEPEVJMZSVFERWJVMXMEXYRWPEPSQnedrept de expeditiv printre titlurile din 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laSKZMPPIr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rPEYHMY7XRIWGYQEQErRHVIIEMFMVMZIGMRYPrEPIRXMR4STIWGYSVMXIXYPRYIHIWXYPHIyHEVRMGzSVMWYRXMRGSRWMWXIRXGVIEXIEGXSVMGIXIQIVKITIEHSYEZEVMERX RXSXPE28EQHEXMEVJYKEPEJMPQMEQJGYXSHMRRSYRYGEumplere de timp ci ca protest mai n KPYQQEMRWIVMSWGEVIVIGYRSWGQTVMZIXITIVWSREPRJMRIRYXMYGXHIRIPITXEQTVSGIHEXTSEXIEfost un gest la nervi dar acum JYWIWIHIENYRWWQMHMWTPEGprofund un singur spectacol pentru GEWEPEHIGMRIQEWTEVYRVIJYKMYE drept poate chiar n timpul TVSMIGMIMWINYGEYRWTIGXEGSPFYRR28WEYTSEXIJVWXMYEQSGSPMXmajoritatea titlurilor bune din JIWXMZEPEVYRPYGVYIGPEVMRXSPIVERETYVTIVWSREPMEMGIGLMEVRIVFHEVIRIVZSEWPEWTIGXEGSPYPTVSWXHEVyFMRIGSXEXzEEHEVMRXSPIVEREPEyLEMHIMWZEVXIYVIKMSVYPzWMQXGEENYRWPEGSXIREPXIEQSFPMKTVEGXMGWKIRIVEPMIRIKEXMZPEEHVIWE28EVXSXIEQMMRXIVMGIWQJEGGTPSYWQMQIEHQMVEMEMyWWGVMYHIFMRIzEXYRGMGRHWTIGXEXSVMMTYJMIHITPMGXMWIEPVHMVSRMGWIYMXPEGIEWHMRIGIRIGIQMRYXIMETPEYHHMRSFPMKEMIFrom Bucharest with the best of intentions The National Theater Festival Bucharest the 21st editionPSVMER6EVI8MPIEKGERXJMRHQERKSSHXLMRKWXSWEEFSYXXLI 2EXMSREP 8LIEXIV IWXMZEP MR YGLEVIWX QSRK WGVYXMRMIHproductions are Bury me Behind the Baseboard directed by Yuri SVHSRWOM PIERHVY EVMIW2SXIW SJ ER 9RORSR 1ER 0WPBocsrdis EPMKYPE and IKVIIWMR4EVMW directed by Peter Kerek. 1EMRXMXIREXMJSXSPSVMRMSPERESTIVALUL.AIONALDE4EATRUUCURETIEDIIA a XXI-a34613NSEMNjRILEUNUINECUNOSCUTRLEXANDRUARIE4EATRULULANDRAUCURETI1YXHIYMQMVIQEPWEXMyRWIQRVMPIzXSXHIPEYPERHVEHEVXGIVIEIVEEGYQWIQRYPYRIMIRIVZVMTIGEVIRSTYXIEQITVMQE9RYPEQRJMMRHGWGYEWTIGXEGSPYPYMIXIXYPWYVWEPPYMSWXSMIZWOM3GEWHIRIFYRMyVIWGIRHSRIFYRIWGWYMXHIRXQTPVMLEPMMMHVEQEXMGIzrEWXEWGVMIRWMRSTWMWMXIJEGIWGVIMGYVQIESGSQIHMIWYJMGMIRXHIERXVIRERXGEWMWYTSVMHYVEXEHITIWXITEXVYSVIEVRSTVIEWYTSVMTIRXVYGGIIEGIIMWXRXIXGERPRYMVIHIWMXYEMMMTSVXVIXMVMXMTMGHSWXSMIZWOMIRIVIYPXWGIRMGRMPYWXVVMRGPGMXIREVEXMZMVIHYRHERXIEXQSWJIVMGSMPEQRRGMYHEHMREQMGMMHIKVYTMETIVJSVQERIPSVMRHMZMHYEPI1MLEMSRWXERXMRPIERHVY4SXSGIERMVKMP3KERYIRIVKMGIRKIRYPyPMWEZIXIMEQzHI8SGMPIWGYWTIGXEGSPYPPYMEVMITMIVHIPEGETMXSPYPREVEMYRITVIEQYPXXIXIXSXYPTVIEWXVMKEX4VEGXMGEMZVIEWRIPIKMGIMGYQHEVXIRGYVGKPKME4GEXEXITXVMPIIVEYQEVMIVIMRYXXSXYMWGIRSKVEJMEWTPIRHMH1EVME1MY4PYWPMKLXHIWMKRYPEVMIGSQTEXMFMPGYMRXIRWMXEXIEIQSMSREPEWGIRIPSVEVGEQEXXALIGULARfSZLvOCSfRDI4EATRUL.AIONAL-ARIN3ORESCURAIOVAIWTVIWTIGXEGSPYPPYMSGWVHMWITSEXIWTYRITIWGYVXGEZVYXTYMRMGWEZYXEWXEEGZVSMEQEMQYPXEXYRGMTVSMIGXYPVIKMSVEPRYTSVRIEHIPETVIQMWEGXMQXSMXIXYPMGWYRXIQPEXIEXVYGEWZIHIQZMMYRIE9REyEGXYEPMERXzHMGYRWTIGXEGSPHMRGEVIHEGXVEKMPMRMIRYVQRIHIGXRZIPMYPHIWSPYMMZMYEPIGSWXYQIHIGSVQMGMEGMYRMRMGMRYQEMHIXEPMIGEVIJSVIEEHYGIVIEPEMETMIWIM3VMGYQXVEKIHMEVIGIWXYJSEWJMPSWSJMGEPYMEPMKYPEREVIQYPMJERMEVSGWVHMEQTPMJMGMRZSPYRXEVVGIEPETYRRHEGGIRXTIIJSVXYPde VITVIIRXEVI nu pe cel de comunicareETSZIXMMIQSMSRERXWEYRYGYQSJMIEWXJIPWTIGXEGSPYPRYHSEVGRYXVERWQMXIRMQMGHEVIFPSGEXRXVSSRSFSWMXSVHIWXIVMPMHIIETR4EVGIYRJMPQHI2MGSPEIWGYGYTEXVMGMIRMGEVIWXEYRTMGMSEVIRYTVIEXMYGIKIWXYVMWJEGMHIGPEVQMPMXVIXIRMXIWIRXMRITIGEHIREYRYMpathos care nu convinge pe nimeni. MRRIJIVMGMVIWYRXEFPSERIGEVIRGSVWIXIERQSHRIHVITXGEPMXEXIENSGYPYMEGXSVMPSVGITMIJEGI7SVMR0ISZIERYEPMKYPEWMRKYVYPHIPEGEVIRYMMIMSGLMMVIQSQIRXIRWGRHGSQTPMGMRYXMPrIEKIVRHMRXIVTVIXEVIEPMFIVrWIQRMJMGEMMPISVMGYQIXVIQHIrelative ale replicilor.GRADELA0ARISR0ETEREREK4EATRUL4UCURETI. Un scaun un personaj o poveste. Tipic ACT HSEVGEGYQMRXIVZMRIIGVERYPHIfilm care preia vizual spectacolul mental creat de monologul TIVWSRENYPYMSWMRXIHIXILRMGMGEVIJEGIGEXIEXVYPWMRXIVMSVMIIGIIEGIJMPQYPEVEXMPYWXVRHWYJMGMIRXHIWMQTPYMHIGVIHMFMPdrama ultimelor clipe naintea TVWMVMMJEQMPMIMHIGXVISWSMIEHYPXIVEVRGMYHENSGYPYMEGXSVMGIWGFSKEXRRYERIPMREIVYRIERYYRQMRYWEPWTIGXEGSPYPYMIWVGMEMQEKMRMMHIfilm care ar fi putut exploata la maxim ocazia de a comenta prin montaj de detalii replicile rostite WGIRMG2SJEGIRWGLMQFGSRMRIGEHVIMRYXMPHIWXEXMGIMRWMWXRHTIEGMYRMRIWIQRMJMGEXMZIGEVIZSVWWTYRQEMQYPXHIGXTSXWTYRIEVIPIWPFIWGVMXQYPMEXVEGXMZMXEXIETSZIXMMRXSGQEMGERWGIRIPIHIzel regizoral ale unora din filmele EEMWYPYMEP2SY6SQRIWG-AIsNThITENATIR2ADUFRIM4EATRULNDREI-UREANU3FhNTUHEORGHEXIEXVYPPYMJVMQIETWXSVJMIMTIRXVYGIPIHSYSVIGXMRIHISFMGIMyYRJVMQzSXMYLMEVMRGEYVMPIRYJSEVXIVIYMXIGYQIEGIWXy1EMRXMXIREXMzGEVIXVHIEyVIIXEzJVEQEMEZIEYRMGMXEXIEHIGSRMRYXEEPXSVXMXPYVMGEyIVV4EYPzSVMySEPEEQMPMIM1zEYETSEXIJMXIXYPHIWXYPHIJVEGXYVEXGEWMXYEMMMVIPEMMHIXIVQMRRHSIEKIVEVIVIKMSVEPEEXQSWJIVIMFEPMVMGFELMTIVFSPMGMKVSXIWGRHEYREGSIVIRIMREVEXMZI9RMGMXEXIEHIMQEKMRIMHIMHIRXMXEXIETIVWSRENIPSVRWGLMQFIFMJEXMaceea de limbaj prin devierile PSGEPMWXIQEVGEJVMQGEVIEHEYKumor acolo unde stranietatea WGIRIPSVVMWGWHIZMRWIEG 9ERMARfSZLvmRES4EATRUL4INERETULUI0IATRA.EAM2YXMYHEGEEMEVJMTPGYXPYM0SVGEWMZEHTMIWEy EzEHMGTIVMXQVYVEPHIJPEQIRGSIVXIGTVMRspectacolul celor de la Piatra curge WYJMGMIRXWRKIWTERMSPGXWXIMREXIRX4VMRJSPGPSVMFIVMGHERWMGRXIGWTIGXEGSPYPIGSQTEGXMWYVTVMRXSVHIFMRIVMXQEX8SXYMQIVMXYRQEVIdislike pentru scenele dialogate regresive narativ care WXMRKIRIVKMEGXMKEXTVMRHERWEQEXXJSWXYR28GYMRXIRMMFYRIGYQFIXYPTIFYImaterializate n aducerea de spectacole remarcabile care fie au existat iar eu le-am ratat fie n-au fost iar eu le-am prins mai mult pe celelalte. Tot remarcabile…EPMKYPEJSXSSWXM4HYVIERY00d90052004b005600530054004500a7004d0010005100c4000200540049000200480059005400c4000200540050004d0052005800c4000200020013001300020002004a005300580053001e00020027005300570051004d00520002002500560048004900500049004500520059346Mirella NEDELCU-PAT UREAUDIIAOCTOMBRIE.4.25.5-YXSEXITRIPIWYWWTYRITIRXVYEVIYQERGXIZEGYZMRXIEGIWXIXVIMMPIHIHIVMZTSIXMGMHIPMVYVMXIEXVEPITVMRXVIMRWYPIMPYQMMQEKMREVIRWSQTXYSWYPPGEEP8IEXVYPYM2EMSREPHMRPYNZMWEPFHIJVMGMHIZIPXIHSVYVMEVLMXIGXYVEPIn dulcele stil art nouveauEXXHIGPEWMGMHIIPIKERXEWXM9RXIEXVYvintageJEFYPSWQSXIRMVIEarhitecturii vieneze de la nceputul secolului trecut teatru care TWXVIEMRXEGXQEMRVMEYRIMWGIRIEVXMEREPIYRHIWGRHYVMPITEVWTSEVXIRGTSZEVEXMVEHIPSVHIEPXHEXHIPEy8VERHEJMVMMVSMMzEMTVMQYPYMWYHMVIGXSVPEERKSEWIPIultimului EPMKYPE semnat aici de PEH1YKYVREMRXIHIIMPMYRHIZEVIZIRMHYTETVSETIHSYHIGIRMMEXVEWGEEPFMREPEQEXG1MLEM1RMYMYEWXMPEETVSETIYRERHIHMVIGXSVEXPE2EMSREPYPGPYNIEREVIHIGMRWTEXISJEFYPSEWXVEHMMIMTSEXIMGIZETVEJMPIQRIYWGEXIHEVTIGEVIGVIHGITIVJIGXGETEFMPWPIWTYPFIVIIXVEHMMIRWHISERYQMXXVEHMMIVIKMSVYPHMVIGXSVERIPIWGEVIQEVIRIZSMItocmai pentru a continua ceea ce e TIGEPIWGSRWXVYMEWGMEXWIRWYPEGIWXYMKIWXMREYKYVEPPEVKMKIRIVSWRXPRMVMPI-RXIVREMSREPIHIPEPYNHIHMGEXIPETVMQEPSVIHMMIPYMIPPY2EYQRGYZRXYPREMRXIHMRTVSKVEQYPQERMJIWXVMM1MLEM1RMYMYTVIGMIEGRXPRMVMPIZSVJMYRPEFSVEXSVXIEXVEPMGWTIVGZSVHIZIRMRWGYVXXMQTSEZIRXYVWTMVMXYEPTPMRHIWYVTVMIHIimprevizibil. As you like it domnule HMVIGXSVQMEQWTYWKEXEWPGVIHTIGYZRXYQEJSWXQIRMRYXMGXMKEXEGIWXTEVMYGMXVIFYMIWSspun de asemenea de la bun nceput GGIPIXVIMMPIGPYNIRIMEYMRYXXSEXITVSQMWMYRMPIRXPRMVMPIEYdemarat deja la un bun nivel pentru GEVMXQYPWWIEGGIPIVIIMHIMMWWJVIEWGRXVYREHIZVEXJSGHIEVXMJMGMMHSYWTIGXEGSPIMVIMWXMFMPIYRKEPSTEPMRXIPMKIRIMMEPWTMVMXYPYMPYHMGYRWTIGXEGSPEFMNEGESWVFXSEVIEGPMTIMS-RWYPHYTIPPY2EYQHEVyEWISREXzGYMVSRMEMQYMGEMRMQMXEFMPEHIM1MPIEPIKIVIEYRYMWGVMMXSVGEIPPY2EYQEJSWXHIEPXJIPHISWIFMXHIMRWTMVEXGGMRWMENYPEGIWXYMRYQIWIZSVRWGVMISRXVIEKKEPIVMIHITIVWSRENIMHIMQEKMRMEPIWYTVEVIEPMWQYPYMVSQRIWGSPYQIQIVKRHHMRGSPSHITPGIVIENSGYPYMFRXYMXHIJERXSQIMHISFWIWMEQSVMMGYYRYQSVRIKVYGIRYIGPYHIIWSXIVMGYPGSRIGXEXWMRGVSRPEGYPXYVEIYVSTIERRGMYHEYRYMHIGEPENHMGXEXHITVTEWXMEySFWIHERXYPYMHIGIRMYzSVETVIEETSMEQMGMMHISZMETMGXSVMWEYWGIRSKVEJMKIRMEPMMGXSVVEYRIVWEY.YPIW4IVELMQETSMERMMIMPYPYMMRXIVMSVEPYRYMTSIXHIEZERKEVHGEVIZMWEWQTMRKVIZSPXETRPEPMQMXIPIWEPIMGEVIITVMRWHYTRGETGEREHMGXEXYVMMGSQYRMWXIMHMRRSYEVXEyTSLIMEzGEXILRMGHIWYTVEZMIYMVIITVIWMIEYRIMPMFIVXMMRXIVMSEVIXSXEPI9REWXJIPHIWGVMWTSEXIEXVEKIGEYRQEKRIXXMRIVMMEVXMXMGIEYRIZSMIWVYTKXYPGSRZIRMMPSVMWXVIEGRWTEXIPISKPMRMMMEPETEVIRIPSVHE1MPIEEYXSEVIGSQTSMXSEVIEHIVJMVIWGPEEGIWXYRMZIVWGSQTPMGITIVJIGXQYWXMRHHISMVSRMINYZIRMPMEPYRIGSEW9RYRMZIVWWYTVEVIEPMWXHIGMTIGEVIRXPRMVMPIEYVIYMXWPWYVTVMRHRQYPXMTPIPIWEPIJEIXIREMRXIGLMEVHIEXVIGIWYFPYQMRMPIVEQTIMGM2EYQRYWIGSRWMHIVEEYXSVHIXIEXVYTVIXMRHIEGWGVMIyHMEPSKYVMPMVMGIzMEJSWXXVMYMVEVNYGEXRXPRMVMPIWEPIGYXIEXVYPEYJSWXPERGITYXEPIEXSVMMHEVEYVQEWWIQRMJMGEXMZI7QEMEQMRXMQGHIEGYQQMXMGYPWTIGXEGSPGY2ITSXYPPYM6EQIEYdin TYWRWGIRHIEZMHWVMKEFIRIJMGMEXHIXVEHYGIVIEPYM2EYQEZMHWVMKTVMIXIRYPQEMXRVHISHMRMSEVQIVIYJMHIPEJSWXTVIIRXPEEGIWXIZIRMQIRXMETEVXMGMTEXEXIRXPEHMWGYMMPIHIPEQEWEVSXYRHHMRYPXMQEM7JMISEVISRXQTPEVIJETXYPGFMRIGYRSWGYXEGSEPHIXIEXVYGVIEXHIWVMKPEYVKLEYWIRRIVQERMETSEVXRYQIPIZSPYQYPYMHITSIMIWYTVEVIEPMWXEPPYM2EYQETVYXREGIPEMERAtanor sau cuptorul alchimistului 8IEXVYPGEMTSIMETSXJMVIYPXEXYPYRIMEPGLMQMMWIGVIXIMMRGERHIWGIRXI6WJMVEXGYIPIKERTIWGVMPIGSPSERIPIMJSEMIVYPHIPETVMQYPIXENSITSMMIyIPPY2EYQM.YPIW4IVELMQzEEHYWHSGYQIRXIVEVIGVMJSXSKVEJMMYPXMQIPIWGIRSKVEJMMEPIPYM.YPIW4IVELMQPEPYNIEPXJIPZIVRMWENYPEEZYXPSGRTVIIREWSMIM14PSVIRXEWYRXIYJSXS2MGYLIVGMYXaPXbXaTTXbdTX3PcTAligheri sau suprarealismul la aP2dYddX346-RWYPEJSXS2MGYLIVGMY15TMGXSVYPYMMWXSVMGYPHIEVX1EVMREERGM4IVELMQGYYRGYZRXnainte de profesorul Ion Pop eminent specialist al avangardei IYVSTIRIYEZYXPSGHIEWIQIRIEQEMQYPXIPERWVMYRZSPYQHIZIVWYVMHIIPPY2EYQYRGYXVEHYGIVMRQEMQYPXIPMQFMEPIInsuleiMSGEVXIEYHMSWEYXVIMZSPYQIHIIWIYVMWIQREXIHI1MLEM1RMYMYYRVIKMSVHIXIEXVYHYFPEXHIYRTVSEXSVWYFXMPGIXMIWEPIEKGYZRXYPWEYMQEKMRIEIEGXMXSXYMEXYRGMGRHWIQRIE3TMRMMPIYRYMGPXSVRIHIQRHIRGVIHIVI nu trebuie luat la lettre. EVFMRIRIPIWXSXYPWIVIEIEWIVIGSRWXVYMERNYVYPGIPSVTEXVYWTIGXEGSPIGGMRYQVEMGMMTVSMIGMEYRYMWTIGXEGSPHMRcaptat pentru televiziune cu EGXREGIPEMXMQT considerat prima GSQTYRIVIHVEQEXMGETSIXYPYMTYWRWGIRHI1MLEM1RMYMYMWXEREMQEKMRMMJMPQEXIHIQEXIVMEPMEEGIWXNSGRIFYRHIYQFVIMHIWMPYIXIHIGPSZRMEPFMMHITIVWSRENIRMRHTEVGHMRXVYRJMPQQYXYRNSGREMZMGVYHYRHIVSWM8LEREXSWWIEQIWXIGWIGSRJYRHRXVSPYQIEFWYVHHISITVIWMZMXEXITPEWXMGGIEQMRXIEKVHMRMPIMPYQMRMPIQEVMPSVTRIWYTVEVIEPMWXI1RMYMYWIQREVIKMEWGIRSKVEJMEHISWIFMXHIMQTSVXERXREGIWXXIEXVYHSQMREXHIMQEKMRMEPXYVMHIVMWXMER6YWYTIRXVYGSWXYQIMMPYWXVEMEQYMGEP ZenobiaSEHETXEVIHI1SRE1EVMERHYTVSQERYPGYEGIPEMRYQIHIIPPY2EYQEJSWXYRTEVMYRHVRIMREGIPEMXMQTHMJMGMP-HIIEGIEQEMMRWTMVEXEJSWXEGIIEHIEGVIEHSYTIVWSRENIXRVYPMFXVRYPIPPY2EYQGIZSVWJVMTVMREWIRXPRMMVIGSRGMPME1EXIVMETSIXMGHISWIFMXHIFSKEXMHIGSRXVEHMGXSVMIWIPEWRWQEMKVIYWXTRMX7YVTVMRHHMRGRHRGRHMQEKMRMHISWIFMXHITVIKRERXIFMRIEPIWIHIMWYVWEPSVXVMQMXIEMVIQIHMEFMPGXVIYR8EHIYWERXSVGYTSVMPIWEPIKVIPIRWTEXIPIGVSVEQTMRKQSVMMMTIVWSRENIPIWEPIQERIGLMRIWEYYXMPMEVIERGSRXVETYRGXEYRIMQYMGMRZPYMXSEVIEMGMZEPWYPPYMSWXEOSZMGMHMRRIJIVMGMVIVSHEXEWXMPEXSEXIWSWYVMPI7TIGXEGSPYPEVTYXIEWJMIQEMWXVRWMGYVEXHIYRIPIEGGIRXIQYMGEPIHIYRQIPSHVEQEXMWQMRYXMPZIMJMREPYPHEVEVIQIVMXYPHIEEZIEGMZEEGXSVMHIGEPMXEXISVRIP6MPIERYRIPPY2EYQMVMWXMER6MKQERRMTSWXEEWENYR4IXVIGMSMYMQEMEPIWVMWXMERVSWYYRGEHEZVYLEPYGMRERXHIZMYMHIIPEWXMGEGXSVce va varia de altfel expresiile n spectacolele ce vor urma dar n EGIPEMWXMPETVSETIyQIIVLSPHMERzGSVTQMGEVIIQSMIPMTEHIWVFXSEVIEEHYWSGYQEQQEMspus spectacolul lui Alexandru EFMNEGYPSVIREWYRXIY. 4IVWSRENIPIXVEZIVWIEITSGMPIVFSEMIPIHIPEERXIPMKLIVMRGSRNYVEXHIZVISEWIIEXVMGIGIWTEPVYJIMEXVRGQMPEYWGEXGRXRHVIJVIRIWXYTMHIPETVMQYPWEYYPXMQYPVFSMQSRHMEPEPIVKRHFYMQEGIWMVIGYTIVIIRYQIPIidentitatea nevestele… Cezar Bolliac RWYMTEPMHMTSWXEEyTSLIXYPYMzREMSREPWITMIVHIRXVITSZIXMMRGVIHMFMPIHIWTMSRENHIXVHEVIMiubire de patrie de bigamie de iubiri HIGMRIQEMXERKSYVMPERKYVSEWIGGMyZMEEIWXIGVYHZMEEIWXIRIQMPSEWHEVRYTSMXVMRGYMEXRGEWzQMGEVIEWGIRMGWEYcoregrafia acestui balet nebun dar FMRISVHSREXPSVMRMIVSMYHE1MPIEEEHYWHIEPXJIPMEMGMWEVIEMpiperul muzicii sale ntr-un decor WSPMHIPEFSVEXMEIVMERREGIPEMXMQTWIQREXHIVEKSYLEKMEVSWGMPRHTIRIWMQMXIHIPETMEIXXEcu vitralii florentine ale poetului GIMWGVMIMZMRESQIHMI la un soi de cinema de cartier pe gradenele GVYMEWISHMLRIWGTIVWSRENIPIQEVXSVIEPIEGMYRMM4MIWEEJSWXWGVMWWITEVIPETEXVYQMRMHI2EYQM4IVELMQPESWXMRIXMMETSMPE7MKLMSEVERERMMMXIXYPTWXVIEZIVZEWTYQSEWEYRSVHIKIXIWTVMREVIGIEPIEVKTIGPETIPIMQEKMREMIMEFMNEHE1MPIEMEGXSVMMWMSIGLMTIXVIQHISQSKIREYVIYMXWVIHIEWTMVMXYPEGIWXIMKPYQIHIZEGERJVWSVIWTIGXIGETISZIRIVEFMPTMIWHIQYIYHMQTSXVMZFYWGYPRHXIXYPMHIPMVRHPEVRHYPPSVHYGRHYPEWXJIPQEMHITEVXIGGMPMTWEHIVIWTIGXEXYXYVSVGSRZIRMMPSVIsingura cale de a resuscita o EZERKEVHRXPRMVMPIWEYRGLIMEXGYSEHETXEVIHYT InsulaPYMIPPYNaum pe muzica Adei Milea cu colaborarea Andreei Iacob pentru VIKMISMRWYPTPMRHIGYPSEVIRinima acestui arhipelag de WTIGXEGSPIFRXYMXHITMVEMHIsirene de papagali sau de fantome. Ada Milea ne-a propus un concert sau un spectacol muzical unde MRZIRMEWEYEGVSFEMEPMRKZMWXMGWIHIPRYMEYGYEGIIEMZSMIFYRRXVSRGPGMXTSZIWXIRNYVYPYRYM6SFMRWSRVYWSIMEPWGPEZYPYMWYVineri le bon sauvage pe care Roby PRZEWZSVFIEWGWEYWQRYMEWGGYZMRXIKSEPIMMEQVIKWMXEMGMREPXIMTSWXEIHEVGYEGIIEMFYGYVMIEPXYVMHIGIMGMXEMdeja pe Anca Hanu Irina Wintze 6SQERE1IVIM6EQSREYQMXVIERXPMRIVPSHVMERYGYXPMRSHVIERYGMXIHISTSXVMZYPXMQIPIHSYWTIGXEGSPIRGSHEXGYPSVMVMXQYVMMTPGIVIENSGYPYMEYGYGIVMXWEPERXPRMVMPI-RXIVREMSREPIIPPY2EYQHIPEPYNMEYMRYXEEHEVXSEXITVSQMWMYRMPI2dY8cTaPcXP4RdcTab First edition October 7-9 2011 Encounter Gellu NaumTLVII TVSHYGXMSRW SJ XIXW F IPPY 2EYQ rZenobia The Island and Florence is I r EPSRK MXL HMWGYWWMSRWexhibitions and book launchings celebrating the Romanian surrealist author were all part of a festival that lived up to its promises writes Mirella Patureau. International Encounters hosted by the Cluj National Theater aims to continue its mission to forge a theater laboratory and encourage artistic adventures.PSVIRXEWYRXIYJSXS2MGYLIVGMYPROMOCOMEDIA ERORILORTEATRULMASCA1754425LBAULIAOCTOMBRIE5aXPAPaTC84060ENTRUCjAAJUNSDEJALAEDIIAA6AIPENTRUCjMIIDESPECTATORIIAUTRECUTPRAGULsNCEPhNDDINFORMhNDUIMIIDEPjRERIVjASIGURCjNUEUORSjVORBETIDESPREFESTIVALULDELALBAULIADICjDESPREESTIVALULNTERNAIONALDE4EATRU0OVETI3UNTTOTMAIMULTEDESPUSIARSINTEZADEVINETOTMAIGREOAIEOBLIGhNDUTEPARCjSjTEsNTINZIPEZECIDEPAGINIISjTEIEICUMhINILEDECAPChNDVEZICjETISINGURULCARESCRIEDESPREASTANSFhRITTEATRULBAULIAOCTOMBRIE346Lista de spectacole1 spun gurile rele EJSWXSWEPEXGYHIXSEXIYIGIWHIHMZIVXMWQIRXGYWTIGXEGSPIJMIyPETPIRIEPzEHMGHIFYPIZEVHWEYTYVMWMQTPYGSQMGIJMIHXXSEVIHIHYVIVMHIGETEHMGTVSFPIQEXMERXI-RWMWXWWTYRVIEGMMPIYVXIHMRWMQTPYPQSXMZGGIPIyHIFMRIzEYJSWXGSZVMXSVHIQYPXIWGRHGVIHMFMPMXEXIEfestivalului n ochii unuia care n-a EYMXHIIPRJMRIWTIGXEGSPIPIRYle voi analiza aici un jurnal detaliat IMWXTI0MXIV2IXVSEYTPYWYVMMQMRYWYVMMEVWTEMYPTYFPMGMWXMGIEGYQEXXHIQMGRGXRYTSXHIGXWIRYQVHSYXVIMXMXPYVMVIQEVGEFMPIy FWSPYXzHIPE8IEXVYP8y7GEXXIVIHzHMRRKPMESQTERME1SXMSRLSYWIy4PE7LEOIWTIEVIzHIPE8IEXVYPRHVMGy VXMWXSzHMRIPKMESQTERME6MVSPEVQIWWTYRIHSEVPEQSHYPGIPQEMGSPVIWGGGIPIGEVIMEYmeritat aplauzele au fost mult mai QYPXIHIGXGIPIGEVIRYPIEYQIVMXEXMGEVIPIEYGIVMXTVMREVXMJMGMMMWGLMQSRSWIPMHIHVEKYPKPKMIMWGIRMGI7IPIGMSRIVYPYRMGEPWTIGXEGSPIPSVIHMMIME-EEJSWXEGXVME-SERESKERHMVIGXSEVIE8IEXVYPYMHI4TYMy4VMGLMRHIPzHMRPFE-YPMEPMWIPIGMSRIVMHIEPYRKYPERMPSVEYJSWXPMRE1SPHSZERM3ERE0IELYSRGPYMMRGMYHEWTEMMPSVHIXIEXVYaproape inexistente la Alba Iulia n GMYHEWPEFIMTVSQSZVMPERMZIPREMSREPRGMYHEFVJIPSVMRGMYHEGXSVZEWTIGXEGSPIGEVIREZIEYGIGYXERTVSKVEQXSXYMEJSWXFMRI3VMGYQEMHESIYRJIWXMZEPYXMPGYRYQIWMQTEXMGMIWIRMEPry4SZIXMzrTIRXVYGIIEGIRWIEQRXIEXVYPEVQEMEPIWIYRJIWXMZEPGEVITVIKXIXIXIVIRTIRXVYZMMXSVYPteatru de proiecte de la Alba Iulia. EEMEYMXFMRIAlba Iulia Theater Stories International Theater Festivalespite its lack of venues and local theater companies the city of Alba-Iulia hosted the 6th edition of Stories International Theater IWXMZEP 8LI GSRXVSZIVWMEP JIWXMZEPwas enthusiastically greeted by an IEKIV TYFPMG VMXIW PSVMER6EVI8MPIEK7LSWWYGLEW88LIEXIVWAbsolut British company Motionhouses Scattered or Artisto by the Belgian company Rirolarmes played to sold-out houses.ESTIVALULNTERNAIONALDE4EATRU0OVETIEVYRJMVVSYIMWXHIEPYRKYPJIWXMZEPYPYMGEVIRGITIWGSRXIITVMREGIIEGWIRXQTPMGVIXIERYEP8SXYMRYGSRWIGZIREJEGIGEIPWTPEG2YFYKIXYPKIRIVSWMRYQEVOIXMRKYPKRHMXGYJSGMTEWMYRIHIGXVIGIMGEVIGVIHGTYREVEPEGEPITVMREJMIHEYRYQIPIFYREPJIWXMZEPYPYM2YGMJETXYPGJIWXMZEPYPEVIPSGRXVYRSVEJVXIEXVY7RYYMXQGPFEZIHIXIEXVYGEQSHEXTIPYRGRHYRIPIXIEXVIFYGYVIXIRIQEMHEYGXISXYVTVMRGEWIPIHIGYPXYVGYXSXWSMYPHIGSQIHMSEVIYSVHIVIGYRSWGYXHYTTYHIVMEGETIXIPSVHIZIHIXHITIEJMIPIJVYQSWGSPSVEXIYRIVIPIIPIWYRXWTIGXEGSPIPIGEVIWINSEGEGSPSMGEVIHYTETPEYIPEWYRKSPRWYJPIXYPWTIGXEXSVMPSVJGRHYMWWYWTMRIGyGMRIXMIcnd mai 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festival.2YWYRXYRJEREPFMPERYVMPSVHISVMGMRIEVJMJGYXIHEVGIPIGMRGMMPIHIJIWXMZEPSFPMKGYQZEWXVEKIQPMRMI7EYNYGEXGEQXVIMIGMHIWTIGXEGSPI7PMTPMRITSMTISVMYRHIEMJMQIVWTVMRSVEZIHIEMFEGSTMMGYWXIKYPIIHIJIWXMZEPRQRRJMIGEVIHMQMRIEIVEYWTIGXEGSPITIRXVYGSTMMGEPEQEVIWVFXSEVITMSRMIVIEWGFEKVYTYVMHIXMRIVMRKLIWYMMRNYVYPYRYMEGEVIGTXEWIGMRIXMIHIYRHIYRGEMIXTVSKVEQTIGEVIRQSHRSVQEPHSEVMRZMXEMMPTVMQIEY4PYWGWIRXQTPEWXVIGMTIPRKZVISWEPYRHIWINYGEGIZEWMGIQGSQIHMIMEYIEMVWIXIPIHIEJEVMYMXIEEXIpomeneai nconjurat de gesturi de obiecte aparent banale de WMXYEMMGIMRIEYHIJIWXMZEPMPVIGSQERHEYMRHMVIGXHVITXYRIZIRMQIRXEPGSQYRMXMMIIEGIIVIZMKSVERXSVMGXHIVIGIEQZVIEWTVMZMQPYGVYVMPIVXMWXSJSXS1MLEM0EV7GEXXIVIHJSXS1MLEM0EV346180MRMXIEGSQYRMXMMGSVIKVEJMGIJIWXMZEPMIVIEJSWXFVYWGXYPFYVEXHIYRQIWENEPMVSYPYMHI4VIWEPERHMHEXYPYMPE4VIIHMRMIXVMQMWMRGPYWMZYRSVEHMRXVIMRZMXEMMWXVMRMEMITPSVIyIRWIEQRWJEGMYRJIWXMZEPHIEVXGSRXIQTSVERRMGIRWIEQRWJEGMYRfestival de dans contemporan n 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8IXYPMRXIKVEPRIRKPITILXXTTSWXWTIGXEGPIFPSKWTSXGSQYQRTVSKVEQREJEVEGIPSVHSYTVSHYGMMRGSRGYVWYREWIQREXHIEPIRXMREHI4MERXIGIEPEPXrHIXVMSYPHYEVHEFME1EVMEEVSRGIEMVEKEREYPYXRYIMWXERMGMYRWTIGXEGSPVSQRIWGMRMGMYREPXeveniment ct de ct legat de dansul VSQRIWGTRMMHIRXMXEXIEGIPSVGEVIXVMQMWIWIVQIWENYPPIVQRIESFWGYVRISJMMPSVERHMHEXYPPE4VIIHMRMIGYXSXGYFMVSYPWYHITVIWSRWMPMIVYPERHMHEXYPYMIXGIun proiect artistic cu ceva istorie n WTEXIMRGPYWMZSMRXIVZIRMITIVJSVQEXMZRGEHVYP-QTYPW8ERMIRERYVQGYYRERRGEVIWRXMQTPMGEMPSVMRPYIVE-SRYQMXVIWGY1ERYIP4IPQY-YPMERE7XSMERIWGYXSMGSVIKVEJMMHERWEXSVMMXIJER8MVSRGYVEXSVMteoretician sau cum zice el yXVEJMGERXHIMRJSVQEMIl7IQREVIEtextului despre care vorbim ca provenind din partea acestui birou al ERHMHEXYPYMRYIVEYRKIWXMRXMRHWMTVSXINIITVMRERSRMQMEVITIEHIZVEMMEYXSVMGMWIMRXIKVETIHISTEVXIYRIMEFSVHVMEVXMWXMGIGEmare parte dintre proiectele n care WRXMQTPMGEMPYIVEYQMXVIWGYM4IPQYMyGERHMHEXYVElJYRGMSRIERVIKMQYPYRIMTIVJSVQEXMZMXMTSPMXMGIQMRHTIprovocarea cotidianului iar pe de EPXTEVXIWIQREPEEWYQEVIEGSPIGXMZEQIWENYPYMIMWXEXRXVEHIZVSWSPMGMXEVIHMRTEVXIEYRSVQIQFVMEMGSQYRMXMMHERWYPYMGEITPSVIWTIVQMXITVMQEVIETYFPMGERKVMNSVVMMEGIWXIMGSQYRMXMJEHIMRHMJIVIREEYXSVMXMMJMREREXSEVIIRXVYP2EMSREPEPERWYPYMr2RYQEMEVIYRWTEMYEPWYHIGXIZEPYRMFYRIMRMGMRYTEVIGZEGTXEunul n viitorul previzibil iar HMVIGXSVYPWYIRYQMXMRXIVMQEVMRXVEHIZVEGIWXEJMMRHQSXMZYPpentru care organizatorii au respins WSPMGMXEVIEEEGYQEETVYXRQMWXIVMSEWEPYEVIHITSMMIEWVFSEMGIMVEKEREPJMVIZMGHMRdebutul propriului ei performance EJPEXRGSQTIXMME.EVHMRHYVSTITIRXVYTVMQEHEXHIPERJMMREVIEsa eXplore dance festival nu a primit JMREREVIHMRTEVXIE2rTYVMWMQTPYHMRGEYEYRSVMREHZIVXIRIEHQMRMWXVEXMZIREPGXYMVIEGIVIVMMGEVIEYJGYXGETVSMIGXYPHITYWRWIWMYRIEHIJMREREVIWRYTSEXJMRMGMQGEVNYVMEXRGIQWYVEWXJIPHIHIXEPMMHIMRXIVIWWXVMGXPSGEPEVJMXVIFYMXWMRXIVZMRRJIPYPRGEVIJIWXMZEPYPITPSVIEVIJPIGXEXTYFPMGTVSTVMEVIPEMIGYQIHMYPGSVIKVEJMGRGEVIWIHIWJSEVVQRIHIHMWGYXEXHIXEPMMPEGEVIWIEHEYKTYVEGSMRGMHIRRWGYXHMRTVSKVEQYPLESXMGMHMZIVKIRXEPGIPSVMQTPMGEMGGIEQEMVIGIRXRXPRMVIEGSQYRMXMMHERWYPYMTVMZMXSEVIPEZMMXSVYPIMEEZYXPSGREGIPEMXMQTGYSJMGMEPEGSRJIVMRHITVIWEITPSVIRMQIRMKRHMRHYWIGJETXYPRWMRIEVTYXIEJMTVMZMXHVITXWEFSXEVIEGSRJIVMRIMPXJIPWTYWMRZMXEMMWXVMRMrGMZSVJMJSWXrREYEZYXEGGIWPERMGMSMRJSVQEMIHIWTVIGIWIJEGIR6SQRMERQEXIVMIHIHERWHEVPMWESJIVMXRTPIRMXYHMRIEWEYRWTIGXEGSPHIRIRIPIWEPYRSVGSRJPMGXIMRXIVRIEPYRIGRHRHIVMSVMY MZSVJMJSWXrJMMRHGQRHSMIWGWIVMSWGZVIYRGVMXMGMQTSVXERXZEJMFXYXHVYQYPTRRWXYPYVSTIMGEWZEHGSPIGMEHILMXYVMGSVIKVEJMGIEPIERMPSVPrezentat n prima zi de eXplore spectacolul lui Nicole Beutler 1 S o n g sJMKYVEWIGYYRERRYVQRTVSKVEQYPJIWXMZEPYPYMMERWHIPE-WXERFYPTEVXIRIVREGIIEMVIIEEPIZIRMQIRXYPYMHIPEYGYVIXM0EJIPMERGIJSV2SXLMRKal lui Eszter Salamon. Patru EPXIWTIGXEGSPIHMRGSQTIXMMIWEYHMREJEVEIMWEYVIKWMXRTVSKVEQYPHIERYPEGIWXEEPMERWGMRITIGMRIEyGSTMEXlIMERWSJMPMEPEITPSVIWEYMRZIVWVIIEYE.EVHMRHYVSTITVIWYTYRITPMQFEVIEJMEEGIPSVEMWTIGXEGSPIEXYRGMHIGIRYWIRXQTPPEJIPMPESVOMRK8MXPIJIWXMZEPSVKERMEXHIYREPXQIQFVYEPVIIPIMSVOWTEGIVYIPPIWVIEMMPIPYMSVMWLEVQEX1IK7XYEVX4LMPMTTILQEGLIVM-ZSMQGLIZGIMPEPMGSVIKVEJMMRZMXEMPEYGYVIXMXSMrJSEVXIGYRSWGYMRHERWYPRYHSEVIYVSTIERJGYWIVHINEXYVYPQEVMPSVJIWXMZEPYVMGSRXMRIRXEPIREMRXIWENYRKR6SQRMEIZIRXYEPWIRXPRMWIVPEIHMMEHMRE8ERMQYKYWXHIPEIVPMRGSQTEVEFMPGEMQTSVXERGY-QTYPW8ERMIREHEVJETXYPIQEMTYMRWYVTVMRXSVGEVITVSHYGIVIEJMIMTEVMEPde program a festivalului de dans din capitala Turciei. Unde trebuie spus dansul contemporan IMWXRXVSQWYVMRGSQTEVEFMPQEMQMGHIGXPEYGYVIXMRYQVYPHIGSVIKVEJMGSRXIQTSVERMRYITYMIERMGMQGEVHIKIXIPIHIPESQRHEVEQFMMEMERWHIEMMQTYRISTSMMIVIGSKRSWGMFMPTITMEEIYVSTIERRGIEVGWGSQTIRWIIPMTWYVMPIJEGXYEPITVSTSMRGPYWPEYGYVIXMRconcursul pentru tineri coregrafi EionometryHIHYEVHEFME1EVMEEVSRGIEMVEKEREYPYXGSPIGXMZGEVIGXMKEWIRPE-WXERFYPEGIPEM4VM.EVHMRHYVSTIEJGYXTEVXIHMRTVSKVEQYPSJMGMEPRIyIQIVKIRXlEPMERWIEHIZVEXJMMRHGSTVSHYWHIMERWrHEVMHIITPSVI7MKYVG6SQRMERGVIWMQXIPERMZIPYPITIVMIRIMTYFPMGYPYMSSEVIGEVIRIZSMIHIWMRGVSRMEVIrRWQSQIRXYPIVSEPERMPSVIGIPQEMTVSFEFMPHIQYPXHITMX7MKYVGTSMWJEGMYRJIWXMZEPHIHERWQEMRWXVIEQGEVIWFEKIMYGYVIXMYPTIPMWXEPYRKEXYVRIIPSVYRYMSVMWLEVQEXrRWEWXERYZEFKEYGYVIXMYPTIPMWXEHIPSGYVMETIXMWERXIYRHIWIJEFVMGHERWYPHIQMRIETVSKVEQEXSVMPSVGVMXMGMPSVMGSVIKVEJMPSV7MKYVGTSMMKRSVEWYZIVERQIHMYPEVXMWXMGHMRGEVITVSZMMGEVIIMWXMIZEPMHEXHIEGIPIEMMRWXERIGIMEYMWyHElPYMSVMWLEVQEXrHEVEWXERYRWIEQRHIGXGYGYVIXMYPEVIRIZSMIHIYREPXJIWXMZEPHIHERWRGYRYPEVIWMTYRWIVMSWTVSFPIQEMHIRXMXMMEHMWGYVWYPYMEPYMGYQTYXIQWJMQEPXGIZEHIGXSGSTMIE3GGMHIRXYPYMGYGMZEERMRXVMIVI7ITEVIGIHMMEHIERYPEGIWXEEITPSVIHERGIJIWXMZEPEHIWGLMWRSMTSWMFMPMXMEARMAIDEE8PLORATNULACESTASINGURULFESTIVALINTERNAIONALDEDANSDINUCURETISINGURULDIN2OMhNIADEFAPTE8PLOREDANCEFESTIVALAGjZDUITICOMPETIIAPENTRU0RIXARDINDUROPEPREMIULPENTRUTINERICOREGRAFIEUROPENIDESEMNATDEUNJURIUFORMATDINPARTICIPANIILAWORKSHOPULRITICALNDEAVORDESTINATTINERILORCRITICIDEDANSNMATERIEDEDANSEMERGENTCONCEPTDESPRECAREAMMAISCRISTOTAICIFESTIVALULE8PLOREAFOSTAADARCAPITALAABSOLUTjsN ESAsNTsMPLATsNSjCUSECIUNEANONCOMPETITIVjFESTIVALULPROPRIUZISAFLATLAAASEAEDIIEECUTOTULALTjISTORIEWhat else would there be to eXploreWriting about Bucharests eXplore dance festival Iulia Popovici condemns its rift with the local dance community. Presenting no other dance piece by Romanian choreographers besides the two entered in the competition section one by Valentina de Piante and XLI SXLIV F HYEVH EFME 1EVME EVSRGIE ERH VEKERE YPYX XLIevent illustrates the internal conflict plaguing the Romanian dance scene. Concerned with bringing to Bucharest shows already acclaimed at major European dance festivals such as ImPulsTanz Vienna eXplore dance festival doesnt face the questions of identity and of how to be something else besides a copy of the West.Iulia POPOVICI346foto Lucian Renitsa23423.4820556XP4A14B2DThe bodys syntax and enunciation PSVXYKYIWIGLSVISKVETLIVW7SJMEMEWERHXSV6SVMEVIXLIMRRIVW SJ XLI 4VM .EVHMR HYVSTI XLMWyear hosted by the eXplore dance festival. MRE IVFRIWGY HMWGYWWIW XLIMV TMIGIA Gesture that is 2SXLMRKFYXE8LVIEX pointing to its investment in two different forms of communication verbal and body language. Quoting the artists we approach the word like a physical body we expose to the laws of movement and of composition.n cadrul XPLOREANCEAND0ERFORMANCEESTIVAL organizat de WSGMEMEYPXYVIEEZYXPSGGSQTIXMMETIRXVYGXMKEVIEprestigiosului premiu pentru dans contemporan 4VM.EVHMRHYVSTI n cadrul programului au fost selectate 15 spectacole realizate de XMRIVMEVXMXMHITIWGIREHERWYPYMGSRXIQTSVERIYVSTIER4VIQMYPEJSWXEGSVHEXHIYRNYVMYJSVQEXHMRRSYNYVREPMXMTEVXMGMTERMRcadrul RITICALNDEAVOURTVSKVEQHIJSVQEVIMSVOWLST-uri TIRXVYNYVREPMXMIQIVKIRMHIHERWGSRXIQTSVERWMTIVJSVQERGIVMXMGEPRHIEZSYVM4VM.EVHMRHYVSTIWYRXTEVXIEMRMMEXMZIMARDINDUROPEHIZSPXEXHIGIMIGIQIQFVMMEMVIIPIM9PXMQEIIPKME21SRXTIPPMIVVERESVOWLSTSYRHEXMSR9RKEVME0SOSQSXMZE1EGIHSRME7XEXMSR7IVFMEYPXYVI6SQRMEYPPFIVKEPPIX7YIHMEMQIVEWYPXYVISYRHEXMSR8YVGME7SYXLFEROIRXVI1EVIEVMXERMIHERGIAustria. 4VIQMYPEJSWXEGSVHEXEVXMXMPSVportughezi 3OFIAIASI6qTOR2ORIZPENTRUSPECTACOLULESTURETHATIS.OTHINGBUTA4HREAT7TIGXEGSPYPIWXISGVIEMIGEVIMEREXIVIPERXVIXMIVIEEHSYJSVQIHIPMQFENGIPEPGYZMRXIPSVMGIPGSVTSVEP4VMRMRZIWXMKEVIJMMGMMRXIPIGXYEPEHIFPSGVMMWIRWYVMPSV1920346EVXMXMMTSVXYKLIMEVYRGSPYQMRGEVIWGLMQFVEHMGEPQSHYPRGEVIWTIGXEXSVYPWIVETSVXIEPEKIWXYVMPIsale cotidiene. 3VMGIKIWXHMRWGIRSVMGIJSVQHIVSWXMVIlEQIRMRzWWITVIWGLMQFIRGIZEGYXSXYPRIEXITXEXEGVYMGSRSXEMIEXIETXWJMIHIWGSTIVMXTVSZSGEXWEYGLMEVJEPWMJMGEX7IJEGISWMRXIWYFXMPRXVIGSQTSRIRXIPIGIPSVHSYJSVQIHIPMQFENITVIWMEGSVTSVEPHIZMRIinstrument al rostirii manifestarea JMMGMVETSVXEVIEPESFMIGXIPIGEVIMIWHMREWGYRHIVIRWGIRWYRXIXVETSPEXIEWYTVEZIVFEPMVMMJVcantonarea ntr-un sens prestabilit.IWTVIWTIGXEGSPYPPSVGIMHSMEYXSVMEJMVQyRspectacolul A gesture that is nothing but a threatEWYQQGYZRXYPGETIYRGSVTTIGEVIPITYRIQEGIPSVEMPIKMEPIGSQTSMMIMMQMGVMMTVMZMGYZRXYPGETIYRGSVTRWIEQRWJEGMETIPPEXSEXTSXIRMEPMXEXIEWEWRYXISTVIXMHSEVPEWIRWYPPYMGMMPETPEWXMGMXEXIEWYRIXYPYMMPEVIPEMEWEGYZSGIEVIWTMVEMEMQYMGEPMXEXIE7ITSEXISFWIVZEREGIWXWTIGXEGSPGEPIEHIKIRIVEXMZHMRXVIGYZMRXIGSRXVEHMGXSVMMGSRXIXIJVZVISVIPEMIRXVIIPIWEYGLMEVPMQFENIMRIMWXIRXIGVIEXITVMRPIKXYVMWYFXMPIMHIPMGEXIRXVIWYRIXIQMGVMVIWTMVEMMMfoneme.7IVIEPMIEEWXJIPYRWGLMQFRXVIHSYJSVQIHIZMEEGSVTSVEPMXMMMEVSWXMVMMETPMGEPIKMPIPMQFENYPYMEWYTVEYRYMGSRXIXRGEVIKIWXYVMPIMKIRIVIETVSTVMMPIVIKYPMGSRHYGIRYEEGYQRIEQTYXIEEXITXEPESJSVQHISKPMRHMVIWEYPEYRWGLMQFHIWIQRMJMGEMMRXVIGIPIHSYplanuri de discurs. Ceea ce se petrece este o WGYVXGMVGYMXEVIEHMWGYVWYPYMyWGVMWzTVMRQMGEVISVTYPIWXITVMRWRXVSRSYJSVQHIWMRXERXVSQIXSHSPSKMIEWGVMIVMMJVEIPSVHIQMGEVIGIWSPMGMXRSMrezerve de sens. 8SXYMGIIEGIEGIWXWTIGXEGSPRIXVERWQMXIRXVYRQSHMRXIPMKIRXMMVSRMGRYIWXIRIETVEXSTVSZSGEVIPIKEXHIGYXEVIEYRSVWIRWYVMRSMPERMZIPYPVSWXMVMMMEPITVIWMIMGSVTSVEPIRTPERYPHVEQEXYVKMIMWTIGXEGSPYPYMMEPIPEFSVVMMNSGYPYMGYPMQMXEHMRXVIGYZRXMGSVTHMRXVIHSYPYQMWYFWXERMEPHMJIVMXIYREWTIGXMQTSVXERXHIZMRIQMIYPHMWGYVWYPYMMTYXIQGMXMTVMRXVIGYZMRXIMKIWXYVMSPIGMITIGEVIXVIFYMIWSRZQHEGRYHIFPSGQcuvintele din plasa unor sensuri consacrate iar gesturile HMRVYXMREPSVGSXMHMEREZIQXSEXIERWIPIWEWMWXQPESGVMEWIRWYPYMPESWGPIVSEWIQRMJMGEMMPSV7YWTIRHEVIEWIRWYVMPSVXVEHMMSREPIMMRXIKVEVIEGSVTYPYMntr-un discurs generat de legi care nu i sunt proprii ar fi EEGYQIWXIZMMFMPREGIWXWTIGXEGSPSQSHEPMXEXIHIVIKRHMVIEVETSVXVMPSVRSEWXVIPEGYZMRXIMKIWXYVM7SJMEMEWMXSV6SVMGSVIKVEJMEGYZMRXIMWYRIXIMEHYGGSVTYPRGSRHMMEHIEMEWYQEPIKMPIVSWXMVMMXSGQEMpentru deblocarea zonelor ncremenite n structura XVEHMMSREPEWIRWYPYMfoto Lucian Renitsa21CRONICA44254422674MIWEHVEQEXYVKYPYMGIL4IXVIPIROETVIQMEXREVEWEZSVFIXIHIWTVITIVMGYPSEWEGSRJYMIKIRIVEPEPYQMMRGEVIXVMQJIGXIPIHIZEWXEXSEVIEPIVIPEXMZMWQYPYMGSRGITXIPSVQSVEPIHIFMRIMVYEVYRGMRHMZMHYPRXVSEQIMXSEVIWTMVEPHIWGIRHIRXGEVIWJVIXIGYTMIVHIVIEHIWMRI3EPMIREVIFSPRZMGMSEWRIWXTRIXIEYKYQIRXEXHIPMTWEHIGSQYRMGEVIVIEPMXSXYPWIHSZIHIXIJVMIMVI4IRXVYEEXVEKIEXIRMEEWYTVEYRSVMHIMIVSHEXIHIQYPXHIWYTIVJMGMEPMXEXIEGSRWYQIVMWXHIZIRMXSEHSYEREXYVGLMEVMTIRXVYGIMQEMVIMWXIRMHMRXVIRSMIPIROEPIQFVEGRJSVQEYRIMTSZIXMSGERXIYRQEVIWGVMMXSVZMSPIEYRFMEXHIERMGSTMPYPGIPSVQEMFYRMTVMIXIRMEMWMLMRYMXHIZMRSZMIIPRGIEVGWMQVXYVMWIEWGJETXEEFSQMREFMPQEMRXMIHMXSVYPYMWYETSMWSMIMapoi lumii ntregi prin intermediul unei emisiuni de televiziune de QEVIWYGGIWMRXMXYPEXWYKIWXMZl4YVMJMGEVIzIGXSXEP2MQIRMRYTEVIWRIPIEKWEYWJMIEJIGXEXHIKVSZMEJETXIMJMIHMRTVMGMREYRIMGSRNYRGXYVMHIWMXYEMIrIQMWMYRIEHIXIPIZMMYRIIWXIWGSEWHITITSWXIEGXHYTGSRJIWMYRIEWEMEVGEWIXEGYRVIKMWXVEVIEIMWITMIVHIrJMITIRXVYGHMRTYRGXYPHIvedere al editorului de exemplu confesiunea n direct la tv ar putea fi un extraordinar eveniment de marketing. 0IKMPIPYQMMWTIGXEGSPYPYMRGEVIXVMQMJEZSVMIETIILMFMMSRMXMMRHMJIVIRXHIZEPSEVIEPSVQSVEPYGXQEMGSVYTXGYEXXQEMFMRIMEWXESXMIMQEGLMIYEIQMWMYRMMKEXEWJSPSWIEWGMRJSVQEMEGEMRWXVYQIRXHIERXENTIRXVYESFMRIGIIEGIZVIEHIPEIP9PYMXWGVMMXSVYPRGITIWWIRHSMEWGMIPRWYMHIKVEZMXEXIEJETXIMWEPIMEVKPEWYPTVSTVMIMGSRXMMRIIWXIRRFYMXHIRSVSMYPGEVIWIEHYRRGERXMXEXIHMRGIRGIQEMQEVIPEWYTVEJEEfaptei.6IKMSVYPPIERHVY1KVIERYMWGIRSKVEJERHVEHELMVMEGMQEKMRIEYRWTEMYHIFEXIVIGEVITIVQMXITYFPMGYPYMWTIGXEXSVWHIZMRTEVXIEIQMWMYRMMHIXIPIZMMYRIXVERWJSVQRHYPHMRXVYRVIGITXSVTEWMZRXVYRTEVXMGMTERXHMVIGXMNYHIGXSVMQTPMGMXEPIZIRMQIRXIPSVRJMEXI7XYHMSYPHIXIPIZMMYRIWIXVERWJSVQRXVYRYRIGVERMQIRWGEVIHIZPYMIJEEEWGYRWEPYGVYVMPSVGYGEVIRIEQSFMRYMXEQMPMEVMXEXIEIWXIMGLIMEHINSGEPYMHVMER8MXMIRMRVSPYPPYM.EGIONCA.0URICAREI4IXVIPIROEVIKMEPIERHVY1KVIERYWGIRSKVEJMERHVEHEChiriac cu Adrian Titieni Vitalie Bichir Medeea Marinescu Lamia IPMKERPSVIRXMREMPIEIWSRME4SWXIPRMGYVRHYE1MVGIEVQERHEPSX8IEXVYP2EMSREPYGYVIXMWEPEAtelier WGVMMXSVYPEJPEXRTPMREWGIRWMYRIYMQMXIPRWYMHIEQSVEPMXEXIEWERGIVGEVIEWEHIEQVXYVMWMWIPSZIXIHIMRHMJIVIREGIPSVHMRNYVGEVIRYTEVIEJMHIGXSEPXPEXYVEWPFMGMYRMMEWGYRWIHIGEVIWIJEGIZMRSZEXWPFMGMYRITIGEVIEGXSVYPSVIHRRYERIHIMRXIRWMXMHMJIVMXIKVEHEXQIRMRRHYWIXSXXMQTYPHISTSXVMZRYRXVYPHEVMREJEVEGSRWXVYGMIMVSPYPYM8VERWJSVQEVIEWEJMREPHMRZMRSZEXYPGEVIWIGMIXIRRZMRKXSVYPEGPEQEXHIWSGMIXEXIEMQSVEPIWXIVIEPMEXGYSHMWXEREVIMVSRMGGIQYXEXIRMEWTIGXEXSVYPYMde pe individul n sine pe contextul n care un astfel de exemplar uman poate exista nestingherit.1IHIIE1EVMRIWGYRVSPYP1SRMOMGVIMSRIEGYYYVMRTSVXVIXYPWSMIMGEVITPYXIXIREFYVMMEQIMXSVMEMYRIMVIEPMXMJEPWISWSQREFYPGEVIXVIGITIPRKQSQIRXIPIHIGVMQENSVEPIWSYPYMIMGYYRJIPHIMVIWTSRWEFMPMXEXIKVEMSEWGXVMEVIYIXIWVIHIEWYFEWTIGXYPPEFMPMXMMIQSMSREPIPMTWEHIWYFWXERETIVWSRENYPYMAmoralitatea ei ia forma unei JPYMHMXMGIWIRZIGMRIEHIQYPXIori cu catalepsia.Singurul moment ratat din punct de ZIHIVIEVXMWXMGQMWITEVIRXPRMVIEHMRXVI.EGIOMTVISX8SQMVMWXMRYRTYRGXGVYGMEPRHIWJYVEVIEMRXVMKMMHMRTVMGMRETVIWXEMIMEGXSVMGIXMXSXEPRIGSRZMRKXSEVIElui Tomi Cristin.6IKMSVYPPIERHVY1KVIERYVIYIXIWTWXVIIEXIRMEWTIGXEXSVYPYMTIPMRMEJSEVXIWIRWMFMPa dezbaterii morale metafizice TIRXVYGEVIWYFMIGXYPSGERXEPTMIWIMRYIWXIHIGXMQTYPWYPMRMMEPGEVITYRIRQMGEVIITYRIVIEMEREPMEPYGMHEWIXYPYMHIZEPSVMGEVIKYZIVRIEPYQIEGSRXIQTSVERViolul este numai pretextul HIGPERVMMYRYMTVSGIWHIMRXIRMIRcare spectatorul se vede total implicat. Un spectacol intens care WIXIEHEXIPITIRXVYHIGPEREVIEYRYMTVSGIWHITYVMJMGEVIGSPIGXMZPurificationARGE -SRM VIZMIW IGLplaywright Petr Zelenks Purification staged at the National Theater in Bucharest. PIERHVY 1KVIERY HMVIGXWthe dark story of a famous writer that rapes an 11 year old boy and guilt ridden confesses during a T V show. Instead of receiving punishment he ends up being universally acclaimed reflecting societys corruption and immorality.JSXS8IEXVYP2EMSREPYGYVIXMCRONICA442544226722Silvia DUMITRACHE.SGYPHIEQEQEMHIEXEXErRYGVIHGIMWXGSTMPGEVIWRYJMtrecut prin aceste roluri imitnd ceea GIZIHIERGEWRXVITVMRMMWMTIRXVYEMGSRWXVYMRWTEXIPIblocului sau n curtea casei propriul univers casnic mimnd severitatea TEXIVRWEYFPRHIIEQEXIVRGIPmai des ntlnite atitudini parentale. 9RNSGETEVIRXRIZMRSZEXMJMVIWGRGYVWYPHIZSPXVMMTIVWSREPMXMMIWIRXQTPRWGRHJMVIWGYPMRSVQEPMXEXIERYGEVEGXIVMIERMGMQGEVRQMGQWYVZMEETVMRMPSVMGRHWSGMIXEXIEIWXIEXXHIHIEJIGXEXRGXMRHMZMMMTEVERYMQEMTWXVERMGMYRHVEQHIomenie Atunci copiii la rndul lor MTMIVHHMRYQERMXEXIXVEWRHYMSIMWXIRQTMRWWTVIQSRWXVYSWQEMGYQTPMXHIGXZMEEEHYPMPSVntruct o societate n care copiii snt PMTWMMHIGSTMPVMIMEVNSGYVMPIPSVPMTWMXIHIMRSGIRIWXIWIQRYPdeclinului suprem. Acesta este fundalul pe care Vlad VMWXEGLIMTVSMIGXIERSYPWYspectacol 4SZIXMHIJEQMPMI TVIQMIVEEEZYXPSGTIWITXIQFVMIMEHIWGLMWIWXMZEPYP-RXIVREMSREPyMPIM2STMHI8IEXVYlPEVMPEHYTTMIWEHVEQEXYVKIMsrbe Biljana SrbljanoviWGVMWRTEXVYGSTMMHIIGIERMWINSEGHIEQEQEMHIEXEXERXVYRTEVGMMPYWXVIEHMJIVMXIMTSWXEIEPIZMIMMHIJEQMPMIRXVS-YKSWPEZMIGEVIHIMMIMXHMRHMGXEXYVEGSQYRMWXXVIGITVMRVFSEMIWRKIVSEWIMTVMRXVSTIVTIXYGVMIGSRSQMGJYRHEPGIRYQEMPEWPSGYRIMHIWJYVVMRSVQEPIEZMIMMHIfamilie. Copiii nu mai snt copii iar EHYPMMEFVYXMEMHIYRWMWXIQRGEVIEYJSWXXVITXEXHITSWIHEMHISVMGIYVQHIMRHMZMHYEPMXEXIXVERWQMXRSMPSVKIRIVEMMEGIPIEMJVYWXVVMMEXMXYHMRMZMSPIRXIndobitocitoare perpetund WXIVISXMTMMJEHIGIIEGIRWIEQRIWXYPWEYJEHIGYQEVXVIFYMWRITYVXQYRYPGYGIPPEPXrTIVQERIRXREPIVXEZRHKVMNPEXSXGIZSVFMQGGMRYIWXIIGPYWGEWSYPWMHIRYRIWSMETIRXVYGIIEGI3VIPPRYQIEyGVMQKRHMXlMRGYVENRHEXMXYHMRMGSRJSVQMWXIXMTMGIYRSVMRHMZMMPMTWMMHITIVWSREPMXEXIXVIGYMTVMRXVSHMGXEXYVGIPIMRWYJPEWIXIEQEHIEEZIETVSTVMMPITVIVMMHIEKRHMPMFIV-RXIVIWERXRQSRXEVIEPYMPEHVMWXEGLIIWXIJETXYPGHIMTMIWEMPNERIMEVIYRXMQTMYRWTEMYGPEVGSRXYVEXIWMXYEMMPITVIIRXEXIEVTYXIEJSEVXIFMRIWWITIXVIEGR6SQRMETSWXHIGIQFVMWXGYQTVSFEFMPEVJMVIGSKRSWGMFMPIMREPXIVMJSWXGSQYRMWXIHITMPHWMWXIQYPJEQMPMEPHIXMTTEXVMEVLEPWEYKRHMVIEHMLSXSQMGRSMversusIMEHMGEQIVMGERMMIWXYPSVMGMRIETEVIRZPYMXRRIGYRSWGYXMGEEXEVIRIWXVEXGYSJYRGMIQEPIJMGIMRYEJSWXWJ MEXHIVFSEMITVIGYQ-YKSWPEZME6SQRMEIWXIHIHSYIGMHIERMRXVSTIVQERIRXyXVERMMIlRXVSGVMSFWIVZEFMPRXSEXIWXVEXYVMPIWSGMIXMMMGEVIRYMTIVQMXIWMKWIEWGYRXVEWIYWTVIRSVQEPMXEXI-EVEGIWXWTIGXEGSPGEVIEXVEKIEXIRMEEWYTVETIVMGSPIPSVGIEQIRMRRSMPIKIRIVEMMRXVYRWTEMYGEVIMETMIVHYXSVMGIVITIVIWXIEEGYQWYKIVEXRVYPVIKMSVHIWXMREXGIPSVyGEVIWMQXGXVMIWGRXVSEVEJPEXRVYMREXXWSGMEPGXMIQSMSREPlSTMMM1MPIREQMPME1SGERYr1EQESMR7MPZMYIFYr8EXPRHVIM-SRYMERrSTMPYPM2EHINHEJIXMESVJERPIERHVE7PGIERYr MRIPIVIMXIVIERNSGYPPSVGSQTSVXEQIRXIPISAUCUMSEPOATEVORBIDESPRECOMUNISMIPOSTCOMUNISMCUMIJLOACEESTETICE0OVETIDEFAMILIEJSXSHMYPFSEGECRONICA4425442267SFWIVZEXIPEGIMHMRNYVPETVMRMMPSVMRXVSWSGMIXEXIRGEVIXSXYPTEVIPMTWMXHIWTIVERIETVIGMEXPEGIMTEXVYEGXSVMGETEGMXEXIEHIEXVIGIZIVSWMQMPHIPESMTSWXEPEEPXEEyTSZIXMPSVlYRIMPYQMTIGEVIIMRYEYXVMXS1EQEIWXIJMIWYTYWMEFYEXHIWSWMXYEMIEGGITXEXGYSVIWIQREVITEVGQMPIREVJMIEEMWMRHITIRHIRXMTVSQSZRHWPSKERYVMJIQMRMWXIPMTWMXIHIWYFWXERMEVGSTMMMWRXXVEXEMGYFVYXEPMXEXITITVMRGMTMYPyIYPEQJGYXIYPSQSVlEGRHVIMPRXVYGLMTIETIGSTMPYPGEVIWIVIZSPXTIVQERIRXJETXGIPHIXIVQMRTIXEXWPyGVTIEWGlQIVIYENYRKRHYRXRVGEVITVSXIWXIETIRXVYyRRSMVIElWMWXIQYPYMMRJMREPGEVIEPIKIWMTVWIEWGEVEMJEQMPME2EHINHIMMWIEXVMFYMIVSPYPGMRIPYM2YWTYRIRMGMYRGYZRXTRRWGIREHIJMREPMIWXIXVEXEXYVXHIXSMQIQFVMMyJEQMPMIMlHEVVQRIGYIMMRHMJIVIRXHIQIWGLMRVMEGSQTSVXEQIRXYPYMPSVTIRXVYGXSXIWXIQEMFMRIHIGXWJMIEFERHSREXGIPIRXEPIEWPIERHVE7PGIERYTIRXVYVSPYPGMRIPYMWRYEMRMGMSVITPMGTRRWGIREJMREPGEVITVMRQVXYVMWMVIEYGMHIVMMEGGMHIRXEPIETVMRMPSVWMRGLIMIWTIGXEGSPYPTISRSXWYQFVMXSXYMWQIRMMEXIRMEEWYTVEXETIVQERIRXrTVMRKIWXYVMPIWTIVMEXITVMRTVMZMVIETXVYRXSEVITVMRGEVIXVERWQMXIRIZSMEHIEJIGMYRIQIVIYXIQTIVEXHISWTEMQJVPIEGrTVIWYTYRISJSVHIWYKIWXMITIGEVITYMRMEGXSVMSEYPEHVMWXEGLIRYIPETVMQEGSPEFSVEVIGYPIERHVE7PGIERYEdistribuit-o n rolul feminin principal din Peer Gynt Solveig rol n care tot ca n 4SZIXMHIJEQMPMIJVEEZIETVIEQYPXIVITPMGMEJSWXSTVIIRWGIRMGQIQSVEFMPRPRYMVIEWIGZIRIPSVFIRIJMGMEHIYRVMXQEPIVXHRHWIREMEPEYRQSQIRXHEXGLMEVHISHIWJYVEVIXMTJEWXJSVEVHGETIRXVYEMRHMGEQSRSXSRMEMEYXSQEXMWQYPYRSVZMIMKLMHEXIHIWPSKERYVMMTVMRGMTMMZMHEXIHIWIRWMRGEVISVMGYQRMQMGRYWIQEMTSEXIWGLMQFE6IKMSVYPTYRIRWGIREGIWXIyTSZIXMHIJEQMPMIlGEMGYQEVHIVYPERJEEWTIGXEXSVMPSVRMXIHMETSMXMZIrMEVWGIREHMRWTVIJMREPGRHGSTMMMWIYMXPESTVSMIGMIEYRYMHIWIRERMQEXHYTFEWQYP8MRIVIIJVFXVRIIMZMEJVHIQSEVXI pe un TIVIXIJSVQEXHMRGVQMMPIGEVIRWGIRIPIERXIVMSEVIQTVINQYMWIVPSGYPHINSEGIWXIYRFYRTVMPINQIXEXIXYEP-QEKMRMPIHMRFEWQWRXXIVWIJVRXIWMQFSPMWXMGEJMMRHEMGMIZMHIRXrFEWQYPEHMGMRSGIREMGERHSEVIERYQEMEVIGIGYXERZMEEYRSVGSTMMEFVYXMEMHIVIEPMXEXIEGIRYPISJIVHIGXWSPYMEHIEHIZIRMTVMRMMPSVMHIEXVERWQMXIPEVRHYPPSVTVSTVMMPSVGSTMMEGIPIEMEYXSQEXMWQIHIKRHMVIIIWXIGYXVIQYVXSVRNSGYPGSTMMPSVRYIWXIEXXVIMXIVEVIEYRSVGPMIIHIKRHMVIMGSQTSVXEQIRXGMQEXYVMXEXIEGYGEVIWINSEGTEVGRMGMRYWRXGSTMMGMEHYPMVIHYMPEYRWXEHMYEPYRIMGSTMPVMMQSRWXVYSEWIy4SZIXMPIlPSVWIXIVQMRETVSETIMRZEVMEFMPGYYGMHIVIETVMRMPSVHIGXVIGSTMMGEVIVIGYVKPEZMSPIRJVRMGMSIMXEVIYQPEHVMWXEGLIRYMETVSTYWWJEGYRWTIGXEGSPGYSRGVGXYVRIKEXMZGSTPIMXSVTVMRPMTWEHIWTIVERGVIHGZMSPIREGYGEVIWIRGLIMIJMIGEVIyTSZIWXIlIWXIWMQFSPMGTIRXVYRIGIWMXEXIERSMPSVKIRIVEMMHIEWIHMWXEREFVYXEPMdefinitiv de un trecut iremediabil tarat. 7GIRSKVEJMEQEVGELISVKLIMosorescu din acest spectacol a GSRXVMFYMXRXVSQEVIQWYVPEreconstituirea atmosferei tipice TIVMSEHIMGSQYRMWXIHEVMRGITYXYPYMERMPSVRGIIEGITVMZIXIWTEMYPHIyHIWJYVEVIlENSGYVMPSVGSTMPVMIMIWXIYRWTEMYHSQMREXHIFIXSRHIIZMEYWXIVMGIRYMYGEVIRYPEWTVIEQYPXPSGHIZMWEVIIPIPEPXISFMIGXIHMRWGIRVYKMRMXIMHVTREXIYRJVMKMHIVYREVEKEYRGSHIKYRSMYRVEHMSdemodat ntregesc imaginea pe care PEHVMWXEGLIEHSVMXWSMQTVMQIWTIGXEGSPYPYMHIPYQIEXMRWHIVYMREGPETVMQYPWTIGXEGSPEPPYMPEHCristache Peer GyntQSRXEXXSXPEVMPEMTIRXVYGEVIEMJSWXnominalizat la Premiile Uniter pentru IFYXTIERYPETVIGMEQalegerea unui autor cum este Ibsen TVMRGEVIEVXEGXIEXVYPXRVRYWIWTIVMIHIyKVIMMlHVEQEXYVKMIMYRMZIVWEPIMRMGMGXVIFYMIWMHIJSVQIITRPEERYQEMJMrecognoscibili n numele unei EEMWIEHETXVMPEcontemporaneitate n 4SZIXMHIFamily Stories or how can one talk about communism and post-communism with aesthetic meansSMPZME YQMXVEGLI VIZMIW MPNERE7VFPNERSZMWFamily Stories playing at XLI 1EVME MPSXXM 8LIEXIV MR VMPE 7IX MRwar-torn post-communist Yugoslavia the games played by four children illustrate the imbedded violence and destruction WYVVSYRHMRKXLIQMVIGXSVPEHVMWXEGLIsingled out as part of the new wave of Romanian theater makers addresses the staging to those that feel they live in a ruined country both socially and emotionally.familieETVIGMIGMERHVITXEXEXIRMEEWYTVEYRIMWGVMMXSEVIHMRWTEMYPZIGMRTSEXIHEGRIMRXIVIWQQEMQYPXHIMWXSVMEGEVIWITIXVIGIPRKRSMRIEVTYXIEENYXEWRIRIPIKIQQEMFMRIMEWYTVEYRIMXIQEXMGMRGWIRWMFMPITIRXVYRSMGYQMIMQHMRXVYRWMWXIQGEVIRIERYPIEYQERMXEXIEHMRRSMMGYQWJEGIQGEXMRIVMMWRYTIVTIXYIIEGIPIEMWXIVISXMTMMIapreciat de asemenea filonul estetic inserat de Vlad Cristache n QSRXEVIEWEIGPEVGXMRIVMMWEYWXYVEXHIQMIVEFMPMWQYPGEIPIQIRXSFPMKEXSVMYRyEVXElGEVIZSVFIXIdespre comunism sau despre TVSFPIQIPIyXVERMMIMl4SZIXMHIfamilieEVEXGTSMWEXVEKMEXIRMEEWYTVEHMJMGYPXMPSVGYGEVIWIGSRJVYRXSWSGMIXEXIMJVWRNYVMFEREPMTPMGXMWMXSVWMWXIQYP3TSZIWXIHIWTVIRMXIGSTMMGEVIHIJETXRYEYJSWXPWEMWJMIGSTMMMQEMQYPXSTSZIWXIHIWTVIRMXIGSTMMTIGEVIHMRRIJIVMGMVIRGMTSMRXPRMRPYQIEXERXMQTYPXYIWXIQEMMRWMRYERXMQEMXVEKMGHIGXSVMGIHIRYHEVIZMSPIRXMMRNYVMSEWEyVIEPMXMMl23JSXSHMYPFSEGETheater via Skype Long Distance AffairCSRGIMZIH F RE 1EVKMRIERY ERH TPEMRK MR 2I SVO 0SRK MWXERGI JJEMV MRZSPZIW RMRI PETXSTW RMRI WLSVX TPEW RMRIplaywrights and nine actors from different countries engaging in one-on-one performances with audience members via Skype. Cristina Modreanu writes about the three pieces she witnessed and was part of interacting with performers from Russia Turkey and Mexico and ending with the question of how should art respond to technologys constant attack upon the human conditionCRONICA442544226724PMIREVIEJMMRIMYQERIRITSGEHMKMXEPIGLIWXMSREXJSEVXIHIWMRZEVMMJSVQIRXIEXVYPHIEZERKEVHEQIVMGERREGIEWXXIRHMRWERWGVMWMJIWXMZEPYPHISMzVSYRHthe World produs de grupul newyorkez The Internationalists din GEVIEJGYXTEVXIWTIGXEGSPYP0SRKdistance Affair un concept de Ana 1VKMRIERYEGXSVMHMRVMHMJIVMXIEYPYGVEXGYHVEQEXYVKMMVIKMSVMRE1VKMRIERYMEQIVMGERMMSYKSIM.IVIQ0HMGEYVIKMEXJMIGEVIGXIXVIMTMIWITIRXVYEGVIETMIWIHIIGIQMRYXIGIWXXIEYPEFEEYRSVRXPRMVMSRIXSSRITVMRMRXIVQIHMYP7OTIWTIGXEXSVMMJMMRHGYXSMMHMRNew York cartierul general al RISFMRYMXIMRXVITVMRHIVMRGMYHEGYVMSMXMMTVSJIWMSREPITIGEVIQMSXVIIEEGIEWXRSYJSVQHIGSQYRMGEVIXIEXVEPEQEZYXHSEVXVIMRXPRMVMSRPMRITVIETYMRGEQTVIEQYPXWPEWTIVWSERIRIGYRSWGYXIWQMMRXVIRZMEXSEXIREGIIEMWIEV EHEVEYTXVYRWRZMEEQIESJIQIMIHMR6YWMEMHSMFVFEMYRYPHMR8YVGMEGIPPEPXHMR1IMGMIGEVIHMRXVIIMEZIETVSFPIQIIMWXIRMEPIVEHMGEPIJIQIMEWYWMRIEGIEVIWXEXPEHSQMGMPMYMQIRMSREGSRWXERXGWSYPIMWEVTYXIEWJMIEKIRXHYFPYRXVIEKEEXQSWJIVIVEETWXSEVIRXYRIGSEWr0E1SWGSZEIVERSETXIPE2ISVOIVEMrMEVWIREMEHIEQIRMREVITIVWMWXE0Eun moment dat femeia m-a rugat WPGSRXEGXITIJMYPIMGEVIEJYKMX4EATRUVIA3KYPEONGISTANCEFFAIRCristina MODREANUHMR6YWMEMPSGYMIXIRVMKLXSRIEGLGEVXMIVHMR2ISVOQRSXEXRYQVYPGSRJYMQEQWMQMXETSMZMRSZEXGEQTMIVHYXLVXMEHIMTVSFEFMPGJMYPIVETEVXIHMRJMGMYRIQSRSPSKYPRYQMXBrighton Beach era interpretat de 3OWERE1WMREMEVXIXYPWGVMWHI4IGEXIJER7TVIJMREPRXPRMVIEEMRGPYWMYRQMGQSQIRXHITTYIVMIMYRGRXIGTIGEVIJIQIMEEWTYWGZVIEWPQTVXIEWGGYQMRIVFEXYPHMR8YVGMEQMZSVFIEGEMGYQEJMJSWXGPMIRXYPPYMGEVIEXITXEWJMIKEXEVIRSZEXGEWETIGEVIEGYQTVEXSMEWJVMXTVMREQMWTYRIXIVSVMEXHIJSVIMRZMMFMPIEZRHTVSFEFMPHIEJEGIGYGSVYTMEWEYZVIYRJIPHI1EJMIPSGEPGzEJEGIVIERSEWXVMRXIVREMSREPzIGSQTVSQMWTIRXVYGIPREVIYMXWMRHITPMRIEWGpartea de angajament. Sentimente HIJVMGPMRZEHEYMTIIPGEMTIfemeia din Moscova iar eu eram QEVXSVYPIXIVMSVrYRMGYPHEXJMMRHformula de spectacol – care nu putea JEGIRMQMGTIRXVYIMHIGXWWMQXSQEVIHMJYVIWTSRWEFMPMXEXI3EVIGLMEVTSMWTYRIGMGYRSXMTISEQIRMMRXPRMMTIRXVYTVMQEHEXTI7OTIMGLMEVHEGMGYRSXMHINEGYQTSMWXMMGWTYWIPIPSVWYRXEHIZVEXIGRHIPIENYRKPEXMRIMRXIVQIHMEXIGRHRYTSMWWIWMIMIQSMEVIEPPMQFENYPGSVTSVEPRYERIPIZSGMM3EVIGLMEVJYRGMSRIEEGIEWXGSQYRMGEVIKPSFEPWEYIWXIIEYRQSHHIERIRIPEYRMMTIEPMMMRZIRXRHYRIRSMMHIRXMXMPEEHTSWXYPXILRSPSKMIMIEHIEXVIMETIVWSERTIGEVIEQRXPRMXSIVEHMR1IMG0EQHIWGSTIVMXGSQTPIXKSPTITSHIEYEYRIMFMMIPQEPYEXHVITXQEVXSVRXVIFRHYQIYGIEJMJGYXHEGIVEQQEQEPYMMEJMEJPEXGIPEJSWXVTMXEJMTPXMXVWGYQTVEVIERXVSGSRZIVWEMIGSQTPMGEXHIGSRIGMEMRXIVRIXGEVIEJIGXEGSQYRMGEVIEFVFEXYPQMEWTYWRGIPIHMRYVQGQEQEPYMEVIJYEXWTPXIEWGFERMMHIVWGYQTVEVIMEVIPIWXIHINEQSVX1MEWTYWEWXEMEHMWTVYXRXVSFEMIHIPYQMRPWRHSQEVIIRMKQRYVQEPYM4IGXHIGMYHEXEJSWXEGIEWXRXPRMVIXIXPPEVIIRLMPPVIKMIRE1VKMRIERYGSVIKVEJMIRHVIIEYGSQTEVEXGYGIPIPEPXIGIYVQEYSGSRZIRMIVIEPMWXTIEXXHIMQTVIWMSREXEQJSWXHIGSVIKVEJMEGSVTYPYMKSPTITSHIEEXXHIZYPRIVEFMPRJEESGLMYPYMWXVMREPGEQIVIMPETXSTYPYM1SQIRXHIGSRJIWMYRIVIPEMEQIEGY7OTIYPHEXIEHIQYPXZVIQIJSPSWIWG7OTIWZSVFIWGGYTVMIXIRMMHMRXSEXPYQIEMEVHIGYVRHJMMRHTPIGEXHMREVMEQJGYXGYRSXMRGYIPMQEQIMGEVIEVIHIERMHMXEVIEEGIWXIMVIZMWXIEGVIMIGLMTIQTVXMEXRPYQIMQTPMGMIEIHMRI7OTILMEVRWTXQRERGEVIEQZYXEGIWXWTIGXEGSPXSGQEMWYWMRYWIQTVMQEGSRJIVMRZME7OTIHMR2ISVOTIRXVYWXYHIRMMHIPE928YGYVIXMTVSETINYQXEXIHMRZMEEQIErTIVWSREPMTVSJIWMSREPrEVIPSGSRPMRIEVXSGQEMTIRXVYGJSPSWIWGRSMPIQMNPSEGIHIGSQYRMGEVIMPRMGWYRXTVSJYRHGSRXMIRXHIGYQRIQSHMJMGXILRSPSKMEGSQTSVXEQIRXYPMRGIVGWRYGIHIRJEEIMHIZIRMRHSIRXMXEXIMRIVXGEVIXVMIXIYRWYFWXMXYXHIZMEMRXIVQIHMEX4IGXHIMRXIVIWEXWYRXHIWTIGXEGSPYPHMKMXEPGLMEVEWXEIVEXIQEGSRJIVMRIMTIRXVY928rHIJIPYPRGEVIIWXIXVEXEXXMQTYPREWIQIRIETVSHYGMMHIWGLMQFVMPIWYJIVMXIHIGSRHMMETIVWSRENIPSVMHITVIKXMVIETIGEVIXVIFYMIWSEMFYREGXSVGEWNSEGIRXVYREWIQIRIEVSPrGVIHRGSRXMRYEVIGGIEQEMXYPFYVXSEVIRXPRMVIVQRIGIEZMIEHMGMRXIVEGMYRIEYQERPunctul slab al spectacolului 0SRKMWXERGIJJEMVrGEVIKIRIVIEMRHMVIGXQYPXIRXVIFVMYXMPITIRXVYSQYPGSRXIQTSVERMRXIRWYXMPMEXSVEP-RXIVRIXYPYMrIVEGLMEVEFWIREGSQTPIXEEGIWXIMMRXIVEGMYRMZMMGEVIREPXIWTIGXEGSPIJSPSWMRHRSMPIXILRSPSKMMIVIEJMVQEXGEIWIRMEP0MTWIESEJMVQEMIHMRTEVXIEGVIEXSVMPSVSTSMMSREVIEPSVJEHIJSPSWMVIERSMPSVXILRSPSKMMRWTIGXEGSPRQSHFMEVGIPTYMRRWTIGXEGSPIPIZYXIHIQMRIHIMQIHMYPHIGSQYRMGEVIIVEWGLMQFEXGSRMRYXYPRYMRIEGSRXRRMGMYRJIPHIEGIEWXWGLMQFEVIRMGMHIIJIGXIPIIMYQXVIFYMIrHEGXVIFYMIrWVWTYRHEVXEEXEGYPYMGSRWXERXEPXILRSPSKMIMQTSXVMZEGSRHMMIMumane25.54ONOUjFRONTIERjASPECTACOLULUI802-.444222-54-03..792Cristina MODREANUIWXMZEPYPEQ2IXEZITVSHYWHIVSSOPRGEHIQSJ1YWMG2ISVOIWXISTPEXJSVQHITVIIRXEVIHIWTIGXEGSPIXVERWKPSFEPMXVERWHMWGMTPMREVRGEVIWIVIYRIWGQIWENIHIWTVIPYQIEGSRXIQTSVERJSVQYPEXIHITIVWSREPMXMEPIWGIRIMQSRHMEPIRJIPYVMHMRXVIGIPIQEMGVIEXMZI9RMGMXEXIE1TIWGIRERISVOIGSRWXRJETXYPGWEHIJMRMXRXMQTHVITXYRGEHVYMRWXMXYMSREPTPEWEXPEQMNPSGYPHMWXERIMHMRXVIEZERKEVHEHMRSRXSRMWTIGXEGSPYPGSQIVGMEPHITIVSEHE4VSKVEQEXSVYP12IXEZIIZIRMQIRXTIGEVIPEMMRMMEXGYQYPMERMRYVQIWXI.SWITL1IPMPPSGEVIMWIPIGXIEERYEPMRZMXEMMHMRXVIRYQIPIGEVIGMVGYPRGIVGYVMPIHIIPMXEPIXIEXVYPYMQSRHMEPMRXVRHRcontact cu publicul fie la Festivalul de la Avignon fie la acela de la HMRFYVKL1MEGVIEXRXMQTYRTYFPMGGYKYWXYVMWMQMPEVIGIPSVEPIEYHMIRIMEGIWXSVJIWXMZEPYVMIPIRWIPIzZMXVMRIXVERWKPSFEPIz4IRXVYEGIMEGEVIZMWIEPEVMHMGEVIEYRSVWSGMIXMGSWQSTSPMXIRGEVIKVERMIPIJMMGIWRYQEMGSRXIIMEVHIXIVQMRVMPIHIGPEWVEWMWIWGEHRYMXEVIJIWXMZEPYVMPIMRXIVREMSREPIHIEGIWXGEPMFVYTSXWJMIEHIZVEXITVSMIGXITMPSXGYXIQEzGYQWGSRWXVYMQSPYQIQEMFYRzRXVSPYQIRTPMRVIGSRJMKYVEVIWSGMEPRYTYXIQHIGXWWTIVQGEGIWXEIWXIzRSYPZEPzBAM Next Wave 2011 a avut o EZERTVIQMIVRWITXIQFVMIGYYRconcert al Quartet-ului Cronos HIHMGEXGSQIQSVVMMGIPSVERMHIla atacul de la World Trade Center. IWGLMHIVIESJMGMEPEEZYXPSGRSGXSQFVMIGYTVIQMIVERISVOIEspectacolului Opera de trei parale de Bertolt Brecht n viziunea lui Robert MPWSRMEGSRXMRYEXGYWTIGXEGSPIaflate la limita dintre genuri ca o ITPSVEVIGSRXMRYEMRJMRMXIPSVTSWMFMPMXMSJIVMXIHIzGMSGRMVIEzHMRXVISWGIRMMQEKMREMEYQER7TIGXEGSPIPITIGEVIIYPIEQZYXWEYTPEWEXPEMRXIVWIGMEHMRXVIQYMGQSHMXIEXVYOpera de trei parale6SFIVXMPWSRHERWITIVMQIRXWSRMGMXIEXVYI dont believe in outter spaceMPPMEQSVWXLIJMPQQYPXMQIHMEMXIEXVYVMIWERHLMWTIVW-ZSERSZIVIWTIGXMZQEVMSRIXIQYPXMQIHMEMXIEXVY74LERXSQ0MQF8LVIITIRR3TIVEJSXS7XITLERMIIVKIVBAM Next Wave 2011 a new theatrical frontier CVMWXMRE 1SHVIERY VMXIW EFSYX XLI XLIEXVMGEPGLSVISKVETLMGXIGLRSPSKMGEPITIVMQIRXW EX XLI VSSOPR GEHIQ SJ 1YWMGW 2IX EZI IWXMZEP 8LItrans-global and trans-disciplinary shows discussed are the Berliner Ensembles The Threepenny Opera directed by Robert Wilson choreographer William SVWXLIWI dont believe in outer space Ivo van Hoves take on VMIW ERHWhispers and the collaborative 7 by Phantom Limb Skeleton Key and Kronos Quartet. AM.EXT7AVE26.54Skeleton Keyz MXVMREzEJSWXTPMRMGSRXMRYWWIYQTPITRPEWJVMXYPERYPYMGYMQEMQYPXHERW1IVGIYRRMRKLEQ0EWX8SYVMMKERGISQTERTPYWQYMGEHSntr-un concert special.4425PERADETREIPARALE2OBERT7ILSON8SXGIIEGIWIXMIrTRPETYRGXYPVMWGERXHIEHIZIRMGPMIYrHIWTVIEVLMXIGXYVEXIEXVEPMPWSRMERMQEMEPIWHIWTVIQMGEVIERWPSmotionGEVITSEVXEQTVIRXEcelebrului regizor pe scena GSRXIQTSVERIWXIGYQZEGSRXVEMWde montarea de la Berliner Ensemble. 6QRGETYRGXIGSQYRIGYEPXIQSRXVMMPWSRMIRIGSRWXVYGMEHIXMTKISQIXVMIWTEMEPEHIGSVYVMPSVMGSQTPIEHMVMNEVIEPYQMRMPSVRWGIRWGLMQFEVIEEGIWXSVETYRGXRHERYQMXIQSQIRXIRWTIGXEGSPEVKVEHEVIEEGIWXSVQSQIRXIIWXISTIVEXHIEGIEWXHEXQEMHIKVEFTVMREGGIRXYEVIEpeisajului sonor al spectacolului. n afara minunatei muzici a lui Weill – EMGMMRXIVTVIXEXHISSVGLIWXVHIIXVESVHMREVMQYMGMIRMJYRGMSRRHTIVJIGXQTVIYRGEYRQIGERMWQrRWGIRIPIzRTVSzWSRSVYPJYRGMSRIEGETIVWSRENHMWXMRGXPQEVGLIEMRXVVMWEYMIMVMHMRWGIRGSRWXVYMIXIWEYTYRITYRGXWYWTERWYPYMIPIQIRXIPIHITIVGYMIJMMRHJSPSWMXIHYTQSHIPYP8IEXVYPYMN pentru a sublinia anumite gesturi WEYQMGVM8SXWSRSVIWXIWYFPMRMEXMPEXYVEKVSXIWGWEYWXVERMIHYTGEETIVWSRENIPSVSEQREPeachum care bea prea mult WYKLMMKPKMIKSQSXSWRXVYTRHSzHSEQRzGIGSRXVEMGIJPEKVERXXMTSPSKME0EVRHYPPYMRXVSWGIRMRXMQGY4SPP1EGLIEXLTSEVXYRGSVWIXHMRHERXIPXVERWTEVIRXWSPYMIHIGSWXYQEVIEWYTVEGVIMERMWIEXVEKIEXIRMEGYENYXSVYPMRWXVYQIRXIPSVHITIVGYMIIXEPMYPQTVIYRGYRXVIEKEMRYXIJIQMREXEpersonajului care apare n scena de introducere n spectacol ntr-o WXVPYGMXSEVIVSGLMIHIWIEVEWSVXEXGYQRYMPYRKMHIGEXMJIEHIJMRIXIun anti-erou n termeni de gen GSRXVEMGRHGPMIYPGSRJSVQGVYMEMack the Knife ar fi epitomul ZMVMPMXMMMTPEWRHYPRXVSSRMRGIVXWIYEPGIWXVRIXIMRXIVIWYPspectatorului modern. Acest tip de alegeri se nscriu ntr-un text comico-ironic al spectacolului EPXYVMHIWYFPMRMIVIEJEPWMXMMhappy-end-ului prin introducerea YRYMJSEVXIRZVWXTIVWSRENXVRHHYTIPSQERXMIHIGEXMJIEVSMIrun deux-ex-machina mprumutat din EVLMZEYRIMVSMEPMXMMHIGVITMXI2YQEMTYMRHMREGIPEMVIKMWXVYJEGITEVXIMEPIKIVIEHIERWGVMITIVWSRENIPIPEPMQMXEHMRXVIZMEMQSEVXIRXVYGXGSWXYQEMEMQEGLMENYPTPYWPYQMRMPIGYXIRXHIZIVHIJEGHMRIPIETEVMMMGEHEZIVMGIRXVSEXQSWJIVRKLIEXHMRGEVIMQYMGEVWYRWXMGPSWYXSEXIEGIWXIEVWYPWTIGXEXSVMPSVRWSIXIspectacolul pe parcursul ntregii seri EPXYVMHIEXEEQIRXYPPSVGEVIGVIXIQEMEPIWPEQSQIRXIPImuzicale.Muzica este desigur un element forte al spectacolului cu MRWXVYQIRXEMEIMTVSJYRHMRJPYIREXHINErGEVIETVIPYEXSTEVXIHMRXVIGRXIGIPIPYMIMPPXVERWJSVQRHYPIRWXERHEVHIGRXEXIHIQEMXSMQEVMMMRXIVTVIMEMgenului. Aici vocile nerafinate ale EGXSVMPSVWYRXTWXVEXIMJSPSWMXIGEatare efectul fiind acela de SRIWXMXEXIEMRXIVTVIXVMMHYVMXEXIEEYXIRXMGEWYRIXYPYMJMMRHYRIPIQIRXIWIRMEPTIRXVYEXQSWJIVEWTIGXEGSPYPYMGSHMVIGMEQYMGEPIWXIEWMKYVEXHIERW.SVRVERHIRFYVKM7XIJER6EKIVMQIRWMYRIEHIWYFXMPHMWGSRJSVXMRHYWTVMZMXSVYPYMrTVMREPIKIVMPIVIKMSVEPIMQYMGEPIQIRMSREXImai sus – devine n scurt timp sarea MTMTIVYPzWTIGXEGSPYPYMPXYVM7JSXS4EZIPRXSRSZ002d0002004800530052007f00580002004600490050004d0049005a00490002004d00520002005300590058005800490056000200570054004500470049000200020013001300020002004a005300580053001e0002002e00590050004d0049005800450002002700490056005a0045005200580049005727.54HIWMKYVHIJSPSWMVIEMQTIGEFMPENSGYVMPSVHIGYPSVMMJSVQIRWTEMYrTIRXVYYRHIGSVWIQREXQTVIYRGY7IVKIZSRVEEGYQVIKMEIGSWIQREXQTVIYRGYRRLVMWXMR6SQQIRMEVGSWXYQIPIWYRXGSWIQREXIQTVIYRGY.EGUYIW6IREYHMPWSRTWXVRHTVMQYPPSGRXSEXIGIPIXVIMHITEVXEQIRXIEPIVIEPMVMMWTIGXEGSPYPYMrTVIGYQMHIPYQMRMPIGIEPGXYMIWGRWMRIYRspectacol separat. 6EJMREQIRXYPHIREPXMRYXEPXYXYVSVIPIQIRXIPSVWTIGXEGSPYPYMRYEWGYRHIRWGYXSXYPMHISPSKMEWTIGXEGSPYPYMHIMQEXIVMEPIPITVIMSEWIHMRGEVIWYRXJGYXIGSWXYQIPIMNSGYVMPIHIPYQMRMWTIGXEGYPSEWIRYHYGHIPSGGYKRHYPPEzSSTIVEGIVIXSVMPSVzGMEQMHIKVEFPESMQEKMREVPYQIMRXIVPSTHMRXVIGIPIHSYVFSEMIEGGIRXYRHTEVSHMEFVIGLXMERLMEVHEGMWYRXEQSVXMEXIecourile ideologia transpare n mod subtil n celebrele finale ale EGXIPSV–M—RGEVIXSMTIVJSVQIVMMWIWXVRKRWGIRTIRXVYEGRXEEPXYVMHI1EGLIEXLMGMVFEXIZMMYRIEPYMVIGLXHIWTVISPYQITIVJIGXMFMPGSRHYWHIMTSGVMMEGIPSVGITVIHMGZEPSVMPIQSVEPIWIQIRMPSVPSVYMXRHGEGIWXSVEPIPMTWIXILVERERIGIWEVWYTVEZMIYMVMM3PYQIRGEVIGIMQMGMWYRXPWEMPEQREQEVMPSVMRXIVIWIHIWXMRIPIPSVTIVWSREPIRIQEMGSRXRHrXIQEVXSEVIREGIWXQSQIRXRWSGMIXEXIEEQIVMGERTIJSRHYPHIQSRWXVEMMPSVHITI3GGYTEPP7XVIIXIPIFVERXVIFEVIHVEQEXMEXHIVIGLXrzMRIIQEMGVMQMREPEGIPEGEVINIJYMIXISFERGWEYEGIPEGEVISJSRHIEzGETXEWXMSWIQRMJMGEMIEGYXXIXETVYXMRMMEPRwww.artactmagazine.ro..3DONTBELIEVEINOUTTERSPACE7ILLIAMORSYTHEYXTVMRSGLMMPYMMPPMEQSVWXLIIMWXIREYQEREVISHSIRSVQHIVMHMGSPQYPXXVEKMGMWGYVXIGPMTIHIIQSMIEYXIRXMG6MHMGSPYPMXVEKMGYPWYRXEHYWIRWGIRTVMRIPIQIRXITVIHSQMRERXXIEXVEPIMEVIQSMEEYXIRXMGIHERWEXRMGMYREPXZSGEFYPEVRYTEVIWTSEXHIWGVMIEJIGXIPIQEMFMRIHIGXHERWYP4VSJYRHHMWGSRJSVXERXTIRXVYYRWTIGXEXSVRGYXEVIHIHMZIVXMWQIRXWTIGXEGSPYPPYMSVWXLIWIHYGITVMREQIWXIGYPRIEXITXEXHIQYRHERMIXVESVHMREVRTVSTSVMMWMQMPEVIGYEGIPIEHMRZMEEVIEPVSREVEMYRITVSTVMYMWEGIWXXMTHIWTIGXEGSPIWXIQEMHIKVEFIIQTPYPTIVJIGXHIXIEXVYTSWXHVEQEXMGGVIEMEPYMSVWXLIEHYGIRWGIRHERWEXSVMGEVIRPEWYXHMRXMQTRYHERWIErRWGLMQFMHITIWGPMQMXIPITIVJSVQRHRGEHVYPYRSVITIVMQIRXIWSRSVIEZRHPEFETVSTVMEZSGIHMWXSVWMSREXWEYGSRXSVWMSRRHYMGSVTYVMPITIRXVYEWITSXVMZMRJSVQIKISQIXVMGIEJPEXIRWGIRGESFMIGXIHIHIGSV8VEKIHMEZMIMMGIGYVKIRVYXMRIWXIITVMQEXTVMREGIWXIHIJSVQVMEPIGSVTYPYMRHITVXEXEWXJIPHIPEEHIZVEXEPYMZSGEMIrRGEYPHIJEEGIIEHIEHERWEYTPYRKMQSQIRXIHIGEVMGEXYVMEVIETVSTVMMPSVGSVTYVMrYRIPIGYIJIGXGSQMGZIRMXHMRTEVSHMIVIERHMZIVWIJSVQIELMXYPYMPSVMIMERSVz-MPPWYVZMZIzHMRGEVITVSZMRIMXMXPYPWTIGXEGSPYPYMTEVJVEEversului And now you come from SYXIVWTEGIzrHERWEXSVMMWIRXSVGPEHERWRWGYVXIGPMTIGIHEYWIREMEHITPMREPMFIVXMMEVIWTMVEMIMEQTPIEWGPMTMVMMHIJIVMGMVI3EPXzMIMVIzHMRQYRHERIWXIJMKYVEXprin plasarea n laterala scenei a unui MRXVRHHSEVTEVMEPZMMFMPspectatorilor un refugiu puternic PYQMREXRGEVIHERWEXSVMMTIWGYRISVMHMWTVRHRPYQMRGERXVun paradis. MREQMGEHMRXVIPYQMRMRXYRIVMGERMQHIGSVYPGIEHMRXVIKVSXIWGMWYFPMQWXRGLMEVMRMQEZMMYRMMPYMSVWXLIHIWTVIzGSVTYPGEVIHERWIEzMEVGIEHMRXVIQYMGMPMRMXIQEVGLIEHMQIRWMYRIEWSRSVRXVSQERMIVGIXVMQMXIPEMHIMPIPYM.SLREKIVYRGRHspectatorii ntre plictiseala gesturilor repetitive acumulatoare de tensiuni RIPMRMXIETVSZSGEXHIPMRMXITVIPYRKMXGSRXVEMGRHEXITVMPIGIPSVEJPEMRGYXEVIEQMGVMMperpetue n spectacolul de dans I dont believe in outter space GSQTIRWIEXSXEGIWXHMWGSRJSVXTVSHYWEYHMIRIMGYVIZIPEMEJYPKYVERXEFYGYVMIMRWGYXIHMRIPMFIVEVIEzGSVTYPYMGEVIHERWIEzSVWXLIIPEFSVIEYRWGIREVMYGSQTPITSWXSQSHIVRMQFMFEXHIEGYXIGLIWXMSRVMEPIWIQRMJMGEMIMgestului de a dansa n context contemporan pentru ca n cele din YVQWRIVIEQMRXIEWGrMRHMVIGXEYXSMVSRMGHIWMQTPEEHIZVEXEbucurie de a dansa. -RIESAND7HISPERS VO6ANOVEIZIRMXHIGMZEERMYRzHEVPMRKzEPTYFPMGYPYMHMR2ISVOrYRHIEprezentat 1MERXVSTYPHYT1SPMVIla Theater Worskshop TeoremaHYTfilmul lui Pier Paolo Passolini n GEHVYP0MRGSPRIRXIVIWXMZEPM3TIRMRK2MKLXHYTEWWEZIXIWPE1RVIKMSVYPJPEQERH-ZSVan Hove director artistic al Toneelgroep Amsterdam a revenit anul acesta la BAM cu un spectacol HYTLMWTIVWERHVMIW al lui -RKQEVIVKQERRZIVWMYRIEPYMGIPIHSYGYZMRXIWYRXMRZIVWEXIYTGYQWGVMI2ISVO8MQIWQYPYQIWG-PMRGE- pentru WIQREPEVIJETXYPGQSRXVMPIGIVIMRXIVTVIXIEJMPQIPIPYMIVKQEREYHIZIRMXSEHIZVEXQSHWEVTYXIEHEXSVEzHIXEPMYPYMzGHVITXYVMPIHIEYXSVTIRXVYEHETXVMEYHIZIRMXHMWTSRMFMPISHEXGYmoartea cineastului n 2007. 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Momentul cheie ce face mai GPEVIEGIWXIVETSVXYVMMRXIVZMRIHYTQSEVXIEPYMKRIWGRHRXVIKVMXYEPYPHITVIKXMVITIRXVYYPXMQYPdrum a corpului decedat este VIGSRWXMXYMXTIWGIRRXMQTVIEPJSVRHYWIPMQMXIPIHIsuportabilitate ale spectatorului. Pe parcursul acestui ritual Anna se MQTPMGTIHITPMREEGYQSJGYWIMTREXYRGMRXMQTGIWYVSVMPIKVEZMXIEPEHMWXERRNYVYPQIWIMTIGEVIWIEJPGSVTYPGIPIMHMWTVYXIStilistic spectacolul este WYTVEWEXYVEXHIQMNPSEGIQIHMErRGHIPERGITYXQYVMFYRHEEVISGEQIVHIPYEXZIHIVMPRKTEXMEVchinul ei este redat pe un ecran PEXIVEPMRGPYWRGSQTSMMEHIGSVYPYMWGIRIMWTEMYPHINSGIWXIMQTVMXTImijloc de un panou transparent ce HIZMRISJSEVXIQSHIVRTRTIcare femeia va picta ntr-un ultim IJSVXGVIEXMZTMIVIERWMZETYRITYRGXEGIWXIMIMWXIRIEVXMWXMGIGRHWMQXIGQSQIRXYPWIETVSTMIJIQIMEEVXMWXRXMRHITINSWSTREPFVIJPIGMIETERSYPYMTIGEVIMETMGXEXYPXMQESTIVGYZSTWIEEPFEWXVYIPIGXVMGMGYYPXMQIPITYXIVMMXSEVRTIGSVTEGIIEMZSTWIETIRXVYGEYPXMQIPIIMFEXIVMWSXVERWJSVQIRXVSTIRWYPYQERZMIEPIGVIMYVQIWIMQTVMQMRIKEPHRHSJSVQJMMGEKSRMIM4VIIREGEQIVIPSVHIPYEXZIHIVMMEMQEKMRMPSVZMHISTVSMIGXEXITIIGVERIHMZIVWITVIGYQMHIGSVYPWMQTPYMPYQMRMPIVIGMGEHIRISRrRXVIEKEGEQIVJMMRHYRPEFSVEXSVRXVIQIHMGEPMEVXMWXMGGVIIEGSRXIXYPTSXVMZMXVIHVMMGPMRMGIPEVIGIERXQTPVMPSV7MRKYVIPIQSQIRXIzGEPHIzVQREGIPIERGEVIimpulsurile artistice sunt exprimate. Cel mai cald dintre ele cel menit WVIWXEFMPIEWGIGLMPMFVYPIQSMSREPTVSJYRHEJIGXEXEPWTIGXEXSVMPSVGSRJVYRXEMJVSRXEPRYRYQEMGYMHIIEQSVMMGMMGYVITVIIRXEVIEEGIWXIMETIWGIRIWXIGLMEVJMREPYPWTIGXEGSPYPYMMGMRXVYRYPXMQZMHISGSVTYPYMPYMKRIWXVRXMXRTEHMWIEPXYVQEMRXMGIPIXVIMJIQIMGEVIEYJSWXQEVXSVIPIQSVMMIMETSMTIVRHIGMHIEPXIJSVQIYQERI8SEXIQSQIRXIPIZMHISHMRWTIGXEGSPrJVEKQIRXIPIHINYVREPEPIPYMKRIWWGLMIPIZMHISYPXMQEGVIEMIEJIQIMMWYRXtoate realizate de artistul video Tal Yarden care i-a mprumutat TIVWSRENYPYMZSGIEWEEVXMWXMGMEVHIGSVYPGIHIZMRITERSYHITVSMIGMITIRXVYEGIWXIZMHISKRHYVMIWXIGVIEMEPYM.ERVersweyveld. MPQYPPYMIVKQERHIZMRIREGIEWXQSRXEVIYRTVIXIXTIRXVYVIJPIGMMPIIWXIXMGIHIWTVIQSEVXIEPIPYM-ZSZERSZI2IEQMRXMQHIel dar numai n calitate de reper cultural al unei noi aventuri EVXMWXMGIGEVIWIHSZIHIXISVMKMREPTVSJYRHTIVWSREPMGYVENSEWdin punct de vedere artistic. 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In contrast to the institutionalized and mainstream theater and even the productions of theater students the amateur student groups provided an alternative environment where ingenious strategies of non-conformism were developed. 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Cu un timp redus pentru a investiga XIQEXMGETYMRIQEXIVMEPIXMTVMXIRISJMGMEPIMSZMMYRIJVEKQIRXEVMYSVRSWXEPKMGMHIJSVQEXSEVIEVIEPMXMPSVXVMXIHIGXVIGIMMQTPMGEMGSRGPYMMPIRYTSXWXEWYFsemnul certitudinii. Ce se desprinde GIPTYMRPERMZIPHIGPEVEXMZIWXISMQEKMRIHMJYGEVIRWEVYRGREMRXIRMXIMHIMGITSXJMITPSVEXIYPXIVMSVZIQSEFSVHEVIWMKYVRceea ce descrie Radu Radoslav HIWTVITIVMSEHEPEEGYPXEXIEHISRWXVYGMMXIXIHIEVEKMEPISVIPEMIFYRGYGIRSVYPSQMQEMHIKVEFIHYGEMSREPEHIGPEVEXGLMEVGWIRWYPHMMHIRIMIVEMHIIEHISFMRYMWXYHIRMMGYTVIQMIPIMQSHYPHIJYRGMSREVIEPIGSRSQMIMHITMEGEVIWIVIKWIEYn textele alese. Apoi pe de o parte EZIQSEXMXYHMRIXVERERXERXMIWXEFPMWLQIRXGEVIRWRYEVIYMXWWIGYVMIITIRXVYQYPXXMQTYRWTEMYHIIIVWEVIEPMFIVXMMHIITVIWMIMRMGMRYEVIYPXEXGEVJMHEXVSEHIEVXMWXMGIWEYTSPMXMGIRWIRWYPHIHMMHIRIVIQEVGEFMPIER1ERSPIWGYGEVIIQMKVEXRMcare a coordonat trupa de amatori de PEVLMXIGXYV4IHIEPXTEVXIPEZIQTIMSKIRIMLSMTVIIREGXMZEXXRVIZMWXEWXYHIRIEWGE9RMZIVWMXMMMGEVIEJGYXRMXIHIGPEVEMMGEVIWYWMRIEYITPMGMXGEYESQYRMWQYPYMR6SQRMEMEideologiei Partidului Comunist 6SQRREGIPEMXMQTEGIWXEHMRYVQIWXIVIQIQSVEXHIXSMGIMMRXIVZMIZEMHVITXSTIVWSREPMXEXIIXVESVHMREVGEVIEEWMKYVEXYRWTEMYHIITVIWMIMHITYRIVIRWGIREYRSVEYXSVMGSRXIQTSVERMGEVIEPXJIPGYKVIYEVJMZYXPYQMREVIJPIGXSEVIPSVMWEVJMRXPRMXGYTYFPMGYP7XEYQVXYVMIHIEPXJIPMfrecventele referiri la piese jucate n EGIETIVMSEHMRGPYWMZRHITPEWEVIPEYGYVIXM4EVIGSRXVIFEVIGEVIEVTYXIEJMVMHMGEXRGSRXMRYEVIIWXIGIWXEXYXMGIPSGEVTYXIEWEMFRQIQSVMERSEWXVEGIWXIJMKYVMGSRXVEWXERXIEPIZMIMMRSEWXVIGYPXYVEPIMTYRRHTSEXIWMQTPMWXproblema cine a fost mai dizident MRXIKVYPGEVIMETWXVEXZIVXMGEPMXEXIEMETSMEIQMKVEXJVrezultate artistice sau critice QIQSVEFMPIWEYEWIVZMXYPGIPTYMRHIGPEVEXMZGEVIEQIRENEXWTEMYPWYHIITVIWMIMEGSRHYWSXVYTHIWXYHIRMEQEXSVMRXIEXVYWTVIEPXIJSVQIHIITVIWMIMEPXIXIXITIRXVYWGIRMRJIVMGMVIRGIMWXRZMESEQIRMHMWTYMWZSVFIEWGHIWTVIEGIPIZVIQYVMMIMWXMTMWXIde cercetare a unor materiale scrise. GIWXIWYVWIMEXIETXGIVGIXXSVMMMMRXIVTVIMMTIRXVYEITPSVEYRXVIGYXMQTSVXERXHIRIPIWMHIdiscutat.1VXYVMMPIEGIWXSVITIVMIRIGEVIEYEZYXPSGPE8MQMSEVEPYN4MEXVE2IEQMYGYVIXMXVIFYMIRSTMRMIQIEWMKWIEWGPSGYPFMRImeritat ntr-o istorie a practicilor EVXMWXMGIHMREMRXIHIHEVQEMEPIWRXVSQIQSVMIEVIMWXIRIMMGSRJVYRXVMMPMQMXIPSVEXEEXIPMFIVXMMHIITVIWMIHIGXVIGSRHYGXSVMMGSQYRMXMR6SQRME1MEIWXIQEMQYPXHIGXMWXSVMSKVEJMGMWIVIJIVHIJETXPEVIGYTIVEVIEYRYMGETMXEPHIGVMXMGWEYVIZSPXWSGMEPRYEREXREGXMZMXEXIEEVXMWXMGMFPMSKVEJMEGSQTPIXTI www.revistascena.ro32ESEU339nscenarea luiOSTOIEVSKI8XRPCPPaPC3ADMRRXVIEKEPMXIVEXYVSGGMHIRXEPVSQERIPIPYMSWXSMIZWOMETEVGIPQEMfrecvent dramatizate pe scenele de XIEXVY4SEXITVIEWYVTVMRXSVHMRmoment ce ncununarea carierei WGVMMXSVMGIXMEPYMSWXSMIZWOMGIPITEXVYGETSHSTIVIrVMQMTIHIETW Idiotul DemoniiMVEMMEVEQESZ rWYRXHIEWIQIRIETVMRXVIcele mai lungi romane scrise ZVISHEXMTVMREGIWXWMQTPYJETXEVWJMHEXVERWTYRIVIEPSVRXVSTMIWHIXIEXVYHIGXIZESVI3TVMQTEVXIEEGIWXYMIWIYHSVIXIWRIPIEKEXVEGMEQEWSGLMWXEXIEXVYPYMTIRXVYSWXSMIZWOMMWIZEPYIIstrategiile cel mai frecvent folosite n TVSGIWYPHIEHETXEVIWGIRMGRefortul de a descoperi propriile mele WSPYMMHVEQEXYVKMGIQMEJSWXHIYRENYXSVRITVIYMXRGRIIKEPEFMPEEREPMEPYM1MLEMPELXMRRProblemele poeticii lui Dostoievski IHEHSYESRGITXYPlui Bahtin de roman polifonic e la sursa strategiei mele dramaturgice. YTGYQTSEXIEMKLMGMXHINEPEVRHYPQIYWGVMYYRWGIREVMYHYTVEMMEVEQESZEGIEWXPYGVEVIZVRHWHIWGSTIVIGIQJEGIWGVIHGSERYXMYGXEEHETXEVIISMHIIFYRMGYQERYQIWITSEXIdramatiza acest roman. 3CENACRIMEI OSTOIEVSKIsNTEATRU 2YQVYPIEGXHIEHETXVMWGIRMGIHYTVSQERIPIMRYZIPIPIPYMSWXSMIZWOMIKVIYHITVIGMEXGMJVEJMMRHGSZVMXSEVI7GVMMRHHIWTVISVIRRSMVIEQERMIMSWXSMIZWOMRXVYRRYQVHMRQEVXMIEPYM1SWGS8MQIW.SLRVIIHQEREHYGIRHMWGYMIYRZSPYQRIXVEHYWSWXSMIZWOMMXIEXVYPn care autorul RIQIRMSREXEIRYQIVEXGYGSRXMMRGMSMXEXIRYQEMTYMRHIHITVSHYGMMHSEVR6YWMERXVIM1. Versiunile Teatrului HIVXHMR1SWGSZEHYTVEMMEVEQESZRMDemonii GYtitlul 2MOSPEM7XEZVSKLMRRWYRXTVMQIPIEHETXVMHIMQTSVXERLXXTKYEVHMERGSYOWXEKIXLIEXVIFPSKRSZDostoyevsky-delirium-theatre-adaptationsMWXSVMG2YQYPXXMQTHYTQSHESWXSMIZWOMWIVWTRHIXITIWGIRIPIIYVSTIIRIMEQIVMGERIGYSZMXIGEXEGPMWQMGMWXVIKMSVMGEVIRXVIMRSEHIZVEXVIPEMIEQSVSEWGYSWXSMIZWOMHIEPYRKYPGEVMIVIMVEROEWXSVJETYWRWGIRTMIWIHYTXVIMVSQERIRHVINENHEHYTTEXVY9RIERXMSREPTVSHYGMMPSVimportante din ultimii ani include Demonii regizorului german Peter Stein .YGXSVYPPYMVEROEWXSVJPESPOWFLRIZIVWMYRIEPMXYERMERa romanului Idiotul RVIKMEPYMMQYRXEW2IOVSMYWMScrisori din WYFXIVERal lui Robert Woodruff la Yale Repertory Theater. Nici QGEVXIEXVIPIVIKMSREPIEQIVMGERIRYEYJSWXGVYEXIGSQTERMEIRXIVWXEKIHMREPXMQSVIJEGIVIGPEQPESQSRXEVIGYVMQM4IHIETW n stagiunea 2011 pe urmele modestului succes al spectacolului VEMMEVEQESZ la Lookingglass Theater n Chicago n IERYQIJEGIGESWXSMIZWOMWWIXVERWTYREXXHIYSVWEYWTEVEWIXVERWTYRIYSVTIWGIRRHIMWXEXXHIQYPXIVSQERIHIGTXMHIYRHIWITSEXIEPIKIHIGIEGIEWXSFWIWMIpentru un romancier rus din secolul al XIX-lea Michael Billington criticul de teatru de la The GuardianQVXYVMWIXIGERHMHISFMGIMHIXIWXEHETXVMHYTVSQERIGPEWMGI-HIIEQIEHIMEHXIEXVEPEVJMWTVMZIWGYREHMREGIPIZIVWMYRMJMHIPIMRFSRIXEXIHYT1RHVMIMTVINYHIGEXGEVISFMRYMEYWETEVTIWXIXSXGEGMYTIVGMPIMWXRWYRVSQERGMIVGEVIJVIGZIRXTVSQMXIXIEXVYHIFYRGEPMXEXISWXSMIZWOM2 YQWIJEGIGSWXSMIZWOMIZMXXMTMGIPITVSFPIQIMSFMRYMXIPIpuncte slabe legate de dramatizarea genului romanesc Billington nu ITPMGMGSRXMRYEWGVMIVIGIRMEYPXMQIMEHETXVMHYTSWXSMIZWOMTIGEVIEZYXSMXEXRIWIYPPYMERYRR9RXMPXLIKEKMWGLIIH807TVMPpg. 14Staging Dostoyevsky Noting the overwhelming number of HVEQEXMEXMSRW SJ SWXSIZWOWRSZIPW-PMRGE8SHSVYHMWGYWWIWXLIstrategies commonly employed to adapt the lengthy works for the stage. Making use of Mikhail Bakhtins concept of the polyphonic novel and of Hans-Thies Lehmanns theory of the postdramatic she also argues for a post-Aristotelian way of approaching the staging of SWXSIZWO9RTSIQVMHMGSPVEQEMROEWJSXSIR6IRSPHW33ESEU339VMQMTIHIETWdeoarece nu poate JMVIHYWPEYRMVREVEXMZEPEGMYRMMGEVIWTSEXJMIXMVTEXMIWIRMEPMEXTIWGIRRXVSMRXVMK1EMQYPXSWXSMIZWOMMRWMWXEWYTVEJETXYPYMGQMIYPEVXIMWEPIIWXISMHIITSIXMGITVMQEXMJSVQEXHIgenul romanesc. 2ECONSTITUIREACRIMEIChTEVASOLUIIPROBLEMATICERGSRXMRYEVIEEGIPIEMWYWQIRMSREXIWGVMWSVMSWXSMIZWOMSJIVGXIZEGVMTXMGIMRIWMKYVIsfaturi dramaturgice 7MXYEMEEVJMEPXEHEGZSEWXVEMreface ct se poate de mult romanul MPEMWGLMQFETWXVRHHMRIPHSEVYRITMWSHWEYEPXYPRZIHIVIEXVERWJSVQVMMPYMRHVEQWEYPYRHGEFEMHIIETVMRGMTEPEMWGLMQFERRXVIKMQIREVEMYRIEMMRHMQTSWMFMPIXVEKIVIEGSQTPMGEXIMEGMYRMMEVSQERYPYMMXVEWTYRIVIEIMHMVIGXTIWGIRWIpoate folosi un singur episod al povestirii focalizarea servind PMQMXVMPIWTEMEPIMXIQTSVEPIEPIteatrului. Aceasta a devenit o EFSVHEVIGYVIRXITMWSHYPJEZSVMXales fiind Legenda Marelui Inchizitor un capitol din VEMMEVEQESZ. Printre regizorii care au nscenat HSEVEGIWXITMWSHWIRYQV4IXIVVSSO4EXVMGILVIEYEQEMROEWM6EHY4IRGMYPIWGYPHSMPIEWJEXEPYMSWXSMIZWOMRYIEXXHIGPEVIRWIEQRWWITWXVIIMHIIETVMRGMTEPMHIIETSIXMGHEVWWIWGLMQFIREVEMYRIEVRWIQRESEVIGVIEVIEunei povestiri originale cu totul HMJIVMXHIGIEHMRVSQERTSXVMZMXMTVSMIGXEXWTIGMEPTIRXVYQIHMYPXIEXVEPHEVGEVIGSQYRMGEGIEMMHIITSIXMGYQWIJEGIGTSZIWXMVIERWMRIIEXXHIRIKPMNEFMPn YVMVIEHVEQIMQSHIVRI Richard MPQERJSVQYPIESXISVMIHIWTVImodul n care la origine romancieri GE4MVERHIPPSMIGOIXXEFSVHIEdramaturgiaPiesele lui Beckett sau Pirandello nu WYRXZIVWMYRMXIEXVEPMEXIWEYLMWXVMSRMGIEPIXIQEXMGMPSVVSQERIXMGMVITVIMRXSQSHMJMGEVIREXYVEPMRIGIWEVEMQEKMREMIMSIXMRHIVIEPjRAREAINCULPATULUIOSTOIEVSKIDESPREADAPTARESWXSMIZWOMRYEWGVMWRMGMQGEVSWMRKYVTMIWHIXIEXVY RRXVIKMQIHIHMGEXSTIVIMWEPIVSQERIXMIVEJSEVXIGSRXMIRXHIWTIGMJMGYPKIRYPYMPMXIVEVEPIWIJETXRYIVEHITVIVIGVSQERIPIWEPITSXJMTYWIRWGIRGYWYGGIWRSWXSMIZWOMVWTYRHIWGVMWSVMM4VMRIWIM3FSPIRWOEEGEVIMGIVYWITIVQMWMYRIEHIEdramatiza VMQMTIHIETW RGIIEGITVMZIXIMRXIRMEZSEWXVHIEIXVEKIHMRVSQERYPQIYSHVEQIYFMRIRIPIWWYRXHIEGSVHMGLMEVEQHIGMWGEVIKYPWRYTYRRMGMSHEXTMIHMGEGIWXSVMRXIRMMHEVRYTSXWQEFMRHIPESFWIVZEMEGEWIQIRIERGIVGVMEYIYEXETVSETIRXSXHIEYREGIPTYMRRYEYJSWXVIYMXITIHITPMRMWXYRJIPHIXEMRREVXHMRTVMGMREGVIMEJSVQEITMGRYMKWIXIGSVIWTSRHIRRJSVQEHVEQEXMGYGLMEVGVIHGTIRXVYHMJIVMXIJSVQIEPIEVXIMIMWXMSWIVMIHIMHIMTSIXMGIGSVIWTYRXSEVIPSVREEJIPRGXSMHIIRYTSEXIJMITVMQEXREPXJSVQHIGXGIEGSVIWTYRXSEVIIMSWXSMIZWOMJSVQYPIEGIPQEMWMQTPYEVKYQIRXYPQTSXVMZEEHETXVMMYRVSQERIYRVSQERMRYSTMIWHIXIEXVYSRGITXYPHIyMHIITSIXMGzJSPSWIXIGYZRXYPyTSIXMGzRWIRWYPWYGPEWMGHIVMZEXHMRGYZRXYPERXMGKVIGpoesis RWIQRRHyEJYVMzVIJIVMRHYWIPEXSEXIJSVQIPIHIGVIEMIEVXMWXMGrEVXIZMYEPIQYMGTSIMIPMVMGMITMGHVEQ-HIIETSIXMGGSQYRMGEVIEHIWIRWMWIQRMJMGEMITIGEPIIWXIXMGIPMQMXEXMITVMQEXHIGIVMRIPIWXVYGXYVEPIMJSVQEPIEPIVSQERYPYMGEKIREVXMWXMGSVQMGSRMRYXWYRXMRIXVMGEFMPPIKEXIYREHIEPXEySVQIPIITMGIzGEVEGXIVMEXITVMRPYRKMQIEMEGMYRIERIVQYVMXRXMQTMWTEMYRYTSXJMXVEHYWIRyJSVQIHVEQEXMGIzMRXVMRWIGPMQMXEXIRXMQTWTEMYMEGMYRISWXSMIZWOMTEVIEWYKIVEGIMQTSWMFMPHVEQEXMEVIEVSQERYPYMLXXTPSSOMRKKPEWWXLIEXVISVKGSRXIRXXLIFVSXLIVWOEVEQESZRWIQRVMPIYRYMRIGYRSWGYXVPIERHVYEVMIJSXS6EVI4IXVMSV34ESEU339unei singure voci vorbind in QSRSPSKYVMPIGEVIWXEYPEFEESVMGVIMGVIEMMVSQERIXMMRYZIPMWXMGIRHMEPSKGSRZIVWEMIRXVYTEX4MPQERITPMGGYQIGOIXXM4MVERHIPPSRYEYRGITYXTYVMWMQTPYWRWGIRIIWYFMIGXYPVSQERIPSVWGVMWIHIIMSVQEEVXMWXMGHMJIVMXEXIEXVYPYMEMQTYWSWGLMQFEVIWXVYGXYVEPVEHMGEPRIGIWMXRHSXVERMMIHIPEJSVQEQSRSPSKMGEVSQERYPYMPEREVEMYRIEHMEPSKMGHVEQEXMG4SZIWXMVIERYIWTYWRXVYRQSHHMJIVMXIEXVIFYMIWHIZMRSGYXSXYPEPXTSZIWXMVIRGEYPPYMIGOIXXspre exemplu se poate observa EWIQREVIEIZMHIRXHMRXVIpersonajele din 1IVGMIVMEQMIVMXITXRHYPTISHSXGLMEVHEGREVEMYRIEIGYXSXYPEPXEMMYRIEPYQMMRWrMHIIETSIXMGrIEGIEMRVSQERIPIFIGOIXMIRIGEMRTMIWIPIHIXIEXVYEHEVRWGIREVIEPYMSWXSMIZWOMPEJIPGERWGIREVIESVMGVYMEPXVSQEREVRWIQREXVERWTYRIVIERREVEMYRIHMEPSKMGEunui gen artistic monologic. 4EVIVISREFMPRWRYIWXIGEYPPYMSWXSMIZWOMIGOIXXIHITVIVIGVSQERGMIVYPVYWyEVIHEXRIFYRMEMPQER6SFIVX8LI1EOMRKSJ1SHIVRVEQE2ISVOEVVEV7XVEYWERHMVSY4Kdialogului ca nimeni altul5. Un motiv WXVYGXYVEPTIRXVYEXVEGMESEQIRMPSVde teatru pentru romanele lui SWXSMIZWOMIHIRWMXEXIEHMEPSKYPYM2EVEXSVYPRYIYRQEIWXVYTTYEVGMMEWYQVSPYPYQMPEPYRYMEHMRXVIRYQIVSEWIPITIVWSRENIGITSTYPIEWYXIPIHITEKMRMGYGSRZIVWEMM4SMMEEYGXSVMEPEPYMSWXSMIZWOMeste de egalitate cu restul vocilor JMGMSREPIISFMGIMTVSXEKSRMXMMRYWYRXHIWGVMMRREVEMYRISQRMWGMIRXPETIVWSEREEXVIMEMGETXJSVQMZMETVMRGYZMRXIPITYWIRTVSTVMEPSVKYVMEPSKYPIWXIEXXHITPMRHIZIVZRGXTSEXIJMGYYYVMRMQEKMREXRGEVREXTIWGIR0IKIRHE1EVIPYM-RGLMMXSVHIIIQTPYIWXIHMEPSKMTYRIVIEWERWGIRHIZMRIEHIWISVMYRWMQTPYIIVGMMYHIstenografie. -QTSVXEREHMEPSKYPYMIYRIPIQIRXJSVQEPIZMHIRXGIMRZMXdramatizarea. Al doilea inculpat este ideologic perceperea unui mesaj filozofic major. La ntrebarea de ce se HVEQEXMIESWXSMIZWOMVWTYRWYPKIRIVEPMRZSGyGIZEHIKIRYPzRXVIFVMPSVQENSVITVIGYQyWIRWYPZMIMMzyMHIMPITPERRHHMQTVINYVYPMn miezul povestirii au de-a face cu IMWXIREPYMYQRIIYWIRWYPZMIMMMXEXRIWIYPPYMERYRR9RXMPXLIKEKMWGLIIH807TVMPTK14QEKRMXYHMRIEMGSRXVEHMGMMPIREXYVMMYQERIMMRXIVGSRIGXMZMXEXIEHMRXVISEQIRMAREPXIGYZMRXIGIZEHIKIRYPGIPSVQEMQEVMQEMEHRGMRXVIFVMEPIZMIMM6XVEGMEQEVMPSVMHIMTVSJYRHIJGYXIEGGIWMFMPITVMRHMEPSKGITSEXIJMGSTMEXHMVIGXHMRGEVXITSEXIWJMIQSXMZYPRYQIVSEWIPSVRWGIRVMJEGMPIMPMTWMXIHIMQEKMREMI0YGVYVMPIHIZMRQEMGSQTPMGEXIGRHXVIFYMIWWIEFSVHIITVSFPIQERYQVYPYMQEVIHITIVWSRENIMEEGMYRMMVEQMJMGEXIRincidente peste incidente acoperind sute de pagini. Acesta este TVMRGMTEPYPQSXMZTIRXVYGEVISWXSMIZWOMEHEXWJEXYPWWIIXVEKYRWMRKYPITMWSHHMRRXVIKVSQERYPYWMKYVEREGIEWXEIWXIWSPYMEGIEQEMWMQTPMIZMHIRXHEVREGIPEMXMQTRYGSRMRIETVSETIRMQMGHMRMHIIETSIXMG1YPMQIEHIITMWSEHIGIGSRXVEWXIEYRIPIGYEPXIPIMVISRIEHITIYVQEMRXIVEGMYRMMVIGMTVSGIJSVQIEXIXYVEHIFEEVSQERIPSVPYMSWXSMIZWOM-SPEVIEYRYMWMRKYVITMWSHMWGLMQFWIRWYPMJYRGMEWEMRMMEPHMRcadrul romanului. Cu toate acestea nscenarea ntregului roman e MQTSWMFMPHIMIMWXVIKMSVMGEVIEYRGIVGEXDemonii lui Peter 7XIMREZVYXTITEVGYVWYPESTXSVIWVQRGXQEMJMHIPSVMKMREPYPYMLMEVRSTXSVIRWEYIMWXEXPYGVYVMGEVIEYXVIFYMXWEJMIPWEXIPESTEVXI6IYPXEXYPEJSWXGSRXVSZIVWEXMTEVEJVERHYPTISWXSMIZWOMWITEVIGRIVIYMXTIHITPMR9RTEVEHSGYGXHVEQEXMEVIEHSVIXIWXVERWQMXJMHIPREVEMYRIEVSQERYPYMGYEXXTVSHYGMEVMWGWHIZMRQEMHIEQKMXSEVIVEQEXMVMPIRGYRYREXIGYWYGGIWWIFEIETIVSQERHEVMEWYQSERYQMXHMWXERGEVIWTIVQMXGSRGITIVIEYRIMSTIVIGIJYRGMSRIEREMRXIHIXSEXIHVEQEXMGXHIQYPXMHIETSIXMGEPYMSWXSMIZWOMIWXIXVEWQMWHIEGIWXIEHETXVMHMJIVHIPETVSHYGMIPETVSHYGMI4VIMGIVIEPYMSWXSMIZWOMGRMGMSHVEQEXMEVIRYZEVIYMTIHITPMRWXVERWTYRTVSMIGXYPEVXMWXMGEPVSQERIPSVWEPIHIZMRIRKVMNSVXSEVI8SXYMIMWXWTIVERISEVIGIGSRGITMEPYMSWXSMIZWOMHIWTVIXIEXVYIYREVIPEXMZPMQMXEXRVHGMREXRformele dramatice ale secolului XIX. Tragediile istorice dramele LXXTPSSOMRKKPEWWXLIEXVISVKGSRXIRXXLIFVSXLIVWOEVEQESZRWIQRVMPIJSXS6EVI4IXVMSVESEU339HSQIWXMGIQIPSHVEQIPIMGSQIHMMPIHIFYPIZEVHNYGEXIRXIEXVIPIYVSTIMEPIZVIQMMIVEYJSRHEXITIEGMYRIQMQIXMGMWXVYGXYVREVEXMZPMRIEVGSRGIRXVEXEWYTVEVISPZVMMYRIMMRXVMKM7XVYGXYVEITMWSHMGEGMYRIEVEQMJMGEXMQYPXMXYHMRIEHITIVWSRENIRYJGIEYTEVXIHMRIWXIXMGEHVEQEXMGEWIGSPYPYM-6SQERYPKIRPMXIVEVGSQTEVEXMZHIZVWXJVEKIHIWXIGIPQEMTYMRXISVIXMEXMRSXSVMYTIRXVYGETEGMXEXIEWEHIEIPYHETVIWGVMTMMJSQEPI2YIMWXVIKYPMHIWTVIGYQXVIFYMIWGVMWYRVSQEREGIWXETIVQMRHSQEVIPMFIVXEXIHIITIVMQIRXEVISRXVEWXRHGYVSQERYPHVEQEeste cel mai teoretizat gen literar notoriu pentru rigiditatea regulilor WEPIJSVQEPIMFRXYMXHIWTIGXVYPPYMVMWXSXIP2YIWXIHIQMVEVIGSWXSMIZWOMTYRIWYFWIQRYPRXVIFVMMGETEGMXEXIEWEITVIWMZREPMEPYMELXMREQIXIYKYPYMPYMSWXSMIZWOMMEMHIMMWEPITSIXMGIPTSVXVIXMIETIVSQERGMIVYPVYWRYRYQEMHVITXYRMRSZEXSVEPKIRYPYMVSQERIWGHEVMEPZMMYRMMIYVSTIRIEWYTVEPYQMMEHVYPGSRGITXYEPWYVTVMRXSVHITVSXSTSWXQSHIVREPYMELXMRGPEVMJMGHIGIRYQEMYRXIEXVYTSWXEVMWXSXIPMGTSEXIWJEGHVITXEXIPYMSWXSMIZWOMTIWGIR-OBILULCRIMEIIDEAPOETICj7YXIHIGVMEYJSWXWGVMWIHIWTVISWXSMIZWOMRHSQIRMMZEVMEXITVIGYQWXYHMMPMXIVEVIMWXSVME6YWMIMTWMLSEREPMXISPSKMIJMPSSJMIJMIGEVIVIZIPRHSPEXYVHMJIVMXEGSPYVSWYPYMSWXSMIZWOMJSWXVMHMGEXRWPZMHVITXYRQMWXMGSVXSHSHIGXVIQEVMXISPSKMTVIGYQIVHMEIZREGIPEMXMQTRGEVITVSJYRMJMPSSJMGEIWXSZM2MIXWGLIMMPYQMRIEPEXYVERMLMPMWXETPEYHEXTIRXVYTSTYPMWQYPWYMEGYEXHISZMRMWQMERXMWIQMXMWQ3TIVEWEIHEXGEIIQTPYHIVSQERVIEPMWXHIWIGSP-MHIVSQERQSHIVRMWXtimpuriu. Romanele sale sunt citite ca tratatefilozofice sau romane TSPMMWXIRWRYQEMELXMRRGIEVGWITPMGIGYQWIJEGIGSWXSMIZWOMTIVQMXIHMWGYVWYVMEXXHIZEVMEXIMGLMEVGSRXVEVMMEXMRKRHIWIREJIRSQIRYPYMSWXSMIZWOMELXMRSFWIVZWYTIVJMGMEPMXEXIEEREPMIPSVWXVYGXYVEPIEPIIWXIXMGMMPYMSWXSMIZWOMyPMXIVEXYVEHIWTVISWXSMIZWOMITVISGYTEXRprincipal de problemele ideologice EPISTIVIMWEPIMEPYVEEGIPSVTVSFPIQIEQTMRWRYQFVEWTIGXIPIWXVYGXYVEPIQEMTVSJYRHIMmai statornice ale viziunii sale EVXMWXMGIzZMMVMXMGERNYVYPPYMSWXSMIZWOMMEHISFMGIMJSVQEYRSVVWTYRWYVMMHISPSKMGIPESERYQIXISVMIJMPSWSJMGPMZVEXTITEKMRprin vocea unui protagonist al VSQERYPYMMRRHGSRXHIJETXYPGWYRXQYPXITIVWSRENIMQYPXIXISVMMHIFXYXIyGVMXMGEPMXIVEVAIWXIJVEKQIRXEXRXVSWIVMIHITSMMMJMPSSJMGIMRHITIRHIRXIMEYXScontradictorii fiecare n parte ETVEXHIYRYPWEYEPXYPHMRXVIIVSMzELXMRKWIXIHIJIGXYSEWEGIWXEFSVHEVIJMMRHGyTPYVEPMXEXIEHIZSGMMGSRXMMRIMRHITIRHIRXIMRIEPMRMEXIYREEPXIMEMTSPMJSRMEEYXIRXMGEZSGMPSVZEPSVMEXIHMRTPMRsunt de fapt caracteristici definitorii EPIVSQERIPSVPYMSWXSMIZWOMzWIREVSQERIPSVWIEJPRRYQVYPmare de personaje fiecare RGEVREVIEEYRIMMHIMHIFXRHRXVIIMMIPIJVGEYRTYRGXHIZIHIVIERYQIWEMFTVMSVMXEXIMVYPREVEXMZRWMRINSEGVSPYPWIGYRHEVHIEVIRRGEHVYPGVIMEGSRXMMRIRGEVREXIHIVERKIKEPWYRXEWQYMXIuna mpotriva alteia. GIWXTPYVEPMWQPJEGITIELXMRWEJMVQIGSWXSMIZWOMRYRYQEMGHITIXIJSVQEVSQERYPYMQSRSPSKMGWEYLSQSJSRMGHEVMGVIEyYRRSYQSHIPEVXMWXMGEPPYQMMzZMMREMRXIEPYMSWXSMIZWOMyVEMSREPMWQYPIYVSTIERGYEPWYGYPXEPVEMYRMMWMRKYPEVIMIGPYWMZIn particular n Iluminism a favorizat consolidarea principiului monologic MTIRIXVEVIEWERXSEXWJIVIPIZMIMMMHISPSKMGIz7MRKYPEVMXEXIEGYRSEXIVMMMWIQRMJMGEMMPSVTYRGXYPHIZIHIVIYRMGGYPXYVEQSRSPMXMGsunt nlocuite de pluralism lipsa de GSRGPYMMMHIWGLMHIVIHMEPSKMGWeltanschauungYPPYMSWXSMIZWOMHIZMRIyTVMRGMTMYPHIPEFEEZMMYRMMWEPIEVXMWXMGIEWYTVEPYQMMMEGSRWXVYGMIMEVXMWXMGIEYRIMXSXEPMXMPMRKZMWXMGIzVSQERYPTSPMJSRMGGIEWXEIWXIMHIETSIXMGVMXMGEPMXIVEVRWEHRGMXRTEVEHMKQEVEMSREPMWXRYEVIPEHMWTSMMIuneltele de abordare a polifoniei GRHRQSRSPSKMEVIJMPSSJMG Conceptul lui Bahtin de roman polifonic e extrem de bogat fiind n EGIPEMXMQTYRTVMRGMTMYMHISPSKMGMWXVYGXYVEP4SPMJSRMEIHIJMRMXHVITXyYRMJMGEVIEHIQEXIVMEPILIXIVSKIRIMMRGSQTEXMFMPIMTPYVEPMXEXIEHIGSRXMMRIzMRTYRGXHIZIHIVIJSVQEPVSQERIPIPYMSWXSMIZWOMWYRXSTEWXMHIKIRYVMPMXIVEVIRXVEHMMEPMXIVEXYVMMGEVREZEPMEXISemnele sale distinctive sunt multiplicitatea tonurilor amestecul HIIPIZEXMTSTYPEVWEGVYMMVIZIVIRXWIVMSWMGSQMGRXIXYVEREVEMYRMMSWXSMIZWOMWIQMGTVMRXVIKIRYVMPMXIVEVIWXMPYVMMXSRYVMEQIWXIGRHVSQERHIEZIRXYVJSMPIXSRVSQERHIFYPIZEVHVSQERTSPMMWXHMEPSKWSGVEXMGHMEXVMFWSPMPSUYMYQWEYGSRJIWMYRIPXYVEVIEYRSVEWIQIRIEIPIQIRXIZEVMEXIMMRGSQTEXMFMPIRGSRWXVYGMEREVEXMZGSRHYGIPEyHMWXVYKIVIEYRMXMMorganice a materialului cerut de GSRZIRMIAMEXIXYVMMREVEXMZIYRMJMGEXIMMRXIKVEPIz6IYPXMQTVIWMEKIRIVEPHIREVEMYRILESXMGVEQMJMGEXMRXIVQMREFMPRepisoade singulare dar interconectate. Romanele au o XIXYVREVEXMZRYSTSZIWXMVIPMRIEVELXMRHIWGVMIVSQERYP35RWIQRVMPIYRYMRIGYRSWGYXVPIERHVYEVMIJSXS6EVI4IXVMSV36ESEU339TSPMJSRMGGEJMMRHQYPXMWXMPMWXMGMQYPXMEGGIRXYEXQFVMRHZEPSVMGSRXVEHMGXSVMMMQFMRRHSTSMMM 4IVWSRENIPIEEHEVPMRXIVIWIETISWXSMIZWOMyHSEVHVITXYRTYRGXHIZIHIVITEVXMGYPEVRVIPEMIGYPYQIERGSRNYVXSEVIzHIWGVMMRHyRYZMEEIVSYPYMGMZMEEMHIMMRIVSYzXPMEZSGMPSVMHISPSKMGIIPEmiezul romanelor. Termenul de yTSPMJSRMIzITVIPYEXHMRXISVMEQYMGEPYRHIJEGIVIJIVMRPEHSYWEYQEMQYPXIZSGMQIPSHMGIGRXRHQTVIYREGIPIWYRXMRHITIRHIRXIWYRXHIEWIQIRIEMMRXIVHITIRHIRXIEGSERYQMXMHISPSKMIIITYWRVSQERSTYWYPei apare deasemenea. Acest fapt l HIXIVQMRTIELXMRWGVIEHGyRMGMYREPXEYXSVRYEGSRGIRXVEXRIPRWYMEXXHIQYPXIGSRXVEHMGMMMGSRGITXISTMRMMIZEPYVMQYXYEPIGPYWMZIzRVSQERIPIPYMSWXSMIZWOMyXSXYPWIEJPPEKVERMESTYWYPYMWYVEKSWXIEPEKVERMGYYVETIGEVISGYRSEXIMSRIPIKIAGVIHMREPEKVERMGYEXIMWQYPAQVIMEMRSFPIIEPEKVERMGYHIKVEHEVIEMQMXVMTYVMXEXIERIPIKIZMGMYPPMSEz1MGEVIEHIFEEVSQERIPSVTSEXIJMITVMQEXRJIPYPYVQXSVySTSMMMPIWIRXPRIWGWITVMZIWGWIVIJPIGXYREREPXEWIRIPIKVIGMTVSGz1YPXMXYHMRIEHITIVWSRENIMHIMHISPSKMMyWIGYRSWGRXVIIMMIPIMXMYYRYPHIWTVIEPXYPWYRXRIZSMMWMRXVIRGSRXEGXWZSVFIEWGzIYRHIVIYPXMQTSVXEREGSZVMXSEVIEHMEPSKYPYMELXMRQIVKIEXXHIHITEVXITREWGVMIGyVSQERIPIPYMSWXSMIZWOMWYRXHMEPSKYVMWXVPYGMXRWGIREXIzMEYySTYXIVRMGRGPMREMIGXVIJSVQEHVEQEXMGzIRXVEXTISTSMMMHMEPSKMGISWXSMIZWOMHVEQEXMIEGSRXVEHMGMMYXSEXIEGIWXIEELXMRPMQMXIEEJMRMXEXIEGYXIEXVYPPEYRWMRKYVIPIQIRXREVEMYRIEIKRHMXyRTVMRGMTEPRWTEMYRYRXMQTz4YRRHEGGIRXYPTIWMQYPXERIMXEXIGSIMWXIRMMRXIVEGMYRIEGMYRIEVSQERIPSVWIVEQMJMGRYRXVYRPYRKWIKQIRXHIXMQTGMRWTEMYGSVIKVEJMMRHSWGYVXWMQJSRMIGYQYPXIMRWXVYQIRXIRYXVEWRHRWTEMYSPYRKQIPSHMITISWMRKYVZSGI4VMQIPIGMRGMsute de pagini ale VEMPSVEVEQESZHIIIQTPYREVIEIZIRMQIRXITITEVGYVWYPEHSEVXVIMMPIRGSQTEVEMIGYEPXIVSQERIGIPIEPIPYMSWXSMIZWOMEYSYRMXEXIEXMQTYPYMETVSETIEVMWXSXIPMGRGMYHEEGIWXIMEJMRMXMGYHVEQEELXMRPEJIPGEMSWXSMIZWOMMHMREGIPEMQSXMZRYGVIHIGVSQERIPIEYXSVYPYMVYWTSXJMTYWIRWGIR4IRXVYELOXMRyHVEQEIWXITVMRRWMREXYVEWEWXVMRTSPMJSRMIMEYXIRXMGIAHVEQETSEXIJMGSRWXVYMXTIQEMQYPXIRMZIPIHEVRYTSEXIGSRMRIPYQMQYPXMTPIATIVQMXIHSEVSWMRKYVRYQEMQYPXIWMWXIQIHIQWYVEVIz1EMQYPXHIGXKIRYPVSQERIWGGIRYEVIVIKYPMWXVMGXIRTVMZMREYRMXMMXSRYPYMEREVEMYRMMEXMQTYPYMWTEMYPYMMEEGMYRMMHVEQEMQTYRITVMRVEMSREPMWQYPWYEVMWXSXIPMGyYRMXEXIEQSRSPMXMGEPYQMMz3OLUIAPOSTDRAMATICjCAZsNCHISMRTYMRIPIEPYMMPEXIEXVYRWGVMIVMPIPYMSWXSMIZWOMMELXMRXVERWTMVSYSEVERXMTEXMIJEHIEGIEWXEVXEVEQHSMEYJSWXGYXSXYPRHVITXMMREHIWGVMIXIEXVYPGSRXIQTSVERGYIMHVITXRGXYEXRJMVYPREVEXMZPMRIEVMRTIVWTIGXMZEWMRKYPEVSVQIVIGIRXIEPIXIEXVYPYMRWEYRHVRMXITPSVEVIETSWMFMPMXMPSVHIITVIWMIRSREVMWXSXIPMGIMWYRXHMREGIWXQSXMZQYPXQEMEHIGZEXIGLMTEXITIRXVYEQSRXEVSQERYPTSPMJSRMGGSRGIRXVRHYWIRYTIRXMIXEXIETSZIWXMVMMGMTIMHIIETSIXMG1YPXIHMRXVIGEVEGXIVMWXMGMPIVSQERYPYMTSPMJSRMGIRYQIVEXIHIGXVIELXMRrPMTWEVISPYMIMMEWMRXIIMTPYVEPMWQYPMPMTWEHIMIVEVLMIEZSGMPSVIZIRMQIRXIWMQYPXERIMITVIWMITERSVEQMGRWTEMYrWYRXGSRGITXIEWXMJSPSWMXIRVIJIVMRGYXIEXVYPTSWXHVEQEXMGERW8LMIW0ILQERRHIWGVMIyXIXSVEQEzXIEXVYPYMTSWXHVEQEXMGHVITXXIXRXVYTEXYRHIyWIHIZSPXTSPMJSRMEQEMGYVRHHIGXHMEPSKYPZSVFMXSVYPMRHMZMHYEPEHEYKWXVSJIPEYRGSVGSPIGXMZz8IVQIRYPHIyHMEPSKzIJSPSWMXRWIRWYPPYMELXMRHIHMEPSKQSRSPSKMGWEYHMEPSKHVEQEXMGYRHISWMRKYVZSGITVIHSQMREWYTVEGIPSVPEPXIMWIQMREVIEZSGMPSVMRXVYTEVIEWMQYPXEREMHISPSKMMPSVconflictuale pot fi atinse numai prin dialog polifonic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vocilor. EGEYXSVYPSWXSMIZWOMITIWGIRIPIYRTIVWSRENGYWXEXYXegal cu restul.3VMGRHSTSMMIMHISPSKMGIIRYREXSTYWYPIMXVIFYMIWEJMIdeasemenea expus.RKHYMISZEVMIXEXIHIXSRYVMMWXMPYVMGIWIVIJPIGXMWIWYFQMRIEYRIPITIEPXIPIIIIQTPYYRQSQIRXLMIVEXMGXVIFYMIimediat urmat de un moment comic. 2YXITVISGYTEGYVITVIIRXEVIEREXYVEPMWXMGRXMQTMWTEMYHMS8ISVMIyWIXIMSQYGEVIWEMFKVMNHIXMRIzQFEXIYSVTIWTEXIRXVYRKIWXGEVIWIZVIERGYVENEXSVRWXSEXIKIWXYVMPIIMWYRXMRZEVMEFMPGSRHIWGIRHIRXI2YWITSEXIEFMRI0IKIRHEQEVIPYMMRGLMMXSVV6EHY4IRGMYPIWGYJSXSYKYWXMRYGYVSd2XdTXAlina NELEGAqPUcTa2XdTXInvoking the recent passing away of renowned director Liviu Ciulei Alina Nelega uses the opportunity to bemoan the lack of inter-generational artisticHMEPSKYIMYPIMWEVXMGPISRXLIEXVEPMEXMSRWIVZIHEWEQERMJIWXSJSVHIGEHIWEJXIVMXWTYFPMGEXMSRMRERHMWSRISJXLIQSWXMQTSVXERXEIWXLIXMGlegacies to be critically engaged with by current generations of theater artists. 37REACTII623003424.3Primul semn al unei culturi vii este dialogul cu valoarea. 2YHIQYPXSXVYTTSPSRIJSEVXIXRVERWGIREXSGSRJVYRXEVIGYQMXSPSKMMPIHMRGVIEMEPYMRHVINENHETIVWSREPMXEXIGSQTEVEFMPGYGIEEPYM0MZMYMYPIMQEVIPIHMWTVYXEPEGIWXYMERXIEXVEP0EYREHMRVITVIIRXEMMENHERWYMEJSWXMRZMXEXMHMRTYFPMGTEVXMGMTEPEHMEPSKYPMRMMEXHIWTIGXEGSPWIEQYEGHIETIKRHYVMWEYIVERZMMFMPHIEGSVH1MEJMHSVMXWZHSWMXYEMIWMQMPEVMRXIEXVYPVSQRIWGRKIRIVIQYPXTVIETVISGYTEXWEHYGSWEREPIWGSRWXVYMEWGWXEXYMWGIVXMJMGIZEPSEVIEEFMEEXYRGMGRHIERYQEMEVIRIZSMIHIRMGMYRJIPHIGIVXMJMGEXWXETIRXVYGPEQSEVXIEPYMMYPIMHMRGSPSHIXSEXIVIEPMVMPIWEPIGMRIQEXSKVEJMGIMXIEXVEPIHMRGSPSHITVIQMMHIGEVMIVEEQIVMGERHIKIRMEPMXEXIEPYMHIGPEVEXEWYQEXHIXSXfelul de cronicari transoceanici n articolele lor – ei care habar REZIEYGEYEGIWXGYZRXIQMREQIRXIVSQRIWGRZSGEFYPEV IMFMRIHMRGSPSHIXSEXIEGIWXIETVMQYPPYGVYGEVIMZMRIRQMRXIIWXIXSXYMEVXMGSPYPHMRRVEPVIZMWXIMTeatrulHMRHIWTVIlXIEXVEPMEVIQERMJIWXWYFGEVIEWXEXHIGIRMMHIEVRHYPRXVIEKEWGIRVSQRIEWGVIXIEXVEPMEX9RGYVENSWMPIKMXMQHIQIVWIWXIXMGPEZVIQIEGIIETSIXMGEPYMMYPIMVITIHIRWYMXMHIZSPXEXHISRXVIEKKIRIVEMIHIVIKMSVMWIHSZIHIXIEJMGSRJSVQGYVIEPMXEXIEHIEGYQHIERMEHYGITYFPMGYPRWPMMGSRWXVYMIXIYRMQEKMREVEPIGVYMVITIVIVIMHYEPIQEMTIVWMWXMEMRGSRXMMREGIPSVQEMZVWXRMGMMQEMRSWXEPKMGMGEVIVIKVIXMTIFYRHVITXEXIQIXEJSVMGEl0MZEHHIZMMRMzVIWTIGXMZXIEXVYPlRSWXVYzGMZSVFMQHISKIRIVEMIGEVIWMQXIGEGIWXXIEXVYGIPGEVIWIJEGIEMGYXSXQEMQYPXJSVMXSXQEMEWYQEXRYMQEMETEVMRI4SEXIJMMRHGHIWTVMRRHYWIHIVIEPMXEXIEHMRNYVHMEPSKYPVETSVXVMPITIGEVIIMPIGEYXPEXVIGYXYPde aur lipsesc total – ba chiar violent din spectacolele mai tinerilorcreatori de teatru.GEVIWYRXTVISGYTEMHIYRXIEXVYXSXQEMHMVIGXGYSIWXIXMGQEMETVSETIHIQMRMQEPMWQWEYHMQTSXVMZGYSTEXIXMGWIXIHIZMSPIRHIGSRJVYRXEVIMRGEVIWGIRSKVEJMETMGXYVEWGIRMGEVIun rol din ce n ce mai subsidiar sau n cel mai bun caz – complementar – n crearea imaginii scenice. n care primordiale HIZMRGSRMRYXYVMPIXIQIPIEPIWIMRGEVIMQEKMRIEWIGSRWXVYMIXIQEMEPIWGYENYXSVYPGYZRXYPYMMRYTVMRrafinarea la maximum a tehnicilor ZMYEPIHIWGIRGMEMXVMQSVMGXHINSWRMGEVTVIEEGIWXPYGVYSTIVMSEHEGSRMRYXYVMPSVRYEJSVQIPSV8IEXVEPMEVIERGITYXRERMMDMHYWQEMHITEVXITVIEHITEVXIRHIGIRMMPIYVQXSEVIWYWMRIEVIGYVWYPPEMRXIPMKIREMTSIMEJSVQIPSVGETISEPXIVREXMZPEWMPRMGEXVERWQMXIVIHIGSRMRYXYVMpropagandistice. Astfel avem de-aJEGIRTVSTSVMIXSXQEMQEVIGYvizitarea textului antologicinatacabil cu montarea clasicilorTIRXVYEIZMXETMIWEHIGSRNYRGXYVGYlQIWENzRITSIXMGPMTWMXHIHIQRMXEXIRWYFWMHMEVEGIEWXIWXIXMGHYGIPEXVEXEVIEGLMEVMEtextelor realismului socialist ca fiind ERXSPSKMGIIZMXRHYWIEWXJIPTVMRabordarea unui manierism declarat XVERWQMXIVIEHIGSRMRYXYVMIEGSPSWIRXMQIRXYPEGYEXEHIWIEERYQIGlWTIGXEGSPYPRYEVIRMGMSPIKXYVGYXIXYPzMTIRXVYGRXIEXVYWTIGXEGSPYPMRJPYIRIEXIXYPPEJIPGYQMTVSTSMMEMRZIVWIWXIEHIZVEXWERWGYXSJYKHIinteligibil n piesa de teatru un drumTIGEVIHMRTGEXIWIQEMQIVKIMEMRWGVMMXYVEHVEQEXMGRXIXIdesuete speculativ-formale la nivelHIPMQFENMIZMXRHEXMXYHMRIEXIQIPIMQTSVXERXIZMEETIWGYVXIZMXRHHMEPSKYP0EHMWTEVMMEPYMMYPIMGYXSXVIWTIGXYPMTVSJYRHEVIGYRSEXIVIEvalorii marelui artist ceea ce doare RYIWXIRIETVEXHMWTEVMMEYRYMQSHrevolut de a face teatru ncheiereaGPEVJVHYFMYEYRIMITSGMXIEXVEPIGEVIWEWXMRWRGIXRGIXPWRHRYVQHSEVGIRYEYRYMIRXYMEWQXRVEGYQHIERMGMPMTWEKIRIVEPIQFPIQEXMGEHMEPSKYPYMHMRXVIQEIXVMMHMWGMTSPMMGEVIEGIXMEHMRYVQHSEVGSRXIWXRHTSXWRZIIWHIWGSTIVIWGVIIIWENYRKPERMZIPYPHEWGPMPSV8VMWXIIERYIWXIWYTPMRMXHIVIZIVIRGMRXVMXHIYREFMWPMTWEGSQYRMGVMMRXVIKIRIVEMMGMEGYQITVIEXVMYLMEVHEGZVIYRXRVVIKMSVWEYVIKMSEVIZSVdialoga cu 7GVMWSEVIETMIVHYX cuVisul… sau chiar cu 4HYVIEWTRYVEMPSV Ciulei nu va mai fi nVVWEPWTEVXMGMTIPEHMEPSKWWIEQYIWGEHTIKRHYVMWEYWJMIn dezacord.4IRXVYVSQRMMGIRGITWRZIIHYPGIEPMQFEPYM1SPMVIYREHMRprimele probleme1 ce se pot pune ar JMyGYQWKVEWIMIIz la franaise EHMGGYQWIZMXIFSPSZRSWYP6TIGEVIPEQQSXIRMXHIWIGSPIMGEVIMRXVRGIIEGIWIGLIEQFEEHIEVXMGYPEMIEYRIMPMQFMPXEEVJMJSWXZMEEHEGTIZVIQIEWMGIQEPYM1EXIMEWEVEFWEYEPYMVRGSZIERYSRWXERXMRFSMIVZIGLMMHSQRGVIXMRYRSEWTIXIVSQRPEVersailles ar fi putut asista la un spectacol de teatru pe vremea FEVSGYPYMXVMYQJXSVGRH6YVMPIWIVSWXSKSPIEYJVWJMEPTRPEIGIWYQWINYGEMQEMEPIW4VSFPIQJEPWGGMJEVQIGYPYRIMEGXVMIGEPZMVE4STIWGYEJSWXXSGQEMEGGIRXYPWYPEVSYQEMRI7ITEVIGLMEVGHSYEVHHI1EWSGMIXEVEPSQIHMIMVERGIIRWGYXPE-EMRGIPIFVYTIRXVYZSGIEWEWYTIVFHIFVSRETWXVEXXSEXZMEEEGGIRXYPVSGEMPPIYEPTPEMYVMPSVWEPIREXEPIThe terrrible Pyrrrus roi dEpirrre or baroque theater nostalgiaMMVIPPE 4EXYVIEY VMXIW EFSYX XLI VIHMWGSZIV SJ VIRGL EVSUYItheater more precisely about its rules of diction and acting style. 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XP1PdbRW 0SUdacWTabcXdRWUdacWTaIrina Ionescu talks about Pina Bauschs dance piece Iphigenia in Tauris that played at Sadlers Wells Theater in London. An early performance originally sHIZMWIHMRERHRSVIZMWMXIHMRLSQEKIXSXLIVIGIRXPTEWWIHEEIVQERGLSVISKVETLIVIphigenia in Tauris offers not only a lesson in dancehistory but also a poignant performance full of emotion.Montarea a fost cea de-a doua n PMRMIGVSRSPSKMGVIEPMEXTIRXVYcompania WuppertalHEVZYXPEfinalul impresionantei cariere ce s-a HIWJYVEXHIEXYRGMEHIZIRMXEYXSQEXSHIQSRWXVEMIJEWGMRERXEXXEVHGMRMPSVSTIVIM4MRIMEYWGLGXQEMEPIWEHMVIGMIMRcare s-a dezvoltat ulterior. 4IRXVYGHIMETSVRMXMWEMRWTMVEXPERGITYXdin estetica artei expresioniste EVXMWXEMEQFSKMXVETMHRXVYRQSHGYXSXYPMGYXSXYPWYVTMRXSVPMQFENYPWGIRMGMEKWMXHVYQYPJSEVXIVITIHIMRYEQEMHIZMEXHIPEel. y-JMKIRMER8EYVMHEl reia legenda ERXMGEJMMGIMPYMKEQIQRSRISVGMRHMRWXMRGXITVMQEVIMVIZIPRHWIRXMQIRXIHMRXVIGIPIQEMprofunde. 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Surprizele pe care le-am avut recent au fost QEMEPIWRSREHVEQEXYVKMPSVTVSHYMSJJVSEHEYRHIHISFMGIMsunt spectacole de calitate dar de un anume conformism care leTSEXIEWMKYVEQYXEVIETIVSEHE-EVPEVSEHEIXMYXGWYGGIWYPGSQIVGMEPTVMQIEIQEMQYPXZSVFEHIEEZIEYRSPPSSHWXEVRHMWXVMFYMIMPYQIEWIRKLIWYMIWPSZEH8SXYMGLMEVMVSEHEYPMESMRJYMIHIRSRGSRJSVQMWQTVMRTMIWEPYMEZMHIRVERKyLMRKPMWLzNYGEXRIRKPIMGLMRIGYWYTVEXMXPYVM3GSQIHMIWTYQSEWMMRXIPMKIRXRGEVIYREQIVMGERHMRPIZIPERHRGIEVGWMIXMRHEJEGIVIERLMRETSPMXMGMPIGYPXYVEPIMWIYEPIHMJIVMXIKIRIVRHSEZEPERHIRIRIPIKIVMMJEPWIMRXIVTVIXVMQIVMGERMMEYdeja o obsesie cu China care e pe GEPIWPIMEWYTVIQEMEIGSRSQMGEEGTMIWEPYMERKIJSEVXISTSVXYRyXMQIPzGYQWEVMGIRegizoarea Leigh Silverman face o XVIEFFYREWMKYVRHYRVMXQEPIVXEPQSRXVMMMEVSTYPIRXYPHIGSVVSXMXSVENYXPEWXEFMPMVIEGSRZIRMMPSVfarsei.3JJVSEHEHVEQEXYVKMM8LSQEWVEHWLEMHEQ6ETTSGLIEMKIRIVIEGSRXVSZIVWIPESVEEGXYEPCriticul Charles Isherwoord de la 2ISVO8MQIWEERYREXGIPRYZEmai scrie cronici la piesele lui Adam 6ETTTIRXVYGTYVMWMQTPYPYMRYMWTYRRMQMGPIKWIXIWYTIVJMGMEPIRWGLMQFQYPXPYQIPIEHSVRXVEHIZVyVIEQWSJPMRKVIEQSJEPPMRKzTVSHYWHIXPERXMGIHIYRabsurdism uneori aberant dar are ZIVZMRYJEGIGSQTVSQMWYVMREIQMXINYHIGMEWYTVEVETEGMXMMYRSVEQIVMGERMFSKEMHMRSRRIGXMGYXMEJIPYPYMRGEVIEGIEWXEMEJIGXIETIGSTMMPSVMYHEXETMIWEVIGXIZEQSRSPSKYVMMVITPMGMMRGIRHMEVIHIYRPMVMWQQEKMGMREPYPISTEWXMTVIEGPEVPEyETVEzPYMPFIIHEVRYTYXIQWRYVIGYRSEXIQGHEQ6ETTEVIyKYXWz0EVRHYPWY8LSQEWVEHWLEGLMEVHMWXVYKIXEFYYVMRyYVRMRKzTVSHYWHI2IVSYTTVIIRXRHGYHIMRZSPXYVWGIRIHIRYHMXEXIMsex de toate felurile gay straightinter-rasial n trei cu hermafrodit incest etc.RGMYHEJETXYPYMGWTIGXEXSVMMEQIVMGERMREYZYXEXMEEGXSVMHIFVGEMTIWGIRHITVMRERMMDGVIHTMIWEPYMVEHWLEITVSJYRHWSPMHMEVIQYPXYQSVXMRKIprobleme grave precum RISREMWQYPMVEWMWQYPRXVYRQSHHMVIGXJVEWIXIQIHIEWTYRIPYGVYVMPSVTIRYQIWXIRGRTVIZMIWHEVWYRXWMKYVGZEEZIEWYGGIWEXMRKISGSEVHESRIWXMXMMEEHIZVYPYMKSPKSPYHIcare publicul american avea nevoie.RGIVGRGWHIJMRIWGWGLMQFEVIEMIRIVKMETIGEVISWMQXREIVMRXIEXVIR2ISVOVIHGEVIHIEJEGIGYTVMQZEVEEVEFGYGEXEGPMWQIPIMRXIVREMSREPIGYproblemele economice interne cu VIEIEVIETYXIVMMKPSFEPIRKIRIVEPGYSGVMHIMHIRXMXEXIGYGEVIQIVMGEMRXVSERYQIQWYVRXVIEKEPYQIWIGSRJVYRXREGIWXmoment.426624EATRULCUSABIEPe baza unei decizii a primarului Budapestei unul dintre teatrele de repertoriu din capitala Ungariei are YRRSYHMVIGXSVRGITRHGYoctombrie 2011. 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Numirea acestui nou director artistic a provocat probabil cel mai mare WGERHEPHMRSREGYPXYVEPEYPXMQIPSVHSYHIGIRMMTeatrul n chestiune actualmente RYQMXN7RLE8IEXVYP2SYZEJMVIRYQMX8IEXVYPVSRXYPHIGEWdeoarece conform propunerii noului director ceea ce e nou nu e RIETVEXMFYRQEMEPIWyRLIKIQSRMEPMFIVEPFSPREZMHIKIRIVEXzYRSWGYXTIRXVYyHIZSXEQIRXYPWYTIRXVYREMYRIEYRKEVzGYQWTYRIIPRWYMRWGVMWSEVIEWEHIRSYPHMVIGXSVEVXMWXMGVIPIZIEPSGYPGIRXVEPSGYTEXHIGYZRXYPyVFSMzGEQIXEJSVEPXYVMHIWMRSRMQIPIWEPIrPYTXFEXIVIFXPMIMPYTXXSVM9REHMRXVIEGIWXIFXPMMZEJMHYWQTSXVMZEyXIEXVIPSVFYHETIWXERIPMFIVEPIGSQIVGMEPITVSHYGXSEVIHIHMWXVEGMIzTIGEVIEYXSVMMPIGSQTEVGYFSVHIPYVMPI4IRXVYGRSYPy8IEXVYVSRXYPHIGEWZEVITVIIRXEREMYRIEQEKLMEVWYJIVMRHWYFHSQMREMEWSGMSPMFIVEPzMEVGSPEFSVEXSVMMXIEXVYPYMWYRXRYQMMPYTXXSVMMVFSMRMGM7IHIGPEVVFSMMQTSXVMZEyGPERYPYMIKSGIRXVMGYPXVERGVIXSVGEVIEHSQRMXXMQTHIHIERMzHYTGYQWYWMRIMRXIRHIRXYP-WXZRWYVOERTVSTVMYPMEVHYTZMGXSVMERYQMVMMPSV6IJIVMREXIQTSVEPIWXIYRGSQIRXEVMYERXMWIQMXEWGYRWHIvreme ce n procentaj foarte mare teatrele budapestane au fost HIMRYXIMQEREKIVMEXIHIIZVIMQEKLMEVMREMRXIHIGIPHIEPHSMPIEVFSMQSRHMEP8SXGIIEGIRYIGSRHYWHIyIMzWYWMRIMRXIRHIRXYPEJSWXSTVMQEXrTVMRyIMzJMMRHHIWIQREXyGPERYPz4YXIMWPWEMPEKEVHIVSFLEMREMWEFMErEHEYKIPrTIRXVYGIHMJMGMPWTEVGLIMTIyWXVEHESLRGYMRWXMXYMMPIIMzGIWXEIWXIRGYRGSQIRXEVMYERXMWIQMXRIQEWGEXryMRWXMXYMMPIzJMMRHJEMQSEWEWMREKSKHITIWXVEHESLREHEVEVKYQIRXIEMRXIRHIRXYPXVIFYMIWXITVIKXIXMMWEHYGMSWEFMIGYXMRIGEWXITVSXINIMREGIEWXSRGIWXTEVEKVEJWIVIJIVPEWMXYEVIEGPHMVMMXIEXVYPYMRMQIHMEXEETVSTMIVIEJSWXYPYMKLIXSYEPBudapestei care este considerat cartierul evreiesc. -RXIRHIRXYPQEMHIGPEVyYTHIWGLMHIVIEXIEXVYPYMQZSMFEEREMRXIHIXSEXITIWTIGXEXSVMMREMSREPGVIXMRMTIWYWMRIVIEGSPEFSVEXSVMPSVQIMMTIHMWTSMMEPSVTIRXVYPYTXQIVIYVIRRSMXz4YFPMGYPREMSREPGVIXMRIWXIEWSGMEXRTVSTYRIVIEPYMVRIVGYyEGIMQEKLMEVMGEVIGVIHRREMYRIz2YQIPIHIMRXIVPERHVSRXYPHIGEWWIVIJIVPEYRMJMGEVIEREMYRMMQEKLMEVIEXXREVGXMREJEVEKVERMIPSV8IEXVYPVSRXYPHIGEWMTVSTYRIWJMIRYRYQEMYRXIEXVYREMSREPGM MRXIRMIVKVRIVEGXSVMnou director artistic al teatrului EPXYVMHIMRXIRHIRXYPWY-WXZRWYVOEHVEQEXYVKMJSRHEXSVEPTEVXMHYPYMHIIXVIQHVIETX1-44EVXMHYP1EKLMEVEPHIZVYPYMMMIMMMTVSTYRIWGVIIIYRXIEXVYEPyEHIZVEXIPSVZEPSVMREMSREPIzHIHMGEXIGPYWMZHVEQEXYVKMIMQEKLMEVIIZVIQIGIYHETIWXEEVKYQIRXIEVRIVRYEVIRMGMYR8IEXVY2EMSREPteatrul condus de el va prelua acest VSPIJETXYHETIWXEEVIYRXIEXVYREMSREPGYYRTVSKVEQTYXIVRMGGEVIEJSWXWYFEXEGRGde la alegerile din aprilie 2010. n YPXMQIPIGXIZEPYRMHMWTYXIPIRNYVYP2EMSREPYPYMWEYQEMGEPQEXJMVQEMEGRYIMWXYR8IEXVY2EMSREPPEYHETIWXEWIVIJIVPEJETXYPGHYTERYQMMMHISPSKM2EMSREPYPRYWIVZIXIGEMRWXMXYMIREMSREPREGXYEPYPGPMQEXIGSRSQMGEWYWMRITVSMIGXYPGIPSVHSMYRPSGHIHMGEXEHIZVEXYPYMWTMVMXQEKLMEVMWIRXMQIRXYPYMYRMXMMREMSREPIIWXISJSVQHIWYTVEZMIYMVIWIWTYRIRTVSMIGX3EREPMETVSTYRIVMMJGYXIHIAndrea TOMPAJSXS8XL0WP66243MWMRXIKVIIQEKLMEVMMHMRXSEXPYQIE8IEXVYPMTVSTYRIWTVSHYGHVEQEXYVKMIQEKLMEVHMRXVIGYXMHMRTVIIRXTVIGYQMHVEQEXYVKMIGPEWMGYRMZIVWEPRTEVXMGYPEVTMIWIQEKLMEVIGEVIHMWGYXWSEVXEXVEKMGEREMYRMMQEKLMEVI-RXIRHIRXYPEJMVQHIEWIQIRIEGVK7TMVdramaturg maghiar contemporan nu va fi jucat n teatrul lui TIRXVYGRYWEHSZIHMXEJMQEKLMEVyRGEPMXEXIHIWGVMMXSVz7GVMIVMPIMWIRXMQIRXIPIPYMWYRXTVIEIZVIMIXM8IEXVYPVSRXYPHIGEWRYZEJMYRPSGHIITIVMQIRXTIRXVYVIKMSVMGMRPSGHIEWXEZEVITVIIRXEXIXIPIyEHIZVEXIzEJMHIEWIQIRIEYRPSGTIRXVYXMRIVMMWGVMMXSVMQEKLMEVMGEVIQTVXIWGERYQMXIXVEHMMMMZEPSVMYTGIHIGMMEHIRYQMVIEJSWXPYEXWYVOEEEHYKEXy GYQTVMRHIGMMETVMQEVYPYMWMQMQEXXWMQTEXMEGXMRIPIKIVIEntregului guvern iar acesta este numai primul mic pas.RTVSGIWYPHIRYQMVIEYRYMHMVIGXSVEVXMWXMGHIGMMEJMREPIWXIPYEXHITVSTVMIXEVYPXIEXVYPYMHIIIQTPYKYZIVRYPMQMRMWXVYP9RGSQMXIXHITVSJIWMSRMXMGMXIXITVSMIGXIPIMJEGIVIGSQERHVMTVMZMRHEGIEWXHIGMMI4SPMXMGMIRMMTSXHIWMKYVWMESHIGMMIHMJIVMXGIIEGIWERXQTPEXHIWRYPXMQIPIHSYHIGIRMMR9RKEVMEIHEXEEGIEWXEGSQMXIXYPETVSTYWSEPXTIVWSERractualul director al teatrului Istvn Mrta. Primarul Budapestei REGVIYXRIGIWEVWITPMGIHIGIEMKRSVEXVIGSQERHEVIEGSQYRMXMMXIEXVEPIRYQMRHTIEPXGMRIZE1SXMZYPVIEPTIRXVYGEVIa numit un asemenea director artistic cu un asemenea proiect IWXIRXVEHIZVHIRIRIPIWIZEWIEWGYRHIEMGMGVIHI8EQWWGLIVVIKMSVMQIQFVYEPGSQMXIXYPYMHITVSJIWMSRMXMRXVSHMWGYMIGYJSWXYPHMVIGXSV1VXErGMXEXRXVYRTVSKVEQVEHMSrTVMQEVYPEWTYWGMETPGYXMHIIEYRYMXIEXVYHIHMGEXHVEQEXYVKMIMQEKLMEVIEG1VXEPERXVIFEXEXYRGMHIGIRYEMGIVYXTVSMIGXIGYYREWIQIRIETVSKVEQEVXMWXMGGYQWITEVIGTVSTYRIVIERMGMQGEVRYERXVYRMXGIVIVMPIPIKEPIEPIETPMGEMIM9RMMHMRXVIVIKMSVMMMXIEXVIPIMQTSVXERXIGEVIIVEYQIRMSREXIREGIWXTVSMIGXHVITXZMMXSVMGSPEFSVEXSVMrTVIGYQ8IEXVYPYVSHMRSRRrEYHIGPEVEXHYTERYREVIEVIYPXEXYPYMGRYEYJSWXGSRXEGXEMHIEYXSVMMTVSMIGXYPYMYRYPHMRXVIGSPEFSVEXSVMMRYQMMRTVSMIGXr8IEXVYP1EKLMEVHMREREHErEJSWXRGLMWRYVQGYHSMERMRTPYWTVSMIGXYPTVIMRXHSEVHSMERMHIVITIVXSVMYRPSGHIERMGXWYRXGIVYMGSRJSVQPIKMMRTVSMIGXIWXIRYQMXYRERYQIy1MOPWzSGWVHMHMR7JRXYLISVKLIGEZMMXSVVIKMSV0WPSGWVHMRXVSWGVMWSEVIHIWGLMWEVIJYEXWJMInumit colaborator. Scandalul WGVMMXSVMPSVMYVQEMPSVPSVGSRXMRYQYPMHVEQEXYVKMMYVQEMEMPSVEYHIGPEVEXGRYMZSVHEGSRWMQQRXYPTIRXVYGETMIWIPIPSVWJMINYGEXIRXIEXVYPEGIWXEIEQEMMQTSVXERXHIGPEVEMIEJSWXHEXHIYVQEMMHVEQEXYVKYPYMXVERWMPZRIERRHVW7X simbol EPPMXIVEXYVMMQEKLMEVIJVJVSRXMIVIWTYRRHGWTMVMXYPSTIVIMPYM7Xeste incompatibil cu spiritul acestui teatru. 3IEQMREVIPIKEPERGITYXMRMMEXHIYRYPHMRXVITEVXMHIPITEVPEQIRXEVIEVTVMQEVYPRYEHEXRETSMrEJGYXHSEVSWMRKYVconcesie numele teatrului nu va fi schimbat. Ministrul culturii ar avea dreptul legal de a trage la VWTYRHIVITVMQEVYPTIRXVYHIGMMEPYMEVHIEGIEWXPIKIEGYQTEVGRMQIRMRYMEHYGIEQMRXIIPEEPIKIVMPIHMRETVMPMIRWTEMYPGYPXYVEPQEKLMEVWIVIWMQXfoarte multe tensiuni care includ EXEGYVMPIEWYTVE8IEXVYPYM2EMSREPMVIHYGIVMPIHMRFYKIXYPGSQTERMMPSVMRHITIRHIRXIEVTREGYQSEWIQIRIEMHISPSKMIRYMEVJMTYXYXKWMPSGYPRXVSMRWXMXYMIGYPXYVEPHMRYHETIWXEGYQRWrEMGMEQENYRWTheater with a swordThe Budapest theater community is grappling with the biggest scandal in the past two decades opinionates Andrea Tompa. An ultra-nationalistic and anti-Semitic project proposal was published on the Internet in 3GXSFIVFVKVRIVXLIRIPappointed director of a major repertory theater. Since the April 2010 elections there have been a lot of tensions in the Hungarian cultural world writes Andrea Tompa but such an ideology couldnt have found its place before in a cultural institution in Budapest. Today though rILEZIGSQIXSXLEXz4444662Carmen Lidia VIDUONhRLjDEANUCOWBOYULMEULa semafor pe Magheru l-amGYRSWGYXTI-SRVPHIERYPZYWIQPEXMVMPE8 XMEQEEMEEGMRIIWXI4VIEYRXMTJSEVXIWVEGMQIRIVZEJETXYPGXSXRGIVGEWMHIEGMRIPYMQIYGIPIGXIZEFYGMHIGEVRITIGEVIPIGYQTVEWIHIPEEPMQIRXEVMRIPIQIYEZIEGIWQRRGI2IE-SRTVIEWEMFQEMQYPXRIZSMITSMEQEJPEXGPYMRYMTVIETPEGIQRGEVIE1EMRZMXEXWPZMMXIGEWQMEVEXIPYGVVMPIPYMWTIGMJMGEXXSXYMWRYZMRRIRWSMXPEIPRYWIcuvine.7YRXIQZIGMRMMPRXPRIWGHIWMi-e foarte drag de el. mi place cum MTSZIWXIXIPYGVVMPIQMTPEGfilmele cu cowboy regizate de el n colajele lui sunt colorate masculine MJSEVXIJMRIIGYXEXI1XSXYMXPEQMRMPIPYMMRYQMMQEKMRIGYQTSEXIWVIEPMIIRMXIGSPENIperfecte. l admir.RTVMQETEVXIEVIPEMIMRSEWXVIPEQTVMZMXTI2IE-SRGYEHQMVEMIHMWXEREVIMGYSJEPWEQMGMMIMHHIEQMKVMRIWEPYXEQMPEWGYPXEQGYQZSVFIXIHIWTVIIP1EMXSXXMQTYPIPZSVFIE2YXMYHEGEQWGSWHSYGYZMRXIRHEQRGITYXWPYGVIPETVSMIGXVIPEMERSEWXVWEGEQIZETSVEX2YRIEQQEMZYXMEVHYTGXIZEWTXQRMRMGMRYQEMXMEGYQQGLIEQ0EZIVRMWENEZIRMXYSVFYXMRYGVIHGXMETVIEFMRIHIWTVIGIe vorba n proiect. Lumea i luaMRXIVZMYQEMQYPXGEWWIEQYIIun personaj carismatic. M-amIRIVZEXTINYVREPMXMHIGXIZESVMMPIEQSTVMXMRXIVZMYP2YQEQYNYVREPMXMMGEVIMJEGQEXIVMEPIHIGERGERPEWIGMYRIEGYPXYVIVRMWENYPEJSWXTVMQYPHMRZMEEQIE4IRXVYTVMQESEVEQVIEPMEXMTVSHYWSMRWXEPEMIQTVMQMXJIPMGMXVM2IE-SRWIWMQXIFMRITVMRXVISEQIRM.YVREPMXMTVSWXTVIKXMMJIPMGMXVMHMRTEVXIETVMIXIRMPSVGYQTVXSVMTYMRMQRHVMISVKSPMYMYRTMGHIRIWMQMVIVIHGEJSWXSVIYMXYTZIVRMWENQMEQTIXVIGYXHMQMRIMGY2IE-SRHIPEPEQIVKIEQPE-RWXMXYXGEWWIQRIIposterele din proiect. Au fost celemai frumoase momente. Nea Ion aJSWXXVIEPEGVMQFIEQGEJIEQRGEQFMWGYMMMGVSMWWERXYVMRIYMXEQPERSMPIPYMPYGVVMEQGYQTVEXGXIZEWYRXQRHVHIEWXEQMEEHYWMEVYPGEWQMGMXIEWGLSVSWGSTYPMJSMGEWJEGHIWIRIHYT-RWXMXYXEQQIVWRJMIGEVIMGEWQRGQXVIMJIPYVMPEQEWWYTJIPYPMHIWIVX2IQEMTPMQFEQTVMRTEVGMWXXIEQHIZSVFRYZSVFIEHSEVIPWXXIEQHIZSVF4IRXVYQMRIMRWXEPEMEEHIZIRMXSEVIGYQGIZEWIGYRHEVHEVWMRGIVEJSWXHIPERGITYXTITPERWIGYRHWYRXWMKYVGIJSEVXIVIYMXEQXSXTVMQMXPEYHIMHINESMXVERWTSVXQRSRWXERERSMIQFVMIETSMTSWMFMPR8MQMSEVEHIGIQFVMIMVESZMERYEVMILMEVISVIYMXHEVETVSETIRYQMQEMTEWHEGWIZMRHIZVIYREJMGEWTSXWMTPXIWGTIGIMHMRIGLMTMEVVIWXYPHIFERMEHMGGIEQEMQEVITEVXIWENYRKPE2IE-SR1WMQXFMRIPRKGSFSYPQIYGEVIGYWEYJVGSWXYQIYRTIVWSRENHIWTVMRWHMRXVSEPXlume.4SZIWXIERSEWXVEVIPSGRXVYRHIGSVHIJMPQIWXIVRJGYXHMRMEVIPIGEVIMWIVZIWGGEQEXIVMEPHIPYGVYPYM-SRVPHIERYGTMIEPFIHIJRHMRMEVIGEVIEWGYRHRIPIGSPENIPIPYM2IE-SRRQMNPSGYPPSVTSIYRMGEXWIVMIPMQMXEXHITSWXIVIGY-SRVPHIERYQFVGEXRGSWXYQHIGSFSTIRXVYTVMQESEVEGXSVntr-un film western.4VSHYGXSVEVQIR0MHMEMHYVIKMSVHIXIEXVYMHIIZIRMQIRXIQYPXMQIHMESTVSHYGXSVMTEVXIRIVPSKMWXMG-RWXMXYXYPVERGIHMRYGYVIXMSXSKVEJEVRE2IQIXLM-RWXEPEMISKHER3PEVMYSWXYQ6EVEJXr6ZEREWMPIWGY7TSRWSV8YHSVVIEYhRfQh81aSTPdAWXLIGYVEXSVSJERILMFMXMSRSJ-SRVPHIERYWGSPPEKITMIGIWCarmen Lidia Vidu fondly writes about the intriguing persona of the artist who found himself transformed overnight from a 60 year old Bucharest pauper to star of the European art world.JSXSEVRE2QIXLMPROMO7HDWUXOHUPDQGH6WDW7LPLRDUDwww.teatrulgerman.roStagiunea 2011 2012Consiliul Local TimioaraPrimria Municipiului TimioaraDin nou n repertoriulTeatrului Germande Stat TimioaraCu Georg Peetz Radu Vulpe Silvia TrkIsolde Cobe Simona VintilLight-design Lucian MogaMuzica Dan SimionDramaturgia Alina MaziluDecorul i costumele George PetreRegia Alexander HausvaterCu sprijinulParteneri mediaJUDECATABarry Collins46243022-2436240RIVETEMjAACUMSUNTUVINTEIIMAGINIALEFEMEILORROMEIKHMANKADASARSEMAVAAJDIKIMATALERROMNENQEIEVQIRLISVKLILEVXERYPXMQMMERMWETYXYXSFWIVZEYRZEPHIVIEGMMRIKEXMZIQTSXVMZETSTSVYPYMVSQRKIRIVEPMEJIQIMPSVVSQIRTEVXMGYPEVEXXRQEWWQIHMEHMR6SQRMEGXMRGIEIYVSTIERGSRJMVQRHYWIEWXJIPGSTMRMETYFPMGIRGHSQMREXHIWXIVISXMTYVMMTVINYHIGMGRHIZSVFEHIWTVIVSQMREGIPEMXMQTWXYHMMVIGIRXIEVEXSWGHIVIERMZIPYPYMHIXSPIVEREWSGMIXMMVSQRIXMJEHIVSQMREGIWXGSRXIXTVIIREJIQIMPSVVSQIRWTEMYPTYFPMGIYVSTIERGSRXMRYWJMIYRWYFMIGXGSRXVSZIVWEXWTIGXIVIPIZERXIEPIZMIMMPSVWYRXXVIGYXIGYZIHIVIERXMQTHIIPIQIRXIPIXVEHMMSREPIWEYERXMWSGMEPIWYRXWYFPMRMEXI8SEXIEGIWXIEEYHYWPEGSRWXVYMVIEYRIMJEPWIMQEKMRMGEVIRYVIJPIGXNYWXMHIRXMXMPIJIQIMPSVVSQIGIEWXFVSYVIWXIVIYPXEXYPGSSTIVVMMYRYMKVYTQMXHIJIQIMVSQIMRIVSQIMTVSTYRISEREPMEMQEKMRMMJIQIMPSVVSQIRGYPXYVEMWTEMYPTYFPMGVSQRIWGMIYVSTIERSFWIVZRHGYQERYQIWYRXPIKEXIEGIEWXMQEKMRIMTVSGIWIPITVMRGEVIIEEJSWXGSRWXVYMXHIETEVMMEWXIVISXMTYVMPIMETVEGXMGMPSVHIQEVKMREPMEVIMHIIGPYHIVITVIGYQMEREPMRHJIPYVMPIRGEVIJIQIMPIVSQIEVTYXIEWMGSRWXVYMEWGYRWTEMYEPPSVPMFIVHIVEWMWQMTVINYHIGMYRHIZSGIEPSVWEVTYXIEJEGIEYMX395.4454-.3-2ECAPITULhNDCONCEPTEAFIRMhNDNOIPOZIIIed. h.arta Timisoara 201VYTYPXMQMSVIERLEVXEESVKERMEXRWITXIQFVMIMQEMTVSMIGXYPMRXMXYPEXFeminisme. IstoriSPAIILIBEREDEMOCRAIEPARTICIPATIVjJUSTIIEECONOMICjrGEVIEZIEGEWGSTGVIEVIEYRYMWTEMYHVIJPIGMIEWYTVEHMJIVMXIPSVTVEGXMGMJIQMRMWXIHMR6SQRMEMHITIWXIKVERMITVIGYQMEWYTVEEGIPSRXVIFVMEGMYRMEFSVHVMGIGLIWXMSRIEWMXYEMMGSRWMHIVEXIzRSVQEPIzMTVSTYRRSMWTEMMHIHIFEXIVIPVKIWGTIVWTIGXMZIPIGEVIERKENIEGVIEXMZMXEXIERSEWXVMGYVENYPHIEGVIHIGIMWXEPXIVREXMZIWMWXIQYPIMWXIRXGIMWXJIPYVMHIZMEQEMPMFIVIMQEMHIQSGVEXMGIMGEKWMEGIWXIEPXIVREXMZIHITMRHHIKIWXYVMPIMHIEGMYRMPIJMIGVYMEHMRXVIRSMGIEWXTYFPMGEMIIWXIVIYPXEXYPEGIWXYMTVSMIGSee me as I am. Words and images of Roma womenIn recent years a wave of negative reactions against Roma population in general and Roma women in particular can be noticed in Romanian andEuropean mass media thus confirming yet again that public opinion is still dominated by stereotypes and prejudice about Roma people. At the same time recent studies show an increase in the level of intolerance of Romanian society towards Roma people. In this context the presence of Roma women in the public European sphere continues to be a controversial topic. Relevant aspects of their lives are overlooked while traditionalSVERXMWSGMEPIPIQIRXWEVILMKLPMKLXIH8LMWPIEHWXSXLIGSRWXVYGXMSRSJEJEPWIMQEKILMGLHSIWRSXVIJPIGXXLIMHIRXMXMIWSJ6SQESQIRThis brochure is the result of cooperation between a mixed group of Roma and non-Roma women and it proposes an analysis of Roma women inthe Romanian and European culture and public space looking at how this image and the processes by which it is constructed are connected tothe appearance of stereotypes and the practices of marginalization and exclusion and looking also at the ways in which Roma women may come to build a space of their own free from racism and prejudice where they can have their voice heard.SRPSEHTYFPMGEXMSRLXXTWIIQIEWMEQSVHTVIWWGSQT THIRRRWWZGGWIETHWWZI0ii HISVMPEHIGXFEMINISMS. Reviewing concepts and affirming new positionsWI SVKERMIH FIXIIR7ITXIQFIV ERH 1E ETVSNIGX IRXMXPIH IQMRMWQW MWXSVMIW JVII WTEGIWTEVXMGMTEXSV HIQSGVEGeconomic justice a project which aimed to be a place of reflection on different feminist practices in Romania and abroad on those questions actions approaches and practices which questions situations considered normal which create new spaces and enlarge perspectives which engage our creativity and courage to believe that there are alternatives to the existing system that there are freer more democratic ways and dignified ways of living and that finding these alternatives depends on the gestures and actions of each and every oneSJYW8LMWTYFPMGEXMSRMWERSYXGSQISJSYVTVSNIGX8LIFSSOMWEZEMPEFPIJSVHSRPSEHLIVILXXTJIQMRMWQIVSFPSKTDERISTINA-2.51SXXSzRQSHETEVIRXGMYHEXQSQIRXYPWYTVIQTIGEVIPTYXIQSFMRIRXVYRWTIGXEGSPIWXIEXYRGMGRHPRWMRKYVQTIWTIGXEXSVYPTPEWEXRQMNPSGYPYRIMGSQYRMXMMPJEGIQWWIGSRJVYRXIRMRXMQMXEXIGYTVSTVMEWEGSRXMMRz0MZMYMYPIMYTSGEVMIVHIHIERMRXIEXVYHMRGEVISFYRTEVXIHIWJYVEXRWXVMRXEXI0MZMYMYPIMEJSWXYRYPdintre acele cazuri clare deGIPIFVMXEXIFMRIQIVMXEX2YQIPIPYMeste pentru orice iubitor de teatru.–2-47IWMEYRIMQVGMHMR6SQRMEITVIRMXMQIHMEXRPMWXEXIEXVEPIMITSQIRYPXYVEPMzHMRXMQTYPWGYVXEzIVSMPSVGYRZVIQYVMPIEGIPIEGSQYRMWQYPYMMRGYXEXXEVYMEYXYPFYVMGEVIEYJGHYVIVSEWIPWEXEXXIEYVQIHYQMRSEWIVQRWMRKYVIPIMQEKMRMPSVHIGYPXYVrEGIPIEEPISEQIRMPKMSVMrGEVIEYWGVMMXSVMEGXSVMVIKipale n jucat rolurile princGYYRVIKMQTIVQERIRXEPYTXaberant.ZMYMYPIMrEQTPSPYQYPHIWTVI0MZEXMPYWXVEXEVIXVSWTIGXMZFSKEIrWIQTEVXIRGEVMIVIMPYMEVXMWXMGIHSREXIXIQTSVEPGXIZEGETMXSPISVMVMMQTSVXERXITPYWGXIZEEHYKMHMRJMPQMTVMZMRHEGXMZMXEXIETYXYVMPIzTIGEVIEVLMXIGXYVzRGITQMRXIXIJV0MZMYMYPIMMPIEQEVGEXIHITEXMQEYJSWXQEXHIEVXMWXHMRVIWTMRKIVIEWYJIVMXIMPYMPEZIGLIEGEYEETEVXIRIRIVYP3HISREGXYEPYPEVMWXSGVEMIr8IEXVsese construit de Teatru Nottara fusIRXVYIPJETXTIWXIXEXPWYWTIGMEPTIcare clasa muncitoare nu putea trece TVIEYSVSHEXTVSTVMIXMPIREMSREPMEXIMXSXYMHIWXMRYPPYMMYPIMIVEPIKEXHIWGIRMEVQEWEERGMYHEVIKMQYPYMTSPMXMGQEMRXMEHIFYXEXGEVIKMSVMWGIRSKVEJRETSMEYVGEXTIWGIRGEEGXSVTIRXVYGERGITRHHMRWGSRXVMFYMIIJIGXMZPEGIIEce s-a numit Teatralizarea teatruluiTVMRWTIGXEGSPITVIGYQSfntaIoana sau YQZTPEGI. Plecat din 6SQRMEHYTHIQMXIVIEWEHIPEconducerea Teatrului Bulandra RYVQEMRXIVMGIVMMspectacolului6IZMSVYP n regia lui P0YGMER4MRXMPMIHEVRYREMRXIHIEMTYRIWIQRXYVETIEVLMXIGXYVEteatrelor Bulandra sala Toma EVEKMYzMTIEGIIEE8IEXVYPYMzPEZMPPEzHMR4MXIXMMYPIMEEZYXSGEVMIVWXVPYGMXRXIEXVYPEQIVMGERPYGVYEHIWIEYMXEXEWXMHEVHIGEVIKIRIVEMMPIEGXYEPIEVTYXIEHIZIRMGSRXMIRXIVWJSMRHEGIWXEPFYQVEKQIRXIPIHMRGVSRMGMPIPEspectacolele lui publicate de cele maiprestigioase ziare americane QVXYVMMPIHIWTVITIVMSEHERGEVIEGSRHYWYXLVMI8LIEXVIHMR1MRRIETSPMWTVIGYQMTVIQMMPITIGEVIPIESFMRYXTVMRXVIGEVIMGIPmai prestigios premiu pentru teatruTony Award sunt reperele trecerii luiMYPIMTVMRXIEXVYPEQIVMGERrTIVJSVQERRIIKEPEXYPXIVMSVHIZVIYREPXVIKMSVVSQR6IZIRMXREVHYTMQTVMRHYMXMQTYPRXVIYGYVIXMM1RGLIR0MZMYMYPIMMETIXVIGYXYPXMQMMERMHIZMERGSRNYVEXHISEYVHIPIKIRHGYQHYTHMWTEVMMEPYMPESGXSQFVMIEPFYQYPzYKRHMVMMGYMQEKMRMzWIHSZIHIXIMQEMYXMPTIRXVYSVIHIWGSTIVMVIESQYPYMMEVXMWXYPYMLiviu Ciulei unul dintre repereleIWIRMEPIEPIXIEXVYPYMVSQRIWGPFYQYPzYKRHMVMMGYMQEKMRMzHIHMGEXTIVWSREPMXMMPYM0MZMYMYPIMrVIKMSVEGXSVWGIRSKVEJEVLMXIGXeditat de Iglooprofil UGhNDIRIICUIMAGINIDESPREIVIUIULEIJSXSEVMRSSRVSHTSANDIMAGESABOUTIVIUIULEI7ITHTHOUGHTCnu recommends the book With thoughts and images about ristina Modreark of legendary director Liviu Ciulei. Covering his 60 years of the life and wos in text and photographs from his activity in communist activity in the artuccess in the Unites States and the return to Europe WithRomania to his suages rediscovers the man and the artist Liviu Ciulei who thoughts and imaway.recently passed aw42.73482IYVSTISPPIKI2ERYRGSRGYVWYPERYEPTIRXVYFYVWIPIHIGIVGIXEVI2TIRXVYYRMZIVWMXEVMGIVGIXXSVMVSQRMHMRHSQIRMMPIXMMRIPSVYQERMWXIWSGMEPIMIGSRSQMGIONDIIIDEPARTICIPAREGERHMHEXYPXVIFYMIWJMIRWGVMWPEHSGXSVEXRXVYRWXEHMYEZERWEXEPGIVGIXVMMWEYWEMFXMXPYPHIHSGXSV7IZEEGSVHETVMSVMXEXIGERHMHEMPSVWYFHIERM2YWYRXIPMKMFMPMGERHMHEMMGEVIEYQEMFIRIJMGMEXHIFYVWI2MGERHMHEMMGEVIFIRIJMGMEHISEPXFYVWRTIVMSEHESGXSQFVMIrMYPMI3JSEVXIFYRGYRSEXIVIEGIPTYMRHSYHMRPMQFMPIWXVMRIHIGMVGYPEMIMRXIVREMSREP3FYRGYRSEXIVIEPMQFMMIRKPIIIWXIHIMVEFMP4VMRTVSJMPYPWY2TYRIEGGIRXTIHIFEXIVMPIMRXIVMXVERWHMWGMTPMREVI7IRGYVENIETVSMIGXIPIGEVITIVQMXEGIEWXHIWGLMHIVIJVETMIVHIHMRVMKSEVIEHMWGMTPMREVYVWEWIEGSVHTIRXVYYREREGEHIQMGPYRM4VSKVEQYPFYVWMIVMPSVTVIWYTYRITVIIRESFPMKEXSVMIRYGYVIXMGIPTYMRSHEXTIWTXQRXMQTHIPYRMn intervalul de 10 luni bursierii vor beneficia de un stagiu de cercetare RXVYRYPHMRQEVMPIGIRXVIYRMZIVWMXEVIHIGIVGIXEVIHMRWXVMRXEXI0EWJVMXYPFYVWIMFYVWMIVMMZSVTVIHEYRWXYHMYGEVIVITVIMRXVIYPXEXYPGIVGIXVMMPSV7XYHMMPIZSVJMMRGPYWIRXVSTYFPMGEMI2EPSEVIEFYVWIMPYREVIEGSVHEXTIHYVEXEEPYRMIWXIIGLMZEPIRXYPR632E963RIMQTSEFMPMPEGEVIWIEHEYK963TIRXVYWXEKMYPHIGIVGIXEVIRWXVMRXEXISWEVIPIHIGERHMHEXYVZSVJMXVMQMWINUMAIsNFORMATelectronic la adresa de e-mail applicationsnec.ro.6jRUGjMSjMENIONAILARUBRICASubjectAMESAJULUIURMjTOARELECUVINTEURSE.4ERMENULLIMITjDEPRIMIREADOSARULUIDECANDIDATURjeste 12 decembrie 2011. Nu vor fi luate n considerare GERHMHEXYVMPIMRGSQTPIXIWEYGIPITVMQMXIHYTEGIEWXHEX6IYPXEXIPITVIWIPIGMIMZSVJMERYREXIGERHMHEMPSVTVMRIQEMPPERGITYXYPPYRMMQEVXMIERHMHEMMWIPIGXEMZSVJMMRZMXEMPEYRMRXIVZMYGEVIZEEZIEPSGPE2IYVSTISPPIKIRMPIPIHIrQEVXMI6IPEMMWYTPMQIRXEVIWITSXSFMRIPEXIPrRXVISVIPIEPIJMIGVIMMPIPYGVXSEVIrWEYTVMRIQEMPapplicationsnec.roHVIW2IYVSTISPPIKIWXV4PERXIPSVYGYVIXMURSE.EWUROPEOLLEGE PENTRUANULUNIVERSITARONCURSDEGRANTURI4VSKVEQYPHIVXMYPXYV43TIR7SGMIXSYRHEXMSRWERYRGSRGYVWHIKVERXYVM4MHIHMGEGXMZMXEXIEWTVMNMRMVMMTVSGIWYPYMEVXMWXMGGYPXYVMMHVITXYVMPSVSQYPYMMTPIHSEVMMPSVRHSQIRMYPWSGMEP4VMRMRXIVQIHMYP4VSKVEQYPYMHIVERXYVM4RGIEVGWRGYVENIIKRHMVIEGVMXMGMWWTSVIEWGMRMMEXMZIPIWSGMEPIREGIPITVMEPIPYQMMYRHIWSGMIXMPIHIWGLMWIWYRXPMTWWEYWPEFHIZSPXEXIMYRHIHVITXYVMPIculturale ale grupurilor minoritare sunt n pericol. Scopul acestui concurs este de a consolida MRJVEWXVYGXYVMPIGYPXYVEPIEPXIVREXMZIEYXSRSQIMMRMMEXMZIPIRSZEXSEVIREVXRZIHIVIEVMHMGVMMstandardelor profesionale n domeniul artei n regiunile RGEVI4EGXMZIETVIGYQMTVSQSZEVIEVIJSVQIMn sfera politicilor culturale. Eligibile sunt proiectele care au ca scop consolidarea culturii ca un pilon n HIZSPXEVIEWSGMIXMPSVHIWGLMWIRWMEIRXVEPEEOLWXERVKWXER8ENMOMWXER9FIOMWXEREYGEJKLERMWXER1SPHSZE1SRKSPMEM8YVGMEMGEVIZMIEYRYPHMRYVQXSEVIPIXMTYVMHIEGXMZMXMTVSHYGMIGYPXYVEPGVIEVIEMGSRWSPMHEVIETPEXJSVQIPSVGYPXYVEPIHIZSPXEVIETVSJIWMSREPMGSRWSPMHEVIHIGETEGMXMYQERI4VSKVEQYPSJIVKVERXYVMTIRXVYTVSMIGXIGEVIZEVMERXVIM978IVQIRYPPMQMXTIRXVYHITYRIVIETVSMIGXIPSVIWXIHEXEHIHIGIQFVMI4VSMIGXIPITSXJMHITYWIRQSHcontinuu pe parcursul perioadei indicate n limba IRKPIWEYVYW4IRXVYMRJSVQEMMWYTPMQIRXEVIGSRXEGXEMERMIPESPKERWGLMdbolganschiosi.hu tel OGDANEORGESCUChTIGjTORULRISHMBASSYWARDFORANMERGING2OMANIAN0LAYWRIGHTVEQEXYVKYPSKHERISVKIWGYIWXIGXMKXSVYP-VMWLQFEWWEVHJSVERQIVKMRK6SQERMER4PEVMKLXMRJSVQIEYRcomunicat al organizatorilor.6EHY4STIWGYISVKIXIJERMSKHERISVKIWGYWYRXGIMXVIMHVEQEXYVKMGEVIWEYEJPEXTIPMWXEWGYVXTIRXVYHMWXMRGMERZEPSEVIHIHIIYVSEGSVHEXHIQFEWEHE-VPERHIMPEYGYVIXMWXJIPGIPIXVIMXIXIPYEXIRGSRWMHIVEVIRGSRGYVWEYJSWXy8IWXEQIRXzHI6EHY4STIWGYyEGXIREXMPYRMTVSFEFMPZIMQYVMZMRIVMzHIISVKIXIJERMyEWE4STSVYPYMzHISKHERISVKIWGY0REMIULsNFIINATDEMBASADARLANDEILAUCURETICONSTjsNSUMADEDEEUROTRADUCEREAPROFESIONISTjsNLIMBAENGLEZjAPIESEIChTIGjTOAREsNCOLABORARECUUNAUTORIRLANDEZIUNSPECTACOLLECTURjLABBEY4HEATREDINUBLINTEATRULNAIONALal Irlandei. Premiul este atribuit unui autor pentru textul care a avut SQSRXEVITVSJIWMSRMWXTISWGIRHMR6SQRMEJVEJMPYEXIRGSRWMHIVEVIEHETXVMPITIRXVYVEHMS8 MGMRIQEUPUTUTFIsNSCRISEPENTRUACESTPREMIUPIESEMONTATEsNSTAGIUNEAPhNjPESEPTEMBRIESKHERISVKIWGYIWXIYRXRVHVEQEXYVKGEVIEJSWXMQTPMGEXRQEMQYPXITVSKVEQIGEVIWYFPMRMEMQTSVXEREWSGMEPEEVXIM9RYPHMRXVITVSMIGXIPIGIPIQEMZMMFMPITIRXVYGEVIEGSPEFSVEXIWXIy3JIRWMZEKIRIVSMXMMzGEVIEVIGEWGSTWGLMQFEVIETIVGITMIMEWYTVEGSQYRMXMPSVQEVKMREPMEXITVMREVXTHE FULL MONTYteatrul national timisoaradirector general Maria-Adriana Hausvaterstagiunea2011-2012Teatrul Naional Timioara este o instituie public subvenionat de Ministerul Culturii i Patrimoniului Naionalwww.tntimisoara.comTRADUCEREA PECA TEFANSCENOGRAFIA DRAGO BUHAGIARCONDUCEREA MUZICAL DAVID CRESCENZIMUZICA I VERSURILE DAVID YAZBEK TEXT TERRENCE MCNALLYPREMIER 28 decembrie 2011RICHARD BALINT TANIA POPA ION RIZEA GABRIELA POPESCU LAURA AVARVARI VICTOR YILA CRISTIAN RUDIC ANDREA TOKAI MATEI CHIOARIU COLIN BUZOIANU VICTOR MANOVICI DORU IOSIF ADRIAN JIVAN VICTORIA SUCHICI CODRICEL MIRELA PUIA BENONE VIZITEU LUMINIA TULGARA DANIELA BOSTAN DAVID CRESCENZI VALENTIN IVANCIUC ALEX HNCUSpectacol realizat n colaborare cu OPERA NAIONAL ROMN TIMIOARAREGIE I COREGRAFIE RZVAN MAZILU