Revista NR. 24

    Petr ZelenkaESPRETEATRUI standardele morale ale VIITORILORLIDERINr.xzwxvwzEu nu sunt dramaturg sunt autoare de spectacolEEunusunttddramatturgEEunusunttddraamatturgmatturggsunttsunttIANINAjRBUNARIU- INTERVIU -gggg Dosar Dansul contemporan n Romnia – PASULURMjTORTeatrulI posibilitatea SCHIMBjRIIWho needs contemporary artEditor-in-chief Cristina Modreanu points out the negative effects of the lack of support for contemporary art in the Romanian cultural establishment. The world is rapidly changing argues Modreanu and art can help us keep pace with the quickly shifting realities of our global environment by promoting a live culture that foster tolerance communication and understanding. We are in danger of denying the social function of the arts as cultural mediators and translators if we turn to backwards looking cultural policies. As a response to such potentially damaging recent cultural policies in Romania Scena.ro recalibrates itself to focus more on the contemporary arts the extensive dossier in this current issue on contemporary Romanian dance exemplifying the effort. Cine are nevoie DEARTACONTEMPORANjEDITORIALwvArtaspectacolul contemporan pot fi chei pierdem. Arta spectacolul contemporan fac parte malaxorul anti-identitar care ne dramaturgiei universale. Atacul asupra artelor contemporane Totul pentru a argumenta de ce revista de xvxz omului atins de Pentru oricine se simte luat pe sus de valul wxzxvwz xvvxz www.revistascena.ro Cristina Modreanu Ciprian Marinescu Florentina Bratfanof vxvIANINAjRBUNARIU 4EATRULVjZUTPRINSONDAJE0ETRELENKA-IKIRANITE UZZsNJURULPEREIINCURSIUNEsNINIMATEATRALjA0OLONIEI0ROIECTULSUB0jMhNT6ALEAIULUIDUPjTEMPS DIMAGES2OMEOASTELLUCCI din nou n Romniavvvwfoto Claudiu Popescuinterviusondajinoutinterviuprofilinout eseufestivalprofilzwwywyyzwzPromovarea Artelor Spectacolului – ARPAS373EPOATEFACEUNCORPShowcasewUMPERFORMjMISTORIAShowcaseyv6AVATEFjNESCUShowcasewALIMITAEUULUIShowcasexz0RIVIREADINAFARjShowcaseyxECEFACEMSHOWCASEShowcasexwIOGRAFIIPERFORMATIVEShowcasexALENDARShowcasexyIBERTATEADINsNThMPLAREvoice overx0ROCESULSAUGhLCEAVA ACTORULUICUUNULCUALTULpremieraw4EATRULNUAMURIT0555SCENELEzvINEsNVAjDELACOPII0342-zw4RECEAsNZBORUNSTOLDERAESjLBATICE 4 4..32zx05.79 2 RAMATURGIAVECHIULUIINOULUIYORKzxzDANSUL CONTEMPORAN N ROMNIA32IANINAjRBUNARIUEu nu sunt dramaturg sunt autoare de spectacol pornind de la un dosar cu informatori copii wvBvwBconstrui un spectacol n-am descoperit spectacol.Care era acest concept construiesc o dramaturgie pornind de la INTERVIUzgcartea lui Marius Oprea gBelevi iar apoi era un gest despre care v vvBv wAsta m-a interesat cel mai mult. glimitele teatrului prin reluarea Bne imaginam trei sau patru scenarii realitate. vvwvvvvasuma acest eroism. Probleme nu XY deschis public era cel care nu mergea de Bexistau locuri primeai un scaun la perete.foto Bogdan GeorgescuINTERVIEW Ro Ro Secret Police during the Communist dictatorship startling stories transpiring from official reports or even whole ready-made scripts lifted for a spatial arrangement.INTERVIU w Capitalismul nostru a fost construit de xvvvTipografic Majusculxvxvv vede din paginile dosarului exasperarea prietenii lui se citesc de-a lungul dosarului. wB subsolul blocului. Acolo se vede mic de provincie asupra unui gest precum Bavut actorii n X mm din Y kmBTipografic Majuscul din apartamentul mamei lui Mugur X mm din Y kmTipografic Majuscul Bpoem Obiectivul face obiectivul B Byvv vBvv Bxvvzxvvdespre lumea de unde vin. Cei care au Bwdocumentar ca gen dramaturgic nu a selectat la Royal Court politic m-am dus gconceptul de spectacol. BB unde .Sado-Maso SolitaritatexvxvSold OutX mm din Y kmTipografic Majuscul gBconsumat foarte mult ai de-a face cu INTERVIURTAPOATEFIFOARTEUTILjSOCIETjIIIPOATEFIUNBUNCATALIZATORsNMOMENTECHEIEDirectorul Festivalului -IKIRANITEINTERVIEW nlmo INTERVIU BxvvwvBreceptat la fel aceasta nefiind deloc un piept.public mai exigent conectat la noile istorie.de diverse profiluri. Acela a fost un xvwwaspectele estetice pe care noile tehnologii Bfestival care s-ar putea numi Imaginea Timpului. xvwy xvwysoft wwyBbugetele cultura este primul domeniu la momente cheie. Spectacolele acestor xvwwzxvwxxvwy xvwy spectactorului care deschide un dialog Basupra unor opinii care par imuabile la prima vedere. Capacitatea artei de a ntr-un asemenea context Bartelor spectacolului lucruri care sunt care o are acum festivalul este aceea a unui 9xvwz BBacesta vom invita un artist asociat al wtimpului nostru. Prin spectacole de teatru probleme glocale sau chiar despre acum.INTERVIUTEMPS DIMAGES SOLIDARITATE N TIMPURI TULBURIBpolemice. ansamblu de probleme ce privesc ordinea toate nevralgiile ce decurg de acolo. xvwy protestele din luna septembrie a anului Solidaritate a fost probabil cel mai Petr ourek nlmoe the play Ro RoFESTIVALBexemplu. Optarea pentru o astfel de foto Georgia MoraruPopescu parte a seriei de spectacole Fun de wv iritabil.credibilitatea pe parcurs pornind de la o gata de asta. Bspune de mai multe ori Crsta ta… unde vor putea face ca o autoritate poate un profesor de-al face parte dintr-o serie de performance-uri sub numele de Candidatura la le este piperat pe alocuri cu concepte de genul contextul bufonadelor lumii politice spectacolul Gianinei Spectacolul recompune povestea Securitate al acestuia. aproximativ FESTIVALwveiwieste doar una dintre multele dedicate ghabar nu au despre acel domeniu o parte pentru acest studiu este ideea care a stat Bunul dintre obiectivele principale este adaptarea . publicul ceea ce e un bun instrument de wAn IMAS survey on Bucharest theater or The chronicle of general confusion deleterious consequences argues Cristina Modreanu. The opinion poll indicates the commercial success of facile comedic productions and commercial enterprise observes Modreanu but an institution entrusted with shaping cultural standards. By closing its gates to artistic diversity and challenges and by isolating itself from the international performance scene Bucharest theaters risk losing their cultural capital. 4EATRULVjZUTPRINSONDAJEwwSONDAJnici expunerea acestuia la tipuri diferite de x dieta. Bpromovare a spectacolelor nici un efort pentru noutate pentru risc pentru experiment pentru noi forme de ggxyxxyputea deduce logic prin proiectele originale create de elea – include educarea informarea serviciile etc. teatral.y zguitat rapid asemenea perioade sunt culturi. B din facultate. yzixvwySONDAJwxsinguri. partea acestui public accidental te face cu Ion Caramitru chiar o face pe cunoscuta pentru a contesta utilitatea unor putea avea un grad sporit de pentru principalul ordonator de credit oare Avem de-a face cu repertorii nestructurate alegeri artistice uneori de un gust dubios pe modelul Toate acestea vin pe fondul unei Sibiu sau cu Teatrul Maghiar de Stat din conform unor folosind metode profesioniste de a le xvwwxvwvwvvgone of the institutions taking on the challenge to encourage a wider public through better outreach in digital media a revamping of managerial UZZsNJURULPEREIwyPROFILBConcomitent cu acest proces de transformare ultimul Eurobarometru a wzxvvculturii ca motor pentru generare de locuri conchide raportul.BR.D.Bpublicul fidel actual. Noua strategie de comunicarePrintr-un proces de rebranding am lucru Teatro alla Scala Royal Opera Mariinsky. Am diversificat instrumentele pentru spectacole care pun lucrurile R.D.montare. Am ales ca strategie invitarea repertoriu opere contemporane semnate C.N.deschidem o cale de comunicare cu accesibile publicului repere pe harta C.N.Batragerea unor categorii diferite de public Bcunoscut repertoriul Operei prin care au ca subiect opere celebre sau cu publicul materiale video nu doar spatele scenei making-of materiale audio campanii online. O parte din aceste foto Gin Photofondatori ai companiei Chiara Guidi Romeo Romeo Castellucci ce s-au dovedit de neuitat de Roland o gGolcea prima impresie a fost la fel de a Irina Zlotea recounts the events and discussions animating the book launching of translated into nlmlwas invited to stage Romeo Castellucci din nou n Romnia xvwvB din volumul PROFILwzascultat tot ce se poate asculta acest xw spectatorului cu energie revelatoare pentru BBBBxxxxzzzzzzzzz— DDDDDDAAAAANNNNNSSSSUUUUUULLLLL CCCCCCCCCCCOOOOOOOOOOOOOOOONNNNNNNNNNNNNNNNNNNNNNNTTTTTTTTTTTTTTTTTEEEEEEEEEMMMMMMPPPPOOOOOOOOORRRRRRRRAAAAAAAAAAAAAAANNNNNNNNNNNNNNNNNNNNNNNNNNNRRRRRROOOOOMMMMMMMNNNNNNNNNIIAAAAAAAAAAANNNNNNNNNNNNNNNNN RRRRRRRROOOOOOMMMMMMNNNNNNNNNNIIAAAAAAAAAAAwTHE NEXT STEP373 DOSARwEPOATEFACEUNCORPBde BZXXrara xvwvMinisterului Culturii ca toate celelalte Bmomentul din deschiderea Festivalului Enescu un grup mai numeros de dansatori coregrafi actori membrii ai oricine are de-a face cu domeniul culturii obicei supraponderale ale politicienilor construind pe bani publici vitrine culturale discurs protestatar folosind singurul material de care dispun corpul. xvwwwvDOSARWhat can a body doLaunching off from Andr Lepeckis interrogation What can a body do enunciated in his study Exhausting Dance Performance and the Politics of Movement Cristina Modreanu exemplifies the potentialities of bodies in action in an essay describing the struggles of Romanian choreographers and dancers with a cultural establishment that lends little to no support to their work and fails to recognize the importance of contemporary art. Two protests with a strong performative component were organized in 2005 and 2011 two events that demonstrate the activation of a critical consciousness on the part of Romanian artists. In 2005 a number of dancers spread themselves on the steps of the Sala Palatului at the opening of the George Enescu Festival to draw attention to the systematic lack of support for living culture and contemporary dance. Following these initial protests funds were allocated for the opening of the National Center for Dance In Bucharest CNDB hosted in the building of the National Theater. In 2011 however when the theater building underwent plans for renovation the existence of the CNDB was threatened with dissolution. In renewed protests dancers actors and any willing members of the artistic community performed a dance in front of the Ministry of Culture building choreographed and coordinated by Florin Fieroiu. The movement of bodies dancing for a cause contrasts with the inactive bodies of politicians behind silent government buildings. The dancing bodies become signs that spell out the most articulate critical discourse forged by the Romanian artistic community. This discourse brings to light the abuses of those in power to manage cultural policies enforced in disregard of the needs of living artists. The bodies dancing in front of a symbol of state power articulate the failure of the political class in Romania. Today the National Center of Dance remains in a precarious situation it still doesnt have an allocated venue and it suffers from a shrunken down budged. Contemporary art continues to be ignored in making cultural policies despite the sustained efforts of the artistic community.wxvwwxzperformance un eveniment inedit unic modern contemporan ar fi insuficient reformat este un mecanism gxvvxvwwxvwzxvvBmetode de lucru ale aparatului de stat Ministerului Culturii sau despre directori ai xv sau 6AVATEFjNESCU ENTRUL.AIONALALANSULUIPASULURMjTORwv Bprecedat de crearea Centrelor Coregrafice wz facilita accesul la un cadru pentru creatorii dansului contemporan cu acestora. pentru dansul contemporan nu existau DOSARwpoliticilor culturale wgxvvxvwyxvwznevoie de CNDB multe puncte comune. Pentru mine ZXXX – spectacolului din subordinea Ministerului BBBDOSARwWho needs The National Center of Dance Cristina Modreanu discusses with Vava TEFjNESCUNTERIMIRECTOROF.ANDestablished choreographer whose career began at the dawn of contemporary Romanian dance in the early 1990s. On the topic of the marginal status of the DANCE FORM 6AVA TEFjNESCU SPEAKS OF THEfailure of Romanian cultural policy to recognize the social value and critical currency of the local dance scene despite ITS INTERNATIONAL SUCCESS 6AVA TEFjNESCUfounded in 2000 the precursor to CNDB the Multi Art Dance Center MAD a first home for contemporary dance. Like the former MAD CNDB is not a company headed by a choreographer but a generative space for collaboration and exchange a space hosting a community. The founding of the CNDB was a great success because it meant that contemporary dance was recognized by the cultural establishment as an art form and it received financial support. From 2005 to 2010 the center focused on producing promoting and documenting the artistic innovations. In 2010 CNDB lost its building entering its critical phase. 6AVATEFjNESCUBELIEVESTHAT.NEEDSa drastic reformulation of its mission in the context in which the dance scene became more professional. A new strategy needs to be forged with the aim of creating a real demand for dance at a national scale. The showcase is one such effort to bring publics together and to unify in a shared zone performances emergent from various interdisciplinary backgrounds.Bxvvxvwvxvwxdansului contemporan. Bdiscursurilor inovatoare critice xvwvContextul actual este foarte schimbat Bcontemporan.DOSARxvBxvwzWw Bmulte ori O mare parte din Wwxvwznumai. anume asume artele curente actuale contemporane De ce facem showcasenu vor veni mase largi populare de showcase-festival. Interesul pentru o xvwyxvwzxvwxvwzdesfacere angro pentru produsul numit nici exotismul estic de tot felul au devenit la nivel DOSARxwWhy we are doing a showcaseIulia Popovici explains the need for a showcase of contemporary Romanian dance to let an art form speak on its own terms. The intention is not to sell a product to be bought by international festivals. The showcase refuses the idea of success measured by commercial viability engaging instead in the search for models of creativity types of relations and alternative expectations. The showcase is an investment in building a local public and in strengthening the dance community by forging an artistic identity. Romanian contemporary dance formed over the course of the past decade in atypical conditions. The artistic community combated the lack of institutional support and recognition and managed to establish The National Center for Dance that both produces and presents original work. Historically speaking there hasnt been continuity between the avant-gardeexperimental dance of the 1960s and 1970s and the post-1990 work. This translates into the fact that contemporary dance grew out from the singular personal experiences of artists. It was inf luenced by varied schools of dance French Austrian and German most notably where artists intermittently worked and trained but these aesthetics were grafted onto a completely different local environment. The Romanian scene tends to produce not dancers but choreographers and performers in constant dialogue with the visual arts theater and music. In the long run the many obstacles in the way of contemporary dance in Romania led to the creation of a unique movement and a distinctly recognizable form. The diverse interdisciplinary backgrounds of the creative teams choreographers and performers working on the pieces presented in the showcase give off a distinct unique new f lavor that doesnt fit into known patterns. The showcase traces a history of the contemporary dance movement exploring its interdisciplinary contaminations and its roots into the local artistic soil and social environment. The showcase reunites samples from a wide spectrum of possibilities putting together works in progress with older productions classical dance shows and experimental performances young emerging artists together with established names. All of this reunites under the umbrella of Romanian contemporary dance a phenomenon that has the potential to become a trend setter in Eastern-European choreography.DOSARxxvdansul modern avangardist vvwvactual al dansului contemporan din E unul dintre motivele pentru care facem de diferite cum numai aici ar putea fi ale propriul solo Out of OrderEste ceea ce este ale performativ al Alexandrei Pirici xvwyspectacole timp ce un altul e produs de un teatru de repertoriu Teatrul German teatrul. un proiect al lui Paul co schemele universal cunoscute.w foarte riscant.-uri .Estul Europei de aceea unul dintre performance-ului. Cum poate fi lung e pentru asta e nevoie de un desant e gacestui showcase.DOSARxy3HOWCASE xywwyvwyvv vxwyvwyvvvvw xvvvxwvv Alexandra Piricixwwxxvv vxwzvvwvvwyvwyvxvyvxwyvAdriana Gheorghe vyvwvvwyvCaminul de batrani Moses Rosen wvwwvvyvwyvwyvgxvyvxwyvEste ceea ce este vwwyvxvvvxwvvxxvv vxwyvwyvxvyvxwyvg vywyvwyvwyvxvyv xwyvxxyv vzwyvwyvHappy vwvvxvvvDerdiedans Bucharest Romania xvvwmediu fenomenul mondiale. la marginea lumii al romilor de la Pata reginelor queerB g anarhist coleric un negativist al terorii altora. Farid nu este complicele anonim al colectiv.B este un univers aceasta devine scheletul unei noi Oana STOICALa limita eu-uluiDENTITATEACAMATRICE PERFORMATIVjsNDANSULCONTEMPORANDOSARxzsociale ba chiar politice este cea de printr-un proces de reevaluare B recunoscute mentalul colectiv este unor norme sociale conservatoare stigmatului public. ultimii ani este un produs de GroundFloor Bodoki Halmen. este din filmul lui Cristian Mungiu de ce avea nevoie de minuni nimeni nu vede nevoia ei de dragoste. Este preceptele absolute ale religiei acele cunoscut acceptabil recognoscibil ca BxvvwBcasnice despre femeie. transcenderii genului prin asumarea -uri DOSARxAt the limits of the ego Identity as performative matrix in contemporary dance Looking through the framework of interrogating identities personal and intimate as well as social and collective Oana Stoica analyzes a number of recent dance performances. The various interrogations of themes of identity argues Stoica are symptomatic of shifting realities.Realia Bucharest Beirut is built as a fictional biography in which Lebanese artist Farid Fairuz inhabits choreographer Mihai Mihalceas body becoming on stage a critical body that identifies and exhibits social problems. Farid paints a magical universe straddling reality and fiction in between Romania and Lebanon. In this world physic and psychic violence can annul the individual religion can stupefy and the State has the power to annihilate. Despite its political import Realia Bucharest Beirut maps a personal universe. Mihalcea revisits his past as concrete elements from his actual biography blend with fictive elements until a new identity is constructed with a lucid grasp on the contemporary world.Another exploration of identity politics in this case through the lens of gender and sexuality is mapped in GroundFloor Groups Paralle l directed by Ferenc 3INKv AND ETA 0OPESCU STARRING UCIA -jRNEANUand kata bodoki-halmen. Parale ll grapples with the homophobia and misogyny ingrained in Romanian culture denouncing the obtuse conservatism that shields itself behind moral and religious precepts. The performance unfurls as a journey of self-discovery that transcends gender norms and questions notions of masculinity and femininity. The sheer vulnerability of bodies that plead for acceptance turns Parale ll into a scenic love poem. After all presents the body as memory storage for a personal archive. The personal and artistic universe OF CHOREOGRAPHER 6AVA TEFjNESCU IS APPROPRIATEDBY THE PERFORMER ARMEN OOFANj -EMORABILIAsuch as objects bits of past performances and costumes are worn like second skin. An avatar body occupies an archival body resulting in a hybrid form through which Vava and Carmen contaminate each other. After All makes the journey of a body into another persons memory resulting not only in getting to know the other but also in self-knowledge.Andreea Novacs Pretend we make you happy questions the aesthetic identity of an art form. The show peers into how a performance is built and the means by which it establishes an affective relationship with the audience through a kinesthetic process. The three performers Istvn 4mGLfSTEFANUPUANDLIN3TATETAKEONTHEsame story replayed in different modes and registers drama and mime musical comedy and pantomime.DOSARxproduce un transfer de identitate. Asta se cu bancuri despre Bpentru aciditatea textului queer queenukulele despre persoane nu sexe despre pot fi dificil de identificat individ cu creativitate ci un prototip social. BEste un drum anevoios frustrant parcurs este un poem de dragoste cu o iubite. politicului. Aici este vorba de corpul gobiectele cu memoria lor fragmente de elegant nonviolent un intrus care g reconstituie un corp din altul. B memorie a viitorului. Performance-ul pare a fi Cu se produce o chestionare a unui alt tip de identitate . -ul gfolosire a acestora. Ce proces artistic tiparelor politice artistice morale nu -AMELEITAIINOTRIBiografii performative identitar. sunt performance-uri radical personale care – asupra DOSARxOur mothers and fathers. Performative biographies Mihaela Michailov writes about two performances – Realia Bucharest-Beirut conceived and performed by Farid Fairuz and Paralle l conceived by Ferenc Sink and directed together with Leta Popescu. Both performances are built around a core of radically personal material but both branch out beyond the biographical into the political tracing the contours of a manifesto of identity politics. The intimate geography of daring franc testimonies leads the audience into questioning stereotypes and conventions opening the path to self-questioning. Realia is a testimonial performance in which personal memories blend reality and fiction. Mihai Mihalcea spins his memories into Farid Fairuz an invented alter-ego a twin body sliding between Mihalceas childhood memories and his own experiential and emotional baggage. While Mihalcea speaks on a microphone about his childhood Fairuz intervenes mining the biography and destabilizing the process of recollection. How much fiction enters into any process of identity formation Paralle l is a performance and a political statement speaking on the need to live and love without gender biases without prejudice and without the pressure of convention. It is about the need to be loved by a mother and father who do not love outside an oppressive normalcy. The two PERFORMERS UCIA -jRNEANU AND KATAbodoki-halmen build two queer marginalized identities and toy with ruptures between voice text and body making palpable the violence of deep-rooted discrimination.DOSARx gBbucurii de a dansa. e un Bidentice cu cele din cada unde ne este un care a povesti devine un act de ego-ul inventat pentru a se delimita de patinele memoriei inventate printre ready-made sau performerul care prin B DOSARx e un performance-ei de ce nu devenim ei. e despre dreptul fundamental de Bdiscursul hetero autoritar kata bodoki-B asociate genului dur pisoarul mingea DOSARyv9xvwwUMPERFORMjMISTORIARomanian Dance History s-a urcat pe RDHcontraofensivele istoriei la fenomenele gRomanian Dance Historyfragment din spectacolul unuia dintre cei Stere Popescu a fost reconstruit a w dansatori cuvintele deconstruiesc devin emblematice pentru istoria How do we perform historyRomanian Dance History undermines the conventional top-down discourses on history explains Mihaela Michailov by posing the questions of who writes history and how can it be rewritten More concretely RDH performs history a fragment from a performance by legendary choreographer Stere Popescu is reimagined BY LORIN LUERA AND RYNJAR ANDLIENStere Popescus work The Hammer without a master Ro IOCANULFjRjSTjPhN premiered in 1965 in Paris dividing the audience in two the booing crowd and the frenetically applauding one. The only few recorded minutes from the performance form the basis of a personalized reinterpretation. RDH appropriates a radical history. Romanian Dance History VI performed in 2012 at HAU Berlin disturbs the official history of the good classical artwork. History is saved from the museum of established hierarchies and turned into a shared common good that democratically integrates into its folds the ones on the periphery of representation. After Florin LUERA AND RYNJAR ANDLIEN RESTORE THEfractured memory of The Hammer without a master Maria Baroncea Farid Fairuz -ANUEL0ELMULEXANDRA0IRICIANDLINAPopa join them on the stage. All of them together begin dancing on manele a low-brow popular music genre. Romanian Dance History VI invites into its cultural repertoire a marginalized history making a political statement. Romanian Dance History VIxvwxastfel contestatar accesul la istoria Eu sunt pe scenjTu eti scenaEl este pe scenjEa este pe scenjNoi toi suntem pe scenj www.revistascena.rox xzwzzvywwxwzwwvvvwxvwzx9xvwwDOSARyw din Romanian Dance History VI devine care dau bine istoric. Istoria e un fenomen prin care ne rescriem continuu formule de Ba nearhivat oficial Romanian Dance History VIRomanian Dance History VI. a spectacolului Romanian Dance History VI este un statement politic care repune istoria spectatori vedere expunerea lor devenind parte din chestionarea rolului de spectator ceea ce 0RIVIREADINAFARj0IESjCURESPONSABILITATELIMITATjIVARTETPENTRUOLAVALIERjDOSARyxspectator. View from outside A work of limited liability and Quartet for a microphoneThe two performances reviewed by Cristina Modreanu A work of limited liability Ro 0IESj CU RESPONSABILITATELIMITATj and Quartet for a microphone Ro VARTET PENTRU O LAVALIERj draw attention to their performative nature forcing the spectators to distance themselves and observe the performances from outside thus simultaneously questioning the process of spectatorship.A work of limited liability toys with the aesthetic vocabulary of postmodernism mixing quotationality irony and self-referentiality. The two performers OSMIN-ANOLESCUI-IHAELAANCSseem to be performing the situation of auditioning although it remains unclear for what and for whom. The show glides on representational surfaces turning the performance into a virtuoso demonstration for the eyesmind of an audience. Manolescu and Dancs toy with movement vocabularies both in an artistic and quotidian register. In the next moment they relax on a couch chatting about another dancer Florin Fieroiu whose work Fo r all my friends they decide to perform in the next scene. In Quartet for a microphone conceived BY 6AVA TEFjNESCU THE THREE DANCERS ARMEN OOFANj -IHAI -IHALCEAand Istvan Teglas are trapped together in a phone booth. They sweat they finger draw on the steamed glass they shout slogans and they improvise while a microphone picks up and amplifies the sounds of their suffocation. The audience discomfort in watching this impotent struggle is magnified by the claustrophobic well-lit space of performance that puts everybody face to face. A dose of optimism though breaks through the confinement.DOSARyypostmoderne de spectacol binecunoscute ale paradigmei auto-citarea propriilor spectacole anterioare unui public. despre un ilustru coleg Florin Fieroiu a cu ochii la laptopurile pe care curg imagini pe canapea dau citate din cronici de dans Bcoregrafie.Bpersonale creative autoironice. Gradul aparent banal este egal cu intensitatea tu spectatorul la unison cu ei performeri generat de simboluri sau gesturi simplitatea lor repetitivitatea lor onestitatea expunerii frontale Bdureros de realist un act de autosufocare. Minutele par extrem de un profund inconfort spectatorului. Am nevoie de aer va spune performera la gB cei trei lor lente e preluat prin microfon prelucrat inconfort psihic sporit de starea de supraveghere la care e supus sala e ggse sufoce dar mai presus de orice Au poate fi considerat un statement al DOSARyz and have been previously staged in Romania while nlmoxvwwxvvale viitorilor lideriDramaturgul Petr ZelenkaiyINOUTPurificare Coming clean xzastfel de subiect. Este mult mai matur Bmulte momente comice la care publicul Bdeoarece pe marginea unui astfel de un fel de auto-control al publicului se B Bdeoarece piesa nu este despre asta ci entertainment.INOUTyB De ce bune pe anumite probleme. Teatrul este Bexperimental ci despre dramaturgii care mea v regie. Apoi un director de teatru m-a piesa care a avut cel mai mare succes w.B Brespiro. B Bwxvvcare am pus-o acolo acum un an are un celelalte ca fiind cu totul special. I-am Borice alt teatru actorii m-ar privi ca pe un vor exclusivitate pentru un an alteori vor Bactori este buna atunci accept comanda Bcare decide asupra viitorului acesteia nu xz un public anume. Problema care se pune avem acum conduc conform ideilor pe construi standardele morale ale viitorilor 02-ANTORAZIMIERZIABARET7ARSZAWSKI INCURSIUNEsNINIMATEATRALjA0OLONIEI . Other productions mentioned are directed by Monika apartment now turned museum Modreanu draws connections between the works of great Polish directors past and present. INOUTyB xvwyByvasemeni unor manechine. Filmul e donat BJean-Pierre Thibaudat frecvent BBpreocupat activ de viitorul operei sale primul loc despre care vorbeam mai sus Bmemoriei culturale.gpractice uitarea. Bde teatru sau de film iar formele caselor gINOUTywxvwy e dedicat este un scenariu dramatic inspirat din universul filmelor clasice de la Exorcistul la Twin Drumul spre Damasc din cranii ca un mortuar simbolic al destinele. Courtney Love Premiul pentru cel mai bun ansamblu scenografie Premiul pentru cel mai bun vPolonia a fost pentru mine Kabaret Warszawski. Bxvwypotporiu de idei de consum stereotipuri general comentarii personale despre zdigerarea ideilor altfel greu de acceptat. ce produce ritmul specific postdramatic al spectacolului. sau avea un viitor suportabil. simbolice revenind in spectacolele 9 Theater hasnt died. But hows the critic doing endangered profession that has a rich history and an enviable cultural cachet in the British Isles. While theater criticism has been traditionally cultures of theater criticism or its lack thereof in England versus Romania. TEATRUL NU A MURITBea nu mai este demult un fenomen gspectacolului.un alt mod de a scrie pentru publicul xzxvwySCENELE PUBLICULUIzvfoto Adriana Grand a lansat de la xvvxvvchiar al lui wvwimportante cere nici mai mult nici mai online despre propriile lor spectacole propriul conservatorism machiat uneori pentru nu pentru trecutmai vechi nici pentru cei mai noi.in which the young are given the tools the space and the time to express themselves freely and fully Michailov explains the principles of participatory pedagogy. The benefits of such an education extends from the realm of the personal into the positive impact it can have on civil society as a whole…60mai important lucru este crearea . Artistul trebuie palpabile sau imaginate de la ceea ce Bal acestui artist este foarte impoartant pentru colectivitatea pe care o B B reciproc vom avea un nou context teatral zwPOSTFORMA in France outlining a tumultuous history spanning over a century from nlmpthir ty years ago. povestea wz BwwgPintilie care semnase regia acestui wFilmul nu l-a abandonat la peste un secol de la wxvvywyzwwwfantomatici care recitau pe un ton ibsenian devenise sinonim pentru xBde Georges Pitoeff unul din cei patru mari wyzColombier teatrul lui Jacques Copeau zvwzwyzwywzwxw. va mai xwwzTRECEA N ZBOR UN STOL DE 234..3244zx..3244zywyvwzvwyBBxvwzyvwywwBbirourizniveluri de realitate un nivel spectral ywzzw face racordul cu partea a doua a care coincide cu replica lui Gregers despre care are drept cadru atelierul fotogafic al modestului cuplu Ekdal. Mobilele monstruos prin dimensiunile sale soarele- purifice. Spectacolul lui Stphane Braunschweig spectacolul lui Pintilie de care se desparte Bprecaritate. Este atelierul fotografului mare ecran Macintosh lateralun aparat panouri culisante care se deschid pe ..3244zzacoperit de alge marine de care se prinde copaci. Bdemonstra dragostea panourile spre pod BByvBTa r t u f f exvvwzTa r t u f f e traversau un prag mitic la Braunschweig dominatoare pe un ecran supradimensionat. Scenografia sa e de bricabrac fabulos Braunschweig a Bww02- by Caryl Churchill . DRAMATURGIA VECHIULUI .5592z.79205Piesa mea White Embersvla nceput de martie ntr-un vibrant festival de piese contemporane la York Theatre Royal organizat n parteneriat cu hvvzluvvPoUovvngeri care oZodZXDrvvuvvacest articol textele europene prezentate vvozlvPovuvvvopremiere teatrale din noul York unde oXuKozlEzlXDuuvovXdcomplexe precum cel al portughezului Tiago Rodriques – Sadness and Joy in the dvsGirafelorovPvolBrattberg dZZvvP2vau uvuPvoX2vuoUvoUvvovUvPvuvUvuuuoUXhoooovvroruouvouruvoWPoXvoUPUoEzlvrvovvvUuWvvuuoUvuvrooZuovUvrvuvvXvovuPvUvovvuuuuoUuvvooovuovuPX2vPoruPvooUAustriacului Holger Schober – My mother Medea Mama mea Medeea este o vvoDWvuUuvuoPPUoUuovvooXWovuPvoUuPvooUDvvovrovvvvvX2voUvovuouUovvoovooXuvovvouvUUovvouooUvouvdin mainstream sunt n general tributare vovUuPvouZoPXdUvuUEzlTheatre Workshop prestigiosul teatru din KrUvvoZZooouuouuvvovMad ForestUouvvUvuvvuZZoovtLove and Information n regia vechiului ei ouDvoXhvdramatic pixelat o nseriere de scene UvuuvvovovoXvuvvvcinematografice minimaliste ca un fel de vovuvolrvvXLa polul opus noua piesa a Quiarei Alegria UvuoWoUdZvPWoUuvovPUvvouvovPXWvvuvoUvoovPvvouvPvvovvvvoXvooovviouioPUuuouXKooPoououuouvvovvPUvPUoPvdZXhvvo PoUPvrvovvUvoUUovovouovvPvPX2vuvLove and Information acest orvvuuvoZovozlXZuvvouvllolilroUvoovPooovoX4EATRULIPOSIBILITATEASCHIMBjRIIwESEUzw Proiectul w face parte dintr-un cadru de proiect de teatru documentar de recente wywwvteatru documentar. wywwv xvvwvpe mai multe paliere prin ceea ce s-a interviuri cu martori ai evenimentelor wxvxvwvwCapete .x de teatruxvwwatelier de istorii personale cu un grup de wvwxvwvBxvwwscenariul pentru un spectacol de teatru zProiectul avea ca scop declarat wvxvwwperspective. de vedere un singur mare compromis Scenariul spectacolului a fost construit de Mihaela Michailov pornind de la ideea unui ipotetic wmutu mutu Ro mutu entitled momqmuul Ro m o m q m u u l ESEUzwvvBwBpe materialele documentate. Textele au Capete la persoanele intervievate sau din culegeri gproiecte similare x zy Capete BxxvvyCapete gata de confruntarea cu un public cvasi-ale celor pe care i-a documentat xvwyzyCapete zal interviurilor cu persoanele care zBBwrespect pentru acest fapt. w xvwx.yde vedere etic a fost tocmai premiera wdesigur nu scutite de precaritate dar wvxvvvBwxvwxgBperspectivelor respective puse cap la cap contextul economico-politic post-socialist.Astfel a fost foarte important pentru noi B B unor momente de umor din istoriile necesar. xvwxxwwxvwxwvwxvwz xvwyzESEUz www.revistascena.ro02-02-Procesul sau glceava actorului cu unul cu altulPaul BOCAwPREMIERAwzwvvwvxxvvBteatru.face loc viermuielii administrative de o sistemului de supraveghere. Ro relationships audience public and reality fiction.wxvvzvzScena un loc sacru spiritual. Poate VOICE OVERxIBERTATEADINsNThMPLARE LECIEMARCA4HmhTREDU3OLEILextraordinar de simplu. Ascultare spectacolul este o BBdeschide sufletul. 2Soleil. xvvxBxvvteatrul national timisoaramanager Maria-Adriana Hausvaterstagiunea2013 -2014Teatrul Naional Timioara este o instituie public subvenionat de Ministerul Culturii.Salat cu leutean

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