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COVER STORY

STR|IN|TATEA PUNE SEMNUL EGAL ÎNTRE ROMÂNIA {I ANDREI {ERBAN. UNII ÎL CONSIDER| CHIAR UN AVANPOST AL GLOBALIZ|RII. PRIVI}I CE FACE {I VE}I VEDEA VIITORUL!

FOREIGN CLIMES EQUATE ROMANIA AND ANDREI SERBAN. MANY CONSIDER HIM A SYMBOL OF GLOBALIZATION. “LOOK AT WHAT HE’S DOING AND YOU WILL SEE THE FUTURE!“ THEY EXCLAIM.

Intui]iile lui Intuitions Of

ANDREI A}I LIPSIT {I NE-A}I LIPSIT, CA REGIZOR, ÎN ROMÂNIA... De c‚nd am demisionat de la Na]ional, `n ‘94, am fost chemat doar o singur\ dat\, s\ montez „Oedipe“ la Opera Rom‚n\. Apoi, n-am mai primit nicio invita]ie concret\. Am v\zut atunci cealalt\ posibilitate, aceea de a face ateliere teatrale cu studen]ii [i cu actorii foarte tineri. Am vrut s\ aduc expresii ale teatrului nou, altfel dec‚t se face pe scenele conven]ionale, conservatoare, ale teatrului rom‚nesc. Am revenit ani `n [ir pentru aceste work-shop-uri, care nu erau v\zute de spectatori, care nu deveneau spectacole, dar care suplineau ceea ce [colile rom‚ne[ti de teatru nu mai fac: educa]ia t‚n\rului actor de a-[i dezvolta imaginarul, de a-[i `nv\]a anumite tehnici, ale vocii, ale trupului, ale felului de a asculta, ale lucrului unul cu altul. A[adar, p‚n\ anul acesta, nu am avut nicio propunere concret\. Dar, iat\ c\, [i Teatrul Na]ional din Cluj [i Na]ionalul sibian m-au invitat s\ vin s\ lucrez. Sunt onorat s\ o fac. Nu am deloc senza]ia c\ provincia este un fel de periferie a Bucure[tiului. Dimpotriv\, aici `mi dau seama c\ Bucure[tiul este un fel de periferie a artei teatrale, `n momentul acesta. Foarte pu]in din ce se `nt‚mpl\ acum `n teatrele bucure[tene are valoare. Iar multe dintre cele care se `nt‚mpl\ `n provincie sunt pline de inventivitate, de originalitate [i de c\utare. Iat\ de ce lucrez aici, unde actorii se concentreaz\ ca `n cantonament pentru repeti]ii, nu au televizor, radio, nu au niciun fel de alt\ tenta]ie dec‚t lucrul lor.

YOU WERE GONE AND YOU WERE MISSED AS A DIRECTOR IN ROMANIA... Ever since I resigned from the National Theater in ‘94, I was only called once to stage “Oedipus“ at the Romanian Opera House. After that, not a concrete invitation. That’s when I saw the other possibility, to conduct theater workshops with very young students and actors. I wanted to give voice to the new theater, in a different way from what was being done on the conventional, conservatory stages of Romanian theaters. I came back year after year for these workshops, which were not seen by the public, which were not intended to become shows, but which served to do that which Romanian theater schools had ceased to do: the education of young actors via the development of their imagina-

tion; teaching them how to use their voice and body, to listen in the right way and work in a team. Until this year, I had no fixed place of work. But the National Theater in Cluj and in Sibiu has been kind enough to invite me to work with them and I am honored to do so. I do not think that these other cities are like a province of Bucharest. On the contrary, it is here that I realize that Bucharest is in a certain way a province of theater art at the moment. A very small part of what is happening now in Bucharest theaters has any value. Many of the productions in the provincial theaters are original and innovative. This is why I am working here, where actors are focusing for rehearsals as if they were in cantonment, they do not have TV stations, radio, no other distraction but their own work.

InsightTarom-2006  

http://justcpr.ro/

InsightTarom-2006  

http://justcpr.ro/

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