The nineteenth edition of the National Theatre Festival ended last night. If we listen to the more or less belligerent declarations made by the organizers, this year’s edition acquires an impressive heroic aura.
And that, if we were to quote nothing more but the statement of the manager, Cristina Modreanu, posted on the festival’s official site, as part of a section called “The artists in the NTF – co-financers”: “This year, the artists who have been selected to participate in the 19th edition of the National Theatre Festival are co-financers of the event, because they have accepted to perform free of charge. This is even more the case with those not living in Bucharest, who have to cater for their own travel expenses.”
It is an ongoing saga deploring the condition of the artist, who is always „behind the times”, always at their disposal… A topic that we will discuss at length in the next issue of the magazine when we intend to interview some of the artists who, willing or not, found themseleves in the position of being ‘charity-givers’. However, this time we are not going to talk about the sacrifices that made the National Theatre Festival possible – this year, just national (?!), to quote Cristina Modreanu again – but about the way it was perceived by the audience on the other side of the stage.
There were eleven theatres from nine cities all over the country, a single performance from abroad – “The Bald Soprano”, staged by Jean-Luc Lagarce within the Ionesco Event section, a premiere performance – “Turandot”, directed by Andriy Zholdak – a production of the Sibiu theatre company, conferences, debates, a Debut section, an opera performance section, book launches and film screenings in the “Elvira Popesco” auditorium. Unlike other years, most shows were performed twice and the audience was scarce – a consequence of the omnipresent crisis or ‘just’ the crisis of our national theatre? We are left guessing. At a quick glance: three times “The Bald Soprano” by Jean-Luc Lagarce, Alexandru Dabija and Tompa Gabor, two times “4.48 Psychosis” by Sarah Kane, directed by Mihai Măniuţiu and Răzvan Mureşan, two times “Three Sisters” by Chekhov, staged by Tompa Gabor and Ada Lupu… Following them, “The Suicide” directed by Felix Alexa, “Ioana and the Fire”, a play signed by Cătălina Buzoianu, “A Winter Story” directed by Alexander Hausvater and “Lear” by Andrei Şerban.
Who’s afraid of poetry?
Hence, “all is old and all is new” in the contemporary national theatre. Contemporary with our fears at times; contemporary with our weaknesses at others. Yet, most of the time, so little contemporary with us. And the theatrical performances present at this edition could be, more than ever, the starting point for a lengthy debate, or rather for a question each and every artist should ask himself at a certain point: Who do I create for? There are undoubtedly a lot of them who – to quote Shakespeare – were they to “look in their glass”, would answer in a heartbeat: for a certain trend imposed by critics, as well as for the need to prove one’s value by means of international awards and recognition – a need which is, after all, entirely human. Others may say that they do theatre for themselves. I wonder how many would claim they do theatre for the public as well…
It is an undisputed truth that poetry in theatre has completely changed its forms of existence and expression on stage. Another undisputed truth is that emotion has found new ways of channeling itself. But, as an almost general characteristic, this year’s edition has shown more than ever how much the contemporary artist is afraid of poetry, of poetry within the text and even of the text alone, by devoiding words of any meaning (one can feel free to replace that with ‘nonsense’) and by turning gestures into a parody of themselves. Of course, there have been exceptions as well. Lost in the stunning dance of the spinning top on the stage floor, in Tompa Gabor’s “Three Sisters”, in the never-ending gaze between Maşa and Verşnin leaning against the white wall…
Translated by Corina Gadiuta, MTTLC, 1st year
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