Oltiţa Cântec: Performances from Szeben on the International Theatrical Festival of Nagyszeben of 2013
The co-productions of Radu Stanca National Theatre from Szeben seems to be a useful method to get into the aesthetic blood circulation of the new theatrical reality, and by the leading performers of theatre into the international net too. It does not mean anything new, as they annually work together with important institutions, national theatres and well-known festivals too. In the present program of the festival there are many co-productions, the advantages of it I do not mention now.
The Master and Margarita is the stage adaptation of Bulgakov’s novel, which was put on stage by Zoltán Balázs, who at the same time is the director of the co-production partner of the performance, of the Maladype Theatre of Budapest too. We can talk about a brave adaptation, which does not deny the soul of the original work anyway, in it we can clearly feel the Hungarian artist’s personality.
The key for its stage adaptation is the theatre and its approach in theatre, it is that kind of perspective, in which Woland can become a historical leader. Bulgakov’s story, which goes on more levels can be found in the performance too, and they seem to be multiplied. Zoltán Balázs uses many theatrical, cabaret-like, filmish expressive tools, from the singing and the live music through the projection, until the real time film shooting too. The director can avoid crowding in spite of the fact, that his staging is rich in metaphysical layers, he changes different levels and guides the viewers in parallel narratives. Like in case of the novel, the performance also has rich layers of meaning, common references and quotes. Zoltán Balázs can complete them with meaningful theatrical poetic layers, he puts in some references from Diderot, Bob Wilson and Silviu Purcărete in connection with many important characters of the modern stage practice and thinking. The replica and the obvious sign, when on one of the pieces of set they place visible a poster, refer to his enthusiasm towards Purcărete’s Faust.
However thanks for its rich layers of meaning, seriousness and common sense, the watching of the performance can be difficult, in Master and Margarita we can find some humour, which makes the acceptance easier. The music parts also help, which happen alive with the contribution of the actors, who because of this occasion, have learnt to play some instruments. It is almost cliché that all the actors Ofelia Popii, Marius Turdeanu, Pali Vecsei, Adrian Neacşu, Diana Fufezean, Adrian Matioc and so on, perform perfectly; Mariana Mihu is perfect in the role of Woland. The actress rules well and perfectly balance the singing, the gestures and the corporeality, the character that she performs is evil, racy and complicated.
Oltiţa Cântec, Observator Cultural, 2013
(translated by: Veronika Fülöp)
The Master and Margarita is the stage adaptation of Bulgakov’s novel, which was put on stage by Zoltán Balázs, who at the same time is the director of the co-production partner of the performance, of the Maladype Theatre of Budapest too. We can talk about a brave adaptation, which does not deny the soul of the original work anyway, in it we can clearly feel the Hungarian artist’s personality.
The key for its stage adaptation is the theatre and its approach in theatre, it is that kind of perspective, in which Woland can become a historical leader. Bulgakov’s story, which goes on more levels can be found in the performance too, and they seem to be multiplied. Zoltán Balázs uses many theatrical, cabaret-like, filmish expressive tools, from the singing and the live music through the projection, until the real time film shooting too. The director can avoid crowding in spite of the fact, that his staging is rich in metaphysical layers, he changes different levels and guides the viewers in parallel narratives. Like in case of the novel, the performance also has rich layers of meaning, common references and quotes. Zoltán Balázs can complete them with meaningful theatrical poetic layers, he puts in some references from Diderot, Bob Wilson and Silviu Purcărete in connection with many important characters of the modern stage practice and thinking. The replica and the obvious sign, when on one of the pieces of set they place visible a poster, refer to his enthusiasm towards Purcărete’s Faust.
However thanks for its rich layers of meaning, seriousness and common sense, the watching of the performance can be difficult, in Master and Margarita we can find some humour, which makes the acceptance easier. The music parts also help, which happen alive with the contribution of the actors, who because of this occasion, have learnt to play some instruments. It is almost cliché that all the actors Ofelia Popii, Marius Turdeanu, Pali Vecsei, Adrian Neacşu, Diana Fufezean, Adrian Matioc and so on, perform perfectly; Mariana Mihu is perfect in the role of Woland. The actress rules well and perfectly balance the singing, the gestures and the corporeality, the character that she performs is evil, racy and complicated.
Oltiţa Cântec, Observator Cultural, 2013
(translated by: Veronika Fülöp)