The present article aims to demonstrate, starting from a textual and spectacular sample of four texts and performances on the stage of Sibiu, the extent and development that the theatre for young audiences has had in the Romanian theatrical field in recent years. Starting from some general features of this theatrical subgenre, we aim to highlight the close connection between the theme, the character’s construction and a certain type of awareness, of therapy through theatre, operated through this artistic formula. At the same time, our attention focuses on two performances based on the texts of Elise Wilk (Paper Airplanes and Green Cat), an adaptation for the stage of Eleanor Estes’ book, The Hundred Dresses, and a performance created by Yann Verburgh, The Rules of the Game.
Being a reading performance turned into a stage representation, the text Iubirea la oameni (Human Love) signed by Dmitry Bogosvlavski is a love radioisotope into an oppressive cloister space of a Belarusian isolated community. The show with the same name created by Bogdan Sărătean surprises the stage valence of the emergence, the evolution and the extinction of this feeling, from the sacrificial love of a mother, which often conceals the faults and the sins of the children, to the brutal love that snatches what it believes as deserved, to the strength to believe in love as salvation, as redemption, as many forms to illustrate and to dramatically represent such an old theme, yet always different. The personal approach of the double distribution formed by the young 3rd degree actor students, probing their own interiority and sensibility, nuances and enhances the evolutionary line of characters’ destiny on stage in an extremely profound performance.
Intertextually, eclectically, stridently and parodically, without performing an extremely de-dramatizing process of Ibsen’s textual core, Botond Nagy’s show, Hedda Gabler (Radu Stanca National Theatre of Sibiu), is a nonconformist experience that proves the general tendency of the transcripts of the great masterpieces of universal dramaturgy, exploding the audience perception through a complex arsenal of musical and cinematic influences. Presented for the first time to the Sibiu audience on February 22, 2018, Hedda Gabler, directed by Botond Nagy, is, according to the director, a techno-poetical installation orchestrated by the conventions of an almost psychedelic incursion into human futuristic imagination, raises the reception standards the more so as the strategy applied by the young theatre director evokes a peculiar universe which is apparently incompatible with the fervent core of this drama.