For a period of time he trained at Bouffe du Nord Theatre, under Peter Brook’s guidance. He worked at Odéon-Théâtre de l’Europe and at the National Theatre of Belgium. He has his own private company, named “Louis Brouillard”. The French Academy awarded him with a prize for his playwriting. Together with his works, those are the most important biographical highlights about the author Joël Pommerat, an undiscovered personality for the Romanian public.
Miruna Runcan’s book fills a still empty space of the specialized literature and, at the same time, it is the fruit of the research of a mind constantly concerned with the status of criticism in Romania, the meanders of a long process with stagnation and with episodes of boost in the pre- and post-decembrist panorama. The complex study that appeared at Tracus Arte Publishing House, this year, sits on the shelf of the library between the author’s previous titles, completing (and probably to be continued) the poliform portrait, viewed from the inside and outside, of the critical commentary in our theatre areal.
Art movements don’t end up at a precise moment, but they can survive over the decades in different ways, even if they could be considered out of date. Today, we live in the post-human or the post-digitalized era, but here and now we also recognize marks or processes derived from the art of the ‘80s. What are postmodernism’s shadows that have been shaping recent years’ performances and how does Romanian theatre directing look like, seen against the bigger drama background in or within our European continent – those are the two main questions to which our study tries to find potential answers. Given that we don’t want to lose ourselves into various theatre productions, we have chosen to verify this with an ageless play – Hamlet. How do they (still) look like and what do they hide again, the new profiles of the prince who speaks to us about the death of sleep’s dreams – those are the questions depicted from the hyper-technological identities of Hamlet ex machina.
The American Bread and Puppet Theater, funded and coordinated by Peter Schumann, answered the International Theater Festival for the Young Public’s invitation at its 10th edition. This event was a Prologue, according to the organizers, and took place on the 30th of September. I arrived at theater during their rehearsal for the show presented - “basic byebye cantastoria extravaganza”. It was a great opportunity for me to see the actors patiently adapting their voices to the new stage condition. During a break I talked with three of them – this is how I met young artists Esteli Kitchen, Joe Therrien and Josh Krugman, relaxed, full of energy, and easily immersing themselves into our dialogue, in which I carefully inserted some anarchic ideas and a dash of humor.
The end of January in Iaşi is like the beginning of January. Meaning that it is also very cold. Director Radu Afrim is in rehearsals at Teatrul Naţional with Măcelăria lui Iov (Job’s Butchery) by Fausto Paravidino and he is accompanied by his scenographer, Irina Moscu. They are on the fifth collaboration after Naïve, Completely Frivolous Details in yhe Life and Death of the Audience (Teatrul Maghiar de Stat in Timişoara), Suntrack (Teatrul Maria Filotti in Brăila), Everything’s Alright between Us (Teatrul Naţional in Bucharest) and The Retro Bird Hits the Block and Falls on The Hot Sand (Teatrul Naţional in Târgu-Mureş).
One looks, on the one hand with a slight amazement, and on the other hand with the confidence of a temporary master of the European cultural thesaurus, at how tragic poem, more than two thousand years old, vibrates under the directorial wands in the present times. One analyses the Ancient verse, the plots of the founding mythologies or the figures that seem turned into stone by the passing of time and witnesses, through the scenic hypostasis of today, that the voices of the past, singular or united in a Chorus, reach them, generating, in a single spectator or in an entire wave of interception, the feeling of nexus. But also the inquisitiveness of encountering the peculiar. Due to the fact that cultural identity, and also the conducting threads of the universalis arise like a fascinating, rich, high terrain, and one cannot see them from afar, in this century. If, thematically speaking, The Suppliants, by Aeschylus resonated with directors such as Olivier Py, Silviu Purcărete, Ramin Gray or Jean-Luc Bansard, one can notice how cultural identity is reflected in the Ancient writings, which are also multiplied on the stages of the World in minimalist of theatrical (re)interpretations. The performance of one that becomes multiple and, eventually, restrains itself, closely looked at, becomes fascinating.