Category: World of Culture

  • The NexT International Film Festival

    The NexT International Film Festival

    “It is a movie whose rhythm is provided by changes in colour and the fluidity of sound, which maintains a constant sensation of surrealist transposition into an unknown, yet existing present.A living, lyrical, poetic and profound”, is how the jury described the production. In its 10th year, the NexT International Film Festival, which was held between April 7 and 11 at two cinemas in Bucharest, brought together the latest and most innovative short films from across the world, selected from among 2,000 productions.



    Critic Irina Trocan joined Massimiliano Nardulli and Oana Ghera in the jury this year, and she told us what that involved: “It is a matter of practice, of training, I am in my sixth year, so I have my secret tricks. Of course we dont watch all 2,000 films, we divide them among ourselves. Of the 700 films each of us watches, we set some aside until the selection goes down from 2,000 to 200, which we discuss and settle on the final selection. We wanted this edition of the competition to be the most radical, at least in terms of narrative cinema, to select the most ambitious films. A few years ago we decided to include sections that are more appealing to the public, such as Next Comedy and Next is Love. This year we came up with a new sections called Out of Space, a short sci-fi film section and we also had a section of video essays, which we liked a lot, which is closer to film criticism than to conventional cinema. They include montages of sequences from famous movies by the likes of Kurosawa, Fellini and Tarkovski, remixed and commented by a critic, which is why it is an intersection between making film and film criticism. We also have two sections that try to bring to the silver screen things we dont often see in mainstream cinema, I am talking about Next is Feminist and LGBT. The former entailed films about the condition and issues of women, while the LGBT section is dedicated to sexual minorities.”



    The film screenings were accompanied by seminars led by famous people in cinema, as well as competitions and special events.



    Critic Ileana Barsan was one of the special guests at this anniversary edition of the NexT International Film Festival: “Before being the guest of the festival, I was in the audience at the first edition. In terms of my role this year, I took part in two events. One of them is called The Pitch, which includes 10 short films that remained in the race for the 5,000 euro prize. In the jury we also had Sebastien de Lame, a Shorts TV marketing & sales manager specialiding in short movies, and visual artist Stefan Constantinescu. Our common mission was to pick a single project out of the ten. We had two rounds, in the first round all the people selected had one minute to present their project in English, and a brief montage of their previous movies. We in the jury decided which five projects remain in the race, then we had round two, in which the five projects were presented in more detail, and we asked the participants questions.”



    Ileana Barsan, trainer in various areas of cinema production and the founder of filmikon workshops of cinema education and education through cinema, told us about one other event at the festival:“This is a round table organised alongside the launch of a cinema education program called European Education for Youth, funded with European money and gathering together several European partners. The NexT Society, with the programme it has been running so far, Education a lImage, and the Macondo Association, which now has on its agenda the Film for High School Students programme, are partners in a wider European project, the European Education for Youth. The main topic of this round table organised by NexT is cinema education.”



    Set up in 2006 in memory of two talented cinema professionals, director Cristian Nemescu and sound designer and composer Andrei Toncu, the NexT International Film Festival has had the same mission as always: that of showcasing original and daring voices who are likely to become the next stars in contemporary cinema.

  • The LIKE CNDB Festival

    The LIKE CNDB Festival

    The third edition of the LlKE CNDB Festival got underway in Bucharest on March 17 and will run until April 17. The event is staged by the National Dance Center in Bucharest. Themed ‘Unclassifiable, the festival brings together hybrid performances and related artistic events — the so-called ‘orphan performances’, the product of various artistic fields. Here is National Dance Center manager Vava Stefanescu, with details on the theme of the festival.



    Why ‘Unclassifiable?’ First of all because this year we celebrate the DADA centenary, one of the strongest trends of the avant-garde. And the National Dance Center very much identifies with this spirit of the avant-garde. The National Dance Centre has always sought to break the norms and boundaries of what a performance means and how a performance is being built. And as of late, we know all too well artists around us focus on very diverse things, things you can no longer frame in a certain genre. Dance no longer exists as an individual performance either. A performance is much more complex if it combines other arts as well, if it intertwines more than one type of discourse.”



    Among the ‘Unclassifiable’ performances for which the National Dance Center clicked LIKE this year, was also “SHE is a Good Boy”, a show written and stage-directed by Eugen Jebeleanu, based on the documentary “Rodica is a Good Boy”. The aim of the project is, according to its authors, the staging of a performance that takes up on the theme of intolerance towards minority groups, with the clear purpose of raising the lay public’s awareness over the negative effects of intolerance and discrimination, or at least to raise a few questions. Actor Florin Caracala is the protagonist of the performance.



    It is not a theater performance, it is not a dance performance either. It is, in fact, the story of Rodica, the protagonist in the documentary. It also discusses how we, as artists, identify with her story, with the documentary, with the village of Rozavlea in Maramures County. Rodica is actually a transsexual. What was really shocking for us too is that everybody thinks highly of Rodica in Rozavlea. I think the village sets an example for the whole world. Ask anyone in that village about Rodica, they will tell you he is a good boy, looks after the livestock, sings at wedding and christening parties…Everyone in Rozavlea loves Rodica. We used a few takes from the documentary, but the performance does not speak about the documentary. It speaks about Rodica, about our relationship with Rodica and about transsexuality, about gender identity, but also about gender identity legislation across Europe.”



    “SHE is a Good Boy” is a performance produced in Cluj, and it is also from Cluj that the concert-performance “Parental CTRL” joined the LIKE CNDB Festival. The performance was created by Ferenc Sinko, an eclectic artist who identifies with the theme of the festival, ‘Unclassifiable’.



    The show was also staged at the National Dance Theater and other theatres as well. It’s the same as being part of a minority group: if you belong to a minority, you get to be part of the minority, but also part of the majority. You enjoy that kind of flexibility. This is a lot more than being just one thing or another. I am still searching for the genre, the form that best represents me, but for the time being this form is very much diffused, and at this point I like this ‘unclassifiable’ form. I think the name of the show is just a teaser. It was not our intention to discuss parental control or the major gaps between generations. Instead, we chose a more personal line, we each brought in our own history concerning our parents and our relationship with them. We started building on that. We hope those who see the show will take the time to look in the mirror and instead of just thinking about what they see on stage, they will think about more personal things, their own history and their own stories…”



    The third edition of the Like CNDB Festival also featured the premiere of Andreea David’s show, “Nude Painting of Dark-Haired Woman,” a show both strong and fragile at the same time, as Vava Stefanescu explains. The project was the outcome of an artist-in-residence programme of the “Fabrica de Pensule” centre in Cluj, jointly with the National Dance Centre. Andreea David is a performer and an architect, and these two sides are brought together in this performance, as she explains:



    I focused a lot on hair, hence the phrase ‘dark-haired woman’ in the name of the show. I wondered about the relationship between hair, which is very closely tied to the feminine identity, and the nude paintings, which always include people’s heads. So I decided to work with these two separated elements, the hair and the head. Those who have already seen part of the performance told me that you can tell it was created by an architect. Perhaps it’s about the relationship that I have with objects, and the way I bring this relationship on stage. It is about how a performer builds, and integrates themselves into, their own construction and stage composition. About how they use objects with which they create a relationship and a painting-like composition.”



    The interests of contemporary artists, in Romania and elsewhere, are increasingly diverse. The 2016 LIKE CNDB aims to reflect this phenomenon. With this third edition, the Festival embraces the progressive spirit, and continues to promote critical thinking and experimenting. And, from one year to the next, the public of the Centre grows more and more diverse.


    (Translated by E. Nasta and A.M. Popescu)

  • Mircea Cartarescu’s Solenoid wins best novel of the year award

    Mircea Cartarescu’s Solenoid wins best novel of the year award

    The novel, which was published by Humanitas in 2015 and launched at the Gaudeamus Book Fair last November, has quickly become a cult book, enjoying an equally enthusiastic response from both the public and critics. “Solenoid is unique even among Mircea Cartarescu’s works”, wrote the literary critic Ioana Parvulescu in her review of the book. She adds: “It is a portrait of the artist as an adult man, when he questions everything, even art and writing, and when he struggles to solve the great riddle of the world. The beauty of his attempt is that he does so after having demonstrated to himself that this is an impossible task. In the novel, Morpheus, the god of dreams, appears to get some help from his father Hypnos, thus creating a truly special hypnotic, morphine-like effect in the reader as if the walls of our limiting world have cracked and a door to another world has opened.”



    Critic Ioana Parvulescu has more: “In my opinion, the most suitable key to understand this book, which may be seen as a poetic and aesthetic manifesto more than Cartarescu’s other works, is the oneiric element, the dreams. For the author of the diary, who is Mircea Cartarescu himself, as well as for all his fictional selves, dreams are the key opening the door to what lies beyond. This oneiric vein is extremely beautiful and appears to be inexhaustible. Sometimes it is terrible and frightening, while at other times it transports you to a world of fairytales or to a different historical era, such as for example to the time of the cave men. Some of the imagery found in Solenoid is truly stunning, and has to do with this oneiric element, which is the only way you can understand what lies ‘beyond’ or indeed, something of this world. Apart from its dream-like quality, Mircea Cartarescu’s book also contains the idea, which is implied here more than in any other of his books, that you can only look for answers within yourself. This book resembles a vast philosophical poem on a par with the great philosophical poems of the world, while at the same time providing a surprising novelty for Mircea Cartarescu, namely the book’s strong narrative structure.”



    Mircea Cartarescu is one of most acclaimed contemporary Romanian writers. His works have been translated into more than 14 languages, including English. This is how he describes his latest novel, Solenoid: “In this book, I focus on the reader more than in other of my previous books, the reader is central. The reader was always present in my mind as I wrote this book. As Ioana Parvulescu mentioned, this is a structured book, not one of loose memories, of vague hallucinations, although it does have its share of such things, too. It is, of course, an oneiric book, because for me there is no difference between dream and reality, between dream and hallucination, between dream and madness, between dream and poetry, between reality and poetry. In fact, we all live within this blessed reality both during the day and during the night. This is why I would say that reality is one of the key themes of this book. What it is, what this concept covers, what this word means. Usually, when we talk about reality, we imagine we deal with a very simple concept, but in fact it is one of the most complex structures built by our mind. Reality is in our mind.”



    Mircea Cartarescu’s novels were awarded by the Romanian Academy, the Romanian and the Moldovan Writers Association, the Bucharest Writers Association and the Romanian Editors Association. His novel Nostalgia won the 2005 Giuseppe Acerbi book award in Italy. Cartarescu also received the Vilenica International Literature Award in 2011, the Haus der Kulturen der Welt International Literature Award in Berlin in 2012, the Spycher — Literaturpreis Leuk Award in Switzerland in 2013, the Grand Prize of the Novi Sad International Poetry Festival in 2013, the Tormenta en un vaso award in Spain in Spain in 2014, the Euskadi de Plata, San Sebastian in 2014, the Leipzig Book Award for European Understanding in 2015, the Austrian State Prize for European Literature in 2015.

  • News from Polska – Romanian-Polish Cooperation

    News from Polska – Romanian-Polish Cooperation


    Five of the most
    remarkable and original Polish artists of the moment came to Bucharest in late
    February and early March to attend a micro-festival named News from Polska
    held by the National Centre of Dance and the Polish Institute in Bucharest.
    Various theatre shows, dance shows and performances included in the festival
    reflected themes that are representative for the contemporary Polish theatre
    and for theatre in general. All the themes approached were related to the idea
    of personal, artistic, national and human identity.


    For instance, a monodrama called ‘And Christmas Will Come’ has been
    inspired by the 2010 plane crash in Smolensk, which killed 96 high-ranking
    Polish officials on board, including the country’s president Lech Kaczynski.
    The idea belongs to the protagonist of the show, actress Agnieszka
    Przepiorska.


    Agnieszka Przepiorska: There was a
    time in Poland, after the Smolensk catastrophe when I was like in between jobs.
    I was sitting at home, I was reading newspapers and everywhere were these women
    looking at me, looking at all Poland and talking about how they suffer. They
    were everywhere, these overnight widows in Poland, wives of big politicians.
    And I asked myself why they were allowing journalists coming into their lives
    so much because they were opening their doors inviting them into their houses
    and talking about what happened. Some of them did, some others didn’t and I was asking myself why some women open the
    doors and some don’t. And that was the beginning of my thinking about these
    widows. It’s not like into politics this solo performance. It’s more connected
    to the emotions of a woman who lost her husband who was a big politician and
    she didn’t have her own life. I don’t know if I am right but politics is like a
    background of this solo performance.


    According to Iulia Popovici, a curator of the News from Polska
    festival, one of the reasons for staging this event in Bucharest was to
    introduce the Romanian theatergoers to performances that aren’t commonplace in
    Romania, such as the monodrama. This genre is very appreciated and very
    representative for the Polish stage. Three such monodramas were presented
    during the News from Polska festival: And Christmas Will Come, Diva,
    ID-ance.


    Closing the
    festival was a show that brought several artists together. The Dolphin Who
    Loved me is a performance combining documentary theatre, new media and
    physical exercise. The project is based on John C. Lilly’s NASA-funded experiment
    in the 1960s, whose purpose was the teach English to dolphins. The focus is on
    the heartrending relationship between Margaret Howe Lovatt and the dolphin
    Peter. Directed by Magda Szpecht, the show is a real challenge for the public,
    approaching theatre as a place that broadens imagination.

    Here is the stage
    director herself: I took eight moments from
    the experimental which were the most important. And about these moments are the
    segments of the performance. Every scene is based on one important moment in
    the experiment. But it’s not exactly the story. But every single scene is an
    impression about what we knew, about very concrete moments in history and what
    happened in the laboratory. I think the main topic is communication in this
    performance. Not only between the performers, but also between what happened on
    the stage and what happened, what does the audience feel. Because I had such an
    idea that on the stage are dolphins, and on the audience are humans. So we had
    to make everything to give in the beginning this feeling, like, hmm, we have
    something in common, so maybe we can communicate, but we are not the same
    creatures.

    These are not the first such events to bring Polish theatre and
    dance to the fore of the Romanian audience. There is already a public for such
    events, looking forward to new proposals. Curator Iulia Popovici told us more
    about the News from Polska festival:


    So far, the Polish Institute
    has organized either monodrama shows or small dance festivals. For this reason
    we wanted to bring these two areas together and focus on an extremely important
    reality in Poland today, namely women’s creativity. We presented shows in
    various forms written and interpreted by women, focusing on various
    perspectives on the lives of women, stepping outside the discourse of what a
    woman would usually tell another woman, or without being openly feministic in
    their approach. The shows actually gave a voice to women artists, who are very
    influential right now in Poland, shaping the public’s perception on mainstream
    theatre and dance.


    Romanian-Polish cooperation is very rich, also transparent in the
    production Steel Mothers, a Romanian-Polish project spearheaded by Madalina
    Dan and Agata Siniarska, presented recently at the second edition of the Bazaar
    International Festival of Independent Performance in the Czech Republic.


  • Interview with Romanian actor Levente Molnar about supporting role in Oscar-winning film Son of Saul

    Interview with Romanian actor Levente Molnar about supporting role in Oscar-winning film Son of Saul

    Son of Saul, the winner of this year’s
    Oscar for Best Foreign Language Film has enjoyed wide coverage in Romania given
    that the film features Romanian and Hungarian ethnic actor Levente Molnar. In
    the film, he plays Abraham Warszawski, who is the best friend of the main
    character, Saul Auslander. Born on March 10, 1976 in the northern Romanian city
    of Baia Mare, Levente Molnar has been an actor at the Hungarian State Theatre
    in Cluj Napoca since 2002. Before its Oscar win, Son of Saul already won prizes
    in Cannes and a Golden Globe for Best Foreign Language Film. Here is Levente
    Molnar sharing with us his impressions:




    All the changes occurring in my life are related to
    friendship and those around me. They are linked to my work. The Cannes Festival
    and the Golden Globes are past already…now it’s the Oscars. I don’t see the
    reason why this should change me. These moments are reasons for transient joy.
    The award has not come out of the blue, it is the merit of the director. We
    worked as a team, and working in a team gives you more energy, makes you
    overcome difficult moments easier. What keeps me down to earth is my work, I like
    to work. All that is happening to me now, all this beautiful craze, when people
    are enthusiastic about my work, will pass, and the next day brings you back to
    normal, to daily activities and among people: life is not a state of perpetual
    celebration.




    Levente Molnar’s
    links to filmmaking date as far back as his student days. He still works with
    students, often featuring in their short-reel films because he loves meeting
    new people. Right from the start, he divided his career between stage and film.






    I can exist in both
    settings. I like theatre, but I also like film. It offers something else.
    Theatre gives the actor the chance of an immersion, in perfect circumstances,
    to encourage introspection. One the other hand, he seeks to satisfy the
    curiosity he has towards his colleagues and their work together, to test his
    ability to work with his colleagues, to discover the challenges posed by a
    stage director, to take a mutually agreed responsibility for all those goals.
    These are typical for theatre. You get to know yourself a little bit better. As
    for the film, you’re getting a bit lonelier out there, even when you do your
    preparation work. You do not always have the chance to make rehearsals that are
    so very intense, so thorough, as it happens in theatre. All that requires a lot
    more confidence, ability to adapt yourself, to be efficient. The former is like
    a hospital, the latter is like an ambulance. And you are expected to perform a
    surgical operation at the same standards, in either case… The ambulance is on
    the move, following zigzag routes…




    As a full-time actor
    at the Hungarian State Theatre in Cluj, Molnar has enjoyed the privilege of
    working with a host of stage directors who left an indelible mark on his
    career. But one such encounter was truly special to him, Molnar explained:




    The man who gives
    me oxygen in that environment is Silviu Purcarete, who took me closer to
    theatre, so to say. He is like an oxygen bubble to me, every time we work
    together. And I had this feeling from the very beginning, when we first worked
    together in Pantagruel’s Sister-in-Law, or later when we did Gianni Schicchi,
    Victor, and Children Rule the Roost. Every time, I have this special feeling
    around him, he makes me feel free. I like doing theatre and he challenges me to
    think differently, at the same time allowing me to be free. I feel I am safe
    making a mistake.




    Still, Molnar’s professional life does not
    limit him to acting in plays and films:


    It looks like I have a penchant for organising
    things and that takes me to the Transylvania International Film Festival. I am
    running some small-scale projects as part of the festival. There are two
    projects I hold most dear. One of them is Manastur Open Air. The very moment I
    moved into the studio the theatre made available for me, in the district of
    Manastur-sub-Padure, in Cluj, I saw that green patch behind my block of flats.
    And it was that green area that made me stay, and the graceful madness of Tudor
    Giurgiu, Oana Giurgiu and of the people who work there, who took the challenge
    and joined me in a project of screening films in Manastur, in an open-air area.
    We started the project many years ago and people keep coming every year. I once
    had a dream, shared by my theatre colleague Aron Dimeny, and our idea has been
    accepted. It has become reality and is entitled 10 for Film. I hope we’ve
    brought in new experiences – special encounters that have enriched people. We
    work really hard to offer people such a chance.




    The 10 for Film programme seeks to promote new
    faces in the Romanian film industry. Ten of the most talented stage actors are
    presented each year, at the Transylvania International Film Festival, to film
    professionals as well as to the public at large.




    Apart from these new projects carried out on
    the sidelines of the Transylvania International Film Festival, Molnar is
    responsible for the production stage of the Interferences International Theatre
    Festival, built at the Hungarian State Theatre in Cluj. He is also involved in
    film production, currently working with director Adrian Sitaru for Fixer and
    Radu Mihaileanu for the feature film The History of Love. The broadcasting rights for Milhaileanu’s film
    have been sold at the Berlin Film Festival and many distributors worldwide.

  • 100 years of Dada movement in Romania

    100 years of Dada movement in Romania

    An exhibition marking the 100th anniversary of the Dada movement in Romania has been opened at ARCUB, the Cultural Center of Bucharest located in the old city center. The exhibition is called TZARA.DADA.ETC and was mounted by Erwin Kessler, who used works belonging to Emilian Radu’s family collection. It is the most comprehensive retrospective exhibition of Tristan Tzara’s works and publications ever mounted in Romania, also being the first such exhibition at international level displaying a great part of the first printed editions of Tzara’s poetic works, illustrated by some of the world’s greatest artists.



    The event also marks the inauguration of Cabaret Voltaire as well as the birth of the Dada movement in Zurich on February 5th, 1916. Among the most familiar of Tristan Tzara’s Dada texts are La Première Aventure céleste de Monsieur Antipyrine and Vingt-cinq poèmes, as well as the manifestos of the Dada movement, including Sept manifestes Dada. Tristan Tzara’s later works include LHomme approximatif, published in 1931, Parler seul, brought out in 1950, La Face intérieure, published in 1951.



    Speaking about Tzara’s artistic achievement in Paris, here is the author of the exhibition Erwin Kessler: “It is a most notable feat, the fact that a young man, leaving Bucharest in November 1915 succeeded, on February 5, 1916, to get straight access to the great scene of international art. That is also the main tenet of the exhibition, namely that the Dada movement was created in a whirlpool of inspiration in early 1916, while Tristan Tzara jointly with Marcel Iancu and Arthur Segal, all thee born in Bucharest, Romania, created Dadaism, out of an exceptional urge.



    The ARCUB exhibition has around 100 exhibits belonging to Emilian Radu, a collector from Bucharest, who in recent years dedicated himself to a minute and extremely costly undertaking, that of putting together items as part of a comprehensive Tristan Tzara and DADA collection. The items are unique, some of them have never before been exhibited, even at an international level, although they are tremendously valuable, such as the letter Tristan Tzara sent to Andre Breton in July 1919, a seminal letter, written on a sheet of paper tore out of his book ‘Twenty Five Poems’, his debut volume. It is a letter containing the details of his arrival in Paris and the relocation of the DADA movement from Zurich to Paris.”



    Shortly after reaching the apex of his career, Tristan Tzara chose to retire from public life. In an interview he gave to his friend, Ilarie Voronca, who was born in Braila, and published in the famous avant-garde magazine Integral, Tristan Tzara confessed: “I write to discover people. And indeed, I have discovered people, but they were people who disappointed me so much, that this urge for writing disappeared completely, just like the dew, from my visual frame, from my interests. The fact that the object of disappointment is even today worthy of attention only deepens my sorrow.



    At last, it dawned upon me that the others write, if not to climb up the social ladder, at least to make a deposit in the bank of their connections which someday will open for them the doors of an Academy about which I didn’t care much. I continue to write for myself, even for the moment, and, unable to find other people, I have never ceased searching for myself. Contrary to falsely-spread rumors, whereby Dada perished because a bunch of people simply gave up, I myself I am the one who killed Dada, of my own free will, since I thought a state of individual freedom had eventually become state of an entire community, and that various ’presidents’ began to feel and think the same. Well, there’s nothing I hate more than the pathological idleness annihilating individual actions, bordering madness and going against the common interest”.




    Here is the organizer of the TZARA.DADA.ETC exhibition Erwin Kessler once again: ”Indeed, he was very disappointed, and speaking about his disappointment, I can present another extraordinary letter of the collection, and implicitly of the exhibition. It is a piece Tristan Tzara wrote to a small-time servant with the French press office, who was gathering documents about the Dada movement. When the latter sent him a DADA file in 1928, Tristan Tzara bitterly replied he wouldn’t receive anything on DADA and dadaism any longer, he would only accept what referred to himself alone. Because of that disappointment, he had cut himself off from Dadaism, which was his own creation. Dadaism was an undertaking focusing on socializing, communicating, publishing. The endeavor was social as much as it was political, and a unique one actually. And it was through the Dada lens that I actually discovered Tristan Tzara. It took me six years to gather information and read about Tristan Tzara, I published a couple of texts, including in the USA, about his ability to create out of thin air a trend of a tremendously large scale. Right now neo-dadaism is one of the underlying trends of contemporary art.”



    The TZARA.DADA.ETC exhibition is open in Bucharest until late April. It includes original graphic art works by famous avant-garde artists, such as André Breton, Pablo Picasso, Henri Matisse, Joan Miró, Sonia Delaunay, Max Ernst, Alberto Giacometti, Yves Tanguy, Jean Arp and Marcel Iancu, books and historical avant-garde publications, posters of inter-war Dada events, as well as an impressive collection of vintage photographs depicting Tristan Tzara at various stages of his life. The exhibition is part of the series of events ARCUB is organizing to mark Bucharest’s candidacy for the European Capital of Culture in 2021.

  • Romanian Filmmakers at the Berlinale

    Romanian Filmmakers at the Berlinale

    The French daily Le Figaro has eulogized the film that has entered the competition in the Berlinales “Forum section, stating that the filmmaker has skilfully avoided being trapped by a biased film, he does not judge his characters and has made a provocative film. In turn, the film critic of the Cineuropa site has written that the spectator is lured into a convincing family drama, proving how easy it is to judge from the outside and how the perspective on things changes when youre placed at the centre of the story. “



    Filmmaker Adrian Sitaru confessed his film was a hybrid of docufiction and imagined scenario, as he improvised a lot when picking the sequences, with the clear purpose of being faithful to the truth and rendering the characters authentic experience. “Illegitimate, one of the most challenging Romanian films of the past years, tells the story of two brothers, featuring actors Alina Grigore and Robi Urs, and their illegitimate love story. In their family the boundaries between the moral and the legal have never existed. Here is Adrian Sitaru speaking about the feedback his film has got so far.



    By and large, we have had a very good feedback. And I could say that our being selected for the Berlinale is due to the films French co-producers, who watched the film in an initial stage, that is almost a year ago, they fell in love with it and helped us a lot with the editing, they even found another international distributor. And they also came up with the idea of sending the film to the Berlinale. The fact that it was shortlisted took us by surprise, all the more so as we had not completed work on the film. Favourable feedback came from other sources as well, but our greatest joy was the selection for the Berlinale.



    “Illegitimate is a film where humour and drama blend into a tragicomedy about love (conjugal, brotherly, bodily), about relationships falling apart, about the choices we make for or against life. It is also a film about physical love between brothers, a taboo topic, a topic not much talked about, but on which there is a considerable amount of specialist research“. Thats how Adrian Sitaru presented his latest film “Illegitimate. Next Adrian Sitaru will tell us the story of his movie:



    It is a special project, it is not based on a classical screenplay, with written lines, I wanted the film to be more of a documentary. The formula, a hybrid between documentary and feature film was a challenge for me. I for one wasnt sure how the film would be. Actually, while working with the actors, I went through all sorts of stages. Some aspects were not working as I had envisaged and I had to come up with different solutions. Alina Grigore advanced the idea of a theatre performance with well-defined characters. The emotional charge emerged along the way. A friend of mine who saw the film compared it with a jazz piece, and I liked the comparison, because this is the way this film was made. Just like in jazz music, where musicians improvise, in my movie everybody contributed their creativity. My role was to stick to the narrative thread until the end. I probably took the story a little bit too far, to an area I was interested in, that of an impossible love, questionable from a moral point of view. Eventually all the pieces mixed well together and formed this film ‘Illegitimate.



    Next Adrian Sitaru will continue the story of the atypical manner in which he worked for his film “Illegitimate.



    The shooting was specific to an observational documentary, I suggested the actors to set themselves a certain goal and then to improvise. Thats how they tried to handle their own principles and beliefs, how they made their own choices. And I never imposed them to end a scene in one way or another, to say this line or that one. I think this is what happens in life, the first words one utters are the most authentic ones. That was the case of the film too. I thought that the first taking was the most precious. And actors were extremely credible.



    The cast of “Illegitimate includes Adrian Titieni, Bogdan Albulescu and Alina Grigore, as well as amateur actors of the InLight acting school such as Robi Urs, Cristina Olteanu, Miruna Dumitrescu, Liviu Vizitiu and Mihaela Perianu.



    “Illegitimate is Adrian Sitarus fourth feature film. His previous productions include “Pescuit Sportiv – “Hooked (2008), “Din dragoste cu cele mai bune intentii – “Best Intentions (2011) and “Domestic – “Domestic (2012). All these productions won important awards in leading film festivals. Adrian Sitarus short reels are also award-winning productions. The titles include Waves (2007), Lord (2009), The Cage (2010), The Party (2012), Art (2014), Trip (2014).



    The Berlinales Generation 14plus section also short listed Romanian filmmaker Roxana Stroes short “One night in Tokoriki. Romanian actors Iuia Ciochina and screenplay writer Ruxandra Ghitescu were shortlisted for the festivals “Berlinale Talents category, while the Panorama Dokumente sub-section included Livia Ungur and Sherng-Lee Huangs docufiction “Hotel Dallas.


    (Translated by E. Nasta)

  • Romanian filmmaker Radu Jude’s Aferim, praised in the United States

    Romanian filmmaker Radu Jude’s Aferim, praised in the United States

    “Radu Jude’s sublime new feature, “Aferim!” is a funny and brutal costume drama with a potent contemporary kick” writes the New York Times after the premiere of the Romanian production in the United States. The New York Times also deplores the fact that the movie was omitted from the final list of five nominees in the best foreign language film category.



    “Aferim!” is a historical movie whose action is set in Wallachia in the early 19th century. A lawman enacted by actor Teodor Corban accompanied by his deputy, who is also his son, whose part is played by Mihai Comanoiu, look for a fugitive serf, whose part is played by Toma Cuzin. The most important Romanian production since 2010 (that is the year of Andrei Ujica’s “Autobiography of Nicolae Ceausescu” and Cristi Puiu’s “Aurora”) is entitled Aferim! and brings filmmaker Radu Jude (born in 1977 and having made his third feature film) very close to the lead position of today’s generation of foremost Romanian filmmakers.



    This wok of art, soon to become a classic in the Romanian filmmaking industry is also high on the agenda of today’s public debates, wrote film critic Andrei Gorzo. The review carried by the New York Times eulogizes “Aferim!”, “being shot in richly toned, wide-screen black and white and looking like an elegant exercise in period playacting. “The film casts a fierce, revisionist eye on the past, finding the cruelty and prejudice that lie beneath the pageantry.” the same review also writes. The author of the review describes actor Teodor Corban’s performance as an “exuberant soulful one.” “He has some of Anthony Quinn’s rough charisma, and a touch of the loose, wised-up humor that John Wayne brought to his later westerns”, the paper aso writes.



    “Aferim!” has been on in movie theatres in the US since January 22nd, 2016, being distributed by Big World Pictures. Before its opening, Radu Jude’s feature film had already been screened as part of a a series of special events in Los Angels and New York, with producer Ada Solomon and actor Toma Cuzin attending. Those special screenings were held under the sponsorship of the Romanian Cultural Institute and the National Cinematography Center. Here is the producer of Aferim! Ada Solomon.



    “The tour of Los Angeles and New York was tiring, but at the same time very exciting and pleasant because the film sparked many reactions and was received in a way I had not expected. I didn’t think it would be received with such empathy by an audience from such a completely different culture. All the more so as the film was born out of the local complexities and its theme resonated strongly with the Romanian audiences. We were therefore amazed and happy with its response in the Anglo-Saxon world. In Los Angeles, at the American Film Institute Festival, a prestigious and popular event, the film was screened to a packed house. It was a pleasure to meet the audience. Many, of course, were ethnic Romanians living in the US, but the most interesting questions came from the American audience. We talked about xenophobia and slavery, about the trauma of slavery and its repercussions today, which is something Romanian society is little aware of. I’m not speaking only about the Roma community, but I believe the entire Romanian society should be more strongly connected to those events. In New York, my film was screened at the Making Waves Festival dedicated to Romanian cinema and organised by the Film Society of Lincoln Centre. The film again enjoyed an extraordinary reception.”



    Producer Ada Solomon spoke about some of the most interesting questions asked by American film lovers:


    “Their questions were mostly about slavery and how the Roma population today approaches this episode in Romania’s history. We, Romanians, don’t know our own history very well, and Romanian history is not very well known in America. Few people in the audience knew about the historical context of the film and the fact that slavery existed for hundreds of years in Romania. So, many questions were about this fact. The American audience was also interested in the xenophobic and nationalist discourse that was apparent in the film. Other questions were about how prejudice is passed over from one generation to the next, which is one of the key elements of the film.”



    Radu Jude’s “Aferim!”, which won the Silver Bear for Best Director at the Berlin Film Festival last year, was launched in movie theatres across the US on February 5th. One of the biggest cinematographic projects to come out of Romania in recent years, the film also won the “City of Lisbon” trophy and the Distribution Award at the IndieLisboa Film Festival; the Golden Bayard for Best Picture at the Namur Film Festival, in Belgium; the Audience Award at the Let’s CEE Film Festival in Vienna; and the FIPRESCI Award at the Miskolc Film Festival in Hungary.

  • The Constantin Brancusi Year

    The personality of Romanian sculptor Constantin Brancusi will be celebrated all throughout 2016. The commemoration of 140 years since one of the greatest fine artists of all time was born is an opportunity for a wide range of cultural events to be staged, such as conferences, workshops, projects, which are run in order to celebrate and promote the perennial dimension of Brancusis work.



    The Romanian Cultural Institute in Bucharest has organised the opening press conference for the series of cultural events of the year staged as a tribute to Constantin Brancusi. Matei Stircea-Craciun is a researcher with the “Francisc J. Rainer Anthropology Institute. He gave us details about one of the most important world-level initiatives to restore the heritage of Constantin Brancusi.



    The activity of the Brancusi research centre in Targu Jiu began at a time when the advancement of knowledge as regards Brancusis work was on a different level. In 1995, two retrospective Brancusi exhibitions were staged, in Paris and Philadelphia, respectively. They are the most important such events so far, actually setting the standard regarding the knowledge of Brancusis work. In the Paris catalogue, curator Karen Wilkin writes that to this day, Brancusis work remains impenetrable to critical analysis, that no sources of inspiration could be traced for his work, nor could the origins of that work and the artists outlook be clearly mapped. That, in effect, was the acknowledgement of a failure, after decades of research into Brancusis work. Acknowledging this failure in no way affected the artists recognition or rating – quite the contrary. It only admitted to a flaw in the research methodology, or to a total absence of the methodology used in order to go deeper into the imaginary infrastructure of his work.“



    Three decades ago, the “Francisc J. Rainer Anthropology Institute based in Brancusis native town of Targu Jiu initiated a research project focusing on the special language of Brancusis work. The defining feature of this Romanian fine artist was the effort to free sculpture from the concept of the imitation of nature. Instead, Brancusi chose to express the essence of things and the vitality and spirituality of forms. With details on that, here is Matei Stircea Craciun.



    In 2005, the Brancusi archives were published, which enabled critics to clarify whether some of the words, phrases, sentences, impressions that they had been using because they had been attributed to Brancusi by some of his friends, truly belonged to Brancusi or not. The archives include transcripts of the artists studio notes, and provide crucial information on him. Id like to mention a related initiative of the ‘Francisc J. Rainer Anthropology Institute, which nearly three decades ago launched a research project focusing on languages and arts. All objects are containers of cultural information, provided you have the tools to identify and circumscribe the information the object contains. Works of art are particularly suitable for this kind of research, because they have no utilitarian limitations, because the cultural information they contain is at its highest, and therefore the chances to put together a well-structured methodology are higher.



    Fine artist Mihai Topescu is the initiator of a project designed to promote Brancusis works in Targu Jiu as well as to restore the image of the artist. Back in the days of socialist realism in Romania, Brancusi was dismissed as a representative of bourgeois formalism. However, in December 1956, Brancusis first solo exhibition in Europe was opened at the Bucharest Art Museum of the Republic. It was not until 1964 that communist Romania promoted Brancusi as a national genius. As a result, maintenance works could be initiated and conducted on the compound in Targu Jiu, which includes the Endless Column, the Table of Silence and the Gate of Kiss. Here is Mihai Topescu.



    I am not a photo artist, but I put together a project I have been thinking about for quite some time. It involves the making of roughly twenty photographic works of the Targu Jiu ensemble, black and white and full-colour. These are neither artistic photos, nor tourist photos. I will be working with three photo artists. I will curate the project, if you will. The aluminium-print photos, sized two by two meters, are aimed at promoting the ensemble in Targu Jiu. We do that through a number of photo exhibitions staged in the cities where Brancusi himself travelled, that is Budapest, Vienna, Munich, and Paris. At the initiative of several MEPs, the exhibition will also be mounted in Brussels. These photographs of the ensemble in Targu Jiu will be accompanied by photographs from personal collections, images from the restoration time or the time before the restoration. The photographic works will remain in the custody of the Romanian Cultural Institutes ‘Constantin Brancusi Research, Documentation and Promotion Centre, and they will be part of various exhibitions scheduled around the world.“



    Acknowledged as one of the most noteworthy sculptors at world level, Constantin Brancusi revealed the spiritual dimension of reality, impregnating the material world with the very essence of things.


    (Translated by E. Nasta)

  • Books for children, translations and original texts

    Books for children, translations and original texts


    After 1990 the Romanian children’s literature was on a downward trend, just like many other cultural sectors. Original books for children in Romanian were becoming increasingly scarce while translations, which came to dominate the book market for children little by little, were not always of the best quality. This situation lasted until 2008-2009, when both quality Romanian literature for children and quality translations were on the rise. Translator from and into English, Florin Bican, is also a writer. He writes both prose and poetry.



    Here is how Florin Bican explains the situation of children’s literature in Romania: “I believe that immediately after 1990 Romanian publishers avoided publishing Romanian books for children. As the Romanian writers of children literature were faced with a lack of demand for their books, they blocked the offer in their turn. But in time, publishers grew wary of the public’s preferences, and the public, in its turn, became familiar with the translations from world literature for children, started to show openness towards the Romanian literature for children. There was a period, up until 2000, when the Romanian literature for children lost ground. What is paradoxical is that, prior to 1989, despite the rigor of the times, Romania had books for children, this genre was indeed given the attention it deserved. After 1990 people looked at the children’s literature with indifference. It is true that many translations of such books were published, which was a good thing”.



    Unfortunately, not all translations rose to the expectations. Many publishing houses, in their rush to make profits, published superficial translations. This also happened because Romanian writers were reluctant to venture into children’s literature.



    Here is Florin Bican: “People want to believe it is in fact very easy to write for children, especially those who don’t do that. Many believe that there’s nothing easier. The tragedy is that some of them are writers. Even worse, they get published. At the same time, fortunately, there is one other category, that of the writers who believe it is hard to write for children. You have to draw inspiration from some place. It might do us good to look around, to take a closer look at children, read more children’s literature and read it with the same joy they do. Maybe some of us still have our childhood experiences fresh in our minds, and that helps with the writing.”



    In any case, it is essential to have contact with children. In fact, communication with her own child was the principal motivation for Sinziana Popescu when she started writing. In 2009, her book Vlad’s Trip to the Land Beyond got the Writers’ Association Award for children’s literature, which had not been granted for a number of years.



    This book was the first volume of the Andilandi series, and she told us about it: “I started this series about 2002-2003, when my boy was little, and I wrote that thinking that this should be my legacy to him, to show him the mythological beings in our tales too, because we have superheroes too, worthy of attention… Back then kids read a lot of Anglo-Saxon fantasy books, which are beautiful, I’ve read them too. Which led to the thought that we also have something to prove, that we have our own interesting mythological beings. I wasn’t bent on educating anyone, I just wanted to write a nice and interesting story. If there is a moral to it, I tried to filter it. I didn’t necessarily want to sweep it under the rug, but I didn’t want it to stick out, because usually children reject our attempts at moralizing.”



    Florin Bican too wanted to avoid moralizing, focusing on entertaining kids, which is why he wrote his Rhyme and Reason Recyclopedia, a non-conformist rewriting of a Romanian fairy tale, written in a much more familiar language than some parents may have wished, perhaps: “All these ideas came to me along the years as I talked to my son, who is now nearly 30. I tried to rewrite some texts that seemed to me too stuffy, so that he might find them interesting. I kept practicing, motivated by doing it for my son as well, and kept taking well-established tales and turning them on their head. I got a lot of feedback. Children accepted the book without reservations, and I was amazed to find out, talking to them, that they were not derailed by the non-conformist language, which you cannot find in classical texts. They followed the storyline and the effect was just what I wanted. It was clear that a character with a colorful language is supposed to be ridiculous, and in the end he would get what’s coming to him. They got the parody, in other words. That was not necessarily the case with parents and teachers.”



    Even though lately more and more Romanian books have been published, there are not enough to go around, according to Sinziana Popescu: “Our book market is stifled by translations, some of good quality, others of a doubtful quality, and they are not even of such a variety. We are dealing with two categories: contemporary best-sellers and classics, such as Astrid Lindgren, Mark Twain and Beatrix Potter. For instance, I didn’t know anything about contemporary Swedish writers. At the same time, Romanian writers are few and far between, you can count them on the fingers of one hand, or two. There are too few of them, which is why the Romanian market is unbalanced.”



    Sinziana Popescu’s latest book is for children aged 3 to 7, in a bilingual Romanian-Swedish edition brought out by Pionier Press Publishers in Sweden, called The Little Rainbow Car.

  • About the opera with theatre and opera director Andrei Serban

    About the opera with theatre and opera director Andrei Serban

    On Christmas
    Eve, theatre and opera director Andrei Serban talked about the power of music
    in life, opera and theatre at the launch of a bilingual book entitled Opera
    directing, thoughts and images published by Nemira. The book contains texts
    written by Andrei Serban and photographs by Mihaela Marin and is the second
    project bringing Serban and Marin together. Photographer Mihaela Marin:




    It’s a new
    experience because it’s the first time I worked with opera. People know me for
    my theatre photography, and all my previous four albums were about theatre.
    Until not long ago, opera for me was more about the music. I never thought we
    could make a book with images about the opera, images that would tell the story
    of an opera production. For the first time, this kind of book also contains
    texts written by the director of those productions, which are very interesting.
    The photo on the cover is from Lucia di Lammermoor and I have chosen it because
    in it you will discover Andrei Serban himself. It was the first time that he
    ever went on stage. It was a surprise for everybody, for me, who was backstage
    taking photos, as well as for the singers who had no idea Andrei would enter
    the stage for a few seconds. It’s something I will always remember fondly.




    Opera
    directing, thoughts and images contains photographs from six opera productions
    staged by Andrei Serban, two in Iasi, Romania, three in Paris, and another one
    in Vienna. Music is made of sounds and silence, said Andrei Serban at a talk
    with the public held after the launch:




    The composer
    brings together sounds and silence. What fascinates me about the opera is the
    silence at the beginning of a production. When lights are turned off and the
    conductor raises his or her baton, there is a moment of suspense, of
    immobility. That suspense is full of mystery. During the rehearsals for an
    opera production I always try to convince the conductor to extend the pauses
    between the notes, especially when the score contains the symbol ‘fermata’,
    that moment of interruption, of pause. Conductors, however, are reluctant to
    prolong that moment. They are afraid spectators might become anxious if the
    silence between the notes is too long. Indeed, this silence has intensity and
    urgency, it is an active silence. For some people, silence is anxiety, for
    others it’s solace.




    The stage
    director is the creator of the opera show, says Andrei Serban, adding that
    directing opera is very different from directing theatre:




    When I work with
    operas or large theatre companies, I am bound to appeal to the audience, compel
    their attention. I have the duty to provide aesthetic pleasure. Singers adapt
    more or less to the directing. They know the voice is all that matters, and
    that the directing has to do with visual effects, it has very little to do with
    them. For some, the less directing instructions they get, the better. Theatre,
    in that respect, is very different. It is the actors who convey the message. And
    if the acting is poor, everything seems to go wrong.




    Andrei Serban has
    also warned against the conflict between the conductor, the lead singers and
    the director, who may turn into tyrants.




    Academics claim
    modern directing is destroying opera. I don’t think you can destroy Traviata -
    its musical structure is too robust. The Magic Flute too is immune to a
    director’s touch. The power of music prevails over any stage artifice. With
    theatre it’s very different, because the structure of a play is much more
    vulnerable. Shakespeare and Chekhov may seem dull when spirit is lacking, when
    the stage director is mediocre.




    As long as
    love, death, joy and suffering are part of experiencing life, as long as people
    want to listen to and see true drama expressed in music, there is a future for
    the opera, director Andrei Serban said optimistically. However, the conference
    at the launch of the bilingual album ‘Opera Directing, Thoughts and Images’,
    was about theatre:




    None of the
    obstacles, bad things and conflicts I face in life have any meaning for me if I
    don’t recognise them as leading to something good and positive. I want to see
    the same thing in the theatre I make. If what occurs on stage leaves the
    audience full of frustration, bitterness, negativity and hatred, that is a
    very, very weak way of using theatre, much weaker than that which sparks
    passion, conflict, but does so trying to breathe into us the feeling of being
    one hundred percent humane at present, which helps us to go home with refreshed
    energy, giving us hope. In this sense, theatre is the art of the present.

  • The Heroes’ Way Sculptural Ensemble

    The Heroes’ Way Sculptural Ensemble

    One of the masterpieces of Romanian sculptor Constantin Brancusi is the Heroes Way ensemble in Targu Jiu, a tribute to the soldiers from Gorj County who died for their country during World War One. Comprising the Table of Silence, the Gate of the Kiss and the Endless Column, the ensemble is a telling example of the artists creative vision.



    Constantin Brancusi was born on February 19, 1876 in the village of Hobita and grew in this place known for its tradition of wood carving. His father, for example, used to make all the family furniture himself. It was in 1898, at the first exhibition of the Dolj County Arts and Crafts School, that Constantin Brancusi, at that time still in school, presented his first sculpture, a bust of Gheorghe Chitu, as well as two frames that are still on display at the Fine Arts Museum in Craiova. That same year, he joined the National Fine Arts and Crafts School in Bucharest, which he graduated four years later. Later, after a short stint in Munich, Brancusi left for Paris, where he was admitted into the Ecole Nationale des Beaux-Arts in 1905. In 1907, he embraced non-figurative art and became part of the Parisian avant-garde movement.



    The works in the Heroes Way Sculptural Ensemble comprise architectural elements of a symbolic nature. The ensemble was inaugurated on October 27, 1938. The director of the Constantin Brancusi Centre Doru Strimbulescu tells us more:



    Doru Strimbulescu: “If we look at photographs and witness accounts, we note that the inauguration of the ensemble was attended by many ordinary inhabitants of Tirgu Jiu, alongside political and cultural figures. The number of people that walked from the Gate of Kiss and the Table of Silence to the Column was impressive. Its worth noting that at first Brancusi only wanted to build the Endless Column in Targu Jiu. Thats what he proposed to Aretia Tatarescu when he returned from Bucharest with a sketch of the Column. However, as Brancusi spent so much time in Targu Jiu, he eventually created there an entire ensemble. This also includes the Church of the Apostles, which was modernised with funds provided by the National League of Gorj Women, at the initiative of Aretia Tatarescu. So this is not just a commemorative ensemble, but a true work of genius, a work of world importance.



    The Table of Silence is located in Targu Jius Public Garden, near the Jiu river bank. The structure is made from limestone from the area of Banpotoc and is surrounded by 12 round, hourglass-shaped stone seats. The table is 2.15 metres in diameter and 0.88 centimetres in height and is a symbolic representation of the soldiers final meal before going into battle. The hourglass-shaped seats represent the passing of time. The alley of the chairs also comprises two stone benches and 30 square seats in the shape of an hourglass placed on either side of the alley in groups of three. This alley links the Table of Silence to the Gate of the Kiss, which is located at the entrance to the park. 20 pyramidal poplars were planted on either side of the alley. The Gate of the Kiss, which is made from travertine, symbolises the passage to another life.



    The Endless Column, otherwise known as the Column of the Infinite and the Column of Infinite Sacrifice, is considered the most important element of the entire ensemble. Built from 16 cast-iron rhomboid modules, each of which is 1.80 metres high, the column symbolises the world axis that supports the sky. Its total height is 29.33 metres. The column was manufactured by engineer Stefan Georgescu-Gorjan based on a module carved in lime tree wood made by Brancusi. The building of the structure started in August 1937 in Petrosani and was finalised in November that same year in Targu Jiu. The column was added a metal coating in June and July 1938.



    The Church of the Apostles Peter and Paul acts as a link between the various elements of the ensemble. The church was built between 1927 and 1938 on the site of an older church dating from 1777. The director of the Constantin Brancusi Centre Doru Strimbulescu explains:



    Doru Strimbulescu: “The elements comprising the Targu Jiu ensemble are unique, despite the fact that Brancusi carved similar columns in wood, examples of which could be found in his Paris studio. I think the idea of creating an ensemble occurred to him at an earlier date. He first wanted to build a portal in his native village of Hobita. It was later decided that an ensemble should be created in Targu Jiu, and Aretia Tatarescus proposal finally took shape. We might say that the ensemble in Tagu Jiu was the crowning of Brancusis entire work, as he didnt create another work of a similar scope after that. The non-figurative style Brancusi introduced to modern art changed the entire paradigm. Looking at his interviews and articles that appeared in various publications, we will understand Bancusis view on art in general and his own art in particular. Brancusi was aware of the universal importance of his work, and of the fact that he had changed the art world. When he left behind Rodins studio, Brancusi also rejected the type of art produced up until that moment, which he replaced with his own vision, a vision deeply rooted in Romanian traditional art. We know, in fact, that while in Paris, he was very interested in primitive art and in African art. He was also aware that he had become a point of reference in modern art.



    In April 2007, an inscription was unveiled in Targu Jiu about the European Unions decision to include the Heroes Way Sculptural Ensemble on the list of European Cultural heritage, together with the Cantacuzino Palace, the Romanian Athenaeum in Bucharest and the ancient city of Istros in Constanta county.

  • Timisoara Theater and Multicultural Life

    Timisoara Theater and Multicultural Life

    In his book Europe in the Melting Pot, the British historian and
    politician R. W. Seton Watson wrote last century that Banat had the most
    diverse ethnic groups in all of Europe. Today, Timisoara, the seat of the
    region, has three state theaters, performing in three different languages,
    Romanian, Hungarian and German, and housed by the same building. These are the
    Timisoara National Theater, the German State Theater of Timisoara, and the Csiky
    Gergely Hungarian State Theater of Timisoara. In addition to the Romanian
    directors who stage plays here, each of the three theaters periodically hosts
    foreign guest directors. Today we will be talking about three premieres at this
    end of the year.


    Pal Frenak, one of the most famous European choreographers and
    dancers, straddles two European culture centers, Paris and Budapest. Theater
    goers in Timisoara are familiar with his work. He has been invited to several
    editions of the Timisoara European Drama Festival, and he staged the first show
    combining drama and dance on the stage of the National Theater. In early
    December, Pal Frenak and the Timisoara National theater staged the dance-drama
    show ‘Through a Dream’, a reverse road movie combining the two arts.

    Here is
    Ada Hausvater, manager of the theater: These are contemporary stories, told of a contemporary manner,
    a variety of tales told through dance and lots of energy. These are splendid
    images, the actors are wonderful, and are fabulous dancers. Everything is lived
    through dance. It is a beautiful story, with a real Cadillac center stage. We
    are in a car, on a highway. Depending on the audience’s experience, they can
    make various connections with celebrities. The more you know, the happier you are.
    It is a challenging and intelligent show. This seems to me the most important
    thing in Pal’s creation. In this show, the main engine is emotion.


    The multicultural nature of the city is part of the strategy of the
    National Theater in Timisoara. Here is Ada Hausvater again:


    For us it is very important to work with foreign artists, to
    stage at the National Theater, experiences, ideals and commonalities, which
    pushes forward theater and the performing arts. I believe it is our duty to
    open the doors towards something new. For that, you have to lay emphasis on
    diversity. For me it was important not to let the theater become unilateral,
    going in only one direction. We refrained from saying: this is good, or this is
    bad. For me the most important thing in terms of mentalities is to develop
    creativity, the individual capacity to be the most original and sensitive.


    The German State Theater of Timisoara also invites plenty of foreign
    directors. Here is Lucian Varsandan, the manager of the institution:


    The German Theater of Timisoara aims to bring in German
    language artists. This reminds me of a conversation I had a few years ago with
    an audience member, who said she wanted to see as much German language theater
    as she can in our institution. German language drama is among the most
    interesting, applied to the fundamentals of contemporary man. In this context,
    it is important for us to present the works of major directors, who have made a
    name for themselves in German language drama and beyond. For instance, Volker
    Schmidt is definitely one of the artists who meet these criteria. He is known
    all over Europe as a director and playwright. He is a director and creator who
    is deeply rooted in contemporary theater.



    And now we go to the Csiky Gergely Hungarian Theater of Timisoara,
    which hosted this end of the year an independent director and actor from Serbia,
    Puskas Zoltan, who staged the famous musical ‘Hair.’ Here is actor Attila
    Balazs, manager of the theater:


    This region, Banat, is close to both Hungary and Serbia. We can
    say that we speak the same language in different languages, which means we
    understand each other just fine. Director Puskas Zoltan has staged musicals in
    Timisoara before. I believe that now we made a leap forward by daring to stage
    Hair. This season we have another play, staged this time by a Serbian director
    born in Montenegro. This area of the Balkans is very interesting, it is alive.
    We have a regional festival too, the TESZT Euro-regional Theater Festival. We
    plan to bring in plenty more directors from abroad, but what matters most is
    the line that the Hungarian Theater in Timisoara takes, with vibrant shows,
    with an energetic troupe, who does its best.

  • Constantin Antonovici, a student of Brancusi

    Constantin Antonovici, a student of Brancusi

    After graduating from the Arts Academy in Iasi in 1939, Constantin Antonovici left the country to work for six months in Ivan Mestrovics studio in Zagreb. In the autumn of 1941, he was admitted at Akademie der Bildenden Kunste in Vienna, and in 1947 he settled in Paris, where he met Brancusi, and worked for the next four years in his studio. In 1951 he left for Canada, and in 1954 he moved to New York, to obtain American citizenship in 1959. Critic Mihai Plamadeala tells us more about the work of Constantin Antonovici and the sculptors encounters with famous artists:



    The owl motif is recurrent in Antonovicis work, in fact he is dubbed the ‘owl sculptor. The four years spent together with the founder of modern sculpture must have left their imprint on Antonovicis outlook on art. But, as Brancusi himself said upon leaving Rodins workshop, ‘nothing grows in the shadow of big trees. The document signed by Constantin Brancusi on May 9, 1951, which reads, ‘I hereby certify that Mr. Constantin Antonovici has great talent in sculpture and arduously works at it is atypical and, in my view, it can hardly be authenticated. Otherwise, I can see no influence of Brancusis thinking in the works of Antonovici. Antonovici focused on animal shapes. He is a sculptor who searched for guidance, and in the studios where he worked he sought to learn, to improve, to perfect his skills. What matters is that he didnt copy or mimic Brancusis work, and this is a proof of common-sense and good measure, which is worth nothing.



    Critic Mihai Plamadeala also reviewed for us the most important exhibitions and works by Constantin Antonovici:



    The most notable exhibitions of Constantin Antonovicis works were organized by several galleries in Paris. Worth mentioning are also the ones at Corcoran Arts Gallery in New York, and he also had exhibitions in Philadelphia. He was also awarded an important prize by the Accademia Italia. One of his major works is a large-scale statue made for the tomb of Bishop William T. Manning. In Romania, the sculptor made a bust of Voltaire and the altarpiece for the cathedral in Jimbolia, I dont know whether these works are officially included in the national heritage list. Works by Antonovici can be found especially in private collections, but many others are on display in galleries in the USA.



    Doina Uricariu and Vladimir Bulat put together a catalogue of the works of Constantin Antonovici. Entitled “Antonovici: 1911-2002: Sculptor on Two Continents, the bilingual, Romanian-English volume was released by Universalia Publishers in the US. Here is art critic Mihai Plamadeala again:



    The first merit of the monograph edited by Doina Uricariu and Vladimir Bulat, with support from Steven Benedict, is that it aims at bringing back home a Romanian-born international artist who is little known by the larger audience. The book, which is in fact a ‘catalogue raisonne, brings information about the life and activity of sculptor Constantin Antonovici, who is entitled to finding the right place in Romanian art. Until then, the book, which is the main means by which Constantin Antonovici can get to be known in our country, facilitates three types of approach, as it is an artistic biography, a presentation of the artists work and also establishes the connection with famous names and internationally acknowledged trends. Whether there is a connection between Antonovicis owls and Picasso, Henry Moore or Juan Miro…thats debatable. Beyond that, Antonovici is one of the sculptors who deserve to and must be known in Romania.



    If the central theme of his work was the owl, which he presented in various shapes and hypostases, Constantin Antonovici also authored other pieces of art, such as the 2-meter high cross on the western façade of the St. John the Divine Cathedral in New York, on Amsterdam Avenue. Also, he is the author of the bust of president Dwight Eisenhower at the White House.



    (Translation by A.M. Popescu and M. Ignatescu)

  • The Bucharest International Literature Festival

    The Bucharest International Literature Festival

    Prominent writers from Turkey, Switzerland, Hungary, Spain ,
    the US and Romania participated, between December the 2nd and 4th
    in the 8th Bucharest International Literature Festival. The first
    evening of the festival offered a literary encounter between two foreign prose
    writers born in Romania: György Dragomán of Hungary, one of the most awarded
    East European writers of the time and Swiss prose writer Dana Grigorcea, one of
    the highly acclaimed writers of German expression.


    György Dragomán was born in the central Romanian
    city of Targu Mures and settled in Hungary, back in 1988. The first novel
    bearing his signature and translated into Romanian is The White King, brought
    out by the Polirom Publishers in 2008. This novel won the Tibor Déry and
    Sándor Márai Prizes in Hungary and has been translated into over 30
    languages. British filmmakers are currently carrying out a project to make a
    movie based on this novel in the UK. In 2011, György Dragomán won the Jan
    Michalski Literary Prize for the same novel. In 2014, Dragoman published his
    third novel The Bone Fire (Máglya in Hungarian), which enjoyed great success
    in Hungary and is currently being translated in the US, the Netherlands and
    Germany, as a confirmation of the author’s special vision and style which have
    already won over the public at large. Ildikó Gábos-Foarţă translated both
    György Dragomán’s books into Romanian. I keep thinking that ideas are actually
    memories. Ideas and memories come from the same place and this is how the past
    is being built. Actually, this book is an exercise in my attempt to built my
    personal past and identity, says György Dragoman, referring to his latest
    novel, The Bone Fire:


    György Dragoman: I’ve asked
    myself all sorts of questions and I believe that in the end, the book is the
    only answer I was able to formulate. I knew I would write about memory. When I
    start writing a book, I start from a concrete image, which lingers in my mind
    and it is only afterwards that I use axioms. This time, I’ve used the following
    axiom: how can you remember something if you try not to. Can you remember
    something if there are no memories?


    I didn’t intend to write books based on historical issues,
    but books on possible liberties, in a society where freedom shouldn’t exist.
    The first 15 years of my life that I spent in Targu Mures are extremely
    important to me, says György Dragoman, who will further dwell on his working
    method.


    G. Dragoman: This is just like a building. I have a
    fragment, some images and afterwards every image becomes the nucleus of a short
    script. By juxtaposing these images, I manage to make a building. And I feel
    just like an architect who makes a building, living inside it. It is only after I have written a third of
    my book that I understand how the structure takes shape. And I always make
    public fragments of the books I am writing. I choose fragments that can also
    function as short prose and I publish them. To me, there is a close relation
    between short prose and novels, and I can’t possibly make a clear-cut
    difference between the two. A novel can always be developed starting from short
    prose. And I also believe that short prose should include just as many
    questions and direction lines as a novel.


    The prose writer of Romanian descent, Dana Grigorcea, is one
    of the budding and highly acclaimed names of the world literary scene. Her
    latest novel, Das primäre Gefühl der
    Schuldlosigkeit, (The Original Feeling of Innocence) entered the race for
    Best Book of the Year in Switzerland, and it won the 3-Sat Prize of the
    Ingeborg Bachmann literary contest. .


    This seems to be only the
    beginning of the novel’s way to success, given the appraisals made by the
    best-known German language publications. A captivating portrait of Romania
    that culminates with the revolt of the Romanian people in its aspiration for
    freedom and change writes Die Zeit. Dana Grigorcea has gone on a tour to
    promote her novel Sentimentul primar
    al nevinovatiei – The original feeling of innocence and she will next share
    with us the reaction of the public in the German space.


    TRACK: In Germany, the audience
    reacts to reading. People laugh, there are people who hold their breath, and
    others get scared, become anxious or are eager to ask questions. In Romania the
    audience is quieter. While I was reading, I kept raising my head to see if
    there is still anyone in the room because everybody was so quiet. I have read
    in Austria, Germany and Switzerland, I have had literary evenings in France
    too, and in all these places people are very involved, they manifest their
    presence, want to participate. In Bucharest people are just curious to see
    what’s going on.


    According to Die Presse, the
    prose of Dana Grigorcea seems to be painted by thick, courageous, attractive,
    opulent and humorous lines. Here is Dana Grigorcea:


    The way in which I
    perceive my new novel depends very much on the audience. The audience in
    Germany reacts differently from that in Switzerland. There is one passage that
    I read quite frequently, in which I tell how I became a pioneer, and I can say
    that each reading was met with a different reaction. In the former Democratic
    Republic of Germany, people react differently from those in Dusseldorf or
    Hamburg or Switzerland. There are certain jokes I make in the novel at which
    people laugh more in Switzerland than in Austria. There are certain subtleties
    which the audiences in Austria perceive quicker than in Switzerland. Therefore,
    through my book, I manage to get to know my public and get through to different
    mentalities, depending on the place.


    The new novel of the
    Romanian-born writer Dana Grigorcea speaks about the political change in
    Romania seen from the perspective of her childhood memories and from that of
    her return to Bucharest, ART-TV notes.