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Post-revolution story Cristina MODREANU 1 On a historical scale, thirty years is not a long time, but on the scale of a human life it is a lot, accounting for at least a third, if not a half, depending on how much time each of us is allotted. It is only natural to want to look back, so as to know what road to take at the crossroads at which you have stopped for a moment or two, in order to replay the story of your life thus far. In this case, the story of Romanian theatre over the last 30 years. This publication, the first of its kind to be specifically created for an international audience, is meant to provide a kaleidoscope of different perspectives on the theatrical The bald soprano, directed by Gabor Tompa, Cluj Hungarian Theatre, 1993 landscape in Romania. The contributing authors • photo: Courtesy of Hungarian Theatre in Cluj are leading experts on Romanian theatre, they are people of vast experience who have a flash, despite all the thunder and lightning The 1990s also witnessed endeavours to witnessed the development of the national seen at its outset, this first decade passed revive Romanian playwrighting, such as in scene within an international context and who without there being any structural change Târgu Mureș, where the author Alina Nelega here offer a selection of succinct studies written to the system or the mindsets of the people coordinated three editions of the Dramafest from different perspectives, i.e. the way the working in performing arts institutions. festival, attempting to change the prevailing theatre system operates (Marian Popescu); tradition of the playwright sitting in his (more the evolution of Romanian playwrighting Probably the best thing to happen during than her) ivory tower writing philosophical plays (Alina Nelega); the development of stage this period was the return to the country of never to be modified in direct collaboration aesthetics (Oltița Cântec); the reimagining some exceptional creators of theatre who with actors and directors. This initiative, while of performativity in relation to a constantly had emigrated during previous decades too short-lived, created fertile ground for the changing society (Oana Stoica); and the and the consequent reconnection with their revival of Romanian playwrighting that would relationship of the “subject”, i.e. Romanian aesthetics, with new ways of working, with a take place during the following decade. theatre, to European theatre (Mirella Patureau). broader horizon of ideas. Windows that had until then been nailed shut began to open (or The author of these lines also contributes to 2. PLAY (AGAIN) this endeavour by – apart from coming up with at least some of them did) and the isolation the concept of a kaleidoscope – orchestrating began to recede, although it would still be a The summer storm of the 1990s was followed these different points of view and illustrating while before it ended completely. The first by a period of adjustment and consolidation. by means of a representative selection of international tours, some of which highly Serving as a form of compensation, an archive images, as well as by providing the prestigious, took place, and this saw a number obsession with directorial masterpieces, grand following brief overview of each decade of this of Romanian names establish themselves on productions and grand directors with their thirty-year period and its defining features. the world’s stages, e.g. the directors Silviu equally grand visions would dominate the Purcărete and Mihai Măniuțiu and the actors first half of the 2000s, leading not to a period 1. STOP & REWIND (return, Marcel Iureș and Ion Caramitru. As to those of creative effervescence but, rather, one of who had previously emigrated, including Radu stagnation through reconfirmation. However, recover, reconnect, remember) Penciulescu, Liviu Ciulei, Vlad Mugur, David the decade was marked by a minor revolution For Romanian theatre, the 1990s began amid Esrig, Lucian Giurchescu, Andrei Șerban and in playwrighting that would eventually prove a tumultuous state of general confusion, Alexander Hausvater, not only did they return unexpectedly fertile for Romanian theatre something which of course reflected the to Romania, they also acted as an essential as a whole: the dramAcum playwrighting state of Romanian society as a whole at the inspiration for the post-1989 generations and competition. Starting out as an isolated time and whose immediate effect was to helped Romanian artists regain a place on the “avalanche” occurring within the confines of empty the theatres, especially during the first European stage where they rightfully belonged. the drama school in Bucharest, the dramAcum two years of the decade. In the wake of this Besides artists, another such example was phenomenon acted as a magnet for latent crisis, just like after the 1968 uprising, some that of George Banu, the eminent theatre energy waiting to be expended to good actors went out into the streets to protest critic who emigrated to France in 1974 and effect and grew in direct proportion with the and to perform – with some even staying who has been an unwavering supporter of emergence of new generations of directors there, such as the founders of Masca Theatre, the theatre he left behind in choosing to save in search of scripts and actors in search of which went on to become the only company himself. Throughout the last three decades, characters that spoke their language. New to produce street theatre in Romania. George Banu has helped, supported and themes, ideas and subject matter called for Like a summer storm that threatens to promoted Romanian theatre, facilitating new ways of working and aesthetic innovations, destroy everything in its path but is over in essential exchanges with world theatre. with the result that the productions of Roma minority, still does not have a theatre of its own, despite the independent feminist Post-revolution story theatre company Giuvlipen, founded by the 1 actor of Roma descent Mihaela Drăgan, having Cristina Modreanu in recent years launched a public campaign 2 for the founding of such an institution. The handful of productions created by this 30 Years of Theatre in Romania 4 company, as well as those created by another or the Price of Freedom shining example of this ethnic minority, the Marian Popescu actor Alina Șerban, have forged a sense of Mihaela Dragan in Urban Body, directed by Catinca Draganescu, identity and are promising stepping stones Giuvlipen Company 2017 • photo: Ciprian Popa on the path towards establishing a theatre From literary theatre to that represents the Roma minority. 9 documentary theatre. contemporary (Romanian or translated) During this same period, the process began The playwright and the works created by the post-2002 generations of regulating the situation of freelancers dramatic author (2002 being the year of the first edition of working in the performing arts, the number dramAcum) would gradually come to change of whom is constantly increasing thanks to Alina Nelega the face of Romanian theatre, creating the the creation of new state and private drama conditions for a long overdue regeneration. schools, resulting in a surplus of graduates the From ideologically driven This avalanche of new realities – in terms of existing theatrical institutions are unable to 14 content and form – was complemented by absorb. A process that would unfortunately theatre to the freedom of increasing exchanges of productions and soon be cut short, when, around the middle of the transition period artists, who shared some of the experience of the following decade, a trend to bring under Oltița Cîntec Western theatre, thus helping to bring about state control and heavily tax freelancers put a necessary harmonisation in this respect. a stop to any progress once and for all. Towards the end of the decade, before and The institutional infrastructure inherited from Dance and performance in 18 immediately after the global financial crisis the communist regime – which had made post-communist Romania of 2008, this process of harmonisation was in intensive use of the theatre for propaganda full swing. For example, a single edition of the purposes and therefore took good care Oana Stoica National Theatre Festival, i.e. that of 2010, of its nationwide structure – was neither brought together a host of big names on the expanded nor even merely improved in the Zoom out view of Romanian international scene: Krysztof Warlikowski, period after 1989, with the neglect of certain 22 Romeo Castellucci, Rodrigo Garcia and Billy essential aspects, such as the creation of a theatre after 1989 Cowie, not to mention the veterans Lee Breuer legal framework in the field of culture, often Mirella Patureau and Matthias Langhoff; while previous years seeing work in the cultural sector come to a had seen Thomas Ostermeier, Alvis Hermanis, grinding halt. However, in a country incapable Joël Pommerat and Jean-Luc Lagarce stage even of upgrading its network of roads and works in Romania for the first time, with the motorways, the dysfunctions of its cultural likes of Richard Schechner, Richard Foreman, institutions were and remain of secondary Hans-Thies Lehmann, Michal Kobialka and importance, especially as during the first Aleks Sierz giving lectures. Moreover, the two decades of this period Romania’s artists influence of international directors who proved incapable of organising themselves staged plays in Romania, in particular Yuri and lobbying on behalf of their profession, Kordonsky, whose productions have formed despite the positive image they still enjoyed. part of Romanian theatre repertoires for Fortunately, this would also change. A journal published by Romanian Association for Performing Arts decades, and Andrey Zholdak, a director known for his controversial working methods but 3. FAST FORWARD (reinvent, also for the courage with which he radically rebuild, regenerate) reinterprets classic works, was felt throughout Against this backdrop of chaotic growth this decade, either as a continuation of and self-regulation, the third decade, at the the predominant, Stanislavskian aesthetic end of which we find ourselves today, was (Kordonsky), or in opposition to it (Zholdak).