{"id":160627,"date":"2015-07-04T14:12:00","date_gmt":"2015-07-04T11:12:00","guid":{"rendered":"http:\/\/devrri.freshlemon.ro\/news-and-current-affairs\/newsflash\/the-international-theatre-festival-in-sibiu-at-its-end-160627.html"},"modified":"2024-02-19T14:48:06","modified_gmt":"2024-02-19T12:48:06","slug":"the-international-theatre-festival-in-sibiu-at-its-end","status":"publish","type":"post","link":"https:\/\/www.rri.ro\/en\/features-and-reports\/world-of-culture\/the-international-theatre-festival-in-sibiu-at-its-end-id160627.html","title":{"rendered":"The International Theatre Festival in Sibiu at its end"},"content":{"rendered":"


\n
\n
\n
\n
\n <\/p>\n

The timetable of the 22nd International Festival in
\nSibiu (FITS) is proof of the pledge made by the institution’s director, actor
\nConstantin Chiriac to carry on developing the festival, not only in terms of
\nevents, artists, audiences but also in terms of raising quality. For ten days
\nthe city of Sibiu turned into a huge stage for 2673 artists and invitees out of
\n70 countries, who gave 427 performances and brought together 65 thousand
\nspectators per day on an average. <\/p>\n

<\/p>\n


\n <\/p>\n

One of the events marking the festival was ‘Nathan the Wise’ a
\nco-production of the Radu Stanca National Theatre and Schauspiel Stuttgart,
\ndirected by Armin Petras. But the piece is not a mere staging of Lessing’s script,
\nas actress Ofelia Popii has observed: He deals with very
\ntopical issues and it was a surprise for me the way in which he read the text
\nwithout manipulating or changing it in any way. He brought to the forefront
\nideas that we are actually facing nowadays, related to religion, politics, but
\nalso human issues, such as: what it means to be a parent, what love really
\nmeans, what human relationships mean. It’s a show I’d like to watch from the
\ntheatre hall as it raises a lot of questions and won’t leave you unchanged.<\/p>\n

<\/p>\n


\n <\/p>\n

The cast includes Romanian and German actors playing in
\nRomanian, German and English, as the show is going to be performed in Stuttgart
\nand Oslo too.<\/p>\n

<\/p>\n


\n <\/p>\n

A theatre production that kept the audiences attention for three
\nhours, late into the night was George Tabori’s ‘Mein Kampf’, which is an
\nanti-Nazi farce staged by Alexandru Dabija at the Cluj-Napoca National Theatre.
\nThe author himself was a victim of Nazi terror.<\/p>\n

<\/p>\n

Ionut Caras is playing Shlomo
\nHerzl, an old Jew, who welcomes in his hostel a young man named Hitler, who
\nwanted to study at the Fine Art Academy: The text helps you a lot
\nbecause it’s a good one. It’s a dark comedy, tragic-comical at that. Tabori
\nlost almost all his family in concentration camps and believes the only way to
\npay back for this tragedy is by humour. Then director Dabija took over Tabori’s
\nscript and as everybody knows, he isn’t a sober, rigid guy, on the contrary,
\nhe’s young and playful. Then we, the troupe from Cluj, stepped in. We are in a
\nvery good mood now and well-trained in comedy playing and I didn’t have much
\nwork to do. When I read the text, knowing nothing about Tabori, I found the
\nscript jaw-dropping. I remember bursting out laughing over the script, then
\nstopping…then laughing again. I actually enjoyed that roller-coaster sensation.
\nI think such a play has the potential to change the actors and spectators
\nalike. It was a pleasure to work on the script and really enjoyed my part. I
\ntry to keep to this thin line, the balance between comedy and drama.<\/p>\n

<\/p>\n


\n <\/p>\n

Three women, three generations, three lifestyles: a grandma, a
\nmother and a daughter. What did it mean to be Jewish 50 years back in the
\ncommunist Germany and what does it mean now? Questions about identity,
\nbelonging and homeland are being featured in ‘Mother Tongue Mameloschn’\/
\nMuttermale Fenster blau’ performed on the festival’s first day by the Deutsches
\nTheater Berlin. Here is Ulrich Beck<\/a>, a playwright with the Deutsches Theater
\nBerlin.<\/p>\n

<\/p>\n

Ulrich Beck: We’ve been
\nlucky to have this script because we believe the script is very important to
\nBerlin and to the history of people living in this city. And that’s not only
\nbecause of the Jewish history here, but also because of the Wall’s history. I
\nbelieve that both the Berliners and Romanian spectators really enjoyed the
\njokes, the mother-daughter-grandmother relationships. We have the feeling that
\nthe problems they were facing, as well as the communication and feelings they
\nshared were well understood by the spectators. I believe that political and
\nsocial connections between people and the political system represent a very
\nimportant topic for contemporary theatre. The political situation is deeply
\nfelt by people, it’s influencing their lives.<\/p>\n

<\/p>\n


\n <\/p>\n

Dance shows have for quite some time been one of the main
\nattractions of the International Theatre Festival in Sibiu. ‘Dervish’ – created
\nand performed by Ziya Azazi was one of the most beautiful dance shows this
\nyear. Although a contemporary dancer in the beginning, Ziya
\nAzazi <\/a>got back to traditional dance later on, when he was 30. And although
\nit looks traditional, ‘Dervish – the hermit’s dance’ is more of a universal
\nshow. For Ziya, when he dances, the most important thing is the way in which he
\nmakes the connection between interior and external realities. <\/p>\n

<\/p>\n


\n <\/p>\n

Ziya Azazi: If you
\nunblock the channel between the two worlds, all inner information goes out and
\nthe other way round. If you can do that, now you have what it’s called freedom
\nof movement. For this reason, when I dance I am seeking that kind of spirit. I
\ntry to clear my mind, my body trying to get ready for the audience. When I go
\nout on stage I have this goal in my mind. Of course it is important to show my
\nabilities, speak about my own vision and choreographic approach…. But the most
\nimportant thing is to be real on stage…to connect the two worlds. And I believe
\nit is actually working in the show, because of the trance, the mystical
\ndirection, rehearsal and the progressive variations of certain moves. All this
\nhelps me become even more real and transcendental. That’s why the venue is
\nunimportant, the audience will understand and the effect is always a positive
\none, as you could see in the show here in Romania. <\/p>\n


\n <\/p>\n

<\/p><\/p>\n","protected":false},"excerpt":{"rendered":"

The timetable of the 22nd International Festival in Sibiu (FITS) is proof of the pledge made by the institution’s director, actor Constantin Chiriac to carry on developing the festival, not only in terms of events, artists, audiences but also in terms of<\/p>\n","protected":false},"author":129,"featured_media":160628,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[44685],"tags":[44736],"coauthors":[],"class_list":["post-160627","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-world-of-culture","tag-the-international-theatre-festival-in-sibiu-fits"],"acf":[],"yoast_head":"\nThe International Theatre Festival in Sibiu at its end - Radio Romania International<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/www.rri.ro\/en\/features-and-reports\/world-of-culture\/the-international-theatre-festival-in-sibiu-at-its-end-id160627.html\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"The International Theatre Festival in Sibiu at its end - 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