{"id":161957,"date":"2018-03-17T12:32:00","date_gmt":"2018-03-17T10:32:00","guid":{"rendered":"http:\/\/devrri.freshlemon.ro\/news-and-current-affairs\/newsflash\/micro-history-true-stories-told-live-161957.html"},"modified":"2024-02-19T14:50:06","modified_gmt":"2024-02-19T12:50:06","slug":"micro-history-true-stories-told-live","status":"publish","type":"post","link":"https:\/\/www.rri.ro\/en\/features-and-reports\/world-of-culture\/micro-history-true-stories-told-live-id161957.html","title":{"rendered":"Micro-history. True stories, told live"},"content":{"rendered":"

Who are we today, 100 years on? Who are
\nRomania’s citizens, what problems are they facing after their country
\nexperienced two world wars, over 40 years of communism and some 30 years of
\ntransition to capitalism? What impact have these events had on people from
\nvarious generations and belonging to various ethnic minorities? And no less
\nimportant, what is the future they dream of? These are some of the questions to
\nbe answered by the project titled Micro-history. True stories, told live,
\nproduced by the Romanian Association for the Promotion of Performing Arts,
\njointly with the National Radio Drama Department. Launched in October 2017,
\nunder the title Romania 100. True stories told live, the project reached its
\nsecond edition in early March. Micro-history has the ambitious goal of
\ncompiling a special archive, made up of stories told by common people. In more
\nconcrete terms, a casting is being organised, of people who have accepted the
\ninvitation to tell a personal story on stage, before 100 unknown people. 13
\nstories have been selected at each edition, told to the public and then
\narchived on the website www.microistoria.ro<\/a>
\n.<\/p>\n

<\/p>\n

The person in charge of the casting was
\nFlorentina Bratfanof, who told us about
\nhow the finalists were selected:<\/p>\n


\n <\/p>\n

It was a matter of organic choice, so to
\nspeak, at the recommendation of people around me and people who knew the
\nproject team. On January 15, I started making those invitations and talking to
\nvarious people. I didn’t know most of them. We had some very interesting
\nmeetings and we kept telling stories for three-four hours in a row. The type of
\ncommunication was just like an embrace, because they told me their stories and
\nI told them mine, out of the wish to get to know as much as possible about a
\nperson who is practically a perfect stranger. Basically, the criteria we used
\nwere gender and age. But there are stories that are more telling and relevant
\nthan others. For instance, it was the story of an 18-year-old teenage girl,
\nwhich seemed extremely relevant to me, although I’m twice her age. So what
\nmattered in particular was the story, stage charisma and the way in which
\npeople narrated their stories.<\/p>\n


\n <\/p>\n

<\/p>\n

Director Peter Kerek was the one who prepared
\nthe finalists for the stage, for the encounter with the public. <\/p>\n


\n <\/p>\n

We offered them the chance to stand before the
\npublic – in this case, they were the other group – and do nothing, say nothing,
\njust think about whatever they wanted. There were five-minute moments of
\nsilence, and then we started to combine them with music. There were group and
\nindividual moments of silence, so we practically closed the speaking door to
\nonly reopen it before the public. First and foremost we wanted them to hear
\ntheir own story, to understand what they were really interested in, what
\ntouched or moved them in their story and then to process it and to become
\nlisteners to their own story. <\/p>\n


\n <\/p>\n

<\/p>\n

At the second edition of Micro-history, the
\nparticipants had to tell how they survived the transition from communism to
\ncapitalism. One of those who took part in the casting was Dana Vl\u0103sceanu. Aged
\n36, an ethnic Rroma and a former drug addict, Dana Vl\u0103sceanu told us how she
\nended up running a community centre and helping the inhabitants of the
\nFerentari district in Bucharest. <\/p>\n


\n <\/p>\n

<\/p>\n

Dana Vlasceanu wanted to take part in the
\nproject because she believed it was very important to set examples and that her
\nstory could motivate and guide people:<\/p>\n


\n <\/p>\n

I’ve changed a lot. People who’ve known me for
\neight years know that. I am the same person, but I have evolved. I wanted to
\nlearn more and I did it and I am still learning. I went back to school, because
\nI had only graduated from the 7th grade. I wanted to be an example
\nfor my children. My close friends are happy for me and my achievements. At the
\ncentre, we’ve started to work with the children living in the community. We
\nhave organised all sorts of workshops, activities, Christmas parties. We have
\nreally got involved in the community. People who need something in particular
\nand do not know what to do, usually come to us. They know I can guide them. <\/p>\n

<\/p>\n


\n <\/p>\n

Thomas Mendel, aged 39, is a dentist. In 1988 he
\nand his family left Romania and settled in Israel. He came back to the country
\nin 2003. Thomas believes that stories can inspire us. Of the many stories that
\nhad changed his life, he chose to tell a story from his childhood: <\/p>\n


\n <\/p>\n

In 1989, my
\ngrandma came on a visit to Israel. In the morning, I took her to the grocery
\nshop, to buy something for breakfast. She was in her 50s back then and she
\nburst into tears. As I was a child, it was really disturbing to see a strong
\nwoman, who had coped with everything back in Romania, crying like that. It was
\nprobably the first time I realized how difficult it had been back in Romania
\nand how tormented those people were. I think the contrast between the two
\nworlds is very important. We have to be able to understand where we are and
\nwhere we could be. Truth and justice have a high price sometimes, just like
\nfreedom, but they are worth fighting for. And, if you get involved in
\nsomething, and make sacrifices and take courageous decisions, then you stand
\nthe chance of getting into a better world. <\/p>\n

<\/p>\n


\n <\/p>\n

The initiator of the Micro-history project and
\nits curator is theatre critic Cristina Modreanu, who underlined, at the end of
\nthe second edition, that a very interesting and diverse fresco of very personal
\nstories was taking shape, coming from various regions of the country, narrated
\nby people from various walks of life, different backgrounds and age brackets.
\nWhat does contemporary Romania look like, after listening to the stories told
\nby common people who live here? <\/p>\n

<\/p>\n

Cristina Modreanu attempted an answer: <\/p>\n


\n <\/p>\n

You get the image of a country rather traumatised by this transition
\nperiod, spanning approximately 30 years, since the Romanian Revolution to the
\npresent day. I say this because the featured theme this year was ‘survival in
\ntransition’. However, the stories told during the first edition can also be
\nincluded in this category, too. So, you see a country troubled by historical
\nevents, whose people have tried to find their way through, or by growing up,
\nhave tried to find models and landmarks; a country like a building site, I
\ncould say, but at the same time, full of hope, optimism and the power to renew
\nitself, irrespective of the tragedies it has been experiencing.<\/p>\n


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

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