Oldal 249 [249]
OCR
THE TRAGEDY OF MAN AS THEATRUM THEOLOGICUM (A DRAMATURG’S DIARY) at times the symptoms of arrogance, rather than true cultural gestures. And to the extent that now and then they succeed in being the latter, these heavy albums printed on glossy paper are more emphatically discourses on theatrical photography and less a directorial vision of productions, examples of theatrical language or unmissable works of aesthetics. Though we can find usable works about Silviu Purcarete’s productions, nevertheless we cannot find a proper monograph, let’s say one like those Veronika Darida wrote about Andras Jeles or Jozsef Nagy. I’ve taught Purcarete’s theater in the master’s program on theory of theater at Karoli University, and I know what it means to assemble a semester’s material about him. The lengthiest work, for instance, proved to be Marina Constantinescu’s Les danaides. Histoire d'un spectacle,“ which comprises a rehearsal diary and a lengthy interview with the director. I find the detailed conversations particularly interesting; Purcarete is a difficult interview in any case, at least recently, perhaps because he feels he’s required to do the analytical work in place of others. But there is the first Purcärete album, too, the Images de thédtre,”’ which collects the work of two very important theatrical photographers, namely Patrick Fabre and Sean Hudson. The great virtue of this thoughtfully edited, well-proportioned book is the deep interview with the director conducted by Jean-Pierre Wurtz. This, as with Marina Constantinescu, offers a glimpse into a truly original, well-considered, mature, and purified aesthetic. The photographers and Jean-Pierre Wurtz belong among those who tracked the formation of Purcarete’s theater, seeing every production and in this way bringing “inside news” of this highly complex visual world born on the border between moving visual creations and theatrical productions.** FEBRUARY 5, 2020 Rehearsal. “Let’s do it! I only know what should happen when it happens,” says Silviu, cutting short the long-drawn-out conversation which had, without anyone noticing, become unproductive. Definition of old age: “All of a sudden, everything in the person reverses direction: one progresses not outward, but inward.” I sensed in myself what Purcärete is talking about: love. 46 Marina Constantinescu: Les danaides. Histoire d’un spectacle, Bucharest, Editura Nemira, 1996. "7 Silviu Purcarete (ed.): Images de thédtre, Carniéres (Belgium), Lansman éditeur, 2002. 18 Meanwhile, a book by Oltita Cintec: Silviu Purcarete sau privirea care infatiseazd, Bucharest, Cheiron, 2011 [Silviu Purcärete or the Look He Presents] has also appeared, which could be a good starting point for writing the lacking Purcärete monograph. (Published by Camil Petrescu Cultural Foundation — Teatrul Azi — Cheiron.) * 247 +
