Oldal 277 [277]
OCR
THE TRAGEDY OF MAN AS THEATRUM THEOLOGICUM (A DRAMATURG’S DIARY) irrational, because Iam very much a Platonist on theoretical issues. I believe that the artist does nothing of his own volition but creates under the influence of inspiration.” During premieres of his own productions, he vanishes, and we have no idea where he is. He creeps away alone, somewhere. Theatrical artists are the best at withdrawing into solitude. Vacuum, breathlessness. How can one step outside work — and where to? Well, into everyday life. That’s the most difficult destination. Breaking away. One must break away. I asked him, before Julius Caesar, what the viewer means to him. He gave a surprising answer: “For me, the viewer is a virtual being, my own mirror image. Or rather, someone is inside my head, an ideal viewer, for whom I bring my production into being. The viewer living inside me is my double, a phantom, ‘someone’ for whom I work: if ‘he’ likes it, then it’s good, and if not, then it’s not.” Then I ask him if he observes the audience reactions during the performance. “Never. I cannot watch the performance if the audience is also present. For me, everything shuts down at the premiere. I don’t watch premieres. Perhaps I might pop in for the extent of a short scene, but then out I go: I’m unable to watch the performance to the end. Never. I can watch it much, much later, if they’ve recorded it on film. When I’ve grown distant from it, then I can manage to watch it, but not otherwise. Not if they’re playing it, if the audience is there.” The premiere. The production is a ship that sinks not far from shore. A saying of Beckett; as a matter of fact, a verbal comment reported by Peter Brook. One can believe that it’s Beckett. I observe the audience reactions from one of the highest points in the space. Madách is near us: come closer, you too, don’t be afraid. Translated by Peter Czipott BIBLIOGRAPHY BROOK, Peter: Időfonalak, trans. Ágnes Lengyel, Budapest, Európa, 1999. CÍNTEC, Oltita: Silviu Purcárete sau privirea care infatiseazd, Bucharest, Fundatia “Camil Petrescu” — Revista “Teatrul Azi”, — Cheiron, 2011. CONSTANTINESCU, Marina : Les danaides. Histoire d'un spectacle, Bucharest, Editions Nemira, 1996. KOLTAI, Tamás: Az ember tragédiája a színpadon, Budapest, Kelenföld, 1990. 93 Marina Constantinescu: Ibid., 35-36, trans. A. Visky. % "The full interview: Az irracionális kirobbanása. Silviu Purcárete rendezővel Visky András beszélget. [Eruption of the Irrational. Andrds Visky in Conversation with Director Silviu Purcärete.] Hungarian State Theater of Cluj, 2015 (The program booklet for Julius Caesar.) +275 +
