“It is eleven o’clock; the lights fade a final time, the curtain falls, the audience applauds, and the play is over. The actors go back to their dressing rooms, take off their makeup, and depart. The audience disperses into the night. But the theatrical experience is not over; in important ways, it is just beginning. A play does not begin and end its life on stage. A play begins in the mind of its creator, and its final repository is in the minds and memories of its audiences. The stage is simply a focal point where the transmission takes place – in the form of communication we know as theatrical performance. After the performance is over, the play’s impact remains. It is something to think about, talk about, fantasize about, and live with for hours, days, and years to come. Some plays we remember all our lives…”<\/p>\n
I have indeed had this feeling while reading Cohen’s texts about the plays he has seen in Romania over the years: that for him, these are plays he will remember all his life. This is why, the above quotation, superb in its simplicity and honesty, represents a perfect introduction to this volume gathering the articles he has written on Romanian theatre: they are performances that have deeply influenced him, that have remained engraved deep within his memory and that he has examined with extraordinary analytical finesse.”<\/p>\n
<\/p>\n
„E ora unsprezece noaptea… luminile se sting pentru ultima oar\u0103 pe scen\u0103, cortina cade, publicul aplaud\u0103, spectacolul s-a terminat. Actorii se duc la cabine, î\u0219i \u0219terg machiajul \u0219i pleac\u0103. Spectatorii se risipesc în noapte. \u0218i, cu toate acestea, experien\u021ba teatral\u0103 nu s-a încheiat; nu doar c\u0103 nu s-a încheiat, dar, în multe privin\u021be – importante – , ea de-abia acum începe. O pies\u0103 nu-\u0219i începe \u0219i nu-\u0219i sfâr\u0219e\u0219te via\u021ba pe scen\u0103. O pies\u0103 î\u0219i începe via\u021ba în mintea creatorului s\u0103u, dar depozitarul ultim al ei este spectatorul, mintea \u0219i amintirile acestuia. Scena este doar un punct focal unde are loc aceast\u0103 transmisie – sub forma unei comunic\u0103ri pe care o numim spectacol de teatru. Dup\u0103 ce se termin\u0103 spectacolul, impactul lui r\u0103mâne intact. E ceva la care ne gândim, despre care vorbim, fantaz\u0103m \u0219i cu care tr\u0103im ore, zile, ba chiar anii ce vor veni. Unele spectacole ni le vom aminti toat\u0103 via\u021ba…”<\/p>\n
Într-adev\u0103r, citind textele lui Cohen despre spectacolele vizionate pe scenele române\u0219ti de-a lungul anilor, am avut aceast\u0103 impresie: c\u0103 ele sunt pentru el spectacole pe care \u0219i le va aminti toat\u0103 via\u021ba. De aceea, rândurile de mai sus, de o superb\u0103 simplitate \u0219i sinceritate, reprezint\u0103 o introducere perfect\u0103 pentru acest volum care strânge articolele scrise de el despre teatrul românesc: sunt spectacole care l-au marcat profund, a c\u0103ror amintire a r\u0103mas gravat\u0103 în memoria sa \u0219i pe care le comenteaz\u0103 cu o profunzime analitic\u0103 ie\u0219it\u0103 din comun.”<\/p>\n
<\/p>\n
Anca M\u0103niu\u0163iu<\/p>\n","protected":false},"excerpt":{"rendered":"
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