Seminário Internacional de Jovens Críticos de teatro (VIII)
Apresenta-se hoje a comunicação sobre a realidade teatral na Moldávia, da autoria de Sorina Sterfita.
The theatre in the Republic of Moldova, between the artistry and politics
Motto: "The journalist should love theatre and actors in order to make them a subject of his/her writing. It is not possible otherwise."
"The theatre cannot exist outside other social organisms; in a civilised world, the mass media and the theatrical art balance on the balance dishes, "offering itself" mutual services. The journalist's mission consists in publicising a phenomenon, and consequently, in creating an opinion about it", I was writing in my licence paper entitled "The theatre in Bassarabia within the modernisation context".
Unfortunately, the theatre modernisation in the Republic of Moldova announced in the early 90s has been hindered and even stopped as a result of the multiple economic, social and political problems which continue to mark the society in general. Thus, at present, only some registered theatrical teams are operational like: the National Theatre "Mihai Eminescu", "Eugene Ionesco", "Satiricus I. L. Caragiale", "Luceafarul" and "A. P. Cehov" in Chisinau; one theatre in Balts, one in Cahul and one in Tiraspol, and by one theatre of the Gagauz and Bulgarian national minorities.
The economic crisis has marked each of these institutions. Because of the salaries which are more than miserable, the actors leave the theatre and run off abroad. Very often, the producer's work consists in obtaining money for the staging and tours. In Chisinau, the most active producers are also successful managers. In this context, I would like to mention Petru Vutcarau from the theatre "Eugene Ionesco" and Alexandru Grecu from the municipal theatre "Satiricus". The bad side of this phenomenon is that because of the lack of money, theatres such as "Satiricus" and "Luceafarul" do not invite producers from outside, which leads to clichés in the play production. Notwithstanding that, attempts are being made to overcome this state of affairs: last year, the theatre "Satiricus" has launched a project providing for staging of seven plays by Moldovan play writers by seven producers, seven scene-painters, composers, choreographers etc.
The political moment is also defining for the Moldovan theatre. In the early 90s, the Moldovan theatre was not very successful and it did not want to- break loose from the state trusteeship. The Ministry of Culture has favoured for years the theatrical teams staging what the ministry wants to see, though the funding of the theatrical activity is more of declarative nature. At the same time, it ignores the theatres that want to build their own repertory according to the artistic principles promoted by them. Thus, at present, to make national theatre in the Republic of Moldova, - which is in its essence Romanian theatre, even if it's realised by Russian actors and producers,- means to make political resistance. This confrontation became worse together with the coming to power in 2001 of a neo-communist party which distinguishes between "pro- and anti-state" artists. As a result of this confrontation, the year 2003 was marked by a strike of the culture representatives, actors and producers from the most important theatres protesting in the streets against unruly actions admitted by the Ministry of Culture in the theatre.
But crises have also positive effects: "Eugene Ionesco" brought back in its repertory the play "Waiting for Godot" by Samuel Beckett - a play staged in the late 80s which was a real theatrical revolution, a symbol of the getting rid of the soviet ideology; "Satiricus" continues to gather audience for the play "A lost letter" by I. L. Caragiale, adjusted "to date"; and the Moldovans' migration abroad gave birth to the play "The seventh Cafana" - a staging after an original play by Nicoleta Esinenecu and Dumitru Crudu (the prise UNITER for the best Romanian play in 2003) that speaks about the dangers awaiting for the young girls leaving for abroad, and namely that of becoming sexual slaves.
The same crises determine some artists to realise their most temerary projects. Besides the fact that a very diverse drama is practiced (due to the year dedicated to Cehov, in 2004 we have been offered two stagings of the "Uncle Vania" and one of "The saloon Nr. 6"), Chisinau hosted two biennial festivals of a real European breathing: the Biennial of the Theatre "Eugene Ionesco" (organised by Petru Vutcarau and dedicated in 2004, entirely to Cehov drama) and "One Man Show" (organized by the producer Mihai Fusu). Even if they happen due to the theatre directors and producers' efforts which are almost desperate, even if the debts are paid back shortly before the next festival, these events manage to save the Moldovan theatre from the danger of the so-called "re-provincialism". After the big theatrical explosion and opening to the world from the early 90s of the last century, at the beginning of the third millennium, the economic and political problems tearing the Republic of Moldova, isolate out theatre from the rest of the world. If before, it was forbidden to make tours abroad for ideological reasons, at present, these interdictions have to do with … lack of money. With small exceptions, the theatrical teams from the Republic of Moldova are not any more invited to the Festival "I. L. Caragiale" from Bucharest. This isolation from the world theatrical phenomenon is equally harmful to the theatrical teams, the staging quality, critics and spectators.
As a conclusion, I would say that in Moldova to make theatre is a courageous action, even a heroic one. And the play becomes and event through the only fact that it was produced.
Sorina Sterfita é chefe de redacção do jornal moldavo Timpul
Contacto: nicoles@mail.md
Apresenta-se hoje a comunicação sobre a realidade teatral na Moldávia, da autoria de Sorina Sterfita.
The theatre in the Republic of Moldova, between the artistry and politics
Motto: "The journalist should love theatre and actors in order to make them a subject of his/her writing. It is not possible otherwise."
"The theatre cannot exist outside other social organisms; in a civilised world, the mass media and the theatrical art balance on the balance dishes, "offering itself" mutual services. The journalist's mission consists in publicising a phenomenon, and consequently, in creating an opinion about it", I was writing in my licence paper entitled "The theatre in Bassarabia within the modernisation context".
Unfortunately, the theatre modernisation in the Republic of Moldova announced in the early 90s has been hindered and even stopped as a result of the multiple economic, social and political problems which continue to mark the society in general. Thus, at present, only some registered theatrical teams are operational like: the National Theatre "Mihai Eminescu", "Eugene Ionesco", "Satiricus I. L. Caragiale", "Luceafarul" and "A. P. Cehov" in Chisinau; one theatre in Balts, one in Cahul and one in Tiraspol, and by one theatre of the Gagauz and Bulgarian national minorities.
The economic crisis has marked each of these institutions. Because of the salaries which are more than miserable, the actors leave the theatre and run off abroad. Very often, the producer's work consists in obtaining money for the staging and tours. In Chisinau, the most active producers are also successful managers. In this context, I would like to mention Petru Vutcarau from the theatre "Eugene Ionesco" and Alexandru Grecu from the municipal theatre "Satiricus". The bad side of this phenomenon is that because of the lack of money, theatres such as "Satiricus" and "Luceafarul" do not invite producers from outside, which leads to clichés in the play production. Notwithstanding that, attempts are being made to overcome this state of affairs: last year, the theatre "Satiricus" has launched a project providing for staging of seven plays by Moldovan play writers by seven producers, seven scene-painters, composers, choreographers etc.
The political moment is also defining for the Moldovan theatre. In the early 90s, the Moldovan theatre was not very successful and it did not want to- break loose from the state trusteeship. The Ministry of Culture has favoured for years the theatrical teams staging what the ministry wants to see, though the funding of the theatrical activity is more of declarative nature. At the same time, it ignores the theatres that want to build their own repertory according to the artistic principles promoted by them. Thus, at present, to make national theatre in the Republic of Moldova, - which is in its essence Romanian theatre, even if it's realised by Russian actors and producers,- means to make political resistance. This confrontation became worse together with the coming to power in 2001 of a neo-communist party which distinguishes between "pro- and anti-state" artists. As a result of this confrontation, the year 2003 was marked by a strike of the culture representatives, actors and producers from the most important theatres protesting in the streets against unruly actions admitted by the Ministry of Culture in the theatre.
But crises have also positive effects: "Eugene Ionesco" brought back in its repertory the play "Waiting for Godot" by Samuel Beckett - a play staged in the late 80s which was a real theatrical revolution, a symbol of the getting rid of the soviet ideology; "Satiricus" continues to gather audience for the play "A lost letter" by I. L. Caragiale, adjusted "to date"; and the Moldovans' migration abroad gave birth to the play "The seventh Cafana" - a staging after an original play by Nicoleta Esinenecu and Dumitru Crudu (the prise UNITER for the best Romanian play in 2003) that speaks about the dangers awaiting for the young girls leaving for abroad, and namely that of becoming sexual slaves.
The same crises determine some artists to realise their most temerary projects. Besides the fact that a very diverse drama is practiced (due to the year dedicated to Cehov, in 2004 we have been offered two stagings of the "Uncle Vania" and one of "The saloon Nr. 6"), Chisinau hosted two biennial festivals of a real European breathing: the Biennial of the Theatre "Eugene Ionesco" (organised by Petru Vutcarau and dedicated in 2004, entirely to Cehov drama) and "One Man Show" (organized by the producer Mihai Fusu). Even if they happen due to the theatre directors and producers' efforts which are almost desperate, even if the debts are paid back shortly before the next festival, these events manage to save the Moldovan theatre from the danger of the so-called "re-provincialism". After the big theatrical explosion and opening to the world from the early 90s of the last century, at the beginning of the third millennium, the economic and political problems tearing the Republic of Moldova, isolate out theatre from the rest of the world. If before, it was forbidden to make tours abroad for ideological reasons, at present, these interdictions have to do with … lack of money. With small exceptions, the theatrical teams from the Republic of Moldova are not any more invited to the Festival "I. L. Caragiale" from Bucharest. This isolation from the world theatrical phenomenon is equally harmful to the theatrical teams, the staging quality, critics and spectators.
As a conclusion, I would say that in Moldova to make theatre is a courageous action, even a heroic one. And the play becomes and event through the only fact that it was produced.
Sorina Sterfita é chefe de redacção do jornal moldavo Timpul
Contacto: nicoles@mail.md
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