{"id":13574,"date":"2024-05-27T17:47:46","date_gmt":"2024-05-27T15:47:46","guid":{"rendered":"https:\/\/unatc.ro\/devunatc\/nu-vorbe-ci-sabii-dansul-va-dezlantui\/"},"modified":"2024-05-27T17:47:46","modified_gmt":"2024-05-27T15:47:46","slug":"nu-vorbe-ci-sabii-dansul-va-dezlantui","status":"publish","type":"post","link":"https:\/\/unatc.ro\/devunatc\/nu-vorbe-ci-sabii-dansul-va-dezlantui\/","title":{"rendered":"Nu vorbe, ci s\u0103bii dansul va dezl\u0103n\u021bui","gt_translate_keys":[{"key":"rendered","format":"text"}]},"content":{"rendered":"<div>\n<div class=\"wp-block-image\">\n<figure class=\"aligncenter size-full\"><img fetchpriority=\"high\" decoding=\"async\" width=\"640\" height=\"315\" src=\"https:\/\/unatc.ro\/devunatc\/wp-content\/uploads\/2024\/05\/lepage-picture.png\" alt=\"\" class=\"wp-image-281\" srcset=\"https:\/\/unatc.ro\/devunatc\/wp-content\/uploads\/2024\/05\/lepage-picture.png 640w, http:\/\/www.teatrolog.ro\/wp-content\/uploads\/2024\/05\/lepage-picture-300x148.png 300w\" sizes=\"(max-width: 640px) 100vw, 640px\"><\/figure>\n<\/div>\n<p>Festivalul Interna\u021bional Shakespeare st\u0103 sub semnul limbajului universal al operei marelui dramaturg, pe care o serie de mont\u0103ri l-au esen\u021bializat. Cuvintele au fost sublimate \u00een mi\u0219care, lumin\u0103, culoare, emo\u021bie transmis\u0103 nemijlocit, f\u0103r\u0103 \u201evorbe, vorbe, vorbe\u201d. Este \u0219i cazul co-produc\u021biei Ex Machina \u015fi C\u00f4t\u00e9 Danse (Canada), care, sub bagheta regizorului Robert Lepage, propune un \u201cHamlet\u201d non-verbal, transpus \u00een coregrafia semnat\u0103 de Guillaume C\u00f4t\u00e9.\u00a0<\/p>\n<p>\u00centr-un prolog inedit, anagram\u00e2nd numele marelui Will, Robert Lepage seteaz\u0103 cheia de decodare a spectacolului:\u00a0<\/p>\n<p><strong>Hear Me I Will Speak\/ I Am A Weakish <\/strong>(sic!)<strong> Speller\/ William Shakespeare<\/strong><\/p>\n<p>Spectacolul vorbe\u0219te, f\u0103r\u0103 sl\u0103biciune, \u00een limbajul universal al gestului cu semnifica\u021bie, \u00een limbajul corpurilor care se contorsioneaz\u0103, \u00ee\u0219i exhib\u0103 st\u0103rile, germineaz\u0103 sentimente \u0219i ne dezv\u0103luie tumultul interior. \u00cen montarea experimentatului Robert Lepage, fiecare personaj este fr\u0103m\u00e2ntat de tr\u0103iri, b\u00e2ntuit de g\u00e2nduri \u0219i fantome ale celor trecu\u021bi sau (\u00eenc\u0103) prezen\u021bi. Iar interac\u021biunile dintre personaje sunt violente, duioase, pline de suspans, intense, trec\u0103toare ca \u0219i clipele \u0219i pline de miez ca via\u021ba \u00eens\u0103\u0219i, consumat\u0103 (din ce \u00een ce mai) pe repede-\u00eenainte de societatea modern\u0103. Punerea \u00een scen\u0103 are un ritm voit sus\u021binut, f\u0103r\u0103 momente de respiro care s\u0103 permit\u0103 spectatorului s\u0103 reflecteze \u0219i s\u0103 internalizeze situa\u021biile care se succed\u0103 cu o vitez\u0103 ame\u021bitoare; e un semnal de alarm\u0103 pentru omul modern, prea ocupat, multifunc\u021bional, precum\u00a0 Hora\u021bio \u2013 obi\u0219nuit s\u0103 jongleze cu multiple sarcini, dar nefix\u00e2ndu-\u0219i aten\u021bia suficient pentru a decela esen\u021ba.<\/p>\n<p>\u201eLumea-ntreag\u0103 e o scen\u0103 \u015fi to\u0163i oamenii-s actori\/ R\u0103sar \u015fi pier cu r\u00e2ndul, fiecare\u2026\u201d \u2013 spune un personaj shakespearian, Puck \u2013 iar spectacolul lui Lepage, axat, a\u0219a cum precizeaz\u0103 \u00een didascalii regizorul, pe \u201eTragedia lui Hamlet, Prin\u021bul Danemarcei\u201d, ne aminte\u0219te scen\u0103 de scen\u0103 c\u0103 suntem spectatori la teatru, semnul marcant fiind cortina ro\u0219ie omniprezent\u0103, \u00een toate formele sale: clasic\u0103, cu deschidere median\u0103 pentru \u00eenceputul scenelor, mobil\u0103, travers\u00e2nd \u00een timpul situa\u021biilor scenice de la curte la gr\u0103din\u0103 sau \u00een sens invers, simpl\u0103, dubl\u0103 sau demi-cortin\u0103, grea sau fluid\u0103 \u0219i ludic\u0103, permi\u021b\u00e2nd schimb\u0103ri spectaculoase de decor \u00een timpul situa\u021biilor relatate prin dans \u00een proscenium. Exist\u0103 dou\u0103 excep\u021bii \u2013 notabile \u2013 care \u00eentrerup acest fir ro\u0219u materializat al punerii \u00een scen\u0103: materialul fluid, bleu ciel, care ia, nu f\u0103r\u0103 motiv, locul cortinei ro\u0219ii \u00een dou\u0103 scene, cu dubl\u0103 semnifica\u021bie: apa care o \u00eenghite pe Ofelia \u0219i marea pe care navigheaz\u0103 corabia care-i duce spre Englitera pe Hamlet \u0219i pe cei care sunt trimi\u0219i s\u0103-i fie c\u0103l\u0103i, Rosencrantz \u0219i Guilderstern. Elemenul comun, lichid, legitimeaz\u0103 interpretarea paralelismului celor dou\u0103 situa\u021bii, care, de\u0219i prezentate succesiv, par s\u0103 se desf\u0103\u0219oare concomitent: un destin se irose\u0219te \u00eembr\u0103\u021bi\u0219at de ap\u0103 \u00een timp ce altul se salveaz\u0103 ucig\u00e2nd, pe apa \u00eenvolburat\u0103 a m\u0103rii.\u00a0<\/p>\n<p><strong>Words, words, words \u2013 sword, sword, sword<\/strong><\/p>\n<p>De\u0219i singurele cuvinte din montare sunt didascaliile spectacolului, genial anagramate \u0219i distribuite de regizor cu parcimonie, doar \u00een momentele de maxim\u0103 tensiune, universalul limbaj non-verbal \u00een montarea lui Lepage reu\u0219e\u0219te s\u0103 exprime at\u00e2t de mult cu at\u00e2t de pu\u021bine mijloace. Decorul este esen\u021bializat, construit modular, din metal \u0219i lemn, amintind de mobilierul modern, minimalist, subordon\u00e2nd esteticul func\u021bionalit\u0103\u021bii. \u00cen acest spa\u021biu atemporal, mi\u0219c\u0103rile ample ale dans-actorilor, de zbucium, durere, fericire, confruntare, conflict, r\u0103zbunare,\u00a0 amintind de teatrul antic elen, taie mai ad\u00e2nc dec\u00e2t vorbele \u00een con\u0219tiin\u021ba privitorilor. Nimic nu e l\u0103sat hazardului, interpret\u0103rile corporale sunt riguros trasate \u0219i realizate, singurele poticneli sunt ale personajului central, Hamlet, cel profund dezechilibrat, care caut\u0103 solu\u021bia de a restabili balansul: al s\u0103u, interior, \u0219i al situa\u021biei din Danemarca. Hamlet al lui Lepage \u00een primul r\u00e2nd ac\u021bioneaz\u0103, \u00een timp ce Claudius, mereu \u00een expectativ\u0103, mai mult comploteaz\u0103, deleg\u00e2nd ac\u021biunea curtenilor dispensabili: unui Polonius, cu apari\u021bii \u021bintite \u0219i scurte \u00een montare, unor Rosencrantz \u0219i Guilderstern, \u00eengem\u0103na\u021bi \u00een port \u0219i purtare, aproape p\u00e2n\u0103 la a se confunda unul cu cel\u0103lalt, ca ni\u0219te piese standardizate, scoase pe band\u0103 rulant\u0103, unui Laertes, r\u0103mas singur dup\u0103 asasinarea tat\u0103lui \u0219i sinuciderea Ofeliei, un martor oricum incomod al complotului. Hamlet nu mai are dubii \u0219i porne\u0219te s\u00e2rguincios, cu un machiavelism similar personajului Richard al III-lea, \u00een \u00eendeplinirea r\u0103zbun\u0103rii, dup\u0103 ce fantoma tat\u0103lui \u00eei prilejuie\u0219te vizionarea otr\u0103virii sale de c\u0103tre Claudius.\u00a0 Superb realizat\u0103 la nivel vizual prin jocul de lumini \u0219i umbre deformate, scena otr\u0103virii va fi reluat\u0103 \u00een situa\u021bia scenic\u0103 a \u201cCursei de \u0219oareci\u201d, de data aceasta prin \u201cteatru \u00een teatru\u201d; o cheie de decriptare a operei constant aplicat\u0103 de c\u0103tre regizor pe parcursul mont\u0103rii. Actorilor special invita\u021bi din textul lui Shakespeare, Lepage le substituie personajele lui Hamlet \u0219i Hora\u021bio, care, echipa\u021bi cu m\u0103\u0219ti, \u00eentrupeaz\u0103, cu spatele la public, scena otr\u0103virii \u00een fa\u021ba curtenilor pozi\u021biona\u021bi voit cu spatele la deschiderea scenei \u2013 o indica\u021bie a spargerii celui de-al patrulea perete \u0219i a fluidit\u0103\u021bii conven\u021biei \u201ecine ce joac\u0103?\u201d \u0219i \u201ecine pe cine prive\u0219te?\u201d, o alt\u0103 referin\u021b\u0103 direct\u0103 la \u201e<em>teatron<\/em>\u201d-ul Eladei, cea care a n\u0103scut tragedia.<\/p>\n<p>\u00cen punerea \u00een scen\u0103 a lui Lepage, nebunii care dezv\u0103luie adev\u0103rul \u00een pies\u0103 sunt \u00eenlocui\u021bi de oglinzi plasate strategic multi-plan: \u00een fa\u021ba personajelor, a actorilor \u0219i a publicului, \u00een scopul\u00a0 devoal\u0103rii esen\u021bei din spatele m\u0103\u0219tilor. Spectacolul abund\u0103 de trimiteri \u00eencruci\u0219ate, de semne \u0219i de elemente care au dubl\u0103 sau \u00eentreit\u0103 semnifica\u021bie, sensurile lucr\u00e2nd \u00een timp, \u00een durat\u0103, mult dup\u0103 ce spectatorii vor fi p\u0103r\u0103sit locul \u00een care energia scenei a inundat sala, care, la r\u00e2ndul s\u0103u a reac\u021bionat prompt; un \u201e<em>catharsis<\/em>\u201d modern, sublimat, p\u0103str\u00e2nd contradictoriul ca principiu care d\u0103 na\u0219tere, \u00eenlocuind, \u00eens\u0103, mila \u0219i frica de a nu face la fel cu \u00eendoiala \u0219i identificarea.<\/p>\n<p>Spectacolul pus \u00een scen\u0103 de Robert Lepage este o succesiune de imagini foarte puternice, tridimesionale \u0219i \u00een continu\u0103 mi\u0219care, \u00eentrerupte doar \u00een c\u00e2teva instan\u021be de hebluri, un \u00eemprumut cinematic care adaug\u0103 tensiune mont\u0103rii. Universul sonor completeaz\u0103, subliniaz\u0103 sau hiperbolizeaz\u0103 situa\u021biile scenice, transmi\u021b\u00e2nd direct, la 360 de grade, vibra\u021biile care trezesc instantaneu senza\u021bii spectatorilor. Lumina \u0219i culoarea din spectacol mediaz\u0103 \u0219i, \u00een acela\u0219i timp, influen\u021beaz\u0103 direct, augment\u00e2nd sau diminu\u00e2nd reac\u021biile celor care privesc. Direct sau discret, dup\u0103 cazul fiec\u0103rei situa\u021bii scenice, eclerajul completeaz\u0103 conceptul regizoral, ac\u021bion\u00e2nd pe alocuri ca interpret subtil, care nuan\u021beaz\u0103, \u00eembog\u0103\u021be\u0219te sau, dimpotriv\u0103, restr\u00e2nge sau pune punct.<\/p>\n<p><strong>And the rest is silence\u2026 (\u0218i restul e t\u0103cere\u2026)<\/strong><\/p>\n<p>Sau un epilog marca Robert Lepage, care nu admite niciun supravie\u021buitor al tragediei de la putreda curte a Danemarcei: nu va duce nimeni povestea mai departe, nici n-ar avea cui s-o povesteasc\u0103, t\u0103r\u00e2mul teluric r\u0103m\u00e2n\u00e2nd populat doar cu umbrele celor care au fost \u0219i ar fi putut s\u0103 fie. Doar Hora\u021biu, acest alter ego al lui Hamlet \u0219i <em>factotum<\/em> care, \u00een spectacol, alege, din dragoste, s\u0103 r\u0103m\u00e2n\u0103 al\u0103turi lui Hamlet \u00een moarte, a\u0219a cum i-a fost \u0219i \u00een via\u021b\u0103, pune punctul final tuturor chinurilor.\u00a0\u00a0<\/p>\n<p class=\"has-text-align-right\">Cronic\u0103 realizat\u0103 de\u00a0<\/p>\n<p class=\"has-text-align-right\"><strong>Alexander Hartmann<\/strong> (Teatrologie, licen\u021b\u0103 \u2013 Jurnalism Cultural anul I)\u00a0<\/p>\n<figure class=\"wp-block-embed alignright is-type-wp-embed is-provider-festivalul-international-shakespeare-craiova wp-block-embed-festivalul-international-shakespeare-craiova\">\n<div class=\"wp-block-embed__wrapper\">\n<blockquote class=\"wp-embedded-content\" data-secret=\"ScYvHFuo01\"><p><a href=\"https:\/\/www.shakespearefestival.online\/eveniment\/hamlet-printul-danemarcei-regia-robert-lepage-ex-machina-canada-2\/\">HAMLET, PRIN\u021aUL DANEMARCEI \u2013 REGIA ROBERT LEPAGE \u2013 Ex MACHINA \u2013 CANADA<\/a><\/p><\/blockquote>\n<\/div>\n<\/figure>\n<p>Hamlet, Prin\u0163ul Danemarcei<\/p>\n<p>Bazat pe opera lui William Shakespeare<\/p>\n<p>Nume companie: Ex Machina \u2013 Robert Lepage \u0219i C\u00f4t\u00e9 Danse \u2013 Guillaume C\u00f4t\u00e9.<\/p>\n<p>\u021aar\u0103 companie: Canada<\/p>\n<p>Regizor: Robert Lepage<\/p>\n<p><strong>Distribu\u021bie<\/strong>:<\/p>\n<p>Guillaume C\u00f4t\u00e9 \u2013 Hamlet<\/p>\n<p>Greta Hodgkinson \u2013 Gertrude<\/p>\n<p>Robert Glumbek \u2013 Claudius<\/p>\n<p>Carleen Zouboules \u2013 Ofelia<\/p>\n<p>Lukas Malkowski \u2013 Laertes<\/p>\n<p>Bernard Meney \u2013 Polonius<\/p>\n<p>Natasha Poon Woo \u2013 Horatio<\/p>\n<p>Connor Mitton \u2013 Rosencrantz<\/p>\n<p>Willem Sadler \u2013 Guildenstern<\/p>\n<p><strong>Echipa de crea\u021bie<\/strong>:<\/p>\n<p>Creat \u0219i regizat de: Robert Lepage<\/p>\n<p>Co-creat de \/ Coregrafie: Guillaume C\u00f4t\u00e9<\/p>\n<p>Director de crea\u021bie: Steve Blanchet<\/p>\n<p>Asistent regie: F\u00e9lix Dagenais<\/p>\n<p>Asistent crea\u021bie \u0219i director de repeti\u021bii: Anisa Tejpar<\/p>\n<p>Compozitor: John Gzowski<\/p>\n<p>Designer adjunct scenografie \u0219i recuzit\u0103: Vanessa Cadrin<\/p>\n<p>Design lumini: Simon Rossiter<\/p>\n<p>Design costumer: Michael Gianfrancesco, Monika Onoszko<\/p>\n<p>Colaborator artistic: Olivier Normand<\/p>\n<p>Consultant lupte: Jack Rennie<\/p>\n<\/div>\n","protected":false,"gt_translate_keys":[{"key":"rendered","format":"html"}]},"excerpt":{"rendered":"<p class=\"no-padding\">Festivalul Interna\u021bional Shakespeare st\u0103 sub semnul limbajului universal al operei marelui dramaturg, pe care o serie de mont\u0103ri l-au esen\u021bializat&#8230;.<\/p>\n","protected":false,"gt_translate_keys":[{"key":"rendered","format":"html"}]},"author":167,"featured_media":13575,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_jetpack_memberships_contains_paid_content":false,"footnotes":""},"categories":[265],"tags":[],"erasmus_universities_programs":[],"class_list":["post-13574","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-fringe-unatc"],"acf":{"alternative_page_title":"","page_contact_email":""},"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v27.7 - 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