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Fathers and Sons

by Brian Friel, after the novel of Turgeniev

Fathers and Sons

by Brian Friel, after the novel of Turgeniev

Translation: Vlad Massaci
Director:
Vlad Massaci
Decor:
Adrian Damian
Costumes:
Luiza Enescu
Assistant Scenography:
Șteff Chelaru, Ioana Groza
Stage Movement:
Florin Fieroiu
Lighting design:
Cristian Șimon
Video design:
Constantin Șimon
Vocal training:
Monica Ciută
Assistant Director:
Simina Siminie
Sound operator:
George Puiu, Sorin Brehuescu
Technical Director:
Costi Lupșa, Laurențiu Andronescu

Premiere: 30.04.2022

Duration: 3 h / Pause: 15 min

Dates
11 Feb 2023 19:00
22 Feb 2023 19:00
Tickets

70 lei

50 lei

20 lei (cu reducere pentru elevi, studenți și pensionari)

Fathers and Sons by Brian Friel (dramatized after Turgenev's novel), in Vlad Massaci's staging on the stage of the National Theater, reflects exactly what the British philosopher Isaiah Berlin said: “... a valuable document for understanding both Russia's past and our present.”

You are therefore invited to a show of striking topicality, in which you will find the atmosphere of the Russian theater with its characters trapped in a maze of endless emotions and discussions, as well as the English humor and fine irony that rises from the Irish playwright's pen. You will be seduced by the refined and nuanced acting of the actors carefully and sensitively guided by the director in an action that flows naturally in its dramatic moments. The world of "parents", "out of tune" with the new ideology of the nihilistic youth, sinking into their own inability to change, finds its scenic transposition with deep meanings under the signature of the artists Adrian Damian (sets) and Luiza Enescu (costumes). In fact, through his show, Vlad Massaci reveals how Turgenev / Friel's entire human comedy becomes the drama of an entire world forced to endure the catastrophic aftermath of the ideologies that have marked the history of civilization and humanity.

 

"When I read Brian Friel's play “Fathers and Sons”, I remembered the Russian mini-series I saw as a teenager on TV. I remember how impressed I was with that Russian atmosphere, the performance of the actors, the love stories that softened the distance between the two generations that seemed to fail in finding the right ways of communication. The young ones were adherents of a radical doctrine, nihilism, wanting to demolish the liberal society, inherently imperfect of their parents, slightly naive, kind, with liberal and Europe-loving souls to whom they naturally tended. In a way, both generations seem ridiculous - one through radicalism, the other through a somewhat confused romance. The question is, what has changed today? What are the echoes of the two perspectives on the world? Who won from this confrontation? The twentieth century has responded to us with countless crimes committed in the name of radicalism, but also with unprecedented liberalization. The proportions have always fluctuated. The main character, Bazarov, exposes his radical ideas: the world must be changed by force if necessary, there are no individuals, but only the leveling concept of the "human being" taken in general. Someone determines what the Good looks like, then wants to do it by force. These bizarre ideas are, after all, the cause of the two World Wars of the last century, but also the cause of the war taking place in Ukraine. This is how the radical ideas of the nineteenth century spread to the present times, this is how, in the name of the "good of mankind", individual destinies are suppressed. A theater show doesn't change the world, but it can make you think about it." Vlad Massaci

 

Translated by Andreea Codrea-Boeriu

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Saturday
11
02
2023
Ion Caramitru Hall 19:00 Buy tickets
Wednesday
22
02
2023
Ion Caramitru Hall 19:00 Buy tickets
Evgheni Vasilici Bazarov, student: Andrei Huțuleac Arcadi Nicolaevici Kirsanov, student: Alexandru Potocean
Nicolai Petrovici Kirsanov, Arcadi`s father, landlord: Mihai Călin Pavel Petrovici Kirsanov, Arcadi`s uncle, retired officer: Richard Bovnoczki
Vasili Ivanici Bazarov, Evgheni`s father, retired military doctor: Vitalie Bichir
Tomi Cristin
Arina Vlasievna Bazarov, Evgheni`s mother: Diana Dumbravă
Fenicika Fedosia Nicolaevna, Nicolai`s girlfriend: Cosmina Olariu Ana Sergheievna Odințov, landlady: Crina Semciuc
Caterina Sergheievna Odințov, Ana`s sister: Măriuca-Serena Bosnea Princess Olga: Emilia Popescu
Duniasa, servant at Kirsanovi: Fulvia Folosea Piotr, servant at Kirsanovi: Emilian Mârnea
Procofici, housemaid at Kirsanovi; Timofeici, servant at Bazarovi: Mihai Verbiţchi Fedca, servant help at Bazarovi: Andrei Tomi

“The editing style could be characterized by refinement and elegance: precisely studied correctness, without stridency (deliberately innovative or of dubious taste), insinuating and disturbing sound accompaniments. The current staging lets you think not only about the political implications of the play, but also about the ageless tragedy of the relationship between parents and children. The whole show is emotional and coherent, and the tumultuous ending justifies the ambitions of a creative personality.”

Mădălina Dumitrache, Bel-Esprit – Chamber Symphony - Fathers and Sons”  

Fathers and Sons is a captivating, lavish show, a cultural event, suitable for any educational category of audience. Spectators may be also be amused, as they would be at a comedy, but most of them will remain with the intention of rethinking the current approach, which can dramatically affect their existence by promoting motivation for a war as a pretext for an absurd ideology, but with a sense of dominating the world.”

Ileana Lucaciu, Spectator - Fully deserved applause!  

“Friel's adaptation put an English filter, more abstract and ironic, on the Chekhovian atmosphere of relationships, and Massaci's inventive staging put a second surreal filter on all this, trying to push the boundaries of Turgenev's realism and the "Chekhovian" play as far away as possible.”

Alexandra Ares, Liternet - Nihilism versus traditionalism - Fathers and Sons  

“Spectacular, with a very good rhythm from the beginning, spoken in a contemporary Romanian language that sounds and flows well (translated by Vlad Massaci, after the English text of Friel), this new performance of T.N.B. will fill, and I have no doubt about that, the halls of the theatre.” 

Liviu Ornea, Liternet - Spectacular and unequable - Fathers and Sons  

“Vlad Massaci creates a puzzle of great history from insignificant personal histories, balances the tragedy with bitter ironies, marching on the idea of a permanent possible return in time.”

Alina Maer, Scene și cuvinte – Fathers and Sons or the possible return  

“A difficult, well-played performance that finds a special place in the repertoire of this theatrical season, offering to the TNB spectators rear-view mirrors, warnings, mind-boggling suggestions about nihilism, traditionalism, Bolshevism and the new imperialism.”

Dinu Grigorescu, Rinocerii – Fathers and Sons by Brian Friel, after Turgenev, at TNB  

"The monumental performance inspired by the famous novel Fathers and Sons by I.S. Turgenev at NTB opens with the panorama of an abandoned orchestra with its instruments waiting, which the main stage of the National Theatre inspired set designer Adrian Damian with the feeling of a grandiose human space in restructuring."

Doina Papp, Revista 22 – Fathers and Sons, ideological or generational ruptures   

"A perfect evening where a piece of this length can seem like a scare. The feeling is exactly the opposite, you long for more. Or as the Romanian says: it's worth every penny."

Dana Cristescu, PressHub - Theatre: "Fathers and Sons" by Brian Friel, or if Turghenyev was Irish  

"Brian Friel's Fathers and Sons, based on the novel by Turgenev, directed by Vlad Massaci, has the audacity not to be seriously-rigid and reverentially-pathetic. Adapting a classic title for the stage often falls down a predictable slope towards a melodramatic and dignified but sterile tribute. The directorial proposal at the Ion Caramitru Hall, however, has a freshness and vigor that keeps it far from the clichés with samovars and lazy meals, with salon philosophies. The tragicomic key, on which the whole structure relies, works in counterpoint to the message full of danger contained in this decrepit sunset, of a world broken down to make way for a much more cynical one."

Alina Epîngeac, Revista Timpul - Fathers and Sons - past and... past  

"This performance really is contemporary. Too contemporary. It is, through everything from the text to the set and from the music to the lights, a mirror of our world, the world beyond the theatre doors... It is universal and, at the same time, personal. It's beautiful, in the gentleness with which it tells painful truths. It's impressive in the depth of the characters, whose inner selves are reflected in every detail of the set design. It's necessary in its message. I know this necessary performance thing has become something of a cliché, but yes, it really is. It's healing, in a way, in the way it talks about love... It's hope-giving."

Mădălina Mihai, Cultural 21 - About (de)humanization, with love. Or... "Fathers and Sons"  

 

 

Translated by Andreea Codrea-Boeriu

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