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L`Om Dada

a choreographic show by Gigi Căciuleanu

L`Om Dada

a choreographic show by Gigi Căciuleanu

Translation: Ion Pop
Director:
Gigi Căciuleanu
Choreography Assistant:
Lelia Marcu
Lighting design:
Cristian Simon
Sound:
Dorel Sidorof, Liviu Stoica
Lighting:
Ionuț Vlașcu
Technical Director:
Adrian Ionescu

Premiere: 11.03.2016

Duration: 1 h / Pause: No

Tickets

40 lei

20 lei (reducere pentru elevi, studenți și pensionari)

The play is produced under the auspices of the "Ion Sava" Centre for Research and Theatrical Creation, in cooperation with Gigi Căciuleanu Romania Dance Company and the "Art Production" Foundation, and with the support of the Romanian Cultural Institute.

 

The year 2016 marks 120 years since the birth on 16 April 1896 of the one who, at the age of 20, has triggered the birth of universal Dadaism, thus revolutionising modern art: Tristan Tzara. In 2016 – Dadaism celebrates its 100th anniversary.

Along with this new NTB premiere, the artist Gigi Căciuleanu, whose name has travelled around the world, brings on stage not only his talent as a director and choreographer, but also as a performer, in a show where, alongside actor Lari Giorgescu, he aims at proving that...

“We are all Dadaists. We defragment, and we thrust something away from us on stage and in life. Why L’Om DAdA? Because I wanted to juxtapose these words, „om” in Romanian (Engl. “man”) and „Dada” – the universal, explains Gigi Căciuleanu. I have used Tristan Tzara’s text, L`homme approximatif, as a starting point, terribly poetic, not at all absurd, beautiful, coherent, dense, filled with meanings, very contemporary even after 100 years. The approximate man is actually the archetype of man as precise as possible, namely the actor and dancer”.                                           

Translated by Simona Nichiteanu

 

“... what can be more approximate than man, than the human being…than his destiny…his destinies…

... the man thrown out into the world randomly... caught in the spider’s web of planetary uncertainties...of geography... of geographies... of history... of histories...

... maybe only the movement- movements... the gesture-gestures, the body fibres... the imperceptible changes to the facial muscles... passage of clouds on the screen of existence... to pull man out of approximation... to try to decypher his uncertain and frail being...

...but what’s the use?... why not leave man the priviledge of dancing his life with his uncertainty... uncertainties...Gigi Căciuleanu

: Gigi Căciuleanu
Lari Giorgescu
                    

Dada appeared as a riot against the absurdity of cruelty, of war, of Communism at its embryonic stage, as a denial of logic. A riot which has not led, however, to destruction, but, without giving precise directions, has paved the way for the precarious „Approximate Man”. Any attempt of arranging the world between sharp edges has led to disasters and then why not leave man the priviledge of dancing his life with his uncertainties, in his „Dada” way, as constructive as possible.

It is a show about each of us and not an intellectualistic endeavour. We are all Dadaists, we defragment, and we thrust something away from us on stage and in life. It will be called „l’Om  DAdA” because I wanted to place „om” in Romanian (Engl. “man”) next to „Dada”, which is part of the universal. I have used Tristan Tzara’s text, L`homme approximatif, as a starting point, which I have rediscovered. It is a terribly poetic text, not at all absurd, beautiful, coherent, dense, filled with meanings, very contemporary even after 100 years.

„The Approximate Man” is actually the archetype of man as precise as possible, namely the actor and dancer. It will be a very contemporary show, because it comes as a follow-up to Our Kind of Stuff, our tribute to Caragiale. Catavencu’s speech has been disjointed into vowels, which actually represented a Dadaist intervention. Thus, I shall pursue with Lari Giorgescu in l’Om  DAdA what I have started in Our Kind of Stuff”.

„2016 is a year filled with meanings, marking the authentic national spirit within the universal context, the ancestral Romanian riot sublimated in a centenary aesthetic trend and an algorithm of approximation, defined by Tristan Tzara, on the axis Moinesti-Zürich, in congruence with Paris-Bucharest of Gigi Caciuleanu, declared Gigi Căciuleanu.

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