An unexpected love story unfolds where we are too accustomed to seeing only the shortcomings, in a reality that only the dream seems to render bearable. But it can not and must not substitute it, but only bring to light the depth, the meaning and the beauty.

This theatrical parable brings together the actors Oana Pellea and Mircea Rusu, accompanied by an already established creator with whom Oana Pellea created N (AUM), The Effect of Gamma Rays on Man-in-the-Moon Marigolds, The Idol and Ion Anapoda: Stefan Vasilescu, Vladimir Turturică, Vlad Lazarescu and Mariana Camarasan.

"In love with the very fact of being in love, millions of people dream of Venice. The Adriatic strikes with its waves the brick shores of the island. The lanterns are lit one by one, and from a jukebox we hear the incredible music of Lucio Dalla. Everything is unreal. In the mirage of absolute romance, a woman and a man rediscover themselves, as they have never imagined that they might be. Reality, dreamlike and beyond dream, is in fact fabulous, and the things we just dare to dream of are already in the heart of each of us. They come alive when ... when we live that ... that ... I can not find the word ... which is the antonym of loneliness? " Mariana Camarasan

"Mazilu had a fighting spirit. Each time he was ready to take part in a crusade  against intellectual comfort, certainties and clichés.I had the impression that his intelligence began where ours was exhausted, dislocating us with its cold flame from the nooks of delusions and prejudices.

There are artists in whom the bridge between life and oeuvre is difficult to identify, its contours are lost in the haze and contortions of the being. With Mazilu, this bridge is clearly drawn. We find in his theatre all the dramatic components of the man Mazilu: the deliberate choice of loneliness, the refusal of any kind of crutches (from the social to the metaphysical ones), the propensity towards the sincerity pushed to the borders of self-mutilation.

The Beauty of Venice in September... is part of the invitations to a lucidity pushed to its extreme consequences. The proposed script is radical, the possibilities are only two: either we live, ardently and totally in the present, with all its fears, frailties and delights, or, as the protagonists of the play, we take refuge in another time - past or future - and we miss our encounter with life.

The "totalitarianism" of the proposed script is tempered by the charm of the dialogue and an evanescence, but the author's genuine tenderness towards those who, out of fear of the ruthless present, take refuge in the protective arms of the chimera. Certainly, like St. Anthony the Great in the wilderness, he was also visited by this temptation. Resisting it, he acquired, at a painful price, the right to talk about it.

He lived in a ceaseless stringency towards himself, in the refusal (or inability?) of compromises. And as one of his characters said: "Who does not love compromises, does not love life." But it is a completely different life than the one that was, brief and devastating, the life of Teodor Mazilu." Ioana Mazilu

Project supported by Raiffeisen Bank.

Translated by Simona Nichiteanu