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An End to 'Doubleness'

by
<http://www.tol.cz/look/TOL/article_single.tpl?IdLanguage=1&IdPublication=4&;
NrIssue=342&NrSection=3&NrArticle=20885&ST1=ad&ST_T1=job&ST_PS1=1&ST_AS1=1&S
T2=body&ST_T2=letter&ST_PS2=1&ST_AS2=1&ST3=text&ST_T3=aatol&ST_PS3=2&ST_AS3=
1&ST_max=3#author> Boyko Vassilev, Lucie Kavanova, Anita Komuves, Wojciech
Kosc, Sinziana Demian, and Pavol Szalai
9 October 2009

 

What does an artist, accustomed to using metaphor and subterfuge under
communism, do when the lid comes off?

 

See more special coverage of the anniversary of the fall of the Iron Curtain
at our 20 Years After <http://20years.tol.org/>  website.

[As we look at how life has changed - or stayed the same - over the past 20
years, TOL correspondents in Bulgaria, the Czech Republic, Hungary, Poland,
Romania, and Slovakia asked people in various professions to describe their
working life today compared with conditions before 1989. This collection of
interviews with artists is the first in the series that resulted.]

 

[...]

 

RADU BELIGAN, 90, ROMANIA

Iconic actor known for tragic and comic roles, former general director of
the Bucharest National Theater. These comments were made at a recent press
conference.

 




For young people today past times are unimaginable. We, today, 20 years
after the revolution, still work in the old Soviet style, in terms of
theater management. My foreign friends whom I often visit abroad are
astounded that we still don't have a private theater in Bucharest. This
means death. Because these institutions, subsidized from the state, can
hardly innovate and deviate from a certain line. Bucharest used to have
[before communism] the National Theater and 17 private theaters - which all
prompted a great competition. A talented young actor would receive three or
four offers from various theater directors. This is what happened to me as
well. Then an actor's career would grow from one year to the next, because
he could choose interesting roles in different theaters.

How can we do that today? How can we select young talented actors? People
ask me who comes after me. I can name [director, writer, and actor Horatiu]
Malaele and three or four more, and that's it. I have no idea. I never see
them, as they have to act in godforsaken places.

So it's great that we are in a different regime today, but in our field -
and I can only speak about our field - there's no real gain. NOTHING has
been done.

 




Radu Beligan and Marcela Rusu in a 1963 production of Alexandru Mirodan's
Head of the Souls Department.


I staged Beckett when I was director of the National Theater - to everyone's
astonishment, as he was considered decadent. But I had very good relations
with Ceausescu. He was sort of timid in my presence, which was rather odd.
He did protect me a great deal, although we never exchanged more than a few
words. When the National Theater caught fire, [Constantin] Dascalescu, the
prime minister, rushed over to the terrace, where there was a big commotion.
What had happened was, that very evening, the Chinese president had been on
an official visit to Romania, and I was also invited to the grand banquet.
Afterward, I took the car and left for the countryside, where I received the
call that the theater was on fire. You can only imagine - I rushed back, and
Dascalescu was shouting on the terrace, "Where's the director?" Then I came
in and he started interrogating me - "Where were you?" he said. "Where you
were as well?" I demanded. . He threatened me with an investigation and next
morning, at 8 a.m., they were all in Ceausescu's office presenting the
situation. "All right," Ceausescu said. "Do what you need to do but don't
ask Beligan any questions, because I didn't put him at the theater to be a
firefighter."

 

Copyright C 2009 Transitions Online

 
----------------------------
 
Vali
"Noble blood is an accident of fortune; noble actions are the chief mark of
greatness."
"When the power of love overcomes the love of power, the world will know
peace."
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