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CULTURA MASS-MEDIA

Teatru: Hotelul dintre lumi

April 10th, 2010, com 22 comentarii

Există un loc între lumi în care cei intraţi în comă aşteaptă liftul pentru întâlnirea cu Dumnezeu sau pentru a se întoarce pe Pământ. Locul inventat de Schmitt este misterios şi greu de acceptat pentru nou veniţi. Limita morţii presupune fie împăcarea şi liniştea aduse de acceptarea unui etaj superior, fie recunoştinţa coborârii la viaţă. Urcuşul şi coborâşul sunt dictate de modul în care medicii reuşesc să vindece accidentele de circulaţie, loviturile, comele diabetice sau rapiditatea cu care găsesc o inimă pentru un transplant.

Personajele care populează lumea dramaturgului sunt un preşedinte de firmă arogant, un astrolog care s-a apucat de spiritism şi magie pentru a putea intra în legătură cu fiica lui decedată la 20 de ani, un tânăr smuls din timpurile noastre din cauza alcoolului şi a vitezei excesive la volan, care nu a iubit niciodată decât pe fugă, care nu are timp, nu are prieteni, nu are speranţe, o femeie de serviciu care îşi doreşte ca liftul în care va intra ea să ducă la etajul superior sperând că va găsi o grădină în care nu trebuie să facă ordine şi o tânără care iubeşte cu patimă viaţa pentru că drumul ei până la graniţa cu moartea a mai fost făcut de două ori din cauza inimii şubrede încă de la naştere. Personajele vorbesc despre viaţă şi moarte, despre iubire, despre îngeri, despre Rai… noţiuni care riscă să ajungă la limita me­lo­dramaticului dacă viziunea regizorală ex­ploatează datele dramaturgice în acelaşi sens.

Scena Teatrului Mic este plină de cochilii de melci (melcul – simbol al eternei reîntoarceri, moarte şi renaştere). Spaţiul oniric devine sufocant şi redundant pentru că Andrada Chiriac (decoruri) insistă pe aceleaşi elemente simbo­lis­tice pe care le plantează peste tot în scenă. Într-o atmosferă sără­că­cioasă, fără nici un accident cromatic care să spargă monotonia de auriu şi albastru, cu Serghei Rahmaninov pe fundal, Alice Barb îşi propune să vorbească despre iubire fără surprize, fără emoţii, previzibil şi  revoltător de cuminte, având ca target spectatorii cu studii medii şi vârsta 50 plus.

Actorii îşi joacă personajele în funcţie de talent şi experienţă. Veţi vedea – dacă vă împinge curiozitatea – un Mihai Dinvale care face din astrologul Radjapour un caracter care se dezvoltă, evoluează în timpul exerciţiului propus de Schmitt, pe Adriana Şchiopu nuan­ţându-şi femeia de serviciu cu umor şi căldură, Bogdan Talaşman recurgând la reţetele actoriceşti care prind la public, Ovidiu Niculescu primeşte suprateme regizorale in­com­patibile cu povestea: personajul lui – locomotiva piesei scrise – apare la începutul spectacolului şi iese la coborârea cortinei fără să sufere nici o transformare. Cele 2 h 40 min o obosesc pe Valentina Popa care aduce, la intrarea în scenă, energia şi lumina unei posibile mari actriţe.

Ei sunt actorii Teatrului Mic urcaţi în hotelul dintre lumi de un lift pe al cărui buton apasă regizorul nepotrivit.

Hotelul dintre lumi, dramaturg Eric-Emmanuel Schmitt, traducerea Costin Manoliu şi Valentin Protopopescu, regia Alice Barb, coregrafia Răzvan Mazilu, decor Andrada Chiriac, costume Vladimir Turturică. Teatrul Mic, 2 h 40 min.

Distribuţia: Ovidiu Niculescu (Julien Portal), Valentina Popa (Laura), Mihai Dinvale (Astrologul Radjapour), Adriana Şchiopu (Marie), Bogdan Talaşman (Preşedintele Delbec), Mihaela Rădescu (Doctorul S1), Ana Bart (Doctorul S2), Traian Valş (Îngerul 1), Corina Aldea (Îngerul 2).

foto Adrian Bulboacă

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