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Textul este acel vehicul imaterial care poartă umorul Adei Milea de pe scenă spre public. Restul este spectacol. Mai exact, spectacol-concert şi se numeşte“Apolodor”. Producţie a Teatrului Naţional “Lucian Blaga” din Cluj-Napoca, “Apolodor” are haine noi şi a fost selectat la cea de-a 25-a ediţie Festivalului Naţional de Teatru. Ada ne vorbeşte despre el.
6 September 2015, Articles
Text is that immaterial vehicle that carries Ada Milea’s humor from stage to the auditorium, to the audience. The rest is performance. To be more precise, it’s a concert- performance and it’s called „Apolodor”.
A production of the „Lucian Blaga” National Theatre, Cluj-Napoca, “Apolodor” is newly dressed and has been selected to the 25th edition of the National Theatre Festival.
Ada Milea about “Apolodor”.
An interview by Florina Tecuceanu
Is this version of “Apolodor”, staged at the “Lucian Blaga” National Theatre, Cluj-Napoca in 2015, a lot different from those we know and that were performed on various stages? What’s new in it?
Ada Milea: Except for the “skeletons” of the songs, everything’s new. We have characters that do not exist, characters that were imported from other shows, lots of percussions, shadow animations on a screen (that’s the only place where we see the characters we describe in the songs). The penguin is not small and loveable, he’s big and angry. He plays the freezer, noisily opening and closing its doors.
And I hope that the fact that we have this appearance of the Pirate, from “The Island”, another show of the National Theatre in Cluj, is a proof that we do not betray the surrealist spirit of the poet Gellu Naum.
“Apolodor” has “circulated” a lot. Where did you perform so far?
Old “Apolodor” did travel quite a lot in Romania. The English version was presented in London, Stockholm, Vienna and Paris. And there is a German version, sung by the students of the Akademie Athnanor, lead by David Esrig.
How much of what you do on stage is music, and how much is theatre?
I think I have a brain for theatre, but since it’s not that good…it started dressing up its ideas by the available means.
Your humor sparkles when in contact with “benign”, unexpected texts. How do you choose them?
I don’t choose that much myself. Directors want songs for their plays. My choices were just these four: “Apolodor”, “The Island”, “Quixote” and “Alcohol- the book”- I don’t know how I made them.
You acted in Radu Afrim’s „No Mom’s Land”, „America Knows Everything”, „Why Does the Child Boil in Polenta?”. Is the collaboration with a director useful when it comes to enriching your own shows?
Sure! My concerts are filled with the songs composed for the theatre.
You have chosen a very original form of expression. Why this way?
I didn’t think of the choice I was making. It just happened to express things the way I do and to enjoy the joy of those who enjoy it.
What about Ada Milea, the schoolgirl? What objects did she like?
I was banal. I started “being alive” in high school, when I joined the theatre group at my school. I liked the objects that were NOT important in the “science” department, where I was studying.
How can you create quality humor without too much stage movement, a minimalist set design, just with your voice and you guitar? How do you define humor, from this point of view?
I have confidence in words and in audiences. The rest is diligence. I play, I arrange and rearrange the words in my thoughts until I break out in laughter. My humor is a game of diligence.
What do you read? What films do you watch? Whom do you admire?
I read and I see more than I like. I admire shamefully many people. I’d better remain silent.
What projects do you have for this fall?
I work on a concert with Mr. Bălănescu and songs for theatre performances directed by Mr. Dabija and Mr. Măniuţiu.
September 6th 2015