class="">George Ivașcu: “Theatre is my America”

Actor George Ivașcu (aged 46), the manager of the Metropolis Theatre, gave us an interview at the premier of the National Theatre Festival. We discussed at length, Bucharest had already descended into twilight until we reached a conclusion and it was autumn on top of it all.

An interview by Andrei Crăciun

What follows next has to do with theatre, with the Metropolis, the Festival, master Radu Beligan, but also with George Ivascu the man, and about how he fell twice bellow the line for acting, about what shall lie written on the tombstone of our man, about the Militari neighbourhood, about the Black Sea and other seas and oceans, about Don Quijote and Christopher Columbus, the favourite heroes of this dreamer that takes care of a Theatre.

The Metropolis Theatre has three shows in this year’s National Theatre Festival. Is that too much, too little?

It’s well enough, given that we only existed for seven years, counting this one.

Happy anniversary !

Thank you. To be invited and asked to play in the National Theatre Festival, that means our strategy ,the repertoire are both alright, since we managed to enter the category of the most important shows of the NTF. I think the selection manager and artistic director, Marina Constantinescu, who had the kindness, compared to other colleagues of hers, to enjoy the premieres alongside us.

How was Marina Constantinescu as selection manager?

She seemed fair. She worked very hard, she went and saw many shows, she didn’t just hear about them. There’s a tremendous difference. And it makes me glad. It all boils down to how big you are in the guild. She managed not to have any parti-pris.

There will always be those who are not content.

It’s natural. But it’s important that she sought out balance and impartiality. There will be more bountiful years, and weaker ones as well.

In the past seven years, have there been better editions for the Metropolis?

They were good years, we grew bit by bit. There wasn’t any boom. We developed step by step. As far as the selection is concerned, this is categorically the best year, but it’s the crowning achievement of the 7 formative years.

So there was no accelerated growth.

And I don’t think it to be wise, because we’d get stuck with formalities, and the public deserves not to be deceived.

Your three shows are “Tartuffe or the Impostor”, “The Cello Lesson” and “The Human Voice”. Would others have deserved to be chosen for the Festival?

I’m sure of it, but it’s not called “The Metropolis Festival”. All jokes aside, my view is very subjective.

“Angels in America” ( note: the name of the show in which actor George Ivașcu acts)?

It was desired, it really was, but one of the actresses will not be in the country at the time. But I’m biased- to me, all the shows at the Metropolis are important. Why? Because I know them from their first few steps, when the project gets proposed, up to the ovations at the end of the premier.

And how is it to know the entire journey, to keep an eye on the entire process? I guess all of it was of little importance to you when you were just an actor.

Of no importance whatsoever.

Has the perspective changed greatly in the past years?

Yes, because you must take care of the show, you need to watch out for people’s sensitivities, their egos, it’s all part of the creative process. I understood that it, the creation, must become a cultural product.

Was it hard to come to terms with this reality?

I wouldn’t call it hard, necessarily. I don’t think of it as hard or not hard, I asked myself what I can really do. I rolled up my sleeves and I assumed this beautiful mantle- of building a theatre, a concept, a repertoire, things that will remain.

And now that I got you away from the rest of the workers, you’re also extending the building.

That’s what I’m saying.In the end…I don’t know how great an actor I am, but I do believe that my purpose in Romanian theatre was the one from these last years- of building a theatre. Sure, they were also the hardest years, sometimes unjustly so, sometimes I’ve had to sacrifice my acting life. I used to be one of the most called upon actors in Bucharest. I used to play everywhere and enjoy it. Now I have no time for myself.

Have you sacrificed George Ivașcu the actor? Is it him you’ve cemented in the walls of the Metropolis?

Yes, yes. Up until the guiding words of my professor Gelu Colceag or of Tocilescu, may God rest his soul, my good friend Toca, there were three years in which I stopped acting. At all! Of my own will, I decided that my administrative duties are more important. Evidently, they were angry at me and it’s well that they did. It’s not a good idea.

Is talent fleeting?

Maybe talent isn’t- especially in our craft, which is under public scrutiny and in which you work with vulnerabilities- fear. You become afraid. I admit whole-heartedly that following the 3-year break, I was afraid.

More afraid than you were when you began?

Much more. In the beginning you foster hope. Here you come with a background of expectations- either for or against. Not everybody loves you,it’s a very subjective profession. Expectations make you much more responsible. Fear, I admit, accompanied me following the years in which I stopped acting. I had played so much until then, and the pause was so sudden.

But the pleasure of acting has not gone away.

And it never will. Somebody who’s found a vocation in this craft cannot lose the joy of it. That’s the road I want to follow. And I want to do theatre as a marathon runner, not a sprinter. If you think about it this way, you miss a lot of the playing.

What good things arose from this break?

The Metropolis Theatre.

And for yourself, personally?

For me? A much more rational way of thinking. I was obliged to learn laws, to learn this and that, to learn, learn, learn.

Is it terrible to manage artists?

It’s not terrible at all. In order to avoid confusion, I don’t call myself a manager. I’m “an actor who takes care of the theatre”.

And how do people address you- “Mister actor who takes care of the theatre?”

No . They call me Director.

Well there you go !

But it would be rad for them to call me that. (he laughs) What an idea! When they bury me, the grave will also say actor, and never manager or anything else. There are standard norms in communication / they force you to keep things formal.

In strictly economic terms, is the Metropolis successful, is it profitable?

The proof is consigned to the activity reports. Last year we played for 250 days! Our greatest request is that of tickets. People always complain you can’t find any seats, that the phone is always busy. Each year, we exceeded our spending. We play often, almost every weekday, sometimes twice a day. It’s alright, yes.

How much does the special relationship between master Radu Beligan and the Metropolis count in this financial equation?

An actor with a body of work like that of master Beligan and like the other great actors who are either at the Metropolis or will be playing here count tremendously , in the sense that it gives credit to your institution. They don’t wish to enter an area in which you would be /as Caragiale used to say- so easily compromised. They feel the need for a place in which their name would be defended. The ones who surround the show here care about a certain standard, about quality.

What amusing memories do you have of Beligan? Something you could tell an audience. People look forward to this sort of thing.

I looked at how young master Beligan is…as you can see, my office is on the top floor. When he came over to discuss about the project of “The Cello Lesson”, I evidently told the doorman, out of respect for the master, to let me know when he arrives, so I can come down myself. And I had the great surprise to find that the gentleman had climbed up to my office, slowly, step by step, to look attentively at every detail around here. And as I like to honour the ones who played with us, to put up posters with the actors in the shows, and since the gentleman had never played at the Metropolis, he remarked that we had no photos with him. That’s what he said: “You have no pictures of me!”

Was that his first reaction?

No. It just came up in conversation. And I am extremely glad that the master came to play the amazing show that is “The Cello Lesson” . He was telling me about every detail he noticed on his way over. And I realised how attentive, how alive he is. There are people who come, do their thing and leave immediately, paying no attention to their surroundings.

They don’t see that there, in the corner behind me, are three diplomas from the VIP Awards, for instance.

They don’t. Precisely! And I saw the care with which he minded every detail. It’s probably why he has such a long career / he minded the details. Maybe that’s the secret, I don’t know. I still need time to figure it out. Amusing tales? It’s hard to say because the master charms through his personality and intellect. I was expecting to be overwhelmed by his personality.

He is not, then, a man who carries his statue around with him, he is just a normal man?

That’s what I’m saying, it was a natural relationship.

He doesn’t enforce any barrier.

In his relation with myself and the Metropolis, no. Not at all. It was a relationship based on warmth and friendship. He even attended the shows here, he liked what he saw and he grew accustomed with the place.

The Metropolis has nice energy.

It’s probably why he chose to have the project done here. The show must find its own time, and I think “The Cello Lesson” found his. It coincided with the maestro’s birthday- 14^th of December. Addition: With each show having its own cast, in a theatre for projects, like the Metropolis is, the hardest thing is to find a day and an hour in the schedule.

 

Each actor has other obligations, has something else to do.

You must keep in mind the schedules of the other theatres, because they come first, some actors being their employees. Then, each actor has other jobs, films and recordings to do. It’s hard. But each show finds its own time.

Will it be played on the 14^th of December this year as well?

Most assuredly. Yes.

Has it been announced?

I even spoke to the maestro. The most beautiful gift to an actor is to congratulate him for his birthday during the final stage ovation.

Has it happened to you?

No.

When is your birthday?

On the 15^th of February. I’m an Aquarius. It never happened to me. But that’s how I feel. Now, that you told me, I already think about the 15^th of February of next year. I believe every actor wants that- to clap, not to sing Happy Birthday.

How hard is it to do this once or even twice a day? I understand you’re the first actor to play two parts in a day in the 90’s ,so you must know.

Yes. It’s not hard if you fall in love with the story. When you like it and you’re in love you wish for a second time. You can’t say you’ll only meet love on Thursdays when you’re in love. No! You want to on Fridays and Saturdays as well, for breakfast lunch, dinner, at mid-night…You want it all the time!

Would you like to live this life of an actor who plays more roles per day, to run from theatre to theatre, as if you were 25?

Now I’m a bit tired. Instinct says no. I would like for more rest, to charge up more. I miss having time to read.

Have you seen other shows selected for the NTF, of the ones who are not played at the Metropolis?

Alas- as I was saying- I wish I had more time. I can’t make it to the shows, though I miss it! Today if there was I show I had to get to I couldn’t ,because I’m in a meeting at 7, and another one at 8.

What other shows do you act in, besides “Angels in America” and “Tarelkin”, in which you play a double role?

Nothing else.

Isn’t that a bit too little?

At 25, if you were to tell me “do you want to play two roles, major roles, but only two of them?” I would’ve said that’s too little. That was then. Now I say I wouldn’t want to get in the way of my colleagues. Given my schedule, I don’t want to have a show rescheduled because of me!

Did it ever happen that you got in the way?

I didn’t get in the way, but it feels unfair to my colleagues no to play because of me… The paradox is I have the power to decide! I said it’s better this way /that I don’t bother anyone.

How is it ,having the power to decide- did it change you? What bad things does it bring?

What does the power to decide bring, that’s bad?

Power of any kind. There must be some bad sides.

I told you I don’t call myself a manager, in order not to forget what’s important. You can get drunk off power, if you don’t look in the right mirror, if that mirror deforms you and makes you look taller… You bring no benefit to your good intentions, because your intentions are undoubtedly good. Everybody wishes for success, no matter what they say, you must contribute to the success of the show, of the project, and if you no longer know who you are…That’s why I say: I’m an actor who cares for the theatre.

You’ve also done something that isn’t so often done today. You also created a newspaper- the Metropolis Newspaper- not just a theatre. Why?

Because it seems unbelievable how many wonderful things are happening in Romanian culture, in Romanian art, and how many valuable people we have. And there aren’t any means through which to promote them, through which people can find out what those men and women have done. It seems unbelievable ! In any capital of the civilized world you go to, culture very highly-regarded! It’s culture that sells! That’s what it’s about. If I had the power to decide, I decided to create this paper, because we need it.

As proof, it worked, it’s working, it caught on, it was demanded.

There was great demand, and it’s working precisely because I want to know what’s going on in the country besides myself, what my colleague is doing, even if I don’t have the time to see his show. It’s a paradox that in the age of communication, of phones, we know so little. It’s not natural! In March, when we celebrate the Woman , the “First page actress!” segment enjoyed immense success! We have such superb actresses, who have a story to share, who’ve played wonderful roles and it’s exactly this homage to beauty, to giving one’s all, to career that we don’t promote? I’m sorry, but I think we might be idiots. It’s a shame not to tell these stories. I’m not an adept of imposing models by force.

I congratulate you, it was a good idea.

Thank you. And thank you for writing for us. I like that you write so beautifully. The first newspaper I read every day is the Metropolis. Not because it’s ours, but because it’s interesting. I have no influence, I don’t involve myself with editorial politics, I leave it to Dan Boicea (note: Editor-in-chief) ,what interests me is for others to express themselves, I’m already happy doing what I do. When I was a kid I was mad about buying the “Cinema” almanac. It had an entertainment section, where all sorts of things about actors was written, and it was superb for me to read such things!

You had models to follow.

I think this is also our meaning now, speaking of forming an opinion instead of deforming it.

Which actor did you like as a kid?

Charlie Chaplin. I say this in order not to be unfair to the great actors with whom I’ve had the opportunity to play.

You didn’t get to play alongside Chaplin.

No, not Chaplin. And if I say Chaplin I won’t upset anyone.

It’s hard to object to Chaplin.

He weaved together drama and comedy perfectly.

I read ,in an older interview, that Don Quijote and Cristopher Columbus are your favourite heroes. How and why these two great dreamers?

I’m also a dreamer, in the sense that if I ever started dreaming it was because not everything that happens in reality appeals to me. Theatre is a dream oasis to me.

Is theatre a way of escaping reality?

Yes, it’s so “I’m going to the theatre, how cool!”. I always struggle with getting up in the morning. When I was a child, only grandma knew how to wake me up in a way I liked.

How did she do it?

She had this way of saying “George…” that made for such a warm wake-up. This surely contributed when I chose this job / in theatre you have rehearsals from 10 o’clock ,or , if you don’t have rehearsals you only work nights.

Theatre lets you have the illusion of absolute freedom.

At least during the time in which theatre meant a space of liberty and not libertines. We must know how to distinguish the two apart, in order not to achieve the other one. Yes, I am a dreamer! And for this reason, Don Quijote and Cristopher Columbus.

And what America did you discover?

Theatre. Theatre is my America. If you had asked quickly what I could replace theatre with, I wouldn’t know what to say. As any man, you can be disappointed, you can even blow it, big-time, but it’s all part of this beautiful journey of ours.

Did you ever blow it, regarding a role?

No. That’s for my colleagues to say. Some will answer yes, others will say I blew it with all my roles. It doesn’t matter. To me, the most important thing is that, being the way I am, at least I’m honest in my relationship with theatre. That’s why this America is so important. It’s such a vast expanse of land. I can’t say : “Theatre is this:…” .

How does it feel to die on stage?

It’s something every actor wishes for.

Not as a human, as a character. To die in the show, then to get up and go home. How is it when you’re dead there, in the story?

It’s peculiar.

Does it happen to you often?

Da. This great unknown- what happens next?- makes you ask all sorts of questions. Do you now what it’s like? After you “die” ,you also “stay dead” on stage. And you just stay there, a body, eyes closed, trying to hold your breath, for them not to see that you’re a character, and around you are people saying their lines, the story goes on. And that’s when you ask yourself if that’s how it goes in real life. Is it? / you’re just laying there and everything goes on? My great question is born in the few minutes after you “die”. You wish to die as often as possible in your career, because it also is a search in the area of life. Each role breeds new questions. It’s beautiful, this job of ours! Most actors have died at least one. It’s an opportunity. It’s great to be able to pose questions on Man.

When you were young, was the thirst for glory blinding?

The thirst of making something of myself. If you don’t have it then, when else?

It’s somewhat funny, of course, to begin wanting it when you’re 60.

It is. The youth must seek to make something of themselves. It’s natural.

You were- to make it clear to the younger of our readers- a Marius Manole of the 90’s

(laughs)

Or is he a George Ivascu of the 2000’s?

It was, all joking aside, a time in which I worked tremendously hard. I worked hard because I had the people to work with. I believe I am who I am today thanks to the people I’ve met- great artists, great actors, great directors. I am the sum of these meetings. It’s natural for young people to seek as many meetings as possible with people of value. It’s important, it shapes who you are. The key to success? There’s no recipe. The key to success is the thing which bring me back to my origins over and over- yes, I’m a boy from the Militari neighbourhood, who dreamed of being on TV, who dreamed of being applauded on stage. You’re not allowed to ever forget these things.

 

Photo: Petrică Tănase