13 November| 21:00 – I.L. Caragiale National Theater Bucharest, Ion Caramitru Hall (Big Hall)
Just as Artaud confesses, The Cenci is „a barbarian topic, outside of time, whose realization must leave both actors and audience exhausted.”
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After: P.B. Shelley and Stendhal
Translated by: George Banu
Cast:
Cenci: Călin Chirilă
Camillo: Doru Aftanasiu
Andréa: Ionuț Cornilă
The Maid: Haruna Condurache
The Jester: Mălina Lazăr
Béatrice: Ada Lupu
Orsino: Horia Veriveș
Lucretia: Petronela Grigorescu
Giacomo: Pușa Darie
Bernardo: Diana Roman
Prince Colonna, Assassin: Radu Ghilaș
The Officer: Andrei Sava
The Pope: Diana Chirilă
Executioner, Assassin: Dumitru Năstrușnicu
Courtiers: Valentin Mocanu, Constantin Grigorescu, Fabian Toderică, George Gușuleac, Flavius Grușcă, Marian Stavarachi, Ionuț Cozma, Cosmin Puțanu, Robert Agape, Marian Chiculiță
Directed by: Silviu Purcărete
Set design: Dragoș Buhagiar
Original music: Vasile Șirli
Assistant director: Radu Ghilaș
Assistant to set designer: Anda Pop
Producer: Vasile Alecsandri National Theatre, Iași
Duration: 2h 10min (no intermission)
General audience
Performance in Romanian with English subtitles
https://www.teatrulnationaliasi.ro/stagiunea/-Antonin-Artaud.-Familia-Cenci–276.html
Cenci and the time regained
Artaud is an author for young people. A Romantic of the Renaissance, an incendiary waiting for a miracle, not unlike the great malcontent like Byron or Büchner in the beginning of their lives (…).
Cenci is the work of a torn individual. It is the failure of an Icarus… and I am highly delighted with its unexpected appearance on the Iaşi theatre stage. Forgotten elsewhere, here it is revived. A unique restorative gesture. The title of Artaud’s book, Le théâtre et son double/ Theatre and its double, has long remained an enigma. Now I understand that he, the Great Inquisitor, was also the great lover of the stage. Reversing the general belief, Artaud turned “life” into the double of theatre, the volcanic center whose energy offers to irrigate our lives. From the association “love and dislike of theatre” came his immeasurable faith in its regeneration. That is why young people, more than anyone else, are the ones who need it. The same happened to me once. Rebellion is a testimony of beginnings… a kind of optimism. And its memory, a present consolation. (George Banu)
Photo credit: Albert Dobrin
