by A.P. Cehov
translated to Romanian by Maria Rotar
director: Roberto Bacci
dramaturgy: Stefano Geraci
set and costumes design: Adrian Damian
lighting designer: Jenel Moldovan
assistant directors: Maria Rotar, Francesco Puleo
set and costumes design assistant: Florin Călbăjos
coordination of the illusionist sequence: Florin Suciu
stage manager: Doru Bodrea
lighting assistants: Alexandru Corpodean, Mădălina Mânzat
sound technician: Marius Rusu
sufleor: Ana Maria Moldovan
This innovative and impressive approach to Chekhov’s The Cherry Orchardmarks a double celebration: 110 years since the play’s premiere on 17 January 1904 at the Moscow Art Theatre, directed by Stanislavski, and at the same time, 110 since the playwright’s death (2 June 1904).
A symphony in white would be the proper name for this orchard because the stage is inundated by the color white: transparent white curtains which circumscribe the performance spaces, white flower petals fill the cherry orchard, being scattered both on stage and on the runway that leads to the auditorium. The auditorium chairs are also white, thus allowing the spectators to take part in the characters’ inner struggle. The only dark shade in this décor is represented by Lopakhin, the man of the matter, whose existence is divided between the practical world of the newly rich, and the world of the orchard, a world of gratuitous beauty. The orchard represents the melancholy, the past and the tranquility of the traditional world, a certain calmness, the harmony between man and nature, to which Lopakhin’s modern, merchant-like, attitude appears as foreign and strange. The orchard belongs to a lost past, it is the orchard of the dead. The orchard re-echoes sounds, noises, nostalgia and disillusion which are all too familiar to every one of us.
Roberto Bacci is Artistic Manager and founder of Fondazione Pontedera Teatro in Italy. Fondazione Pontedera Teatro, which uses this name since 1999, was established in 1974 as Centro per la Sperimentazione e la Ricerca Teatrale (The Center for Theatre Experiment and Research). Inspired by the Living Theatre, its founders created “a theatre which was needed by very few at the beginning, handmade, poor and megalomaniac, but envisioned for a large scale; isolated, at the beginning, in the little town where it started, but starting connections with theatres from a great distance (first of all Eugenio Barba’s Odin Teatret and Jerzy Grotowski’s Laboratory Theatre)“ - www.pontederateatro.it. Since 2002, Fondazione Pontedera Teatro is the theatre coordinator of Fabbrica Europa Festival, the most important and well known Contemporary Art Festival in Toscana.
Roberto Bacci is the one who, in 1985, together with Carla Pollastrelli, invited Jerzy Grotowski to Pontedera, in order to create an Institute in which he could undertake systematic research. Since 1986, Grotowski moved to Pontedera where he established, the same year, the Workcenter of Jerzy Grotowski, and where he remained until his death in 1999. Roberto Bacci worked at numerous theatre productions, in Italy and abroad, together with renowned artists such as Peter Brook, Anatoli Vasiliev, Raul Ruiz, Sanjukta Panigrahi, Julian Beck and Judith Malina. Between 1978 and 1987 he was the Artistic Manager of the Santarcangelo di Romagna International Theatre Festival, and between 1990 and 1998 he was the director of the International Festivals Volterra Teatro and Passaggio a Pontedera (the last one known since 2000, as Generazioni). Roberto Bacci is a Theatre Studies graduate with the thesis “Theatre and Alchemy” about Eugenio Barba’s performance at the Odin Teatret, “Min Fars Hus”. Since 1976 he directed numerous productions, at Piccolo Teatro di Pontedera and Compagnia Laboratorio di Pontedera. His performances were presented in Europe, Latin America and the Middle East. This is the Italian director’s second collaboration with the Cluj Napoca National Theatre. Two years ago, Roberto Bacci directed in Cluj Shakespeare’s Hamlet, a highly successful production, currently in the repertoire of the Cluj Napoca National Theatre.
50 lei, 40 lei, 30 lei, 20 lei, 10 lei (depending on the seat location);
10 lei - discounts for pupils, students, pensioners.
„Câteodată trăieşti cu impresia că Roberto Bacci şi-a dorit să genereze nişte fotografii scenice, o suită de imagini de album. Asta, pesemne, şi cu gândul de a sublinia că toate, mai toate personajele din Livada de vişini, sunt fantome, năluci, fiinţe ale trecutului. [...] Livada de vişini de la Teatrul Naţional din Cluj-Napoca e, fără doar şi poate, spectacolul unei tinere generaţii de actori. Cei mai mulţi dintre ei formaţi la Facultatea de Teatru şi Televiziune din Cluj.“
„Timpul vişinilor ar putea fi denumită succesiunea anotimpurilor prin care trec livada şi eroii săi. De fapt, este timpul nostru; livada suntem chiar noi. Ne înconjoară un murmur continuu, zgomote ciudate, vocile celor dispăruţi. Celebrul sunet al coardei care plesneşte trist, stingându-se încet, nu mai vine din depărtare, ci se aude mut, violent, în vintrele personajelor. Finalul nu mai aparţine topoarelor care lovesc în vişini, ci oamenilor cu drujbe, care distrug livada. Plouă peste noi cu petale albe şi un miros de hârtie arsă ne învăluie. S-a mai dus o lume.“