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Reviews
- The Bacchae |
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| Radu Tudulescu – Dionysos and His White
Flubber |
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| ...This is a production with a powerful emphasis
on the visual side, approaching almost the state of a theatre of reflections,
with moments that belong to the world of fantasy on the highest possible
level, which makes a deep impression on the spectators. For instance
the wall which "absorbs", sucks in heads, bodies, or through
which appear hands, heads, feet and bodies, without leaving a trace,
as though this were a wall made of water. |
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| This play is like an intoxication, but one that
is extremely well worked out, performed as a near explosion, a true
drunkenness in which everything is permitted because everything is
done elegantly, even the murder, and I have to conclude at this point
when I feel myself being captivated by the drunken flow of words and
that's a dangerous thing… |
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| Mirna Runcan – Dionysian Ambiguity |
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| [David Zinder's] productions are characterized
by a clear precision, which is at the same time, dedicated and filled
with love… |
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| …the performance is the fruit of cooperation
with the designer, Miriam Guretzky, who also created the impressive
space for White Fire/Black Fire, which resulted this time, too, in
a chromatic unity and style of the entire ensemble… |
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| [the highlight of this production rests on the]
polished expressiveness of the work with the actors, on a personal
level and on the level of the ensemble; at the same time it may also
be the result of a certain musicality attended by many question marks
relating to all the ideas, a musicality that belongs directly to the
aesthetics of the investigative interpretation of the 70's which melted
down in the direction the cultural reference during the process of
developing the vision, as it is not just simply portrayed, but uses
employs it to manage the entire web of meanings… |
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| …The pace of the performance is so vital
that it is only with great difficulty that I can describe the dazzling
variety of events that construct the subject that is shown to us onstage… |
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| ...Zinder's Bacchae is a death-festival of ambiguity
within which the cruel and wild revenge of a Dionysos – neither
a god, nor a man, a god and a man – writes his story in circles:
the theatrical god, the androgyne, destroys his human genealogy, every
character is truncated and reflected in itself since it is deformed,
tries and succeeds to kill in a savage fashion the holy animal within,
while at the same time eradicating symbolically and physically all
signs of power (masculinity, secularity). Dizzying and economical
to the point of transparency, crazy and precise as a Swiss watch,
the play grabs you, terrifies you and charms you. Even if you are
aware, as I was, that the performance is more like a lesson in the
history of theatre, it is very clear that this is a perfect lesson. |
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