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Author & Director
Gianina CĂRBUNARIU
Visual identity
Maria DRAGHICI
Hungarian translator, assistant dramaturge
Kinga BOROS
Premiere:
October 14th 2009 |
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CAST |
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Virgil AIOANEI |
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Barna BÁNYAI KELEMEN |
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Katalin BEREKMÉRI |
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Carmen FLORESCU / Carmen Florescu |
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Mădălina GHIŢESCU |
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András KORPOS |
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Rolando MATSANGOS |
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Sebestyén ABA |
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Cristina TOMA |
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Klára TOMPA |
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| STUDIO YORICK - TARGU MURES (Romania) |
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The Yorick Cultural Association was officially founded on the 9th of June 2004, but this date was preceded by a long period of time in which we initially just toyed with the idea of forming such an association, in which an experimental theatre would officially operate, but in time this plan developed into being our most important goal – firstly, because we felt the need for a forum where the results of long overnight conversations, plans and debates could be put to good use. And this forum would need an assured and well-defined background: because of this, and thusly, was Yorick born The Târgu-Mureş Mayor’s Office has provided us with the basement of the Butchers’ Bastion, a space that is part of the Medieval Fort in Târgu-Mureş, where we can create our performances and events. |
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P E R F O R M A N C E...... |
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In 1990 (on March 19th and 20th) in Targu Mures clashes broke out between members of the Romanian and Hungarian community, in which people from both sides lost their lives and were injured. That information can be found by anyone who follows the traces of multi-ethnic conflicts also known as “The Black March.” The event is mentioned from time to time in a political speech, in which the message acquires different hues depending on the political party who mentions it. There is a lack of agreement about direct causes, development, consequences and the magnitude of the event. Without entering into an open dialogue, different perspectives defend their own truth and interpret, even after twenty years, the atmosphere and Romanian-Hungarian relationships at Targu Mures. In the municipal institutions, one could say that Romanians and Hungarians work against each other, not together. The youth most frequently attens different clubs and bars, reflected by their ethnic affiliation. History textbooks sporadically speak about the phenomenon of minority.
20/20 is a work that, by using theatric means, discusses the particularities of the cohabitation of Romanians and Hungarians, their bilinguialism and human situations, possible conflicts such as the clashes of March 1990. The communist dictatorship and the December 1989 revolution have inspired many writers, directors, film makers, while the socio-political reality after 1990 has remained insufficiently researched. For that reason, the Romanian/Hungarian ensemble of this play invited the city to be its co-author. Personal memories of more than fifty interviewed people represented the starting point of this play from not-so-distant past. The play does not intend to wield justice, to reconstruct the events of March 1990 or to create heroes. Fragmented situations, contradictory confessions point to the fact that there is no generally accepted point of view. What remains is the cruel, sometime grotesque truth of certain details kept in the memories of the inherited story, as well as a series of questions of the post-March reality.
20/20 – twenty years have passed since that March 20th. In ophthalmology 20/20 defines normal sight. The Yorick study focuses on the subject so we can talk about it in our native language afterwards. Just as the actors in the play do not speak only their language, but also the language of the other, risking to make a mistake. Everyone according to one’s own capabilities.
 The Play Programme |
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S E L E C T O R ' S...R E P O R T...... |
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Gianina Cărbunariu is a well known author and director of younger
generation, and this is the first time she is presenting herself to
the Serbian audience, with a very interesting play that speaks trilingually
about an event unknown to us in the Romanian town
Targu Mures, mainly inhabited by ethnic Hungarians. In March 1990,
an interethnic conflict between Romanians and Hungarians broke
out, known as „The Black March.” There were victims on both sides,
and there was never an official version of the event, the cause was
never explained. The entire situation falls in the time of the interregnum
after the fall of the Nicolae Ceausescu government, and
this makes the story harder and crueler. The author of the text started
from interviewing the real participants in the event, and then
working with Romanian and Hungarian actors, in a very impressive
and original manner, making a reconstruction of the story about
the conflict that recalls what we experienced in the last twenty
years with consequences we still feel today.
Nikola ZAVIŠIĆ |
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GIANINA CARBUNARIU, author & director
Born in 1977. Studied Romanian Language and Literature at the University of Bucharest and direction at the National University of Performance Arts in Bucharest. She earned an M.A. in dramaturgy in 2006. She is a founding member of the troupe “DramAcum.” She received scholarships for dramaturgy training in Wiesbaden, London, Valencia. In 2000 she received the First Prize at the international dramaturgy competition under the auspices of the Ministry of Culture for the text Unrealities from the Near Wild East. Her theatre pieces Stop the Tempo (2003) and mady-baby.edy/Kebab (2004) – she set herself in Teatrul LUNI from Green Hours and Teatrul Foarte Mic – These Guys Look Like Our Parents (2005) were translated, published and performed in Germany, France, Ireland, Poland, England and Italy. Her plays have participated in distinguished European Festivals – Wiesbaden, Torun, Moscow. |
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I don’t know how the play was received in Targu Mures, but it seems to be that the Budapest audience and the participants of the international conference “20 Years Later” understood it was shameful, since in the 2009th year of their Christian history people can still be intolerant and slaves of prejudices, so blind and stupid. Gains do not always bring pleasure. If they at least incite reflection, then it’s good.
Alice GEORGESCU, Dilema Veche
I cannot decide whether to call it humanistic or social, and I don’t want to call it socio-humanistic, it is a matter of the influence of such a subject on the audience effectively facing all the problems the play imposes: when you are laughing, you are looking whether the other ethic community is also laughing...
Matias FAZEKAS, Observator Cultural
A historical play – not only for talking about history, about the close past, but also for stepping over something: over the silence, taboo, fears and the custom of the Hungarian, as well as the Romanian theatre, to enclose itself into its own culture.
Andrea TOMPA, Szinhaz.hu
The play is an invitation to become normal, lucid, and in the last minutes it even aspires to become a manifesto that resolutely rejects manipulation. (...) But 20/20 is a very good play. The best play by Gianina Carbunariu in the last few years. Every sequence has a significance, every sign is useful for the whole, the comical amazingly mixes with the dramatic, the directress does not adopt – which is good – a serious style, but she does not play without a meaning or without an investment. 20/20 is an excellent example of balance. An example of gradation of tenseness between reality and fiction. Every actor is not only necessary but also very good in his/her own play and capability to answer the needs of the whole. A sign that theatre stimulates general understanding.
Mircea MORARIU, Teatrul Azi |
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