The theatre conferences which were held during the International Theatre Festival in Craiova have spoken about a theatrical reality of approaches.
Diversified and with diversifying prospects at a full range, the staging of Shakespeare’s works regard the greatness of the English author, as well as the reflections of his re-composers.

Moreover, without it being explicitly emphasized, the tendency towards substance (not appearance, beware) which is revealed by researchers, innovators and observers from the theatre’s upper stratum can be reduced to the following ideas:

The theatre is an engine for a continuous (and not necessarily original or current) discovery of identities, of factors which constitute a man, of a relationship; it reveals the transcedency, as well as the more or less significant questions concerning the human being.

Specifically, theatre consists in a mutual process (both for the actors and the audience) of intrusion into “intimacy”.

* In the present context, the definition of intimacy brings out important hypothesis: the space we arrogate to ourselves as being intimate is increasing because of the alienation from the concrete “other”, in favor of a stronger proximity to a virtual “other”. The illusory, seeming infinite assigned by this virtuality expands the intimacy to the point of embracing the entire universe.

However, the participants, both actors and spectators, take possession of the succession of actions and re-actions, which loosen the tight (only apparently immense) circle of intimacy and make contact possible. More precisely, the contact we reach in theatre (when it respects its accurate dimension) invades, almost subversively, our own intimacy and the intimate space within the group (a so-called joined intimacy) so that it allows for the experience to be remarkable, almost luxurious. To conclude, it is about the experience of a man related to what defines him best: alteration.


traducere realizata de Adriana Mihai

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