Inspired by the play " And here we are facing thousands of dogs suddenly getting out of the sea" from the book "Imagine that you're God"
Dan Vasile's "Tartuffe", his second production on the Arad's theather stage is a triumph!
(Cristina Lazurca, "Glasul Ardealului")
The production has two layers: one about vices like bigotry, naivety, perversion, character defects, and one for the connoisseurs - namely the drama of the contemporary human nature's side slipping. Hence, in the spirit of this particular layer, the end of the play is altered - Tartuffe is a winner (nowadays the good is no longer defeating the evil), although in the original text Tartuffe was exposed and imprisoned by the king. Dan Vasile's Tartufee succeeds and obtains what he wanted and at the end lights a cigarette as a sign of his great satisfaction. The cigarette after...
The production shows the audacity of Dan Vasile. The allegories are clear. Tartuffe is a Mormon missionary - with backpack and badge, and of course with traces of English pronunciation. From the point of view of the intrigue the religion is not relevant - Tartuffe could be as well catholic or orthodox bigot or protestant or neo-protestant. Not the religion, but the message counts, which is best decrypted from the performance of the actors. The Bible could be replaced with electoral engagements or even the Constitution, and the missionaries with the campaingn members of any political party... (Andrei Ando, "Observator.info")
The persons evoked by Amalia in her family stories, the secondary themes - such as the condition of women, the relations within a couple, the homosexuality - recreate a strong image of the aberrant and repugnant communist regime. "Amalia takes a deep breath" is a veritable epilogue of thet period. (Eugenia Anca Rotescu, Liternet)
An extreme minimalist show about faith and love, about honesty and compromise in love. Aggressive, austere, with no futile aesthetic tricks, refined and sober, the play is a realistic contemporary palimpsest on a medieval mystery background. A text of surreal poetry in a world that’s growing more and more cynical. A theatrical experience that dismisses attributes like “pleasant”, “style”, “spectacular aesthetics” and addresses the inside of every spectator, the being that craves the Truth in a world polluted by relative truths. Almost a reading show by will, the show wants to reactivate the importance of the Word in theatre. Communication is drastically separated from the seductive visual, offering a wealth of resonating meanings to match the wealth of personal filtering within every spectator.
An unprejudiced vision of one of the best known Romanian comedies.
Perfume of luxury and oily railway... and lunch served on a piece of paper...
Balkan rhythms, crushed destinies, rudeness and poetry… in a show about our lives… in a laugh and weep kind of way.
A station like world with no doors or windows, with walls shattered by the cries of a muffled loneliness among bits of memories, a morbid curiosity masking the getaway from one’s own failure…
Dan Vasile invites the public to discover unknown values of the play. First his choice for the studio hall is quite extravagant, this hall being built for experimental theatre productions. The dimensions of this hall helped him to express the afflictive lack of intimacy of peple living in the small town between Sinaia and Bucharest. The surfaces are not delimited through white chalk lines, like in "Dogville", but through imaginary boundaries, particularly between the home of the professor and the rest of the world. The processing is not an easy one. Dan Vasile finds a plausible reason even for the oil lamp on the table of the professor Miroiu (Ioan Peter), although the action is brought forward to these days. Mona (Carmen Butariu) and Grig (Dan Antoci) are depicted as the couple of a young mistress and an old rich guy, without impairing neither the delicate intentions nor the comedy of Mihail Sebastian."(Cristina Lazurca, "Glasul Aradului")
"... a show in the acid, ironic and ruthless perspective of the director Dan Vasile. ... Sample of pure entertainment, of the best quality. The director permanently joggles with plans and conventions, introducing the spectator in a game that never ceases to change rules, which brings the audience delight and triggers its complete participation. Full of irony, self-irony, cynicism and coming close to kitsch here and there, yet never falling in its trap, the show captures its audience for 70 minutes of comedy.'' (Loreta Popa, National Journal, 2008)
An ingenious approach to the famous Paulo Coelho novel, a game of theatric conventions that suggest a self discovery journey can also be taken from… an armchair, going through a basic book! With characters coming out of the shower, from between hangers or kicking the fridge door open, images inherited together with the grandparents’ house or a collective subconscious reactivated by a moving reading… the secret behind the show is the formative role of reading in a world that is increasingly easy to satisfy with facile information.
“Life it's much more then we see in the movies and this play shows much more then we read in the book. The Alchemist played on stage finnaly has a meaning. Sandra Brown from inside the Paulo Coelho disapears like the man who became the wind.
" doru spectatoru" (Doru' - the audience)
“… the evening was a big success. And that was entirely the director’s merit, because he knew how to use that fact that the action was going on in a bar to create a relaxed atmosphere and so he managed to bring to the public a very difficult discussion about the crisis of the ageing man, about the deep prejudices that still hunt our society when it comes to sexuality and about the ‘liberation’ lived in a virtual space, e.g. the chat. The image of an insolent engineer slowly moving among the Green Hours customers on the music from “In the mood for love”, seems to ask for forgiveness, in a self-ironic manner, for all the harsh words the two exchanged. It underlined that this is the world we live in.” (Cristina Modreanu, The Thought, 2006)
“… the director noticed really well that not far from the characters’ skin there is an infinite ‘further’ of melancholy, of spleen as the fathers of symbolism would say, which lexical violence can really reveal. The science to dose it allowed for virtuosity on the part of the actors. (Doru Mares, The Cultural Observer, 2006)
“The director transforms the verbal aggression in tenderness and in a speech about the very human condition, in which the characters play, even accepting the perversion of convention, themselves… it makes “Chat” a probable peak of this season. (D.M., Free Romania, 2006)
“The pigments used by the director Dan Vasile accentuate even more the superfluous limit between theatre, life and play. The ace up the director’s sleeve is the quick passage between plans and the poetic and grave final accents that the absurd drama leads to. For in any good comedy, behind the apparent lack of seriousness of the play, there is a profoundly human layer and a carefully elaborated construction.” (Rusiecki Cristina, The Truth, 2007)