În căutarea timpului trăit. Vol 1

From 1945 to 1990, Romanian communist totalitarianism extended its tentacles including to the most intimate corners of artistic life, especially in theater and film. In the theater world, for half a century the ideological strings have been wielded along the Radu Popescu-Valentin Silvestru axis, the latter's all-encompassing megalomania dictating discretionary, duplicitous and clientelistic the entire spectrum of the field, from the organizational charts of the theaters, the composition of repertoires and distributions to the combinatorism of critical reception and festival selections. After 1990, the return to the country of several (self)exiled directors, with great and undoubted international success, the media ubiquity of the legendary George Banu, the sunset of ATM and the flourishing of UNITER strengthened our conviction that, however, at least in the world of the Stage, the expected revolution took place. Marina Constantinescu's journalistic outburst took place exactly in the tornado center of this context. As with George Banu, we are also dealing in her case with the spectacular style of a spectacular personality. It is completely, body and soul, the antipode of commissary judicial criticism, completely hostile to ambiguous verdictmania and ideologizing Procustianism, behind-the-scenes snoring handled by politicizing agendas and equally hostile to the contortionist psychology of various "dogmas". Marina Constantinescu does not preach academistically, does not admonish professorically, falsely pedagogically, does not dictate apodictically in the line of political correctness (thanks to androphobic feminism). It does not seek to direct hierarchies. It respects good conservatism as well as enlightened liberalism, but cultivates critical empathy of identification, admiring support and emotional exfoliation, with a particular professionalism infused flamboyantly with confessional ardor and exemplary ethos. The exegetical virtues of her brilliant journalism plus the engaging histrionics are inextricably complementary to the skills of the complete theater man: grace to enliven stage events, the ability to coordinate national festivals and the comprehensive tenderness of televised dialogues (even if only the transcription of the "Nocturnes" from TVR would compose a volume worthy of the UNATC bibliography). For the exuberant leprechaun stage allure, emotional sequences and innocent indulgence do not exclude, but on the contrary, exuberantly include the moral code, a certain professional severity and analytical certainty. It was not for nothing that she felt so irrepressibly attracted to the baroque visions of Silviu Purcărete, where everything is focused in wonder. Finally, welcome, Marina, from the stage to the library. And from the dependent viewers, sincere grateful admiration for the generous tenacity of Mr. Emil Boroghină. Dan C. Mihăilescu