Each day is different and unique in its particular way at the Sibiu International Theater Festival and this can only be a good thing as diversity is one of today’s long aimed subject. We have to be diverse in order to not get stuck in a routine that might lead to our paralysis. Theater and performing arts by all means help the body, mind and spirit to step out of the box of limitations and break into new world over and over again. What is new in a world that claims it knows it all? New for you is not new for me and the patterns of this subject vary depeding on the invidivual experiencing a performance. So, different, new and a feel good sensation over all at the second day of the most important theatrical festival of the year.
Octavian Saiu, theater critic and host of the press conference: The 23rd edition of the festival approaches a very generous theme which also demands a lot of responsibility – Bulding trust. Trust means the strength to dream and to support. It means the need to build in a space where everything is becoming increasingly relative. And perhaps, more than anything else, trust means this vocation of excelency that has been fueled during these 23 years. We are convinced that it will last forever. With such an ample, dynamic, intense suite of events, it emerges the need to ask questions and to get answers. This is the very nice begining of a series of meetings that are placed in the area of dialogue, communication, of free spirit.
Andrezj Welminski, actor, theater director, painter, Poland: If we can transform anything into emotions that is great. Culture is continuation. I think we understand it in a very holistic way. So, we can be inspired by modern artists and at the same time by an ancient art or works. It is not any break. We live in a kind of stream or river. It is the only way to understand each other, it is the only way of communication, because we are using meanings and memories. The memory is the medium. Witkacy, the other veru famous writer, the drama writer and philosopher first of all, he used to say that without memory we would be idiots. Without memory we couldn’t move further.
Amit Lahav, artistic director, performer UK: The Institute, the piece that we performed last night began as a sit idea. All Gecko ideas start with a sit, a feeling, a sense. And this seat was to do with care – how we care about eachother as human beings or perhaps how we don’t care. I felt like this was an important idea to explore. I felt like it was a political atmosphere around it in England especially where care is used in the media everyday in one context or another. It is used as a curency. I had the immediate feeling that it was a personal idea, that everyone has a sense or a sensibility about care and what this is. And then, it is an experiencial physical process o f slowly begining to explore the physicality of care or not care and allowing certain ideas to materialize, which can be technical ideas to try to understand what the world of the piece is. The first thing is to understand what the physical world is. We discovered quickly that there were some characters who were dysfunctional in some way trying to understand themselves and so it became as a juxtaposition to create a functional world. And this was the very first active landing and the there is a crafting journey to piece together what the functional world is.I’m trying to be as non-intellectual for the narrative for as long as possible. So it is trying to hold off the desire to intelectualize, because this is not the experience for the audience with a Gecko show.
Angelo Bonelli, theater director, Italy: The kind of work that we do is really connected with the environment, with the architecture, with the place that we stay. It is a way to make theater that involves the surrroundings, so staying in a nice place it is important to get that feeling and to create a performance that would be different in every place. It would be different in terms of the images, in terms of the feelings that the perfomers get from the surroundings. So, Sibiu is a very special city. Mostly we work in-between the earth and the sky. The part of the performance changes when they are lifting up. So the emotion that they get is very strong when they stay 17 meters high during the night with all the town under their feet. They can dance that kind of feeling in order to give it to the audience.