artć + societate / arts + society #38, 2011 20 lei / 11 €, 14 USD - idea

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70 The façade of the National Theatre, with the windows from NCDB stuck with the letters from the word “OCCUPIED”, April 2011, photo credit: Eduard Constantin Sala Rondæ, the former room for the shows performed at NCDB, now with its walls turning into a pile of rubble, 10 April 2011, photo credit: Eduard Constantin Dancers during the 24h marathon at Occupied NCDB, 9–10 April 2011, photo credit: Eduard Constantin The banner with NCDB under question mark, after it was used for a manifestation in front of the Ministry of Culture, photo credit: Eduard Constantin Occupied NCDB during the 24h marathon, general view, 9 April 2011, photo credit: Eduard Constantin Mædælina Dan, the initiator of Occupied NCDB, during the 24h marathon, in front of the graffiti written on the walls by Miliflia Spiritualæ, a group of civic action which used the space of NCDB as their office during the occupation weeks; 10 April 2011, photo credit: Eduard Constantin Caragialiana Live, a living sculpture performed by choreographers from NCDB and others, at the initiative of Alexandra Pirici, as a protest for the public money spent on the monument in front of the National Theatre, while the institution of NCDB is evicted from the Theatre without being given an alternative space; 24 March 2011, photo credit: Eduard Constantin
Spectacolul reia, recicleazæ, reøapeazæ øi deturneazæ ultima coregrafie a lui Mihai Mihalcea, Surfing Twisted (E)motions, a cærei extrem de scurtæ viaflæ s-a consumat în cadrul Platformei Dansului Contemporan din septembrie 2009 – „logoul“ Platformei fiind „Bæi efemerule!“. „Distribuflia“ respecta aceeaøi formulæ femininæ de cinci (dar cu Cætælina Gubandru øi færæ Iuliana Stoianescu) øi pornea de la o versiune intens prelucratæ a partiturii lui Stravinski din Le Sacre du printemps (Ritualul primæverii), consideratæ un fel de probæ de foc a dansului contemporan, pentru care are acelaøi statut sacru ca Lacul Lebedelor sau Giselle în dansul clasic (trebuie spus cæ, aøa cum suna în varianta din Surfing... (E)motions, sursa originalæ era greu de recunoscut). Prima creaflie a lui Mihalcea în România de la înfiinflarea CNDB încoace (care avea sæ fie øi ultima) a fost væzutæ, dat fiind contextul, de foarte puflinæ lume; înainte, fuseseræ Vii la spectacol øi primeøti un extraburger (un performance cu alcætuire variabilæ, realizat împreunæ cu actrifla Mihaela Sîrbu), în 2002, øi Stars High in Amnesia Sky, în 2003, despre moøtenirea comunismului ca experienflæ corporalæ øi corporalizatæ, iar în 2009 a lucrat la Teatrul Silezian al Dansului din Bytom (Polonia), pentru spectacolul My Song, Best Shoes, the Cake, First Flight, My Friends, the Passport, and the Work I Do... (în care revine asupra temei corporalizærii trecutului personal, care amprenteazæ prezentul). În Bun-ræmas!..., Farid Fairuz renunflæ la proba clasicæ a baletului lui Stravinski, la care se autosupusese Mihalcea, în favoarea unui melanj de kitsch, grotesc øi sublimare a unei stæri sociale-limitæ. E un fel de trecere la etapa „scuturærii podoabelor“. Le Sacre du printemps e „povestea“ unui ritual pægîn, în care o tînæræ este sacrificatæ zeilor noului anotimp de cercul bætrînilor înflelepfli ai comunitæflii, dinaintea cærora fata danseazæ pentru ultima datæ, iar Surfing... (E)motions construia o lume profund sælbaticæ, îngropînd în corpurile dansatoarelor instincte magice primare, o plasæ deasæ de gesturi obscure, fals profetice, din magma cærora se ridica nu speranfla unei veri bogate, ci o mlaøtinæ færæ speranflæ. În spectacolul lui ulterior, Farid renunflæ la metaforæ øi le oferæ, în schimb, celor cinci performere identitæfli similificflionale concrete de ghicitoare-descîntætoare, cu trimitere directæ cætre parazitarea cu atitudini obscurantiste a spafliului public autohton: Sybilla, Carmen Hara, Vanga Dimitrovna, Mama Shipton, Mi-Fei. (Ca teaser pentru Bun-ræmas!..., cu puflin înainte de premieræ, lumea virtualæ a fost agitatæ de scandalul unui conflict între Farid Fairuz øi directorul CNDB, Mihai Mihalcea, care l-ar fi dat afaræ pe Farid pentru cæ ar fi încercat sæ populeze Centrul cu ghicitoare øi alte fiinfle cu orientæri ezoterice. Farid însuøi a trimis, pe Facebook sau e-mail, mesaje cætre un numær impresionant de oameni din artele spectacolului, cerîndu-le sæ ræspundæ la un chestionar despre tentaflia spre supranatural øi parapsihologic a societæflii româneøti.) Cu o apariflie fizicæ pe care o pæstreazæ la toate participærile sale în carne øi oase (pærul øi barba, lungi, negre, zburlite, eventual øi trena aurie, øi vocea transformatæ, vorbind cu accent, între arab øi idiø), Farid Fairuz e stæpîn peste aceste spirite invocate, în a cæror costumaflie, de astæ datæ, se amestecæ kitsch-ul, sclipiciul, blænurile, tocurile øi resturi de obiceiuri naflionale (fota), plus invariabilele peruci. Spectacolul e în mod calculat ilogic (cæci pune în acfliune comportamente inconøtiente generate de impulsuri ale sistemului limbic, nu are o coregrafie precisæ, ci una marcat performativæ), dînd o senzaflie puternicæ de transæ colectivæ. De fapt, Farid pune în scenæ un coømar social, o abulie în grup, punctatæ de reminiscenfle ale unor traume la fel de colective („Cine-a tras în noi/dupæ 22?“, „Jos Iliescu!“, „Moldova nu-i a mea øi nici a voastræ...“, scandeazæ ghicitoarele; reciclarea în sens contemporan a tradifliei cultural-istorice naflionale îl preocupæ intens pe Farid Fairuz), într-un fel de divertisment-hemoragie de-o schizoidie absolutæ. Aspectul hilar a ceea ce se întîmplæ pe scenæ e total (una dintre vræjitoare caræ fum: cu geanta, cu punga, cu ce-o fi, toate se tævælesc pe jos, întind cabluri, se dezbracæ – erotismul ieftin cu care e asociatæ ideea de „spectacol“ în România e øi el de un scena My Friends, the Passport, and the Work I Do..., in which he also comes back to the subject of the bodily experience of personal past, leaving its trace on the present). In Farewell!..., Farid Fairuz gives up to the classical test of Stravinsky’s ballet, which Mihalcea submitted himself to, favoring instead a mélange of kitsch, grotesque and sublimation of a social status on the edge. It is a sort of passage to the stage of “shaking the adornments”. Le Sacre du printemps is the “story” of pagan ritual, in which a young girl is sacrificed to the gods of the new season by the circle of the wise old men of the community, in front of whom the girl dances for the last time, and Surfing... (E)motions had built a profoundly savage world, implanting in the bodies of the dancers basic magical instincts, a dense net of obscure gestures, faking prophecy, from the magma of which not the hope of rich summer was raising, but a hopeless swamp. In his later show, Farid gives up the metaphor and instead offers to the five feminine performers semi-fictional and concrete identities, turning them into fortunetellers and witches, thus directly hinting at the parasite obscurantist attitudes from the local public space: Sybilla, Carmen Hara, Vanga Dimitrovna, Mama [Mother] Shipton, Mi-Fei. (As a teaser for Farewell!..., a little before the premiere, the virtual world was agitated by the scandal raised by a conflict between Farid Fairuz and the NCDB director, Mihai Mihalcea, who had presumably kicked out Farid for trying to populate the Centre with fortunetellers and other esoterically-inclined creatures. Farid himself sent, on Facebook and e-mail, messages to an impressive number of people from the performance arts, asking them to answer a questionnaire about Romanian society’s temptation towards the occult and the parapsychological.) With a physical apparition that he keeps for all the occurrences he takes part to (his black, long, hirsute hair and beard, sometimes his golden cape, as well as his transformed voice with the accent between Arab and Yiddish), Farid Fairuz is a master over these invoked spirits, in which costumes, in their turn, are mixed the kitsch, the glitter, the furs, high-heels and remnants from national traditions (the folk costume skirt), as well as the constant wigs. The show is premeditatedly illogic, as it enacts unconscious behaviours generated by impulses of the limbic system, it does not have a precise choreography, being marked by performative improvisation and eventually conveying a strong feeling of collective trance. In fact, Farid stages a social nightmare, a group abulia, pointed by reminiscences of traumas just as collective (“Who shot at us/after 22 2 ?”, “Down with Iliescu!”, “Moldavia is not mine and neither is it yours...”, the fortunetellers are chanting; the contemporary recycling of the cultural-historic national tradition is what Farid Fairuz is intensely concerned with), in a sort of hemorrhagic-entertainment which is absolutely schizoid. The hilarious aspect of what happens on the stage is total, extremely familiar and scary at the same time – one of the witches is carrying smoke with a purse, with a plastic bag, with no matter what, they all titubate on the floor, they are spreading cables, they undress, as an insinuation to the cheap eroticism with which the idea of “performance” is associated in Romania. These are the limits of Romanian public space’s expectations from the spectacle – Farid insists. The fact that the homage brought to him by Alexandra Pirici was a karaoke-played song of Amy Winehouse was not a playful addition to the series of performances taking place at Occupied NCDB: Farid Fairuz is artistically inhabiting the universe of a popular culture which requires to be approached and attacked with its own weapons, pushed to the extreme, left without the make-up of respectability and turned upside-down as the only possible form of social critique. Notes: 1. Rahova is a neighbourhood at the outskirts of Bucharest, mainly with dormitory-blocks and known for its poverty. 2. 22 December 1989. 71
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artć + societate / arts + society #38, 2011 20 lei / 11 €, 14 USD - idea

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