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Bloody wedding

By: F.G. Lorca

Directed by: Andrei Măjeri

Duration: 110 min

Music: Katalin Incze

Genre of the show: Drama

Translation: Andrei Măjeri și Adina Lazăr

Decoration: Irina Chirilă

Costumes: Irina Chirilă

Assistant Director: Adina Lazăr

Choreography: Flavia Giurgiu

Musical illustration: Andrei MĂJERI

Orchestrația și pregătirea muzicală: Katalin G. INCZERegia tehnică: Cristian PETEC

Light design : Dodu ISPAS

Makeup design: Minela POPA

Master of Sound: Valentin PÎRLOGEA

Photo credit: Florin CHIREA, Albert DOBRIN, Kleiner COSMIN, Bogdan DĂNESCU

"Range. Set. Match. In a world ruled by the specters of extinguished loves, “Fire ignites fire! A small flame kills two ears," the whole field consumes it. The show Blood Wedding constantly relies on strong characters, taking the audience as witness to a community where honor is the center of the canon and where the "civilization of the show" becomes a catalyst for passions and struggles. "Man fights as long as he lives" Federico García Lorca tells us through the voice of the Fiance's Mother. The tragic Andalusian landscape is resemanticized and essentialized, becoming a tennis court, which universalizes the story, helping to create a mythology of its own. The past comes to bite the neck of the present. The dreamlike elements are constantly mixed with the love story. The heat and the sun resist the intrigue until the moon and the cold come to dominate the cosmos of this wedding. We propose a show-competition, where humorous and dramatic moments follow each other with the virtuosity of rocket hits. We invite you to be part of the wedding procession, and to arbitrate from the stands of this field the blows of love." (Andrei Măjeri)

Poet, prose writer and playwright, Federico García Lorca (1898-1936) is one of the most popular Spanish writers of the 20th century. Addressing essential problems of existence, Lorca's theater is emblematic of the poetic theater of Castilian expression, developing around some main symbols - the blood, the knife, the rose - placed in mythical spaces or in the space of transcendentalized realism. One of the famous pieces of universal dramaturgy, Bodas de sangre (1933) is the work that marks the moment of plenitude of the playwright Federico García Lorca. The bloody wedding is an impossible love story, re-editing the story of unfulfilled love in Romeo and Juliet hundreds of years away. Director Andrei Măjeri creates a vibrant show, dominated by the passionate Andalusian world, with gypsy songs and flamenco rhythms, to the tunes of Chavela Vargas and Lola Flores. The conflict is fueled by the troubled past of the families, but above all by the overwhelming presence of destiny. The universal theme of love becomes emblematic, as the guiding thread of the show, but themes such as the passage of time, the rituals of life, choice and fate are also important. A young woman, two men who love her and a destiny stronger than the rules of society. The passion of love dissolves moral and social barriers, scorching their lives. (Haricleea Nicolau)

Chronicles:
The big surprise of the show, compared to the productions seen with this text, seems to me to be in the cast itself, where the role of the Fiancee was entrusted to a corpulent actress, Raluca Păun, a fact meant to counterpoint the traditional image of the young and attractive bride who triggers the passion and death of her lovers, which also implies a deeper and more subtle perception given by the director to the play and its plot. In this context, we can decipher an interesting and exciting balance between the echo of elements from the ancient theater, related to fate and destiny, to the premonition of death, or to the presence of the collective character (chorus, groups), on the one hand, and on the other hand, the signs of the modern vision of the conflict, of the integration of the musical-choreographic vein in the stage discourse, of the psychological construction of the characters and of some relationships related to corporeality and expressiveness. Some of these aspects may not be alien to the current concerns of the director-doctoral student on topics such as "theatricality of segregated groups" or "anatomy of the collectivity and psychology of the human body" (...)
The merits regarding the freshness and viability of the staging, together with the refinement of the theatrical-musical-choreographic construction made by a stage director with obvious musical skill, also belong to a good extent to the orchestration of the dialogue between the generations of performers, from those with rich professional experience, as Mirela Cioabă (Mother), Gabriele Baciu (Mother-in-law), Anca Dinu (Neighbor) and Adrian Andone (Fiancée's Father), up to the slightly younger, but very talented, led by the excellent actresses Raluca Păun (Fiancée) and Romanita Ionescu ( Leonardo's wife) followed by Alex Calangiu (Leonardo), the tandem Monica Ardeleanu (Death) and Ștefan Cepoi (Luna), the trio Dragoş Măceşanu, Cosmin Rădescu and Cătălin Miculeasa (Tăietorii) or Corina Druc, Costinela Ungureanu and Haricleea Nicolau (Servitors).
Ion Parhon, „Semne de primăvară în Bănie”, Scrisul românesc, nr. 2/2017

"The bloody wedding imagined by Andrei Măjeri encapsulates the iconic universe of Federico Garcia Lorca, poet, playwright, director and is both an exercise in admiration and meta-theatricality. (…) Andrei Măjeri's staging uses a structure of confrontations, of opposing camps, but amplifies the effect through musical performances. (...) The rhythm of tense situations maintains its intensity until the end, in the paired scene of the curse, the symbolic death, the withdrawal of the Mother is supported by the tragic lament "En un rincon del alma", Mirela Ciobă in a memorable role. (…)
Lorca, inspired and conditioned by the theatrical context of his era, is the creator of exemplary female characters and along these lines Andrei Măjeri's Wedding offers exceptional female performances (Mirela Cioabă, Monica Ardeleanu, Raluca Păun and Romanita Ionescu).
The Blood Wedding is the result of a detailed reading, a splitting of Federico Garcia Lorca's theatrical code in a vision that dynamically and personally recomposes theater as sensory art, with chromatic games and impetuous sonorities, infusions of mythology and Spanish popular culture without altering the core dramatic of the phantasms of unfulfilled eros.
Daniela Firescu – Spanish romance: la muerte, la luna and the phantasms of eros, "Ramuri", no. 3 / 2017

"Andrei Măjeri refuses to have a style" the young director declared about himself in an interview in 2015. But I, seeing images from the show Death and reincarnation in a cowboy, staged at the Cluj National Theater last year, was waiting to see, now, at the Bloody Wedding, the colors. Because he relies on a chromatic palette made up of pure, well-defined, not few and well-harmonized colors (…) This recombination of elementary forms in simple colors led me to choose a title referring to the famous game pieces, apparently a prerogative of young ages and of this time. (...) Andrei Măjeri reconstructs Federico Garcia Lorca's play. He does it like the fascinating architectural constructions made of Lego, universal and perennial, with local accents and touches. (...) Arriving at the cast, Andrei Măjeri has the gift of finding a balance in the stage involvement of everyone in the show. Each actor has a share of visibility and each one feels their importance as a whole. (...) The show surprises, oscillates or contradicts in some places. But it falls within the scope of theater for a wide audience that is offered a reference title in a modern version, with access on several levels.
Marius Dobrin – Hyper-LEGO, SpectActor magazine – no. 1/2017

"Majeri uses the clichés of interpreting the play, taking them to the extreme, towards caricature, but intersects them with the deconstruction and repositioning of the text in a contemporary symbolism. For example, Lorca's abstract characters, Death and the Moon, are represented by figurative Spanish prototypes/stereotypes: the flamenco singer/dancer and the bullfighter, both penciled in thick inks (excellent acting and musical performances by Monica Ardeleanu and Ştefan Cepoi) . (...) Andrei Măjeri simultaneously works in the meaning and against the clichés of interpretation (such as the mechanical deconstruction of symbols) And the casting of Raluca Păun in the role of the Fiancee denotes the director's intention to deny the stereotypes generated by the text. An actress full of strength and nuances, with a great comedic talent, Raluca Păun has a Rubensian silhouette that contradicts the pattern of sensuality and beauty in the representations of the character. The fiance (Claudiu Mihail) also comes out of the model of a good man, being rather his mother's boy, caressed and a bit stupid. The one who remains within the scope of the original drawing is Leonardo (Alex Calangiu), a very good "bad boy", impulsive and macho. His wife (Romaniţa Ionescu), a figure erased in the text, gains consistency in the performance and is transformed into a woman who anticipates the tragedy, which gives her a feverish state.
The bloody wedding is a live, tasty show, full of songs (arrangements after Chavela Vargas and Lola Flores, rigorously worked by Katalin Incze) and movement (Flavia Giurgiu does a funny choreography, in the sense of parodying the pathos), with a well-argued interference between the original romantic and ironic deconstruction. Andrei Măjeri intelligently imagined not only a current formula for a classical text, but also the process of de-cliching its interpretation."
(Oana Stoica – The bullfighter at the net, Old Dilemma, no. 682, March 16-22, 2017
http://dilemaveche.ro/sectiune/arte-performative/articol/toreadorul-la-fileu)

"Andrei Majeri operates a kind of temporal translation (hence Irina Chirilă's scenographic idea of transferring most of the actions to a tennis court), restricts the weight of poetic-folkloric references, proposing substitute measures instead. Predominant in this regard is the excellent, captivating musical illustration (we hear the voice of Lola Flores, we hear the voice of Chavela Vargas), but also the choreographic moments, imagined by Flavia Giurgiu. (…)
The show follows the ravages of fatality, of laws and social stratifications, of morality based on revenge, as many rules that remained unconquered by the advancement in post-modernity. Above all, however, the bubbling blood counts. And which takes its secret in the devastating madness of the revived passions between the Fiancee (Raluca Păun) and Leonardo (Alex Calangiu), but also in the honor avenged with the price of life by the Fiancee (Claudiu Mihail). (...) Andrei Măjeri's show is deliberately placed under the sign of impurity. A strong impurity, but at the same time deceptively emphasized with thick lines. The lines that fool you at first glance because they are asked to function as so many signs that the director has set out to remove Federico Garcia Lorca's play from under the too categorical auspices of realism, be it with a poetic touch, and of tragedy. Andrei Măjeri, however, goes even further and proposes to explore in more depth the sources of the tragedy."
(Mircea Morariu – Premieres in Craiova, Oradea and Bucharest / March 9, 2017 /
Adevărul.rohttp://adevarul.ro/cultura/teatru/premiere-lacraiova-oradea-bucuresti-1_58c0edda5ab6550cb8279fb4/index.html)

"An overweight fiancee contradicts the cliché of devouring desire embodied by classical beauty and is a declared intention to deconstruct the stereotypes of the representation of classical texts. Federico García Lorca's play, The Bloody Wedding (written in 1931), is also a classic, the tragic story of unbridled passion and honor washed in blood. With the performance at the "Marin Sorescu" National Theater in Craiova, the young director Andrei Măjeri sets himself a difficult theme, breaking out of the pattern of pathetic lyricism and resemanticizing the symbols in the dramaturgy of this Spanish classic of the 20th century. (...) Irina Chirilă's scenography and costumes place the action on the tennis court of the wealthy family of Logodnica, an artificial paradise, placed in the desert of soul dryness, of repressed love. The strict conformity to bourgeois morals is suggested in the costumes of the characters by elements from the fashion of the 1950s. The use of the net as a separating element between the groups of characters comments with restrained humor on the social pact of marriage: the negotiation of the alliance takes place during the walk of the betrothed's parents to the net, the confrontation of the bride and groom takes place in the tennis game of lines exchanged over the net. The Fiance (Claudiu Mihail), clumsy and insecure, is a persuasive anti-conqueror, dominated by the capricious Fiance (excellent Raluca Păun cast in contre-emploi). The pathos of the words between them is constantly negated by the restrained gestures of the two fiancés, but also by the displayed dependence of the spoiled son on the authoritarian mother (Mirela Ciobă). (...) Over the Andalusian pathos of the Bloody Wedding, the muted contemporary resemantation of Andrei Măjeri's vision gives birth to a performance halfway between tragedy and musical, resonating with the double dramaturgical tension of Lorca's work: the work on the cultured language, grafted on the lucid exaltation of regional reasons."
(Against clichés – Oana Cristea Grigorescu / Cultural Observatory, Apr. 7, 2017
http://www.observatorcultural.ro/articol/contra-cliseelor/)

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