The man who made death pregnant

Category: Interviews
« Back

Is Sibiu the city where this play (The Secret of Angels) is being performed for the first time because you wanted so?

The playwright’s job is over when the text is written. The staging doesn’t depend on the author of the play, but on the context and the feedback the play gets. The staging depends on the director, on the offers made after the play is presented the first time.

As far as the staging is concerned, do you prefer a certain director?

In this case it is about a director with a slightly imperial approach, a complex and grand one, for this is about a Pub of Gods, where there are magi, devils, angels. It is a special space, full of characters coming from a singular universe.

Are the magi, the devils and the god expressions of man?

It is rather them who go have human experiences and go through human contexts. They have got stories that convey them a human face, as well as human anxieties and ambitions.

Nevertheless, the devils and gods in the play are in the hands of fate.

Everything is subject to the divine. Even if they are unaware, all their ambitions and desires are subject to this great plan. And there is one more thing about the devils: they don’t know the secret of angels and this is why they fail in the end their diabolic plan turns against them.

The opening of this play consists in a sort of ars poetica about the seduction of art, about manipulation and the idea that the audience wants to be enchanted.

The way opens with a scene the Pub of Gods is present in magic. This is a pleading or a personal vision on theatre and actors, on this voluntary participation to the artistic art. It expresses my belief about both the audience and the performers must believe in what they do, in what goes on stage, even if it is not something practical or realistic. This is why the text is always in relation to magic, for theatre is a magical space, where true feelings are possible only if the audience agree to believe that world that comes to life under their eyes is real.

During the reading I couldn’t help associating the protagonist of the play and his magic to his manner of speech. He looked like a “sorcerer of words”, as you called him and the politicians who do their magic by words in front of everyone.

Yes, politicians are sure to be imitators of the space where the devils play with humans. Many a time they are gross imitators and the results are most unpleasant for the people trying to manipulate them. This Machiavellism is an issue we could do much talk about.

I know you give your characters generic names. But this time it is different. This is why while reading the text I wondered about the real people hiding behind the characters.

I usually give generic names. But this play is an exception, still with no references to our real world. The names are not at all something unimportant, they have got certain significances, Vladimir, for instance, means “the master of the world”.

Your play seems an oscillation between good and evil. Still none of the characters represents the supreme good or the supreme evil. Not even the angels are perfectly good.

Angels should be in the heavenly hierarchy above man, but they have always been and they will always be under a curse: God made man in His resemblance. This is why angels can fall and they fell. They may have a weakness or something very humanly strong to seduce them and make them surrender, like Valentino surrendered to the temptation to get a form exceptionally human.

Do you believe in heaven and hell?

Not in the human, cinematographic sense. But I believe they are spaces of existence that follow after the one on earth. I think there is not a single apocalypse of everyone, but one for each, for each of us has got an end. And after all, heaven and hell start here, on earth. After all, life itself can be heaven or hell. The two of them depend on the individual man, not on a common perception.

What can you tell us about your present and future activities?

Right now “Dream Factory” is part of the Nottara Theatre repertoire, after six years. It is now getting ready for the seventh. As for the future, I am working on a project that is not about theatre this time. I want to take up novel writing, but it doesn’t mean I quit writing plays. It is just a temptation I wouldn’t want to resist.  Novel is a genre I would like to use to express something for I feel I have something to express. It will be a special novel to include a play. So not a common novel, but one in which theatre is present and continues to be a powerful presence.

I know you are a geophysicist. So I would like to ask you how come you got to write plays?

It was by accident, which I can hardly understand. Maybe it was because of my laziness in writing or because I don’t always have the time to write and it is by means of theatre that I can afford “excessive life”. It takes me two nights to write a text. Writing is a spontaneous act to me, it is like letting go of what I have been gathering in my mind for a long time. This is why I haven’t written a novel so far, although I would like to. It takes an effort for polishing and improving the text. The novel I am now thinking about will probably take me a few weeks to write. I have a second life in the public space, a rather intense one and I can’t afford to leave work aside for too long.

Oana Raluca Sivu , Sibiu Standard, Aplauze, July 5,  2008


« Inapoi