by Cristina Rusiecki

Did your education also include a great portion of comic strips? Or cartoons? Do you like these types even now? Do you generally refuse to go to the Theatre, because it seems to you that these types are a bit too rusty? A bit too ancient? With grimaces and pushes? Or with recitals and rolled-over eyes? Ridiculous, of course! Then I know something which you will surely enjoy. A show which is on top of anyone’s expectations, made in the second stage of the “Comedy goes for the Youth” project, at the Comedy Theatre. The first one, the one from September, contained an interesting setting, What cool girls!, on the text of the American writer Laura Shaine Cunningham, on the direction of Iulia Stanescu, and one which was absolutely remarkable, Edmond, by David Mamet, on the direction of Marcel Top. It is now Carmen Vidu’s turn to set up an adorable show, on the first text written by Peca Stefan, during old times, when already the renowned playwright was 15 years old, which actually means eight years ago.
Again, Carmen Vidu, the director with the most modern language from our theatrical view, so poor in experiment- produces earthquakes among the perception habitats, among our customs to judge art. Vidu’ s show distorts entirely the old aristothelic art-mimesis relationship. It is not about any counterfeit because it is not about any reality, except the virtual one: the cyber space projected on the screen behind the scene, on which “flow” the bubbles of the comic books, when the characters have something to say. With the perception vexed this way, the audience wakes up before the eternal “cinegetics” ritual to which the girl must fell for. The mixture of infantilism with an ironic distance and with ludic is a delight, and the balance between the approaching full of delicacy and the kind mockery is brilliant. The sarcasm, the evil and cynics lack in this naivety-show. They are replaced with an impressive dose of innocence, just as in the mute movies.
Under the playful devastating director’s fingerprints, the practices and the stereotypes from during the seduction scenes, take place. A parody of the so advanced times from our world, a girl falls slowly in love, while she waits for the bus in the bus station. The auto protection armours melt, the boy’s siege pounds the ice of affective indifference and the girl’s distrust monolith. Mutations happen, her inner stability shakes, hyper vulnerability installs, the greater inner earthquakes are prepared the field and until then, which is until the bus comes, suddenly, because of the affective happened mutations, the world resemantizes, the Universe sad and lonely, until almost a minute ago, starts to make sense.
It is drown according to wishes and ghostly contains, so that the prejudice blows up and the habits of perception and representation fall apart. With all the vivid detachment, with all the untold-written-on-the-wall lines, with all the aspect of mechanic dolls, amazingly, the game of love with the meaning of the whole, becomes credible: the boy is the sunlight and she is the moonlight. Pure metaphysics of love, the world circumcises itself starting from them. And do you know what’s incredible? For the couple of minutes when these two tell one another these lines, the public lets itself caught in the fiction’s arms with mythic steam.
The perspective of deconstruction, specific for Carmen Vidu’ s shows and the alteration of the perception clichés start in ‘One Station’ from the repetitive moves of mechanic dolls (Paul Dunca’ s choreography). She is a delicate doll with beautiful big frightened eyes, the genuine of cartoons dressed in delicious candy colours (Irina Duta, with great mobility and shape, whose body sends senses and expresses doubt, delight and surprise at each move. She sighs oh-oh-oh and the cyber space from the background is moving and the colours are moving (animation, Augustin Cosmin Pop). Amazement, assumed infantilism and the grace with which the direction treats conventions pass easily in public, assisted by the permanent ironic comment of parts from hits (music, Yann Le Blay). Then him. He has a curly head (Toma Cuzin with delicate expressive apparition of Charlot) and as in ‘Commedia dell’ Arte’, winks and, fully of ingenuity, sets connections with the public. The clown moves copy the ridiculous stereotypes of the creasing rituals, too many techniques, strategies and veiling automatisms. And the retaken positions ludically treat, with permanent smile, the compulsive manias of love.
I stop because in case of such a setting, even the interpretation clichés don’t work properly. A toy- show full of freshness and ludic creativity which delicately revenge itself with all the perception clichés. After the Radu Afrim’s era, already known, already made classic after the virtual scenography elements of Andy Dumitrescu, Carmen Vidu seems to me right now the only experimentalist authentic and unique director who builds up her shows starting from multimedia. This way, with “One Station”, “Comedia tine la TINEri” enjoined great success time again, too. Look for the clubs which will take the show (the state theatres are exhausted by their dusted representations) and go for a 40-minute fun. You won’t regret!

Ionut Cioana (

As in a cartoon movie, the characters from Carmen Vidu's new show fall in love in the bus station.

If you enjoy an underground alternative of the classical theatre atmosphere, you can choose "disco fantasy" in the old Socks Factory building. Last Thursday, the director, Carmen Vidu, brought here her audience, as young as her, for such a performance, an alternative to Stefan Peca's show, "A station", followed by a party with electronic music. Nothing more appropriate for a story about him (Toma Cuzin) and her (Irina Duta), who fall in love in a bus station. And if "disco fantasy" makes you think of video techniques, you're heading for the right direction. In the young director's new show, the slow motion gestures and the exaggerated are doubled by the electronic music, the full moon animation and the stars projected on the background along with building silhouettes. This time too, the pop influences, typical for Carmen Vidu, build up a shallow atmosphere, really energetic but warm in the same time. And this is what attracts the young generation towards the stage, because they know it and understand it better.

Love lasts for half an hour(Catalina George-“COTIDIANUL”)

If he and she live in a play written by Peca and directed by Carmen Vidu, they could definitely fall in love in the bus station. How come? It all has to do with the rhythm of the lines, the music in their ears and the city which became a cartoon set. Apparently indifferent to the outside world, she's just waiting for her bus. She's apparently indifferent, because her fancy gestures give her away definitely. And he pulls his love arsenal. He says firmly that the bus had already left or that he is not coming back whatsoever. The driver might have got sick. or, should the bus come, it would most certainly be very crowded. She's strongly rejecting his stories. Nevertheless, after the typical lines, he pushes it and wins. For about five minutes or maybe half an hour they make love with all the hugging and kissing and questions. In all this small adventure the only sounds that echo the room are their sighs. The lines alternate on the screen together with the set of images, made by Pop Augustin Cosmin and the exaggerated gestures emphasize the love game. False and at the same time innocent, superficial and even though touching, this game of love of people rushed between two bus stations, overwhelms you when it's leaving a sour taste, as much as when it makes you laugh.

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