Intenția regizoarei
Shakespeare’s framing of theater in theater in the original play served as my source of inspiration.The original prologue shows Caterina and Petruccio’s story being told to a non-theatrical audience, one that is capable of responding to what they see in a “untamed,” raw manner. Due to this framework, the play could be rewritten in a variety of ways that would address distinct facets of the same narrative. In this way, hopefully, I can contribute something fresh to this play that isn’t centered around a didactic presentation. Two distinct performances of “the taming of the Shrew” are presented to the audience in an attempt to address the question: is this “taming” a ritual of seduction or a means of impressing the woman? Alternatively, is it bringing a wild spirit back to its traditional roles? I haven’t yet discovered a compelling response. Not because I’m unable to make up my mind. However I’m resolved to investigate and consolidate the various kinds of lectures that are available worldwide. As a director, I find the process fascinating because the outcome might be something other than an explosion of ideas.I think it’s best to let people argue freely and consider who needs to be tamed and by whom. Is it the female? The individual? Or the general public? Perhaps the director? Ultimately, my shrew remains untamed.
Sinopsis
Many of us associate “the taming of the shrew” with the tumultuous romance of Petruccio and Caterina, the well-known Shakespeare couple. Due to her easily agitated nature and foul mouth, Catrina is a woman that few attempt to woo. In an attempt to gain status and wealth, Petruccio chooses to court Catrina. Petruccio is a man that chases money and status and decides to court Catrina. As the play goes on, their dynamic gradually shifts, and in the ideal scenario, they become a loving couple. But is a 1600s tale of love between a man and a woman still relevant in 2023? In an effort to address this question, Shakespeare’s play becomes a forum for discussion between genders, between traditional and modern theater, and between conservative and progressive ideologies. Beginning with the play’s original rewrite by Maria Manolescu, director Leta Popescu creates a personal atmosphere that illustrates the idea of theater in theater as well as the complex relationship between men and women. The performance is intended for a wider audience and is a part of Leta Popescu’s popular theater directing project.
The Team
Performance text by Leta Popescu, modeled after William Shakespeare
Following an alteration by Maria Manolescu
The shakespearian text translated by Violeta Popa
Directed by Leta Popescu
Scenography: Bogdan Spătaru
Music by Radu Dogaru
Choreography: Andrea Gavriliu
Directing assistant and video collages by Irina Caraulă
Choreography assistant: Ioana Moldovan
Lights design: Jenel Moldovan
With: Diana Buluga, Sânziana Tarța, Adrian Cucu, Irina Wintze, Patricia Brad, Silvius Iorga, Irina Barbir, Radu Lărgeanu, Cosmin Stănilă, Cecilia Lucanu-Donat, Radu Dogaru, Alexandra Tarce, Diana-Ioana Licu
Technical director: Răzvan Pojonie
Lights operator: Andrei Mitran
Sound Atmosphere: Vlad Negrea
Video operator: Vasile Crăciun
Prompter: Irina Barbir
Photo credit: Nicu Cherciu
Reviews
„Rejecting a pretense and a militant approach, Leta Popescu brings all these visions together in a single popular theater production. By placing them at the intersection of these viewpoints, demands, and realities, she ultimately asks herself, “and now, where to theater?””
„Leta Popescu demonstrates through her humorous take on the untamed shrew what is at stake in the conflict between the generations, what lies between the inconsistencies of the old and the new, what lies between traditional and modern mentalities, and what is at stake in the current era that we are all doing our best to control, to tame.”