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  Dragoș Buhagiar
Theatre ruins
Dragoș Buhagiar
Moderator: George Banu and Constantin Chiriac
“Theatre ruins” is a beautiful, poetic and thought- provoking title.
A title was generously suggested by Mr. Banu.

I have always asked myself what was going to happen to all the objects I had invented.
All the objects that had, at a certain moment, in a certain scenic and directorial context, become characters; objects that had, like myself, lived their moment of glory or their moment of decay on stage, along with the directors, the actors and the technicians.
Could these objects live a new life, offstage?
Could they exist in this new, post- theatre life?
This is how the idea of bringing them together, in a totally new circumstance, detached from the theatre, behind or beyond the stage mirror was born.

The question stands: can they- these objects that had some time, somehow been enlivened, that had interacted with actors, that had been transformed by actors onstage, that had born certain significance, that had changed destinies of actors- characters- can they exist on their own, without the- sometimes- “divine” touch of the actors, just like in the painting on the ceiling of the Sistine Chapel? Just like in that painting in which Michelangelo di Lodovico Buonarroti Simoni had decided to conclude God’s act of creation with one single gesture?
Will they be able to redefine themselves when being brought together, surely in a favorable circumstance? Can I throw them back into the world? Can I let them be on their own, floating in the void, falling into disgrace, just like that bone dropped by the ape in Stanley Kubrik’s Space Odyssey?

We are vain, we refuse to accept the idea that a performance’s life ends one day.
It’s a natural thing. It’s a condition of life, of theatre.
Still, we say it out loud: maybe these objects deserve another chance. Yet another chance.
The idea of showing the installation is, after all, a pretext to revisit the objects I created for a variety of performances, to invent new images, to reinvest them with new meaning, to reunite them into a coherent composition, finally yet another performance, one I watch from very close. And I name it “performance” because an installation is a form of a performance.
Just that the magic isn’t there. The objects show themselves naked to the viewers. It’s a moment of truth, a post- apocalyptical, post- war, beyond- death moment.

I’ll take that risk and I’ll let the Sculpted Angel, the Canon- Eye, the Sculpture- Woman, The Mobile Tricycle, The Imprisoned Cello, The Exit- stopping Door- Table, The Papier-mâché Skeleton- Tub, The Eye- Pendulum, The Scythe- Violins step forward and yell their stories. All at a time, just like a theatre team mostly does. Taken afloat into the nowhere on the boat of worldliness, or on the boat of hope- like on a Raft of the Medusa.
Vernisaj 20 iunie, ora 14:00

      © Mihaela Marin