Point A was on January 1, 2024, when I decided to keep a three-day black fasting, and point B - New Year's Eve 2024, which, for the first time in my life, lasted two nights. Now, as I write this, I feel like laughing; it seems to have been a year of pushing the limits. To challenge my thinking in this retrospective, I asked ChatGPT to ask me questions about each event I selected for this retrospective. I answered each one honestly. At the end, I asked him what conclusion he drew from my experiences, and his answer was surprisingly sweet.
Read the Romanian version published exclusively on the webportal www.liternet.ro
Anul depășirii limitelor (despre viața de pe scenă) - 2024
1. Accident during the performance "The Cherry Orchard" - German State Theater Timisoara, February 2024
During the performance of "The Cherry Orchard" by A.P. Chekhov, directed by Volker Schmidt, I had an accident on stage, when during a scene, two stage technicians were handling a wooden panel and one of them tripped on the linoleum on stage and that massive panel fell on me. The incident highlighted the risks which are inherent to the acting profession and the importance of safety during live performances.
What measures do you think should be taken to increase the safety of actors on stage?
A performance is a team artistic act. The responsibility of the performance is in everyone's hands, from the actors to the technicians and even the ushers. Technicians in state theaters have low salaries and there are very few people who get hired or stay for a longer period. At the German Theater the technician staff was and is always respectful and hardworking. My accident was more of a human error and therefore I was able to get over it more easily. However, I believe that the safety protocols need to be tightened, right from the set design stage. Equally I think actors need to immediately flag any problems and insist until they feel safe. Often the embarrassment and the short time you are on set before a premiere puts pressure on you as an actor to overcome many problems on set, and once the production has premiered "you just go with it". Investment in training and specialization of stage technicians in Romanian theatres should be an important issue in the management of any theatre.
2. Premiere of "A Midsummer Night's Dream" - "Radu Stanca" National Theater Sibiu, February 2024
For the second time in my career, I had the opportunity to perform the role of Puck in William Shakespeare's A Midsummer Night's Dream. The experience this time was more mature, more nuanced, allowing me to explore new aspects of the character. https://revistafamilia.ro/?p=10982
What did you discover something new about Puck and about yourself as an actress in this second performance?
The line I went along with the German director Flo von Hörmann was that of a young man abused by his father (Oberon, in this case) and who developed Stockholm syndrome. Of course the humor of the character remained untouched, but I sharpened it even more through the direct and nonchalant dialog with the audience. When the director asked me if I wanted to play the role, I confessed that I had played Puck a year before. Then he told me his idea and I saw the potential of the role in the new interpretation. It was a great pleasure to play this Puck. I love researching characters, and in this role I took the research to another level, the second full on version.
3. Watching performances at Münchner Kammerspiele and Schauspielhaus Zürich, April 2024
In April we watched landmark productions in European theater:
- Münchner Kammerspiele: "Asche" by Elfriede Jelinek, directed by Falk Richter, "Der Sturm / Das Dämmern der Welt" by Jan-Christoph Gockel, "Doping" by Nora Abdel Maksoud - performances exploring themes of politics, identity, AI in theater, loss, and new dramaturgies. https://www.muenchner-kammerspiele.de/en/programm/22371-der-sturm-das-dammern-der-welt
- Schauspielhaus Zürich: "Blutstück" directed by Leonie Böhm, "Biedermann und die Brandstifter" directed by Nicolas Stemann, "Last Night a DJ Took My Life" by Joana Tischkau, Carmen by Moved by Motion Company - innovative stagings that redefine the boundaries between theater and performance. https://www.schauspielhaus.ch/en/kalender/27035/biedermann-und-die-brandstifter
How have these productions inspired you in your artistic practice?
Unfortunately I don't have the space and time to describe in detail. The curious can of course search about these performances. "Asche", "Der Sturm / Das Dämmern der Welt" , "Blutstück" and "Biedermann und die Brandstifter" are incredible. I have seen, felt, grasped what a brave transdisciplinary approach can do. Those who are curious can of course search about these performances. "Asche", "Der Sturm / Das Dämmern der Welt" , "Blutstück" and "Biedermann und die Brandstifter" are incredible. I have seen, felt, grasped what a brave transdisciplinary approach can do. In 'Asche' the artificial intelligence used creates deep emotion, then the way a playwright explores two seemingly unrelated worlds ('The Tempest' Shakespearean 'The Tempest' with the biography of film director Werner Herzog), the provocative dramatization in 'Biedermann and the Incendiaries', a performance by 4 actors and the political message about what theatre means to society and the overwhelming emotion in Leonie Böhm's performance staged after the book 'Blutbuch'.
This visit to Münhen and Zürich was the beginning of a necessary update after the pandemic. Having always done theater marathons in Berlin over the years, the comparison and inspiration with theater done in other countries I consider a must do for artistic health. Artists who don't see the work of others are an enigma to me.
4. Participation in Wiener Festwochen - Programmers Meeting, May 2024
We attended Wiener Festwochen, one of the most prestigious international theater festivals, as part of a meeting dedicated to cultural programmers. I had the opportunity to watch impressive performances such as "Medea's Children" by Milo Rau and "Die Rechnung" by Tim Etchells and "Lacrima" by Caroline Guiela Nguyen and Parallax directed by Kornél Mundruczó and Hamlet - dans les plis du temps directed by Christiane Jatahy .
A special moment was watching the drag performances in Vienna. We met Pandora Nox and Metamorkid, winner and finalist of Ru Paul's Drag Race Germany.
Link to performances and review https://www.festwochen.at/medeas-kinderen https://www.scena9.ro/article/wiener-festwochen-2024-2
What have you learned about new directions in European theater by attending this festival?
There is an increasing focus on true, almost documentary experiences, based on assiduous research, wrapped in a kind of non-conformist narrative. On this journey I met Oana Stoica, who wrote about the shows she saw for the curious. "Medea's Children" by Milo Rău made a deep impression on me, since I do theater with children, but more about this show Oana Stoica wrote.
5. Opening of the exhibition "Remix ID: Voices of Freedom" in Vienna, June 2024
As project coordinator of Remix ID, we organized the exhibition "Voices of Freedom" in Vienna in collaboration with Eindorf Kunstraum. The stories of the ethnic communities of Banat, the nostalgia for the Central European past and the impact of migration in the 70s and 80s on the dissident spirit of Timișoara were explored in an exhibition by artist Renée Renard. The event included a video installation Remix ID, workshops, presentations and lectures by Mirela Stoeac-Vladuti, Olga Török, Cristian Vicol and Denise Parizek. https://www.facebook.com/remixedidentity
How was the exhibition received by international audiences?
The past and present of ethnic minorities in Banat are a positive example of coexistence. This is what we have been promoting mainly in the Remix ID project since 2018. I believe it is of utmost importance in the current times, when nationalism and the far-right are becoming increasingly vocal, to remain true to the best values of society. The exhibition sparked tears and nostalgia among the elderly visitors and a genuine curiosity about how we promote democratic values, bridging the gap between the past, the traditional and the contemporary urban. This was Remix ID's first trip abroad.
6. The revival of "The incredible and sad story of Eréndira and her soulless grandmother" - German State Theater Timișoara, July 2024
This show adapted after Gabriel García Márquez and directed by Yuri Kordonsky has returned to the stage, after a hiatus in early 2020. The role of Erendira was dear to my heart and also earned me a UNITER nomination and the Audience Award in 2018. In the new version, several roles have been re-cast, including that of Ulisses, Erendira's lover, now played by Richard Hladik. https://teatrulgerman.ro/ro/reprezenta%C8%9Bii/incredibila-%C8%99i-trista-poveste-a-candidei-er%C3%A9ndira-%C8%99i-a-bunicii-sale-f%C4%83r%C4%83-suflet/
How did you manage to rediscover the character after a break of more than three years?
Patiently, I took the time to discover and rework certain scenes. Yura asked us, after watching the 2017 shoot, if we were giving a thong. We replied "Noooo." It would have just been a stage movement without content, at least on my part. Erendira is so complex, she has three realities, each one different from the other, and in each one of them she lives something different. It's about her development from child to young woman. I then felt that I have matured in the intervening years, gained more confidence in my abilities, and re-cast Erendira as a more nuanced Erendira. What characterizes Yura as a director is his belief in the freedom he gives actors to discover, and I can I can continue to do that in every performance.
7. Coordination of the performance "Try walking in my shoes" - META Spatiu Gallery, Timisoara, July 2024 https://www.instagram.com/p/C9w6NRRojWc/
In collaboration with drag artist Adriana Diamond and make-up artist Bojița Ilici, I coordinated the performance, which gave the audience the opportunity to see Adriana Diamond with new eyes, in a combination of unique texts in Serbian and Romanian.Through this performance, Adriana Diamond not only revealed her own identity and her personal struggle with people's prejudices, but also gave the audience the experience of walking a few steps on high heels, suggesting to be more empathetic towards each other, to be more tolerant, to try to listen and understand those around us.
What impact did this performance have on the audience?
The audience consisted of people from the LGBTQ+ community but also art lovers who frequent the gallery. Adriana's emotion exploded out of her. It was the first time she was telling this part of her life. I worked with care, honesty and respect. And the audience appreciated these virtues that shone through every pore of the event. People need to hear such voices, to put themselves in their shoes. We hope to present it again this year.
8. Direction of the show "Don't forget the crofnele in the time machine" - Remix ID, August 2024
A theater project realized together with the students of General School 20 in the district of Ciarda Roșie, on the outskirts of the city, and presented on the occasion of the Timisoara City Celebration. Written by Cristian Vicol expressly for children, the project presents a journey in a time machine, through which the characters explore the past and the events that the ethnic groups of the Banat region have gone through, but also a scary future in which artificial intelligence could replace diversity with multitasking and dependence on technology. https://www.facebook.com/remixedidentity
What was it like working with students in a theater context?
It is always a pleasure to perform with students. Most of them had never done theater before. But the key point was still the definition of ethnicity and the importance of diversity. The seven students learned the text very quickly to my surprise, and even from the very first rehearsals they started to perform without my help. Cristi Vicol's text fitted them like a glove. I shaped it and sprinkled here and there. We gave three performances and they were on TV and radio. They had a great time as actors.
9. Participation in the Butoh International Gathering - Germany, August 2024
I learned Japanese Butoh dance in an intensive workshop for two weeks with eight teachers at one of the most important events dedicated to this style. https://www.bigbutoh.com/2024-memories/
How has Butoh dance influenced your artistic approach?
The introspection of the dancer and awareness of one's own sensitivity are essential when dancing butoh. Also called the "dance of death," it simultaneously reminds us of the joy of life and the inevitability of the end.
Translating my emotions into movement was not easy. The course themes were difficult to express in writing, but even more challenging in dance. In one exercise, we wrote a letter to ourselves, a summary of our journey so far, which then became our last thought before death. After dancing, we had to step into a new world, leaving everything behind.
The road to that unknown place-death-turned out to be one of the most difficult we have ever traveled. In the end, I opened my eyes to a new reality, and the emotion that took shape inside me. It remains one of my most profound personal discoveries. It was a cathartic moment.
How does this experience influence my artistic approach? By discovering and exploring the deepest emotions, the buried or hidden layers of the soul.
10. Video installation "Memories from the Future" - META Spatiu Gallery, Timisoara, September 2024
The video installation realized by me under the aegis of Remix ID and funded by the Energy! Grant of the Timișoara Project Center, was an exploration of memory and identity through video art and artificial intelligence. https://www.facebook.com/remixedidentity
What did you want to convey through this installation?
An entirely personal point of view on the standardization and disappearance of ethnic groups due to globalization and the adaptation of traditions to the mass.
A personal exploration of my multi-ethnic identity. In the triptych I started from my Romanian and Hungarian roots to my borrowed German ones, exposing them in the multi-ethnic context of Banat to the imagination of their standardization. I used butoh dance in my personal exploration in the first video. In the second one I used the folkloric costumes of four ethnic groups from Timișoara, and in the third video I used the footprint of video two integrated in an AI generated video. Another important conclusion is that the way we feed AI today will influence future perceptions and representations. It is therefore essential that minority ethnicities are visible online. Currently, for example, a Slavic folk costume can be mistaken for a Colombian folk costume, because AI cannot yet recognize these subtle cultural differences. SLIDE 7B
11. Coordination of the interview series "Remix ID - between generations", October 2024
A series of interviews designed to explore the relationship between generations and how traditions are preserved and transformed in contemporary times. https://www.facebook.com/remixedidentity
What new insights did you discover through these interviews?
We formed five child-adult pairs, each from different ethnicities. The children were extremely curious and eager to discover and preserve certain traditions. For their part, the adults showed great patience and genuine joy in sharing their experiences, making the dialog a special moment. This bridge between generations marked the conclusion of the Remix ID project-a perfect end to an initiative started in 2018 by Mirela Stoeac Vlăduți and myself.
12. "CLARA" movie release and international tour, October 2024
First leading role in a feature film for me, first feature film for Sabin Dorohoi. An exam and an artistic release for both of us. I was involved in the promotion of the movie "CLARA" directed by Sabin Dorohoi, participating in screenings and Q&A sessions in different cities in Romania and Germany. https://www.facebook.com/Clara.the.Romanian.school.teacher
How was the movie received by the Romanian audience?
The world premiere in Cottbus brought Clara the Audience Award, and at the SEE Fest in Hollywood, Clara won the "Bridging the Borders Award" - two awards that perfectly reflect the emotional impact and powerful message of the film.
The story of Clara, a mother gone to work as a nanny in Germany, leaving her 12-year-old son behind in Romania, resonated deeply with the audience. When her son suffers an accident, Clara is forced to return home and make a decision. The theme of children left behind due to economic migration generated heated discussions in the Q&A sessions, bringing to light a reality that is little or not talked about: the generational trauma of these young people.
"The movie must be seen by all of Romania" - a phrase heard repeatedly at every screening, proof of the impact Clara had on Romanian audiences. What's more, viewers from India, Latin America and Germany identified with the story, and even a sense of guilt was stirred among Germans, some realizing how insensitive some employers can be to the personal lives of migrant workers.
Although the low promotion budget did not allow for a wide distribution, the film found its way to the people through the power of the story and was further relayed by viewers in the more than 15 cities in Romania where it was screened.
13. To listen in the exhibition Transposthumanțe by interfonic.ro in Timisoara
The texts by Iulia Enkelana and Caliței Nantu were interpreted by me and directed by Vlaicu Glocea in German, Romanian and Hungarian. They were to be heard in the exhibition "Transposthumanțe", a multimedia exhibition representing the artistic vision of 22 interdisciplinary personalities of the performing and visual arts, aged between 24 and 94, and providing an opportunity to meet highly personal, vivid and insightful testimonies about what it feels like to be a human being today. https://www.instagram.com/p/DD7Ppl_of70/
Did you have a favorite text or one that provoked special emotions while reading and recording it?
Caliței Nantu's text Miorița has a dark humor about working abroad and our country brand. It's a very slick text with a special sensitivity. I always enjoy recording under Vlaicu's direction, because he has a healthy dark humor and the process is fun with a depth that gives me a refresh on my performance methods.
14. The Blood Wedding - "Radu Stanca" National Theatre Sibiu, November 2024
Directed by Hunor Horváth, I participated in this staging of Federico García Lorca's play as the bride.
What challenges did you face in this production?
The first challenge was to delve into Hungarian folk dance with Arpad Konczey, Endre Melles and Julcsi Adam, and the second - to perform a single song, going through a whirlwind of emotions, under the guidance of Tamas Kollozsi and Melinda Samson.
Hunor Horvath's confidence gave me courage. It is a joy to work with a director who knows me, but who also knows how to challenge me, bringing out unknown sides of me as an actress.
I invite you to discover this dynamic show, where music, dance and film intertwine in a celebration where theater becomes a mirror of our society. With this show, I have officially become an actress of the Radu Stanca National Theater in Sibiu.
15. Watching performances at the National Theater in Budapest, December 2024
We have seen outstanding productions such as Salome, The Suicide Suicide and The Man Who Wasted Time in Budapest's theaters, under the signature of renowned Hungarian directors such as Bodo Atilla and Vidnyánszky Attila Attila Jr. https://nemzetiszinhaz.hu/eloadas/az-oengyilkos
How does Hungarian theater differ from Romanian theater in its approach to classical themes?
No difference. And I didn't see anything that I haven't seen in our country. I expected it to be a coded theater, a nationalistic heroic theater, but it wasn't like that. The performances were clean, technically impeccable and normal acting.
Conclusion GPT Chat-
Read the Romanian version published exclusively on the webportal www.liternet.ro
Anul depășirii limitelor (despre viața de pe scenă) - 2024
1. Accident during the performance "The Cherry Orchard" - German State Theater Timisoara, February 2024
During the performance of "The Cherry Orchard" by A.P. Chekhov, directed by Volker Schmidt, I had an accident on stage, when during a scene, two stage technicians were handling a wooden panel and one of them tripped on the linoleum on stage and that massive panel fell on me. The incident highlighted the risks which are inherent to the acting profession and the importance of safety during live performances.
What measures do you think should be taken to increase the safety of actors on stage?
A performance is a team artistic act. The responsibility of the performance is in everyone's hands, from the actors to the technicians and even the ushers. Technicians in state theaters have low salaries and there are very few people who get hired or stay for a longer period. At the German Theater the technician staff was and is always respectful and hardworking. My accident was more of a human error and therefore I was able to get over it more easily. However, I believe that the safety protocols need to be tightened, right from the set design stage. Equally I think actors need to immediately flag any problems and insist until they feel safe. Often the embarrassment and the short time you are on set before a premiere puts pressure on you as an actor to overcome many problems on set, and once the production has premiered "you just go with it". Investment in training and specialization of stage technicians in Romanian theatres should be an important issue in the management of any theatre.
2. Premiere of "A Midsummer Night's Dream" - "Radu Stanca" National Theater Sibiu, February 2024
For the second time in my career, I had the opportunity to perform the role of Puck in William Shakespeare's A Midsummer Night's Dream. The experience this time was more mature, more nuanced, allowing me to explore new aspects of the character. https://revistafamilia.ro/?p=10982
What did you discover something new about Puck and about yourself as an actress in this second performance?
The line I went along with the German director Flo von Hörmann was that of a young man abused by his father (Oberon, in this case) and who developed Stockholm syndrome. Of course the humor of the character remained untouched, but I sharpened it even more through the direct and nonchalant dialog with the audience. When the director asked me if I wanted to play the role, I confessed that I had played Puck a year before. Then he told me his idea and I saw the potential of the role in the new interpretation. It was a great pleasure to play this Puck. I love researching characters, and in this role I took the research to another level, the second full on version.
3. Watching performances at Münchner Kammerspiele and Schauspielhaus Zürich, April 2024
In April we watched landmark productions in European theater:
- Münchner Kammerspiele: "Asche" by Elfriede Jelinek, directed by Falk Richter, "Der Sturm / Das Dämmern der Welt" by Jan-Christoph Gockel, "Doping" by Nora Abdel Maksoud - performances exploring themes of politics, identity, AI in theater, loss, and new dramaturgies. https://www.muenchner-kammerspiele.de/en/programm/22371-der-sturm-das-dammern-der-welt
- Schauspielhaus Zürich: "Blutstück" directed by Leonie Böhm, "Biedermann und die Brandstifter" directed by Nicolas Stemann, "Last Night a DJ Took My Life" by Joana Tischkau, Carmen by Moved by Motion Company - innovative stagings that redefine the boundaries between theater and performance. https://www.schauspielhaus.ch/en/kalender/27035/biedermann-und-die-brandstifter
How have these productions inspired you in your artistic practice?
Unfortunately I don't have the space and time to describe in detail. The curious can of course search about these performances. "Asche", "Der Sturm / Das Dämmern der Welt" , "Blutstück" and "Biedermann und die Brandstifter" are incredible. I have seen, felt, grasped what a brave transdisciplinary approach can do. Those who are curious can of course search about these performances. "Asche", "Der Sturm / Das Dämmern der Welt" , "Blutstück" and "Biedermann und die Brandstifter" are incredible. I have seen, felt, grasped what a brave transdisciplinary approach can do. In 'Asche' the artificial intelligence used creates deep emotion, then the way a playwright explores two seemingly unrelated worlds ('The Tempest' Shakespearean 'The Tempest' with the biography of film director Werner Herzog), the provocative dramatization in 'Biedermann and the Incendiaries', a performance by 4 actors and the political message about what theatre means to society and the overwhelming emotion in Leonie Böhm's performance staged after the book 'Blutbuch'.
This visit to Münhen and Zürich was the beginning of a necessary update after the pandemic. Having always done theater marathons in Berlin over the years, the comparison and inspiration with theater done in other countries I consider a must do for artistic health. Artists who don't see the work of others are an enigma to me.
4. Participation in Wiener Festwochen - Programmers Meeting, May 2024
We attended Wiener Festwochen, one of the most prestigious international theater festivals, as part of a meeting dedicated to cultural programmers. I had the opportunity to watch impressive performances such as "Medea's Children" by Milo Rau and "Die Rechnung" by Tim Etchells and "Lacrima" by Caroline Guiela Nguyen and Parallax directed by Kornél Mundruczó and Hamlet - dans les plis du temps directed by Christiane Jatahy .
A special moment was watching the drag performances in Vienna. We met Pandora Nox and Metamorkid, winner and finalist of Ru Paul's Drag Race Germany.
Link to performances and review https://www.festwochen.at/medeas-kinderen https://www.scena9.ro/article/wiener-festwochen-2024-2
What have you learned about new directions in European theater by attending this festival?
There is an increasing focus on true, almost documentary experiences, based on assiduous research, wrapped in a kind of non-conformist narrative. On this journey I met Oana Stoica, who wrote about the shows she saw for the curious. "Medea's Children" by Milo Rău made a deep impression on me, since I do theater with children, but more about this show Oana Stoica wrote.
5. Opening of the exhibition "Remix ID: Voices of Freedom" in Vienna, June 2024
As project coordinator of Remix ID, we organized the exhibition "Voices of Freedom" in Vienna in collaboration with Eindorf Kunstraum. The stories of the ethnic communities of Banat, the nostalgia for the Central European past and the impact of migration in the 70s and 80s on the dissident spirit of Timișoara were explored in an exhibition by artist Renée Renard. The event included a video installation Remix ID, workshops, presentations and lectures by Mirela Stoeac-Vladuti, Olga Török, Cristian Vicol and Denise Parizek. https://www.facebook.com/remixedidentity
How was the exhibition received by international audiences?
The past and present of ethnic minorities in Banat are a positive example of coexistence. This is what we have been promoting mainly in the Remix ID project since 2018. I believe it is of utmost importance in the current times, when nationalism and the far-right are becoming increasingly vocal, to remain true to the best values of society. The exhibition sparked tears and nostalgia among the elderly visitors and a genuine curiosity about how we promote democratic values, bridging the gap between the past, the traditional and the contemporary urban. This was Remix ID's first trip abroad.
6. The revival of "The incredible and sad story of Eréndira and her soulless grandmother" - German State Theater Timișoara, July 2024
This show adapted after Gabriel García Márquez and directed by Yuri Kordonsky has returned to the stage, after a hiatus in early 2020. The role of Erendira was dear to my heart and also earned me a UNITER nomination and the Audience Award in 2018. In the new version, several roles have been re-cast, including that of Ulisses, Erendira's lover, now played by Richard Hladik. https://teatrulgerman.ro/ro/reprezenta%C8%9Bii/incredibila-%C8%99i-trista-poveste-a-candidei-er%C3%A9ndira-%C8%99i-a-bunicii-sale-f%C4%83r%C4%83-suflet/
How did you manage to rediscover the character after a break of more than three years?
Patiently, I took the time to discover and rework certain scenes. Yura asked us, after watching the 2017 shoot, if we were giving a thong. We replied "Noooo." It would have just been a stage movement without content, at least on my part. Erendira is so complex, she has three realities, each one different from the other, and in each one of them she lives something different. It's about her development from child to young woman. I then felt that I have matured in the intervening years, gained more confidence in my abilities, and re-cast Erendira as a more nuanced Erendira. What characterizes Yura as a director is his belief in the freedom he gives actors to discover, and I can I can continue to do that in every performance.
7. Coordination of the performance "Try walking in my shoes" - META Spatiu Gallery, Timisoara, July 2024 https://www.instagram.com/p/C9w6NRRojWc/
In collaboration with drag artist Adriana Diamond and make-up artist Bojița Ilici, I coordinated the performance, which gave the audience the opportunity to see Adriana Diamond with new eyes, in a combination of unique texts in Serbian and Romanian.Through this performance, Adriana Diamond not only revealed her own identity and her personal struggle with people's prejudices, but also gave the audience the experience of walking a few steps on high heels, suggesting to be more empathetic towards each other, to be more tolerant, to try to listen and understand those around us.
What impact did this performance have on the audience?
The audience consisted of people from the LGBTQ+ community but also art lovers who frequent the gallery. Adriana's emotion exploded out of her. It was the first time she was telling this part of her life. I worked with care, honesty and respect. And the audience appreciated these virtues that shone through every pore of the event. People need to hear such voices, to put themselves in their shoes. We hope to present it again this year.
8. Direction of the show "Don't forget the crofnele in the time machine" - Remix ID, August 2024
A theater project realized together with the students of General School 20 in the district of Ciarda Roșie, on the outskirts of the city, and presented on the occasion of the Timisoara City Celebration. Written by Cristian Vicol expressly for children, the project presents a journey in a time machine, through which the characters explore the past and the events that the ethnic groups of the Banat region have gone through, but also a scary future in which artificial intelligence could replace diversity with multitasking and dependence on technology. https://www.facebook.com/remixedidentity
What was it like working with students in a theater context?
It is always a pleasure to perform with students. Most of them had never done theater before. But the key point was still the definition of ethnicity and the importance of diversity. The seven students learned the text very quickly to my surprise, and even from the very first rehearsals they started to perform without my help. Cristi Vicol's text fitted them like a glove. I shaped it and sprinkled here and there. We gave three performances and they were on TV and radio. They had a great time as actors.
9. Participation in the Butoh International Gathering - Germany, August 2024
I learned Japanese Butoh dance in an intensive workshop for two weeks with eight teachers at one of the most important events dedicated to this style. https://www.bigbutoh.com/2024-memories/
How has Butoh dance influenced your artistic approach?
The introspection of the dancer and awareness of one's own sensitivity are essential when dancing butoh. Also called the "dance of death," it simultaneously reminds us of the joy of life and the inevitability of the end.
Translating my emotions into movement was not easy. The course themes were difficult to express in writing, but even more challenging in dance. In one exercise, we wrote a letter to ourselves, a summary of our journey so far, which then became our last thought before death. After dancing, we had to step into a new world, leaving everything behind.
The road to that unknown place-death-turned out to be one of the most difficult we have ever traveled. In the end, I opened my eyes to a new reality, and the emotion that took shape inside me. It remains one of my most profound personal discoveries. It was a cathartic moment.
How does this experience influence my artistic approach? By discovering and exploring the deepest emotions, the buried or hidden layers of the soul.
10. Video installation "Memories from the Future" - META Spatiu Gallery, Timisoara, September 2024
The video installation realized by me under the aegis of Remix ID and funded by the Energy! Grant of the Timișoara Project Center, was an exploration of memory and identity through video art and artificial intelligence. https://www.facebook.com/remixedidentity
What did you want to convey through this installation?
An entirely personal point of view on the standardization and disappearance of ethnic groups due to globalization and the adaptation of traditions to the mass.
A personal exploration of my multi-ethnic identity. In the triptych I started from my Romanian and Hungarian roots to my borrowed German ones, exposing them in the multi-ethnic context of Banat to the imagination of their standardization. I used butoh dance in my personal exploration in the first video. In the second one I used the folkloric costumes of four ethnic groups from Timișoara, and in the third video I used the footprint of video two integrated in an AI generated video. Another important conclusion is that the way we feed AI today will influence future perceptions and representations. It is therefore essential that minority ethnicities are visible online. Currently, for example, a Slavic folk costume can be mistaken for a Colombian folk costume, because AI cannot yet recognize these subtle cultural differences. SLIDE 7B
11. Coordination of the interview series "Remix ID - between generations", October 2024
A series of interviews designed to explore the relationship between generations and how traditions are preserved and transformed in contemporary times. https://www.facebook.com/remixedidentity
What new insights did you discover through these interviews?
We formed five child-adult pairs, each from different ethnicities. The children were extremely curious and eager to discover and preserve certain traditions. For their part, the adults showed great patience and genuine joy in sharing their experiences, making the dialog a special moment. This bridge between generations marked the conclusion of the Remix ID project-a perfect end to an initiative started in 2018 by Mirela Stoeac Vlăduți and myself.
12. "CLARA" movie release and international tour, October 2024
First leading role in a feature film for me, first feature film for Sabin Dorohoi. An exam and an artistic release for both of us. I was involved in the promotion of the movie "CLARA" directed by Sabin Dorohoi, participating in screenings and Q&A sessions in different cities in Romania and Germany. https://www.facebook.com/Clara.the.Romanian.school.teacher
How was the movie received by the Romanian audience?
The world premiere in Cottbus brought Clara the Audience Award, and at the SEE Fest in Hollywood, Clara won the "Bridging the Borders Award" - two awards that perfectly reflect the emotional impact and powerful message of the film.
The story of Clara, a mother gone to work as a nanny in Germany, leaving her 12-year-old son behind in Romania, resonated deeply with the audience. When her son suffers an accident, Clara is forced to return home and make a decision. The theme of children left behind due to economic migration generated heated discussions in the Q&A sessions, bringing to light a reality that is little or not talked about: the generational trauma of these young people.
"The movie must be seen by all of Romania" - a phrase heard repeatedly at every screening, proof of the impact Clara had on Romanian audiences. What's more, viewers from India, Latin America and Germany identified with the story, and even a sense of guilt was stirred among Germans, some realizing how insensitive some employers can be to the personal lives of migrant workers.
Although the low promotion budget did not allow for a wide distribution, the film found its way to the people through the power of the story and was further relayed by viewers in the more than 15 cities in Romania where it was screened.
13. To listen in the exhibition Transposthumanțe by interfonic.ro in Timisoara
The texts by Iulia Enkelana and Caliței Nantu were interpreted by me and directed by Vlaicu Glocea in German, Romanian and Hungarian. They were to be heard in the exhibition "Transposthumanțe", a multimedia exhibition representing the artistic vision of 22 interdisciplinary personalities of the performing and visual arts, aged between 24 and 94, and providing an opportunity to meet highly personal, vivid and insightful testimonies about what it feels like to be a human being today. https://www.instagram.com/p/DD7Ppl_of70/
Did you have a favorite text or one that provoked special emotions while reading and recording it?
Caliței Nantu's text Miorița has a dark humor about working abroad and our country brand. It's a very slick text with a special sensitivity. I always enjoy recording under Vlaicu's direction, because he has a healthy dark humor and the process is fun with a depth that gives me a refresh on my performance methods.
14. The Blood Wedding - "Radu Stanca" National Theatre Sibiu, November 2024
Directed by Hunor Horváth, I participated in this staging of Federico García Lorca's play as the bride.
What challenges did you face in this production?
The first challenge was to delve into Hungarian folk dance with Arpad Konczey, Endre Melles and Julcsi Adam, and the second - to perform a single song, going through a whirlwind of emotions, under the guidance of Tamas Kollozsi and Melinda Samson.
Hunor Horvath's confidence gave me courage. It is a joy to work with a director who knows me, but who also knows how to challenge me, bringing out unknown sides of me as an actress.
I invite you to discover this dynamic show, where music, dance and film intertwine in a celebration where theater becomes a mirror of our society. With this show, I have officially become an actress of the Radu Stanca National Theater in Sibiu.
15. Watching performances at the National Theater in Budapest, December 2024
We have seen outstanding productions such as Salome, The Suicide Suicide and The Man Who Wasted Time in Budapest's theaters, under the signature of renowned Hungarian directors such as Bodo Atilla and Vidnyánszky Attila Attila Jr. https://nemzetiszinhaz.hu/eloadas/az-oengyilkos
How does Hungarian theater differ from Romanian theater in its approach to classical themes?
No difference. And I didn't see anything that I haven't seen in our country. I expected it to be a coded theater, a nationalistic heroic theater, but it wasn't like that. The performances were clean, technically impeccable and normal acting.
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