Concepţiile estetice ale actorului şi regizorului Petru Vutcărău
The aesthetic conception of Petru Vutcărău, the actor and director

Summary/Abstract: The formation of Petru Vutcărău’s aesthetic concepts began in the period of his studies at “B. Shchukin” High School of Theatre, where he explored the basics of acting, the art of translating into characters from classical and contemporary dramaturgy of different genres. At the same time, the atmosphere that stirred his interest in the theatre of the absurd in Moscow in the mid-1980s transformed the aesthetic conception of the beginner actor Petru Vutcărău. Performances of the theatre of the absurd: “Waiting for Godot” by S. Beckett, “The Bald Soprano” by E. Ionesco, “Exit the King” by E. Ionesco, „Voices in the blinding light”, “And with the cello what do we do?” by M. Vişniec were staged at “E. Ionesco” Theatre. Performances were staged in which the means of expression of the theatre of the absurd were used only as special procedures – „Joseph and his mistress” after the play by Val Butnaru, „Chiriţa in the province” by V. Alecsandri, “The Inspector” by N. Gogol, “The Wolves and the Sheep” by A. Ostrovsky, “Elizabeth I” by P. Foster. The play “The Dream of a Summer Night” by W. Shakespeare was staged in the aesthetics of the philosophical fantasy, and “The Chekhov Machine” by M. Vişniec in the aesthetics of the symbolic theatre and the colorful music of A. Appia. “The Women of Picasso. Olga” by B. McAvera, “Oscar and the Lady in Pink” by E. Schmitt, “A Very Simple Story” by M. Lado were among the plays performed in the aesthetics of psychological realism.

• Details
• Contents