Spectacol lectura – „Sor-sa”

https://www.youtube.com/watch?v=DL7xF430S3M

Despre autoare
Lot (Liselot) Vekemans studied social geography at the University of Utrecht and trained as a theatre author at 't Colofon
in Amsterdam. She worked as a journalist and in 1999 she decided to make a career in theatre. She received a
scholarship from Van der Viesprijses in 2005, for her plays “Truckstop” and “Zus van”. Vekemans wrote a great number of
plays over a short period of time. In 2012, she published her first novel. Vekemans’ plays were performed in more than 20
countries. Vekemans lives in France and Brabant.
Aici - https://www.sibfest.ro/events-2017/poison

Andreea Tănasă, aici - http://aplauze.sibfest.ro/otrava-care-mananca-mortii-de-vii/

Otravă este o incursiune într-un trecut comun ce îi aparține ei și lui, în care otrava propriei existențe declanșează momentul
dramatic. Putem asocia chintesența piesei semnate de Lot Vekemans cu dramatismul scriiturii, care constă în explorarea dualității
potențialului de a neutraliza factorul nociv sau de a rămâne îngenunchiat în fața destinului – în înțelesul de ordine superioară
făpturii umane.
Un text despre imobilitatea clipei și adversitatea față de evoluția celuilalt, 
Trăsăturile dominante ale acestora sunt condiționate de capacitatea fiecăruia de adaptare sau de prezervare în timpul afectiv.
Ea pune mecanismul dramatic în mișcare, evadează timpului și reține emoția celui mai puternic moment al existenței singulare,
care devine, astfel, cel mai important moment din istoria timpului, un eveniment de proporția unei explozii nucleare.
Dacă ea este imuabilă, la cea mai discretă variație pe care o prezintă starea lui afectivă, el devine perpetuum mobile – un fenomen
Altfel spus, ea încearcă să se salveze încremenind, el
care este adesea alimentat de imperfecțiune.
încearcă să se salveze nelăsându-și niciun moment de răgaz.
Ea este sarcastică și el este umil;
Ea a avut inițiativa mascată a revederii
 Modul lui de a procesa pierderea suferită și frica de a deveni violent față de soția sa atrage implicații ereditare, la fel ca și
dependența ei de somnifere și starea de letargie, de extracție a sinelui din realitatea imediată pentru a trăi un viitor care este
mereu trecut, mereu ratat. De discutat

Vergiftigen
Gif

https://www.nytimes.com/2016/11/23/theater/review-poison-in-which-a-death-
separates-a-couple-and-connects-them.html

Moartea unui copil separă un cuplu; și îl reface.

- Nu e deloc momentil ca soțul să își întrebe soția „Știai că scriu o carte?”
- Alone in a room at a cemetery, face to face for the first time in years, they are here about
the grave of their little boy, Jacob. Evidently a toxin has seeped into the soil. Long in the
ground, the body will have to be disinterred, then reburied in a less dangerous spot.
- Ceva la fel trebuie să se întâmple cu durerea pe care acești doi au purtat-o de la moartea
fiului lor - durerea grea pe care bărbatul încearcă să o canalizeze într-o carte și pe care
femeia abia o poate suporta.
- pierderea lor este ceea ce i-a separat unul de altul. Este, de asemenea, o
parte, dar numai o parte, din ceea ce îi leagă încă.
- they don’t really understand each other, it’s awkward, uncomfortable, and
yet they are trying their best. Also, it contains a lost intimacy–they used to
be married and had a child together, but now they are a bit like strangers.
- He is the one who fled, back then — left the country and started his life
anew — and it seems to have worked for him. There is an ease to his
manner that is miles from the hard-shell woundedness of his ex-wife, who
has stayed put, tending the grave and her own core of molten sorrow. We
know before she does that a new love is waiting for him at home.
Jacob’s parents have some things they need to sort out — not about his grave but
about what happened to them after he died.

“We’re a man and a woman who’ve lost a child,” the man says haltingly, revising
his language as he goes. “Who first lost a child and then each other. Or maybe I
should say: Who first lost a child, then themselves and then each other.”

- Their defenses erode, hers more rapidly than his, and we see the tenderness that took
root 20 years ago, when they first laid eyes on each other. It’s still alive in them, and that
is what’s so searing: that they might have found their way through that lostness together,
and come out of it so much less broken.

https://www.theguardian.com/stage/2017/nov/07/poison-review-orange-tree-
theatre-richmond-lot-vekemans

watching this prize-winning play by the Dutch dramatist Lot Vekemans, I was strongly reminded of Ibsen’s
Rosmersholm. Its emotional intensity derives from seeing two people reliving a past by which they are
traumatised: superbly acted, it makes for 80 minutes of uncomfortable but compelling viewing.

Vekemans suggests that the loss of a child, far from uniting couples, may actually drive a wedge between them. She
also implies that there are multiple ways of coping with grief. The man, who is a journalist, seeks some form of
closure by writing a book about the subject and starting a new life; his ex-wife immerses herself in daily routines
without ever being able to expunge her memories. But, on a wider level, this is also a play about marriage and the
way separation or divorce can never erase remembered intimacies.

Zubin Varla as the man exudes a restless febrile anxiety, even though he is the one who has supposedly learned to
deal with death. Claire Price, on the other hand, is initially more relaxed while gradually revealing that grief can
become an addiction and marital hurts never forgotten. But each actor memorably shifts and changes in a chamber
piece that, as in Ibsen, shows how the present is perennially haunted by the inescapable past.

https://translate.google.ro/?
hl=ro#view=home&op=translate&sl=en&tl=ro&text=The%20topic%20is%20brutal
%2C%20the%20setting%20is%20bizarre%3A%20a%20rather%20nondescript
%20chapel-come-waiting-room%20in%20a%20cemetery .
Spațiul – camera de așteptare din cimitir.
the interplay between two strangers who know each other very well.
It’s almost poetic, this dance our characters play as they tiptoe and stomp around one other, all
the time waiting for someone to come for the ‘meeting’ they’ve been summoned for.
There is poison in the water, the letter said – their son’s body may need to be moved. A horrific
ordeal for any parent to endure; yet as no-one arrives for this ‘meeting’, one begins to wonder if it
was ever intended to take place, and what is really going on.