Bitef

Šerbanovi Krici i šaputanja su meta-referentni poduhvat filma. U predstavi su na pozornici glumci i rediteljska grupa koja vodi probe i pravi film; stvaralacki procès je u istoj ravni sa stvarnim stvaranjem: glumci igraju glumce koji igraju filmske likove. Dramaturgija predstave ukazuje na mnogostruke niti pripovesti i tema i traga za suvislom sturkturom koja omogućava ovom „pravljenju" da umetnost pretvori u život. Ideja je briljantna. Polazište je uzbudljivo, a realizacija - u možda najboljem rumunskom pozoristu sa legendarnim rediteljem - ima sve što treba za pravi umetnički doživljaj od samog početka. Naizgled povrsinska lepota koja pati, ali koja nije kadra da nade uzrok svoje patnje da bi je poništila i pomirena sa sudbinom, nema, apsolutna predanost Madone predstavljaju granice u kojima oscilira integritet Krika i šoputanja, od mirenja sa smrću, ali ne i sa njenim užasom do mazohističke histerije pracene psihološkim efektima i bračnom krizorn. Sve to pod nadzorom majstora-stvaraoca koji režira razaranje. Ovo je teška i zamamna predstava koja od gledalaca traži složen dramski i emotivni napor. Julija Popovici, Observator cultural, 28. januar - 3. februar, 2010.

Çerban's Cries and Whispers is a meta-referential undertaking of the film. The performance presents on a stage actors and a directorial group who are rehearsing and producing a movie.-.the [performance’s] creation process is on a par with the actual creation; the actors play actors who are playing movie characters. The dramaturgy of the spectacle points to multiple lines of narrative and themes, searching for a coherent structure that allows this "making of* to turn art into life. It is a brilliant idea. The proposal is exciting, and its realization - at perhaps the best theatre in Romania, directed by a legendary director - has everything necessary, from the beginning, for a true art event. (...) The seemingly superficial beauty that is suffering, but which is unable to find the cause of its suffering in order to annihilate it, and the resigned, silent, absolute devotion of the Madonna constitute the limits within which the integrity of Cries and Whispers oscillates: from the reconciliation with death, but not with its terror (Agnes - Aniko Petho) to the masochistic hysteria accompanied by psychological effects and the crisis of marriage (Emôke Kato). And all of this under the supervision of a mastercreator, who is directing destruction. (...) It is a difficult and entreating spectacle, for which the audience, for its part, has to supply a complex dramatic and emotional range. lulia Popovici, "Bergman, Crying and Whispering’ Observator cultural, January 28 - February 3, 2010

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