PRESA DESPRE CREATIA LUI RAZVAN MAZILU

Despre "Block Bach"
"Block Bach e un spectacol inedit de teatru-dans, ...e un regal".
(Jurnalul National, 2007)

"...Am smuls traiului in bloc o ora astrala. Ora - atat de scurta - a unui spectacol pe care titlul comentariului de fata - 'Exceptional' - il descrie mult prea palid."
(Ziarul Financiar/ Ziarul de Duminica, 2007)

"Cu talpile pe trepte si cu urechile conectate la muzica lui Bach, BLOCK BACH e un spectacol de teatru-dans urban extrem de inteligent. Mergeti sa-l vedeti macar in momentele cand simtiti ca va sufocati intr-o cutie umana prea mica. Si va asigur ca o sa va trimiteti toti vecinii." (Romania libera)

"Spectacolul, exercitiu despre timp si vârste culturale (...) garanteaza, în peisajul generalizatei noastre depresii, un efect vindecator". (Adevarul literar)

Despre “Un Tango más”
Teatrul Odeon, 2006

“Un Tango más” nu este un spectacol, ci un exercitiu de emotie, sublim, dureros, aproape insuportabil. (Tango, 2006)

Despre Marlene
Teatrul Dilos, Atena, Grecia, 2005

Unul dintre cele mai bune spectacole vazute anul acesta, una dintre putinele trupe care ne dau curaj in privinta viitorului teatrului grec. (Axia, 2005)

Un spectacol de calitate este "Marlene", creat in micul teatru DILOS de talentatul regizor roman Razvan Mazilu. Un spectacol cu o atmosfera impresionanta.
(Ethnasaout tis kyriakis, 2005 )

Despre Portretul lui Dorian Gray
Teatrul Odeon, 2004

"Portretul lui Dorian Gray" in varianta lui Dragos Galgotiu si Razvan Mazilu este imagine, viziune, culoare si parfumuri. O incursiune hedonista si adinca in sufletul uman. Un adevarat regal pentru iubitorii de arta. (Daily News, 2004)

Razvan Mazilu reuseste sa absoarba si sa transfigureze in interpretarea sa acele cuvinte ale lui Oscar Wilde care nu se aud, dar pe care dansul le impune mai puternic decit rostirea. (Cultura, 2004)

Despre Ingerul albastru
Teatrul Odeon, 2001

Frapeaza si starneste aplauze la scena deschisa dansul, dublat insa de interpretari actoricesti remarcabile. (România Libera, Timpul liber, 2001)

Cu siguranta, cel mai reusit, ambitios si generos – date fiind proportiile – spectacol al “copilului teribil” al scenei românesti. (Elle, 2001)

Asimiland o filmografie si o bibliografie complexa, Razvan Mazilu il reciteste pe Heinrich Mann, procedand la o adnotare a povestirii din unghiurile diverse ale posteritatii operei. Astfel s-a constituit acest original spectacol cu propriul sau sistem autoreferential, conceput dupa principiile postmodernismului. (Contemporanul, 2001)

“Ingerul albastru” este acel gen de spectacol care poate readuce publicul in sala de teatru. “Ingerul albastru” - inca o victorie a lui Razvan Mazilu. (National, 2001)

Razvan Mazilu si echipa sa propun o lectura noua a romanului care vine impotriva cliseelor propagate de filmul lui Sternberg. (Scena, 2001)

Trebuie sa vedeti acest spectacol care va vorbeste despre somnul iubirii care zamisleste monstri. ( Azi, 2001)

Despre Coppèlia
Opera Româna Timisoara, 1999

Nu stiu daca la Opera Româna din Timisoara a existat mai de mult o Coppèlie clasica, dar montarea semnata de Razvan Mazilu este, intr-advar, noua in raport cu orice versiune traditionala. Desi pedaleaza mult pe comic si implica tot papusi, “Coppèlia” sa nu mai e doar un soap-ballet de matineu. (Scena, 1999)

Coregraful Razvan Mazilu a alcatuit si un libret abundand de momente de incordare dramatica, de culoare. In fata noastra se deapana o inlantuire muzical-coregrafica cvasicinematografica. (Renasterea banateana, 1999)

Cei care se asteptau la desfasurari ample in poante si piruete au avut surpriza (dar nu si deziluzia) unei miscari alerte, pline de umor, desprinsa din lumea veacului nostru si cu aluzii la dansul la moda in anii ‘30 sau ‘70… Premiera baletului Coppèlia a fost o reala izbanda a operei din Timisoara si a realizatorilor sai care au castigat pariul cu ei insisi prezentand o varianta de mare efect, in fata unui public ce s-a lasat cucerit din prima clipa de aceasta versiune inedita. (România literara, 1999)

Despre Vorbeste-mi ca ploaia si lasa-ma sa te ascult
Teatrul Odeon, 1996

Principalul merit al lui Razvan Mazilu sta in capacitatea sa de a crea emotie din orchestrarea plastica a miscarii, din cinetica stilizata a timpurilor. Este, pentru un regizor-coregraf, o calitate fundamentala, care indreptateste convingerea ca teatrul-dans românesc are in Razvan Mazilu un reprezentant redutabil. (Teatrul Azi, 1997)

Se poate spune ca Razvan Mazilu stapaneste foarte bine arta contrapunctului atat in registru grav cat si ludic – folosind-o cu masura pe tot parcursul spectacolului.
(Adevarul literar si artistic, 1997)

Excelenta spectacolului (primit cu neasteptat interes de publicul tuturor varstelor) consta in forta de abstractizare a conditiei tragice a insului modern, prizonier al subconstientului, scindat intre aspiratii fel de fel si neputinta realizarii lor. (22, 1997)

Razvan Mazilu ne ofera o mare sansa: aceea de a ne privi tineretea fara dezgustul dezamagirilor, reflectand-o improspatata, regenerata de privirea inteligenta a unei alte generatii. Transformand piesa intr-un fel de clip, el elimina verbozitatea si mirosul de colonie ieftina, lasand in urma un concentrat intens si de calitate. (Dilema, 1997)

La fiecare noua montare regizorul coregraf Razvan Mazilu adauga o nota de uimire pe chipul spectatorilor sai, datorata maturitatii sale de gandire, la o varsta neinchipuit de tanara pentru un regizor de spectacole cu atat de lungi deschideri de perspectiva.
(România literara, 1996)

Despre Dama cu camelii
Teatrul National Bucuresti, 1995

Razvan Mazilu jongleaza cu un univers polisemantic de invidiat, fiecare miscare gandita / executata de acesta, combinata cu elementele scenografice si muzicale, deschizand cateva cai de de receptare, ce se suprapun intr-un fascicol de emotie intensa. (Adevarul literar si artistic, 1997)

Cu doar trei roluri (piesa lui Dumas-fiul are optsprezece), Razvan Mazilu dezvolta un joc dramatic plin de romantism si patos, care se incheie acolo de unde incepe – in moarte … (Neue Zürcher Zeitung, 1996)

"Dama cu camelii" de la National e un spectacol cizelat ca un angrenaj de masina infernala. O viziune care te urmareste si care “spune” fara cuvinte.
(Românul liber, 1995)

Razvan Mazilu a realizat spectacolul cel mai socant din actuala stagiune … este un spectacol de rascruce, care pune arta dansului in serviciul teatrului, muzica in serviciul dramaturgiei si pe Maia Morgenstern in serviciul “divin” al tuturor acestora.
(Dilema, 1995)

Aceasta adaptare dupa “Dama cu camelii” este pentru spectatori o experienta postmodernista cu doi actori, un dansator si un violoncelist … toti patru respira la unison in timpul jocului, pentru ca spectacolul tanarului regizor Razvan Mazilu se concentreaza pe sincronismul actoriei cu gestul dansat si muzica…
(Badener Tagblatt, 1996)




Foto © Yorgos Calfamanolis, Matei Caltia, Mihai Cratofil, Mihaela Marin

ABOUT RAZVAN MAZILU'S CREATION

About "Block Bach"

"Block Bach is an innovative dance-theatre show, is a true enchantment"
(Jurnalul National)

"...We have managed to live, for an hour, literally among the stars. The hour - yet so brief - of a show which the title of this article - 'Exceptional!' - describes way too mildly." (Ziarul Financiar/ Ziarul de Duminica, 2007)

"Feet on the stairway, ears plunging into Bach's music, BLOCK BACH is an extremely intelligent urban show. You'd better go see it, at least when you feel like suffocating in a too small human box. And I assure you - you will end up sending all your neighbours to the theatre" (Romania Libera)

"The show, an exercise about time and cultural ages (…) has, in the context of our modern general depression, a truly healing effect." (Adevarul literar)

About “Un Tango más”

“Un Tango más” is not merely a show, but a sublime, painful, nearly unbearable exercise of emotion. (Tango, 2006)

About Marlene

One of the best shows seen this year, one of the few theatre companies which encourages us when it comes to the future of the Greek theatre. (Axia, 2005)

A play of top quality is "Marlene", created in the small DILOS theatre by the talented Romanian director Razvan Mazilu. A play with an impressive atmosphere.
(Ethnasaout tis kyriakis, 2005)

About The Picture of Dorian Gray

"The Picture of Dorian Gray" in the direction of Dragos Galgotiu and choreography of Razvan Mazilu consists of image, vision, colour and frangrances. It is a hedonistic and profound incursion into the human soul. A genuine feast for the art lovers.
(Daily News, 2004)

Razvan Mazilu succeds in engrossing and transfiguring in his interpretation those words of Oscar Wilde which can not be heard, but which are more strongly imposed by dancing than by uttering them. (Cultura, 2004)

About The Blue Angel

Being as well helped by remarkable acting performances, the dance strikes and stirs the applauses. (Romania Literara, Timpul liber, 2001)

Certainly, the most successful, the most ambitious and generous – being given the proportions – show of the <enfant terrible> of the Romanian stage. (Elle, 2001)

“The Blue Angel” is that type of show which can bring back the public in the reading chamber. “The Blue Angel” – one more victory for Razvan Mazilu. (National, 2001)

Razvan Mazilu and his team suggest a new lecture of the novel which comes against the clichés propagated by Sternberg’s film. (Scena, 2001)

You must see this show which speaks about the sleep of love which gives life to monsters. (Azi, 2001)

About Coppèlia

I don’t know whether at the Romanian Opera House of Timisoara has some time ago existed a classical Coppelia, but the staging signed by Razvan Mazilu is, indeed, innovative in comparison with any other traditional version. Although it pays a lot of attention to the comic dimension and involves dolls as well, his “Coppelia” is more than a soap ballet of matinee performance. (Scena, 1999)

The choreographer Razvan Mazilu has also created a story full of dramatic tension moments. An alm ost cinematographic musical-choreographic concatenation reels in front of us. (Renasterea banateana, 1999)

The ones who were expecting ample displays of toe-dancing and pirouettes had the surprise (yet not the disillusion) of a full of humour, dynamic movement, took out from the world of our century and having allusions to the dance which was fashionable in the 30’s or in the 70’s… The premiere of the ballet “Coppelia” has been a genuine success for the Opera House of Timisoara and for the directors which gained the bet with themselves by showing a version of great effect, in front of a public who let itself be enchanted by this innovative version from the very first moment.
(Romania Literara, 1999)

About Talk to Me Like the Rain and Let Me Listen to You

Razvan Mazilu’s main merit stands in his ability of creating emotion from the plastic orchestration of the movement, from the stylized kinetics of the moments. It is, for a choreographer – director, a fundamental quality, which justifies the belief that the Romanian theatre – dance has a redoubtable representative in Razvan Mazilu. (Teatrul Azi, 1997)

Razvan Mazilu can be considered a good master of the counterpoint art, both in the solemn register and in the ludic one – using it temperately through the whole show. (Adevarul literar si artistic,1997)

The brilliance of the show (regarded with unexpected interest by the public aged differently) stands in the force of abstraction of the tragic condition of the modern man, prisoner of the subconscious, split up between all kinds of aspirations and the incapacity of realizing them. (22, 1997)

Razvan Mazilu is offering us a great chance: that of watching our youth without the disgust of the disappointments, reflecting it in a refreshed manner…through the intelligent look of another generation. Transforming the play in a sort of clip, he removes the verbosity and the smell of cheap cologne, leaving instead an intense and valuable concentrate. (Dilema, 1997)

With every new staging, the director and choreographer Razvan Mazilu adds a note of amazement on his spectators’ faces, due to his maturity of thinking, at an unimaginably young age for a director of shows with such large perspective openings.
(România Literara,1996)

About The Lady of the Camellias

Razvan Mazilu juggles with an enviable polysemantic universe, each movement being thought/performed by him, combined with scenic and musical elements, giving the possibility of a few ways of understanding it, ways which overlap in a fascicle of intense emotion. (Adevarul literar si artistic, 1997)

With only 3 parts (Dumas the son’s play has eighteen), Razvan Mazilu develops a dramatic acting full of romanticism and pathos, which ends where it starts – in death … (Neue Zucher Zertung, 1996)

"The Lady of the Camellias" from the National Theatre is a show chiseled like a gearing of an infernal machine. A vision which follows you and which "talks" without words. (Romanul liber, 1995)

Razvan Mazilu has realized the most shocking show of the present theatrical season…it is a crossroads show, which places the art of dancing in the theatre’s service, the music in the drama’s service and Maia Morgenstern in the divine service of all these. (Dilema, 1995)

This version of “The Lady of the Camellias” is, for the spectators, a postmodern experience with two actors, a dancer and a cellist…all these four breathe at the same time during the play, because the show of the young director Razvan Mazilu focuses on the syncretism of the acting with the danced gesture and with the music.
(Badener Tagllatt, 1996)