“Awards Are And Will Always Be For The Worthy”
Actor with the Youth Theatre in Piatra Neamt, Cezar Antal is the leading actor in most of the performances of this company. He is currently rehearsing for “Romania 21”, on a text written by Stefan Peca and directed by Pia Furtado.
The past two month you played, if I’m not mistaken, more on tour than at home. What did you learn from the contact with a different audience than the Piatra Neamt on, in your tours in Bucharest and Timisoara?
I feel that the reaction of the audience, positive most of the time, both for the audience in Bucharest, and in Timisoara (reactions during the performances, as well as the “echo” type of reactions, after our return home), strengthened my belief that we’re doing the right thing. And I believe in the boosting effect of these tours on out performances and on the company.
Cezar Antal in Herr Paul, regia Radu Afrim, foto de Mihaela Jipa
Two of the performances that you played in were nominated for the UNITER Awards – “Tales of Common Insanity” (2008) and “Herr Paul” (2010) – still you were never the one into focus. How do objectively and subjectively explain it to yourself and to what extent does is the UNITER Award a goal for you?
The simple fact that a performance including me in the cast calls such attention is a great achievement in itself. I am happy to know that I am part of that performance and it makes me feel on the right way. Awards are and will always be for the worthy of them. I have no doubt about it. Maybe I’d see things a little differently if such an awards would mean a huge amount of (laughs)… speaking of goals.
The two performances “Tales of Common Insanity” and “Herr Paul” were directed by Radu Afrim. What’s the chemistry in your work with this director?
Radu is the director I made my debut with. In 2001, in “Ocean Cafe”. We met again after six years. Then after another two. And there were other opportunities to work together in other theatres. I think we got along and we still get along just as well as in the beginning, despite of the years past. I don’t see anything changing here. I like working with Radu and I hope will do it again.
Cezar Antal in Herr Paul, regia Radu Afrim, foto de Mihaela Jipa
You twice worked with Alexandru Dabija, in “Oo!” and “Never Trifle With Love”. Can you tell me three directions he gave you for your characters in these performances?
I can’t remember of any specific indication, either because of my poor memory, or because they were not assimilated and I can’t think of any on the spot. And anyway, I think they have to do with the performance’s intimacies. I’m glad I can’t remember them, as it would be difficult to separate from them once shared. I only hoped that they were effective. There, I’ll tell you one indication, as I’ve heard it several times: "play firmly!", "play firmly!", "play firmly!"
Cezar Antal in OO!, regia Alexandru Dabija
I’ve checked your parts during the past few years and I’ve noticed that you worked with directors of different structure and value. Do you play any part distributed to you, as an employed actor, or do you negotiate your involvement depending on the director that you are going to work with?
I am an employed actor, but this is not the only reason the I play part that I’m distributed in. This is what I like doing. And I think this is what I have to do.
You graduated the Puppetry section of the Drama School in Iasi. Why did you change your career from puppeteer to performer?
I attended the Puppetry section in Iasi because I never thought I’d be admitted to Acting. I had already tried twice. But I had this great chance. The Degree included two specializations: actor and puppeteer. From what I got, things changed after I’ve graduated. But the great chance I was talking about were the teachers I had. And I’ll never regret things I’ve learnt in my work with puppets. I think that, without being aware of it, I still use them in my acting.
You’ve composed music for various theatre performances. What instruments do you play, when did you start developing this inclination and which are, in your approach, the specifics of theatre music?
I studied violin in my first years in school (1st to 4th grades) and piano, as optional instrument, at the same time. I’ve learnt playing the rest by myself, employing the musical knowledge I had. I’m not an instrumentalist, I’m not in for performance, but I like playing. And I think that if I had a few hundred years, I could learn how to play other instruments too, and even be an excellent player of the ones I’m torturing now.
Cezar Antal in Cinci minute miraculoase, regia Ana Margineanu, foto de Mihaela Jipa
I started making music for theatre at the encouragement of my acting teacher Ion Sapdaru. It was his performances I later made the music for. As for the particularities…, I think that regardless of the way it sounds (as genre or style), it needs to give you the feeling that the moment if accompanies or stresses would be pooper or incomplete without that specific music.
In what circumstance would you argue for ever with a director?
It would be forever when we would never get an opportunity to make up.
