“I would not rely much on ‘talent’, but rather on the expression of individual or group identity”
Nicolae Manda, dean of the National University for Theatre and Cinema, has encouraged the set up of the tangaProject dramAcum groups and is among the initiators of the platform for independent theatre in Romania.
You have supported the creation of the platform for independent / alternative theatre in Romania, with dramAcum in 2002. To what extent was the success of this group more generated by your involvement, rather than the concentration of young talents or the socio-cultural context of 2002, when there was a high need for alternative theatre? In other words, how did you actually contribute?
When it came out, DramAcum represented a revival of the idea of independent theatre, at times of clear idleness. Its novelty resided in the focus on a clearly defined programme, with an implicit and explicit political attitude component. HERE and NOW meant the synthesis of artistic choices, but also a social and cultural attitude. The success of the group came mainly from its consistency, a genuine commitment synergistic action. Creativity, artistic energy of a team committed to a programme, determines effects that individual action alone cannot accomplish. At the same time, I believe we were all very inspired. It is hard to define my contribution; it is rather a special form of friendship.
To what extent do you believe that current theatre needs a new reform like dramAcum, and if so, who and how should yield it?
DramAcum project failed to break through the institutional walls. Normally, an action group of such artistic relevance, should have al least gained the support needed to set up an independent company. We would have had enormously benefited. A different management model would have emerged (that would actually be the reform: change management), an alternative cultural action model, stylistic developments influenced the emergence of new audiences, adhering to a “new objectivity”. Current theatre needs to continue the paths opened by dramAcum. And I do not expect it to come from elsewhere than the independent sector. For example, from tangaProject and Offensive of Generosity.
dramAcum, tangaProject are group generated projects. To what extent do you feel that joining a group provides a young artist with more opportunities than an individual career?
Joining a group may also be a sign of opportunism, just as singling out may be a manifestation of and incapacity to communicate. As for, dramAcum, as well as tangaProject, we’re talking about two concepts that the members of both groups fiercely fought for. In both cases, it was concept drawing attention to individualities. And I do not think that the individual route of either Gianina Carbunariu, or Bogdan Georgescu was outshined by their adherence to a group membership in a group, as I do not think any of them is the product of collective action. Basically, there’s such a supporting and structuring strength in artistic concepts, that it gives added relevance to the individual artistic act.
What would you supporting more - group initiative or individual initiative?
Any worthy initiative must be supported. And if there’s more to support it...
You have encouraged so many talented students. To what extent do you fell it is equally important to discourage untalented ones, thus directing them to professions they may be more fit for?
I can not take the responsibility of discouraging anyone. I would not rely much on ‘talent’, but rather on the expression of individual or group identity. The artist has some personal data, but on the other hand is selected by others for this role. Who may censor this process and what criteria may one apply? Is execution sufficiently supported? Is he a good drawer, a good imitator, an artist? I cannot venture an answer.
How would you comment on the relation between the number of students admitted for the UNATC and the demand for artists on the labour market?
Before establishing a connection between the market and the supply, we must first wonder whether there is a market at all and how developed it is. As compared to any European city the size of Bucharest, we have an extremely small number of theatres. The rest of the country, smaller or larger cities, is in the same situation. As the cultural market – theatre offer, in this case - is below the standard for a developed country, I think we should relate to the potential market and make all financial and educational efforts for the development of a theatre system. The fact that the number of those who want to learn, and have a profession on the field of theatre is bigger than the existing market shows that he should also give them a managerial education, so they are able to develop a real theatre system themselves. Indeed, we are facing an imbalance, but it is caused by the marginalization of culture and a failure to understand its fundamental role in supporting the social fabric.
Current theatrical education lacks the pedagogical aspect, professionalization for the “theatre in education”. Market development also depends on the emergence and development of educational structures for cultural action.
Situation: An actor, who graduated UNATC two years ago, only managed to act in two artistic projects and is forced to seek work. What's your advice for him? And what’s your advice for a director who hasn’t found a place to stage during the first two years after graduation?
My advice is to try, in association with other colleagues, and set up a company or an association, as much as possible based on elective and artistic affinities; to undertake complex goals, of artistic, social and primarily educational nature, to start things up. Faced with an obvious lack of support, he needs to acknowledge the ethnics of “no support”. Despite difficulties, he must be generous, disciplined and offensive. It is not by chance that these are principles of the “Offensive of Generosity”.
Do you believe that the lack of legislative support for independent theatre is caused by an opposition of the legislators or the lack of an independent theatre movement?
Support is not easily obtained; it is not a gift from Santa Claus. Independent artistic movement with us has not reached sufficient degree of maturity as to unite according to a principle of the least common denominator. Insistent promotion is needed for strong concepts, such as free access to culture, concepts going beyond the specific aesthetics pride and individual artistic action. “The power of the powerless” comes from the ability to recognize the other as an ally and go gain the trust of your receptors, the audience. In an autocracy, artists address to power, in a democracy only with voting power may decide.
To what extent do you think independent theatre may become a state independent theatre?
To answer, we need to develop a more complex theory. What is being state dependent and what do we mean by depending on society? Thousands of churches were built in Romania during the past 20 years. How many theatres, cinemas, libraries were there built? The effort of the state was minimal; the effort of the society is extremely great and extremely unbalanced. Balance can be achieved through cultural policies, therefore by an intervention from the state, a positive intervention to encourage the independent and - very important – decentralized system. A developed independent sector manages to develop a culture of partnership, including in obtaining funds. Such examples are present elsewhere and should be studied, perhaps even followed. An independent theatre active for, let’s say, two years, an activity similar to the activity of a subsidized theatre should qualify for equal support (space, funding) for a period at least equal. Not incidentally, there is one example, Desant Theatre, active for two years in a space at the ground floor of a block of flats at 123 Ion Mihalache Blvd., which cab be used as a case study. An independent theatre undertaking an educational mission should get immediate financing, by virtue of the need to ensure equal opportunities in individual development of young people coming from areas with little access to culture. A federal structure of independent theatres can build a partnership with major economic operators, for medium-term support to projects, with proven benefits. However, efficient pressure and extreme generosity are required, as the purpose is to develop a new market, and not conquer existing markets.
