Interview with Cristina Bejan, Romanian-American PhD student, artist, playwright and founder of the first Bucharest Theatre Company in English

How is your incredible ‘love-affair’ with Romania possible, given your “westernized” lifestyle and the social demands of an American with Romanian roots? Would you please share with us a few things about your personal story?

I love that you ask me about my ‘love-affair’ with Romania. It is indeed a love-affair, with all the joy, discovery, complications and heartache such a term entails. My personal story begins when I was a little girl, growing up in Durham, NC, in the 1980s. My father put my sister and me to bed each night with a bedtime story about his youth in Romania. His stories, combined with sending care packages (with everything from soap, sewing needles, clothes to cigarettes) to our family in Galati, created this world of mystery that I thought I would never get to see. Only with the 1989 ‘revolution’ could my father, a defector and thus an enemy of the state, return to Romania, and he brought his American family with him. The 90s were filled with family visits to Bucharest and Galati, and Romanian graduate students and professors coming to Duke, on an exchange program organized by my dad. The 2000s have been my own personal journey to Romania: learning the language, immersing myself in the history and culture and creating a life for myself in Bucharest, the city in which my grandparents met at a military ball held at Cercul Militar and danced together often at Caru cu Bere in the 1930s.

As for the question about social demands, there is a dual-obligation being a member of any Diaspora group: 1) to your country of citizenship and 2) to the “homeland,” the country of origin. I personally don’t see any contradiction between my ‘westernized’ upbringing and my Romanian roots, rather it is a matter of balance. In the United States, historically there has been a pressure to assimilate. In fact “Hyphenated-American” was a derogatory term in the US at the turn of the 20th Century, employed even by President Theodore Roosevelt. Granted we have made a lot of progress since then, today we celebrate our various hyphens. (To go to the hyphenated extreme, I am, in order of percentage: Romanian-Irish-Danish-German-Dutch-American.) That said, the general tide of assimilation is still very strong in the United States. This is in marked contrast to the multi-cultural approach I experienced living in the United Kingdom (where I lived for four years). As for self-definition, ultimately it comes down to individual taste and what provides for personal happiness. For me, embracing my Romanian identity has been very important.

In Romania today, there is a vibrant energy that I have not experienced anywhere else in the world. In Bucharest I have the feeling that anything is possible, or, as in the words of Strada32’s very own Mirela Ciucur, it is a place “where things just happen.” And I’ve seen it: friends starting their own businesses, pursuing multiple projects at once, approaching things with optimism, enthusiasm and openness, not being limited by a degree, societal expectation or a certain career path …. Romania is an invigorating place to be, and that energy is infectious. Who wouldn’t want to be a part of such a dynamism? Another word I have for it is: momentum. Bucharest, chaotic and constantly changing, has a flow to the city that picks you up and carries you with it.

Professionally, you are a PhD candidate in Modern History at the University of Oxford. A Rhodes Scholar, Fulbright Scholar and Research Fellow at the United States Holocaust Memorial Museum, you are currently writing your dissertation on a cultural group in interwar Bucharest named “The Criterion Association.” Called “the most original and significant manifestation of the Young Generation,” by Mircea Eliade, Criterion included such outstanding figures as Eliade, Emil Cioran, Eugene Ionesco, Mihail Sebastian, Marietta Sadova, Mircea Vulcanescu, Haig Acterian and M.H. Maxy.  Criterion instigated debate and discussion about some of the most controversial and salient social, political, economic, and cultural issues of the time... The Criterion Association is a valuable Romanian cultural manifestation that still remains a secret for too many of today's nationals. a) How did you discover this intellectual phenomenon of the Romanian golden era and how is your perspective unique? b) What cultural content did this artistic expression bring to Bucharest during the 30s, in terms of intellectual progress and international presence?

I originally came to this through an inquiry as to why liberalism failed in the interwar period. I wrote my undergraduate honors thesis in Philosophy at Northwestern University (where I also studied Theatre) investigating the philosopher Immanuel Kant’s political theory and what he outlined as necessary for a successful democracy. Using Romania as my case study, I sought to see how applicable Kant’s theory could be to post-communist newly democratic Romania. This led me to look at Romania’s previous experiment with democracy and why it failed.

In graduate school, I wished to pursue a more intellectual and cultural history project on the Romanian interwar period. Still fascinated by the collapse of democracy and the rise of totalitarianism, I was curious to know more about the Bucharest intellectual life and cultural world of this “Golden Era” that was destroyed as a result of the ascension and triumph of extremism.

The personal reason is my own family history. Both of my Romanian grandparents were the first in their families to pursue higher education. Coming to Bucharest in the early 1930s, my grandmother studied at the Faculty of Pharmacy and my grandfather, the Faculty of Veterinary Medicine. In the communist period, (at this point they had relocated to Galati) they were each imprisoned, harassed and persecuted in retaliation for this education they received (despite both being literally from the village: villages Slivna and Baldovinesti, respectively) accused of being “intellectuals,” and thus needed to be “re-educated.” While conducting research in the Academy Library in Bucharest, I experienced a beautiful moment when I came across my grandfather’s name as Secretary General of the Student Society for Veterinary Medicine in a newspaper from 1932. But this is the most my doctoral research has extended to my own family members, who were staunchly a-political and scientists rather than pioneers of Romanian art, literature and culture.

From a more academic angle, I was introduced to the Young Generation (or Generation ‘27) through reading Mircea Eliade. Originally interested in his philosophy and work on yoga, my interest grew to cover his background, activity in Romania and his creative literature. My interest in Emil Cioran had a similar beginning, discovering him first as a philosopher (a champion of nihilism in the tradition of Nietzsche) then uncovering his Romanian past. The same went for Eugene Ionesco, who from my theatre education, I knew first as a playwright, the father of a genre I love to experiment with: the absurd.

Eliade, Cioran and Ionesco succeeded in leaving Romania, which is why they have international exposure. But alongside them, there was a dynamic, brilliant, and diverse group of thinkers and artists each of who had much different fates. These included Petru Comarnescu, Mihail Sebastian, Haig Acterian, Marietta Sadova, Mircea Vulcanescu, among many others. It is in fact on these lesser known figures that I focus on in my dissertation.

Realizing that all these individuals were close friends studying, working and creating together in interwar Bucharest was an intellectual dream come true. One of their projects stood out to me as having exceptional importance and that was the Criterion Association, which Liviu Antonesei calls a “model for cultural action.” Studying Criterion has married a number of my passions and interests: philosophy, history, theatre, visual art and interwar Bucharest cultural life.

The Criterion Association of Arts, Literature and Philosophy (1932-1935), conceived and organized by Petru Comarnescu, was a series of conferences (including artistic exhibitions of the fine arts, live performances and a subsequent publication) covering relevant cultural, political and intellectual topics of the day. From conferences on such topics as Charlie Chaplin, Gandhi, Lenin, American jazz music and Andre Gide, the Criterionists were well-known for representing all different philosophical and political viewpoints. The structure of the symposia was designed to construct a democratic debate, with two speakers presenting the ‘pro’ side and two the ‘contra’ and each of the symposia was presided over by a member of the Old Generation (the philosopher Constantin Radulescu- Motru, for example).

In addition to the diverse topics presented and discussed, the participants themselves had much to offer in terms of “international presence.” Most had pursued some sort of higher education abroad and Criterion served as a forum for them to share their ideas and experiences with each other, and the Bucharest intellectual (particularly student) community. A short-list of this international education prior to Criterion is as follows: Eliade pursued his doctoral research in Calcutta, India; Comarnescu received his PhD from the University of Southern California in Los Angeles in 1931; Sebastian studied law in France; Haig Acterian studied theatre in Berlin, the list goes on.

But Criterion’s dynamic success (many conferences played to packed houses) was short-lived. The Association was dissolved by royal decree, as King Carol II viewed it as a threat to his own power. However by 1935 the Association was dissolving on its own, as ideological choices began to overshadow youthful generational allegiances and personal friendship. What Ionesco famously labeled ‘Rhinocerization’ had begun: key members of the Young Generation started their sympathetic activity for the Legionary Movement, an incarnation of fascism in Romania

Romania is still struggling to confront this difficult period of her history. The rise and popularity of fascism and the ensuing Holocaust was completely written out of the communist history books, and only rediscovered after 1989. Any discussion of the fascist leanings of leading 20th Century Romanian intellectuals can raise concern, skepticism and even anger. My personal aim is not to point fingers, accuse or denounce any particular member of this fascinating elite. I think my perspective is unique because I am both Romanian and American (a dual-citizen and bi-cultural), with training and research in the USA, United Kingdom and Romania. I intend for my approach to be an objective multi-biography of Criterion’s members and activity. And I am hopeful that a more complete understanding of what preceded and enabled the collapse of liberalism in interwar Romania can inform our discussions concerning the tension between religious extremism and democratic liberalism today.

 A playwright, theatre director, actress and dramaturg, trained at the Studio Theatre (DC), Northwestern University, and Interlochen for the Arts, you have written eleven plays, nine of which have appeared in both in the USA and Europe. You are also the Artistic Director of Théâtre Fille de Chambre in Oxford, which is a women’s theatre company with ‘international ambition’ that experiments with all forms of theatrical performance to challenge traditional convention, societal constraints and prejudices. a) Would you talk a bit more about this exploration of the human condition through dramatic expression and what are the conventions and prejudices that challenge you in the pursuit of your objectives?  b) Did you ever debate in your plays this issue of social constraints? c) Is this the reasoning behind ‘Theatre by women…for everyone”? d) Do you consider yourself a feminist?

Theatre is the only living artform. The theatre gives us an active forum to investigate all the elements of the human condition. When we create a safe space to explore and celebrate the human spirit that is when communication, catharsis, and discovery can occur. And it is when we are engaged that we are challenged to confront ourselves, introspect, reflect, learn and even become motivated to change our behavior and strive to improve the world around us. My own involvement in the theatre (in all capacities: actress, director, playwright) is an act of embracing all of my dimensions and sharing them with other people.

As for conventions and prejudices, these vary depending on the theatrical tradition, the country, the language and the theatre community in question. With ‘Theatre Fille de Chambre’ we want to challenge the convention of theatre as male-dominated (mainly written, directed, and performed by men) by presenting works written by women, directed by women using mainly female actors. This explains the reasoning behind our slogan “Theatre by women . . .  for everyone.” The everyone portion indicates that though we want to create a space for the female voice, we also wish to include everyone in sharing in that experience. Our art is not limited to women, but rather was created by women, to be enjoyed by diverse audiences, representing both genders and all sexual orientations.

With respect to my own writing, one of my main preoccupations is questioning the ‘status quo’.  With my most recent script (completed in March) entitled “Curious or Insecure in Odessa” I challenge the convention of telling a story chronologically, and instead wrote it backwards. I love experimenting with different genres of playwriting: abstract, drama, comedy, epic, one-act, full-length, etc.

As for confronting prejudice specifically I could give you many examples from my own work. I deal with anti-Semitism in Europe and sexism in America in my play “Etrangere.” In ‘”Colombo Calling,” I investigate the discrimination of the Tamil minority in Sri Lanka. With “Finally Quiet in My Head” I grapple with the otherness and alienation experienced by those who suffer mental illness. I think these examples should also answer your question regarding social constraints.

Am I a feminist? I answer with a qualified ‘Yes!’ I understand to call oneself a ‘feminist’ means something very different in the United States than in Romania. And it was for that reason that I was inspired to put together ‘Most Myself – o seara de scriere feminina’ in October 2008 at Museo Café in Bucharest (an event supported by the Strada32 community!) to explore that difference of perspectives through the performance of four texts devoted to the female voice (two in English by Slavenka Drakulic and Suzanne Richardson; and two in Romanian by Maria Ellis and Maria Manolescu) and hold an open discussion afterwards. Following the show, the audience was keen to make the distinction between ‘feminine’ (as something more inward-focused and personal) and ‘feminist’ (being more demonstrative towards society). I consider myself both ‘feminine’ and a ‘feminist.’

The artistic ‘international ambition’ came to life in Bucharest, during your stay and work here as a Fulbright Scholar in 2008. ‘Colombo Calling, a play from Sri Lanka’ was your first presence on a Romanian stage as a playwright at Teatrul Foarte Mic. Inspired by stories you witnessed and heard while living for some time in Sri Lanka in 2006, it is a play about civil war, diaspora, forbidden love, racism,  identity and ultimately family. The production managed to attract the participation of well-known Romanian celebrity, Maia Morgenstern. a) Would you tell us more about this amazing experience? The idea, the people behind, the efforts, public’s reaction and the well-deserved success?  b) How did this project come to complete your fantastic experience of one-and-a-half year in Bucharest?

No matter where I am in the world and what I am doing, I need a creative outlet. I had been a long-time fan of the vibrant Bucharest theatre scene, particularly impressed with the boundless passion and the outstanding caliber of acting. Thus I was eager to try a project in Bucharest and collaborate with local artists. The opportunity presented itself in the following way, I had a script that had never been performed (“Colombo Calling – a play from Sri Lanka”) for which I was thinking of putting together an informal reading.

Briefly, about the play itself, I must say a few words. While in Sri Lanka in 2006 I was bombarded with new information from all angles: the ongoing civil war, the discrimination of the Tamil minority, the difficult colonial history, the aftermath of the Tsunami, a different kind of war raging between the various international NGOs on the island, the gap between the huge diaspora community and their relatives still in Sri Lanka, and the intense and crazy Colombo party scene, among many other elements. Writing this play was an attempt to wrap my head around what I experienced and it was so delightful to discover that the stories (though so removed geographically) and themes in the play resonated so deeply with the Romanian actors and audiences in Bucharest, proving truly that theatre is a universal artform.

Looking for the appropriate space, I consulted my friends Lia and Dan Perjovschi who suggested I ask Teatrul Foarte Mic. The show became bigger as the renown of the team grew, and this happened due to luck, and a lot of ‘being in the right place at the right time.’ While running a seminar for Romanian Fulbright applicants, an energetic young man told me he was applying for MFAs in Theatre Directing in the States. I told him to wait for me after the workshop. That man was UNITER-award winning Alex Mihail, now my dear friend who was just accepted to the Yale School of Drama Masters of Fine Arts program. I told him my intentions for Colombo and how I wished to find a Romanian director. After reading the script he lept at the project.

We then blanketed Bucharest with our casting call. Despite the enormous outpouring of interest, the age group represented did not pass 35. We were still looking for an older actress to play Varthini Balakrishnan, the matriarch of the family. Maia Morgenstern was suggested to us, but we never in a million years thought she would audition. Lo’ and behold she invited me and Alex Mihail to her dressing room in the National Theatre, asked for a script and when rehearsals started.

In addition to Maia, the excellent cast included Pavel Barsan (the winner of the “Best Young Actor” prize at the Youth Actor’s Gala “HOP” Mangalia 2008), Isabela Neamtu, Gabriel Calinescu, Anca Constantin, Gabriel Pricop, Ana Popescu, Alexandru Mike Gheorghiu, Catalin Iliescu and Crista Andriescu (as the narrator). Daniel Beers designed the music, playing original songs on his guitar that he had composed whilst living in Bucharest.

It was such an honor to see this phenomenal group of artists in action. In addition to the actors, I was so fortunate to work with a tremendous marketing and public relations team: Smaranda Schiopu and Roxana Nicolaescu, who did an excellent job with the press and also put together our blog: http://colombocalling.wordpress.com/. I also am indebted to the photographer Alyssa Cwagner who is responsible for our stunning publicity photos, and the Fulbright Commission (particularly Barbara and Boyd Nelson, Mihai Moroiu and Corina Danaila-Guidea ), and the staff at Teatrul Mic and Teatrul Foarte Mic for their generous support. It was from our first reading at Teatrul Foarte Mic on May 24, 2008 that we were then invited by Amarjit Sidhu to do the show again at Museo Café on June 19, 2008. To him and Rucsandra Pop I give my utmost thanks on behalf of the whole Colombo crew for this incredible opportunity.

This experience rounded out my Fulbright year in Romania by giving me the chance to participate in Romanian cultural life in the way that the members of the Criterion Association did in 1930s Bucharest. After learning so much about Romanian art and culture in libraries, archives and from being in the audience of countless theatres, it was so amazing to have the chance to be part of the action myself. And as an additional gift, I made a wonderful group of new friends.

I still view “Colombo Calling” as a work in progress. Following our ‘spectacol-lectura’ in Bucharest , we were invited  to participate in an event organized by the Internationalist Theatre Directors Collective in New York City. Video footage from our show was exhibited in a festival of  international plays entitled ‘Around the World in 24 Hours’ and took place  on November 16,  2008. As for the political questions addressed in the play, the script is particularly timely and relevant in light of recent world events. The civil war there recently ended in May 2009, Prabhakaran (the Tamil leader) has been proclaimed dead and the issue of Tamil rights is one of the main obstacles the Sri Lankan government currently faces.

Romania seems to be among your most important interests! ‘Platforma’ is a new theatre company based in Bucharest that you are currently developing with the assistance of a local team and support of important figures in the social and artistic world in Bucharest - Maia Morgenstern, Leslie Hawke and Barbara Nelson. a) Why is Platforma necessary for the current Romanian dramatic stage?b) Can we see it as an opportunity to exit the conventional décor and enter a different artistic world -- a fresh, more diverse and international one? c) Where is that approach going to place Bucharest theatre and how is it going to influence the art and performances of young Romanian actors and artists?

A lot came out of our experience with “Colombo Calling”, including the recognition of the need for more English language performance in Bucharest.  The Platforma Theatre Company was born out of the discussion that took place between the crew and audience after our show in Museo Cafe. For exactly how the discussion developed, please consider my response to Mirela Ciucur’s kind posting about ‘Most Myself.’ http://www.strada32.com/forum/an-american-performing-in-romanian_60.html

Platforma is necessary for the current Romanian dramatic stage because the world is getting smaller and the Bucharest theatre community has so much to offer. Dedicated to international artistic collaboration and cross-cultural dialogue, we propose the English Language as a common currency through which artists from different cultures can communicate and perform. That said, we intend to be more than an English Language Theatre and are open to working in other languages. The principal idea is to be a space of international exchange and literally a platform for collaboration between international and Romanian artists. We intend to be a theatre for these individual artists, as well as for the people of Bucharest.

We can certainly see it as such a chance to enter a fresh, diverse and international artistic world. This is precisely the goal! In addition to the Board Members you mention, I (the Executive Director) am collaborating with Alex Mihail (Artistic Director) and Rucsandra Pop (Marketing Director) and have enlisted a number of supportive friends and artists.

The Platforma vision is to  1) Export and import performing arts, 2) Exchange ideas and expertise, 3) give Exposure to contemporary writers and artists, and 4) Explore individual and collective creativity. This exchange will be realized by giving Romanian artistic products international exposure and bringing fresh international cultural products and ideas to Romania. Bridging the national the international, we are open to all modes of performance (with a focus on live theatrical performance) and open to working with established theatres and scripts, as well as exploring unconventional spaces and new texts.

We are hopeful that this approach will help bring Bucharest theatre to the forefront of the world stage, in the prominent place it deserves to be. As for its influence on the art and performances of young Romanian actors and artists, Platforma will provide them with another outlet and company to support their projects, as well as provide them the opportunity to work with directors, designers and actors of international renown and different cultural and educational backgrounds.

In the words of the ever-impressive Maia Morgenstern, “We must renounce our prejudices and complexes!” And in my own words … “Let us reach beyond language and prepare the ground for more art to happen.”

I would not do justice to your inspiring personality and flamboyant energy if I do not bring to this discussion the most amazing subject: Cristina Bejan, the real character. What makes Cristina ‘most herself’ and ‘most Romanian’, using one of your own slogans?  What muses stimulate you in your work, in traveling, amusement, friendship and love?

I believe that we each have agency in shaping our reality. (This is the Kantian in me.) What makes me feel most myself? Projecting positive energy into the universe, treating other people the way I want to be treated, creating, expressing myself, listening, learning, dancing, singing, exploring and loving. Si pentru cel mai roman? Sa fac tot sus in limba romana, intr-un spatiu roman cu prietenii mei romani! Si … cu o silva bruna in mana mea!

Muses? I am blessed with an incredible family and inspirational friends, who always lift me up. I find great inspiration in thinkers and artists I respect and admire (including some I study!) such as Eugene Ionesco, Petru Comarnescu, Mihail Sebastian, Mircea Eliade, Rainer Maria Rilke, Goethe, Nietzsche, Elie Wiesel, Tony Kushner, Milan Kundera, Samuel Beckett, Vaclav Havel, Virginia Woolf, Dan and Lia Perjovschi, and my grandparents (both the Romanian and American sides).I am a firm believer (as collaborators and friends can tell you) in the fact that the journey is the destination. In theatrical terms, this means I focus on the process rather than the product. This is not to say I don’t value the product, of course I do. I just believe that if you have an excellent process the rest will take care of itself. To give too much emphasis to the product (the end goal) distracts the artist from the journey being taken. This metaphor applies to life as well and each day I attempt to live my approach to theatre.

Versiunea interviului in limba romana:

1. Cum a fost posibil acest love affair cu Romania, considerand stilul tau de viata occidental si solicitarile din punct de vedere social pentru un American cu radacini romanesti? Ti-ar placea sa impartasesti cu noi cateva lucruri despre povestea ta?

Ma bucur mult ca ma intrebi despre “my love affair” cu Romania. Este intr-adevar un love-affair, cu toata frenezia, descoperirile, complicatiile si durerile de suflet pe care le implica o astfel de legatura. Povestea mea incepe pe cand eram doar o fetita, acasa in Durham, Carolina de Nord, in anii '80. Tatal meu ne insotea in fiecare seara la culcare cu o poveste despre tineretea lui in Romania. Povestile lui combinate cu momentele in care trimitea familiei noastre din Galati pachete cu tot felul de lucruri, de la sapun, ace de cusut pana la haine si tigari, au creat in jurul aestui loc un univers de mister pe care nu credeam ca voi reusi vreodata sa-l dezleg. Numai o data cu revolutia din 1989, tatal meu, considerat un dezertor si prin urmare un dusman al statului, a reusit sa revina in Romania, luandu-si familia in aceasta calatorie. Anii 90 au fost marcati de vizite frecvente de familie la Bucuresti si in Galati, precum si de studenti absolventi si profesori venind la Duke University, intr-in program de exchange organizat de tatal meu. In anii 2000 s-a intamplat calatoria mea personala si Romania: am invatat limba romana, m-am cufundat practic in istoria si cultura unei tari creand o viata a mea in Bucuresti, orasul in care bunicii mei s-au cunoscut la un bal militar organizat de Cercul Militar si au dansat adesea impreuna la Caru' cu bere in anii 30.

Cat despre solicitarile sociale, exista o dubla obligatie pe care o implica statutul de membru al oricarei Diaspore la nivel global: 1) o obligatie fata de tara de cetatenie si 2) o obligatie fata de tara natala, tara de origine. Personal, n-am simtit niciodata vreo contradictie intre formarea mea”occidentala” si mediul in care am crescut si radacinile mele romanesti, cred ca este mai degraba o problema de echilibru. Statele Unite au fost dintotdeauna marcate de o presiune in directia asimilarii. De fapt, “Hyphenated American” (un amestec de origini) a fost un termen depreciativ in State la trecerea in secolul 20, folosit in acest sens chiar si de catre presedintele Theodore Roosevelt. Am reusit insa sa facem un progres semnificativ de la acel moment si astazi celebram diversele noastre radacini . (Pentru a merge la extrema mix-ului de origini, eu am radacini, in ordinea procentelor: Romane-Irlandeze-Daneze-Germane-Olandeze-Americane). Acestea fiind spuse, valul general de asimilare este inca foarte puternic in Statele Unite. Aceasta realitate este insa in contrast cu abordarea multi-culturala pe care am simtit-o in cei patru ani traind in Marea Britanie. Cat despre o definire a identitatii, cred ca totul tine de alegerile personale si de ceea ce poate furniza stasfactii personale. Pentru mine, acceptarea si trairea identitatii Romanesti s-au dovedit extrem de importante.

In Romania de azi, exista as spune o energie vibranta pe care n-am mai simtit-i nicaieri in lume. In Bucuresti, am sentimentul ca orice este posibil sau in cuvintele Mirelei Ciucur (chiar fondatoarea Strada32.com), este un loc in care “lucrurile pur si simplu se intampla”. Si am vazut si eu acest lucru: prieteni care si-au inceput propriile afaceri, urmarind o multime de obiective simultan, abordand orice situatie cu optimism, entuziasm si deschidere, fara a fi limitati de o diploma, de asteptari sociale sau o anumita traiectorie profesionala...Romania este un loc care te revigoreaza, cu o energie contagioasa. De ce n-ai vrea sa fii parte din acest mecanism dinamic? Un alt cuvant pe care l-as asocia acestei tari: momentum. Bucurestiul, haotic si in continua schimbare, are o miscare interioara, urbana care pare ca te ridica si te poarta cu ea...

2. Profesional, in prezent esti studenta doctoranda in Istorie Moderna la Oxford University. Bursiera Rhodes si Fulbright, Research Fellow la Holocaust Memorial Museum in Statele Unite, esti astazi in procesul de finalizare a lucrarii tale de dizertatie care cerceteaza activitatile unui grup cultural al Bucurestiului interbelic, numit Asociatia Criterion. Caracterizata ca “cea mai originala si semnificativa manifestare culturala a Tinerei Generatii” de catre Mircea Eliade, Criterion includea personalitati exceptionale precum Eliade insusi, Emil Cioran, Eugene Ionesco, Mihail Sebastian, Marietta Sadova, Mircea Vulcanescu, Haig Acterian si M.H.Maxy. Criterion a creat contextual unor dezbateri si discutii despre cele mai controversate si proeminente probleme sociale, politice, economice si culturale problematici ale vremii…Asociatia Criterion ramane o manifestare culturala valoroasa, invaluita inca de mister pentru cei mai multi dintre romani.

a) Cum ai ajuns sa descoperi acest fenomen intelectual al Epocii de Aur in Romania si in ce fel perspectiva ta este unica?

b) Ce fel de continut cultural a adus aceasta expresie artistica in Bucurestiul anilor ’30, din perspectiva progresului intelectual si a cea a prezentei internationale?

Initial, am ajuns la aceasta investigatie pornind de la o ancheta prin care incercam sa inteleg cauzele esecului liberalismului in perioada interbelica. Mi-am scris lucrarea de licenta in Filosofie la Northwestern University (unde am studiat si Teatru) investigand teoriile politice ale filosofului Immanuel Kant si directiile pe care el le-a subliniat ca fiind necesare pentru o democratie de succes. Folosind Romania ca studiu de caz, am incercat sa descopar potentialul de aplicabilitate al teoriei lui Kant asupra Romaniei post-comuniste, recent intrata pe o directie democratica. Acest demers m-a condus si catre o analiza a unui experiement anterior al Romaniei cu democratia si la motivele esecului acestui experiment.

Ca absolventa, mi-am dorit sa urmaresc si sa coordonez un proiect mult mai amplu asupra perioadei interbelice romane, dintr-o perspectiva intelectuala, culturala si istorica mai pronuntata. Inca fascinata de esecul democratiei si succesul totalitarismului, eram curioasa si sa aflu mai multe despre viata intelectuala a Bucurestiului si despre lumea culturala a acelei „Epoci de Aur” ca re a fost distrusa ca urmare a ascesiunii si triumfului extremismului.

Exista si un motiv personal, legat de propria istorie a familiei mele. Ambii bunici romani ai mei fusesera primii din familiile lor care urmasera studii universitare. Ajungand in Bucuresti in anii `30, bunica mea a studiat la Facultatea de Farmacie si bunicul meu, la Facultatea de Medicina Veterinara. In perioada comunista, cand buncii mei se relocasera deja in Galati, au fost pe rand inchisi, hartuiti si persecutati datorita acestei educatii pe care o primisera (in ciuda faptului ca amandoi erau oameni simpli, din satele Slivna, respectiv Baldovinesti), acuzati de faptul ca erau „intelectuali” fiind astfel necesara „re-educarea” lor. In timpul cercetarilor mele la Academia Literara din Bucuresti, am avut o experienta emotionanta descoperind accidental numele bunicului mei ca Secretar General al Societatii Studentesti pentru Medicina veterinara dintr-un ziar din 1932. Dar acest punct este maximum de extindere a cercetarii mele doctorale asupra membrilor familiei mele care erau a-politici si pasionati oameni de stiinta mai degraba de a fi pioneri ai artei, literaturii si culturii romanesti. 

Am ajuns sa cunosc intr-o forma mult mai academica Tanara Generatie sau Generatia `27 citindu-l pe Mircea eliade. Fiind initial interesata de filosofia si lucrarile lui despre yoga, am inceput sa ma interesez si de istoria lui, activitatea din Romania si literatura lui creativa. Interesul meu legat de Emil Cioran a debutat similar, descoperindu-l initial ca filosof (un campion al nihilismului in traditia lui Nitezsche) apoi dezvaluindu-i trecutul. La fel si cu Eugene Ionesco, pe care l-am cunoscut mai intai ca dramaturg, parintele unui gen dramatic pe care imi place mult sa-l experimentez: absurdul.

Eliade, Cioran si Ionesco au reusit in incercarea lor de a pleca din Romania si astfel se explica de ce au o prezenta internationala. Dar alaturi de acestia, a fost un grup dinamic, cu totul stralucitor si divers, de ganditori si artisti care au avut fiecare destine extrem de diferite. Printre acestia se numara Petru Comarnescu, Mihail Sebastian, Haig Acterian, Marietta Sadova, Mircea Vulcanescu si multi altii. De fapt, lucrarea mea se concentreaza in special pe aceste figuri, mai putin cunoscute.

Cand am inteles ca toate acest personalitati erau prieteni apropiati care studiau, lucrau si creau impreuna in Bucurestiul interbelic, am simtit ca unul dintre visele mele intelectuale devenise realitate. Unul dintre proiectele lor mi-a aparut ca avand o importanta exceptionala si acesta a fost Asociatia Criterion pe care Liviu Antonesei o numea „un model pentru actiune culturala”. Sansa de a studia despre Criterion a coincis cu o serie dintre pasiunile si interesele mele: filosofie, istorie, teatru, arte vizuale si viata culturala a Bucurestiului interbelic.Asociatia Criterion pentru Arte, Literatura si Filosofie (1932-1935), conceputa si organizata de Petru Comarnescu, a reprezentat o serie de conferinte (incluzand expuneri de creatii artistice, performari live si o publicatie ca suport pentru aceste creatii) acoperind subiecte relevante ale perioadei din perspectiva culturala, politica si intelectuala. De la conferinte despre subiecte precum Charlie Chaplin, Gandhi, Lenin, jazz american sau Andre Gide, membrii Criterion erau cunoscuti pentru reprezentarea tuturor punctelor de vedere filosofice si politice. Structura oricarui simpozion era astfel organizata pentru a construi o dezbatere democratica, cu doi vorbitori prezentand argumentele ‚pro’ si doi dintre ei argumentele ‚contra’ si fiecare dintre aceste intlalniri era prezidata de un membru al Vechii Generatii (filosoful Constantin Radulescu-Motru, de exemplu)

Alaturi de diversele teme prezentate si discutate, participantii insisi aveau o multime de oferit din perspectiva „prezentei internationale”. Majoritatea urmasera o forma de educatie superioara in afara tarii si Criterion servea ca un forum pentru ei cu scopul de a-si impartasi ideile si experientele, intre ei si in cadrul comunitatii intelectuale din Bucuresti. O scurta listare a acestor experiente internationale anterioare intrarii in Asociatie: Eliade realizase cercetarile sale doctorale in Calcutta, India; Comarnescu primise titlul de doctor la University of Southern California in Los Angeles in 1931; Sebastian studiase Dreptul in Franta; Haig Acterian urmase teatrul in Berlin si lista poate continua.Dar succesul dinamic al Criterion (foarte multe conferinte se desfasurasera cu Sali arhipline) a fost de scurta durata. Asociatia s-a dizolvat in urma unui decret regal, regele Carol al II-lea considerand aceasta miscare ca o amentintare la adresa propriei sale puteri. Oricum, pana la 1935, Asociatia se afla deja in faza de dizolvare pe masura ce alegerile ideologice incepusera sa umbreasca loialitatea de generatie si chiar prieteniile. Ceea ce Ionescu etichetase drept ‚Rinocerizare’ incepuse si aici: membri-cheie ai Tinerei Generatii incepusera deja activitatile ca simpatizanti ai Miscarii Legionare, o incarnare a fascismului in Romania.Romania se confrunta inca cu aceasta dificila perioada a istoriei. Ascensiunea si popularitatea fascismului si perioada Holocaustului au fost complet „ignorate” de cartile comuniste de istorie si redescoperite abia dupa 1989. Orice discutie despre inclinatiile fasciste ale principalilor intelectuali romani din secolul 20 poate suscita o anumita ingrijoare, scepticism si chiar furie. Scopul meu nu este insa de a arata cu degetul, de a acuza sau denunta vreun membru in special a acestei elite fascinante. Eu cred ca perspectiva mea este unica datorita originii mele romane si americane (dubla cetatenie si  perspectiva culturala), cu pregatire si cercetare in Statele Unite, Marea Britanie si America. Abordarea mea se vrea o multi-biografie obiectiva a membrilor si activitatii grupului Criterion. Si sper ca o intelegere mai completa a fenomenului care a precedat si a permis prabusirea liberalismului in Bucurestiul interbelic poate veni ca o informare suplimentara in discutiile privind tensiunea dintre extremismul religios si liberalismul democratic de astazi.

3. Artist, regizor, actrita si dramaturg, educata la Studio Theatre (DC), Northwestern University si Interlochen for the Arts, ai scris 12 piese dintre care 10 au fost publicat atat in Statele Unite cat si in Europa. Este de asemenea Directorul Artistic al Theatre Fille de Chambre din Oxford, o companie de teatru de femei cu o ‚ambitie internationala’ care experimenteaza cu toate formele de performari teatrale care sa provoace conventiile traditionale, cosntrangerile sociale si prejudecatile.

a) Ai vrea sa vorbesti putin despre aceasta explorare a conditiei umane prin expresie dramatica si despre conventiile si prejudecatile care te motiveaza in urmarirea obiectivelor tale?

b) Ai dezbatut vreodata in piesele tale problematica constrangerilor sociale?

c) Este aceasta semnificatia din spatele ‚Teatru de femei...pentru oricine’?

d) Te consideri o feminista?

Teatrul este singura forma de arta care „traieste”.  Teatrul reprezinta un forum activ de investigatie a tuturor elementelor conditiei umane. Numai atunci cand cream un spatiu sigur de explorare si celebrare a spiritului uman, comunicarea, catharsisul si descoperirea pot aparea. Si atunci cand ne simtim implicati, devenim stimulati sa ne confruntam cu noi insine, suntem inclinati spre introspectie, reflectie sau invatare si devenim chiar motivati sa ne schimbam comportamentul si ne straduim sa imbunatatim lumea din jurul nostru. Propria mea implicare in teatru (in toate capacitatile: ca actrita, regizor si dramaturg) este o forma de intalnire cu toate dimensiunile mele si impartasirea acestora cu ceilalti.Cat despre conventii si prejudecati, acestea variaza in functie de traditia teatrala, in functie de tara, de limba si de comunitatea teatrala in chestiune. Cu ‚Theatre Fille de Chambre’ ne dorim sa provocam conventia teatrala dominata de masculin (in cea mai mare parte scris, regizat si jucat de barbati) prin prezentarea unor lucrari scrise de femei, regizate de femei si performate de femei actrite. Aceasta poate fi explicatie din spatele solganului „Teatru de femei...pentru oricine”. Oricine indica faptul ca desi ne dorim sa cream un spatiu pentru vocea feminina, ne dorim sa includem pe toata lumea in impartasirea acestei experiente. Arta noastra nu este limitata la femei ci mai degraba este creata de femei si de ea se poate  bucura oricine, de orice gen sau orientare sexuala.

Cat despre propriile mele compozitii, una dintre preocuparile mele principale este chestionarea status quo-ului. Cu cel mai recent scenariu al meu (finalizat in martie), intitulat ‚Curious or Insecure in Odessa’ aduc o provocare conventiei de a povesti cronologic realizand intreaga lucrare in sens invers cronologic. Imi place foarte mult sa experimentez cu diferite genuri dramatice: abstracte, drama, comedie, creatie epica, piesa intr-un singur act, piese intregi etc.

In ceea ce priveste confruntarea prejudecatilor, iti pot oferi exemple specifice din creatiile mele. Ma confrunt cu anti-semitismul in Europa si sexismul in America in piesa „Etrangere”. In „Colombo Calling”, realizez un fel de investigatie asupra discriminarii minoritatii Tamil in Sri Lanka. Cu „Finally quiet in My Head” atac alteritatea si alienarea experimentate de aceia care sufera de boli psihice.Daca sunt feminista? Trebuie sa raspund cu un ‚DA’ calificat! Inteleg ca ideea feminismului inseamna ceva cu totul diferit in Statele Unite fata de Romania. Si acesta a fost si motivul care m-a inspirat sa organizez ‚Most Myself – o seara de scriere feminina’ in Octombrie 2008 la Museo Cafe in Bucuresti (un eveniment sustinut de comunitatea Strada32), pentru a explora diferenta de perspective prin performarea a patru texte devotate vocii feminine (doua dintre acestea in limba engleza, scrise de Slavenka Drakulic si Suzanne Richardson si doua in limba romana scrise de Maria Ellis si Maria Manolescu) si sustinerea unui discutii deschise ulterior. La finalul show-ului, publicul s-a dovedit nerabdator sa faca o diferenta intre ‚feminin’ (ca un concept interior si mai personal) si ‚feminist’(o manifestare mai mult sociala). Ma consider atat „feminina” cat si „feminista”.

4. Ambitia artistica internationala a prins viata in Bucuresti, in timpul sederii si muncii tale de creatie aici ca bursier Fulbright in 2008. ‚Colombo Calling, a play from Sri Lanka” a reprezentat prima ta prezenta pe o scena din Romania ca dramaturg, la Teatrul Foarte Mic. Inspirata de intamplari la care ai fost martora sau pe care le-ai auzit traind o vreme in Sri Lanka in 2006, este o piesa despre razboi civil, diaspora, dragoste interzisa, rasism, identitate si familie. Productia a reusit sa atraga participarea celebrei actrite Maia Morgenstern.

a) Ne poti spune mai multe despre aceasta experienta incredibila? Ideea, oamenii din spatele ei, eforturile, reactiile publicului si bine-meritatul succes?

b) Cum a reusit proiectul sa completeze fantastica ta experienta de 1 an si jumatate in Bucuresti?

Fara importanta de locul in care ma aflu in lume sau de ceea ce fac, am nevoie de evadare creativa. Sunt de multa vreme un fan al vibrantei scene de teatru bucurestene, in mod special impresionata de pasiunea nelimitata si de calibrul exceptional de performare. Eram deci nerabdatoare sa incerc un proiect in Bucuresti si sa colaborez cu artisti locali. Oportunitatea a aparut cand mi-am dat seama ca aveam deja un scenariu pe care nu-l pusesem niciodata in scena (Colombo Calling) pentru care ma gandeam sa organizez o lectura informala.

Pe scurt, despre piesa, trebuie sa spun cateva lucruri. Cat timp am locuit in Sri Lanka, am fost bombardata cu noi informatii din toate directiile: continuarea razboiului civil, discriminarea minoritatii Tamil, istoria coloniala dificila, urmarile Tsunami-ului, un razboi de un tip noi aparut intre diferitele ONG-uri de pe insula, prapastia intre uriasa comunitate de expatriati si rudele lor aflate inca in Sri Lanka si scena de distractie nebuna si petrecere din Colombo, printre multe alte elemente. Scrierea acestei piese a fost o incercare de a intelege ceea ce experimentasem si a fost incantator sa descopar ca povestile (desi atat de indepartate din punct de vedere geografic) si temele din piesa au rezonat atat de puternic la actorii romani si publicul din Bucuresti, dovedind faptul ca teatrul este intr-adevar o forma de arta universala.

Cautand un spatiu potrivit, mi-am consultat prietenii Lia si Dan Perjovschi care mi-au sugerat sa intreb la Teatrul Foarte Mic. Spectacolul a devenit tot mai ‚puternic’ pe masura ce crestea celebritatea echipei implicate si aceasta s-a intamplat pe de-o parta datorita sansei si pe de alta datorita faptului de a fi „la locul potrivit, la momentul potrivit”. In timpul unui semninar pe care il sustineam pentru aplicantii romani la bursa Fulbright, un tanar extrem de energic mi-a spus ca urma sa aplice pentru un program de master in Regie in Statele Unite. I-am spus sa ma astepte cateva clipe la finalul seminarului. Tanarul era Alex Mihail, castigatorul premiului UNITER, astazi unul dintre cei mai dragi prieteni ai mei, care tocmai fusese acceptat la Yale School of Drama Masters of Fine Arts. I-am povestit despre intentiile mele cu Colombo si dorinta mea de a gasi un regizor roman; dupa ce a citit scenariul, a propus imediat sa se ocupe el de proiect.

Am invadat atunci Bucurestiul cu apelurile noastre la casting. In ciuda interesului urias pe care l-au aratat candidatii, grupul de varsta in care acestia s-au incadrat nu depasea 35 de ani. Cautam inca o actrita care sa joace rolul lui Varthini Balakrishnan, reprezentata matriarhatului familiei. Maia Morgenstern ne-a fost sugerata dar n-am fi crezut intr-un milion de ani ca ar fi fost interesata sa participe. Incredibil dar iata ca ea ne invita pe mine si pe Alex in dressing-ul ei la Teatrul National, ne-a cerut scenariul si repetitiile au inceput.

Alaturi de Maia, echipei i s-au alaturat si alte figuri de exceptie precum Pavel Barsan (castigatorul premiului „Best Young Actor” in cadrul Galei Tanarului Actor „HOP” la Mangalia 2008), Isabela Neamtu, Gabriel Calinescu, Anca Constantin, Gabriel Pricop, Ana Popescu, Alexandru Mike Gheorghiu, Catalin Iliescu si Crista Andriescu (ca narator). Daniel Beers a creat muzica acestui spectacol, interpretand cantece originale la chitara compuse in timpul sederii sale in Bucuresti.

A fost o adevarata onoare sa vad acest grup fenomenal de artisti in actiune. Am avut de asemenea sansa sa lucrez cu o echipa exceptionala de marketing si PR: Smaranda Schiopu si Roxana Nicolaescu care au facut o treaba excelenta cu presa si s-au ocupat si de blog-ul nostru http://colombocalling.wordpress.com/. Sunt de asemenea recunoscatoare fotografului Alyssa Cwagner, responsabila de fotografiile publicitare grozave, Comisiei Fulbright (in special Barbara si Boyd Nelson, Mihai Moroiu si Corina Danaila-Guidea), staff-ului de la Teatrul Mic si Teatrul Foarte Mic pentru sustinerea generoasa. Ulterior primului nostru spectacol-lectura la Teatrul Foarte Mic pe 24 mai 2008, Amarjit Sidhu ne-a invitat sa reluam spectacolul la Museo Cafe, pe 19 iunie 2008. Lui si Rucsandrei Pop trebuie sa le multumesc cu drag in numele intregii echipe Colombo pentru aceasta oportunitate incredibila.

Aceasta experienta a venit sa rotunjeasca timpulpetrecut in Romania oferindu-mi sansa de a participa in viata culturala a Romaniei in felul in care o facusera si membrii Criterion in Bucurestiul anilor `30. Dupa ce invatasem asa de mult despre arta si literatura romana din biblioteci, arhive si participand ca spectator la numeroase spectacole de teatru, sansa de a fi eu insami parte din aceasta actiune a fost cu totul incredibila. Un cadou in plus: un grup minunat de noi prieteni.

Colombo Calling este inca pentru mine „work in progress”. In urma spectacolului-lectura din Bucuresti, am fost invitati sa participam la un eveniment organizat de Internationalist Theatre Directors Collective in New York City. Secvente video din timpul show-ului nostru au fost expuse in cadrul festivalului de piese internationale numit ‚In jurul lumii in 24 de ore’ si a avut loc pe 16 noiembrie, 2008. Cat despre chestiunile politice considerate in piesa, scenariul este unul actual in mod particular si relevant in lumina recentelor evenimente. Razboil civil s-a incheiat recent, in mai 2009, Prabhakaran (liderul Tamil) a fost proclamat mort si problema drepturilor Tamil este una dintre principalele obstacole cu care se confrunta  astazi guvernul din Sri Lanka.

5. Romania pare a se afla printre cele mai importante directii de interes pentru tine! Platforma este o noua companie de teatru pe care o dezvolti in Bucuresti cu suportul unei echipe locale si a unor personalitati de seama din lumea artistica si sociala a Bucurestiului – Maia Morgenstern, Leslie Hawke si Barbara Nelson.

a) De ce este Platforma necesara pe scena actuala a teatrului romanesc?

b) Putem considera Platforma ca o oportunitate de a depasi decorul conventional pentru a intra intr-o lume artistica diferita – una proaspata, mai diversa si internationala?

c) Unde isi propune aceasta abordare sa plaseze teatrul bucurestean si cum va influenta arta si performantele tinerilor actori si artisti romani?

Multe idei au aparut dupa experienta ‚Colombo Calling”, inclusiv recunoasterea nevoii pentru mai multe spectacole in limba engleza in Bucuresti. Platforma Theatre Company s-a nascut practic din discutiile care au avut loc intre echipa si public dupa spectacolul nostru la Museo Cafe. Pentru a urmari discutia in toate detaliile, puteti revedea raspunsul meu la comentariile facute de Mirela Ciucur dupa reprezentatia Most Myself http://www.strada32.com/forum/an-american-performing-in-romanian_60.html

Platorma este necesara pentru scena teatrului roman de astazi deoarece lumea devine tot mai mica si comunitatea de teatru din Bucuresti are atat de multe de oferit. Dedicati colaborarii artistice internationale si dialogului intercultural, propunem Limba Engleza ca o moneda comuna prin care artisti din diferite culturi sa poata comunica si performa. Acestea fiind spuse, ne propunem sa fim mai mult decat un teatru in limba engleza si suntem deschisi sa lucram si in alte limbi. Ideea principala este de a fi un spatiu de schimb international si o platforma la propriu pentru colaborare intre artisti internationali si romani. Intentionam sa devenim un teatru pentru artisti dar si pentru publicul din Bucuresti.

Putem sa vedem in mod sigur Platforma ca o sansa de a intra intr-o lume artistica proaspata, diversa si internationala. Acesta este chiar scopul nostru! Alaturi de membri board-ului pe care i-ai mentionat deja, eu insami – Director Executiv, colaborez cu Alex Mihail ca Director Artistic si Rucsandra Pop (Marketing Director) si ne bucuram de sustinerea unui numar de prieteni si artisti.

Viziunea Platforma este de 1) a realiza un export si import al artelor teatrale, 2) a face un schimb de idei si expertiza, 3) a oferi expunere artistilor si scriitorilor contemporani si 4) a explora creativitatea individuala si colectiva. Acest schimb se va realiza oferind ‚produselor’ artistice romanesti expunere internationala si prin aducerea unor ‚produse’ culturale internationale si a unor idei noi in Romania. Creand o punte intre national si international, suntem deschisi la toate tipurile de performari (cu focus pe performare teatrala live) si interesati sa lucram atat cu institutii de teatru si scenarii deja stabilite cat si sa exploram spatii neconventionale si texte noi.

Speram ca aceasta abordare va aduce scena teatrului bucurestean intre primele locuri ale scenei mondiale, in pozitia proeminenta pe care o merita. Cat despre influenta asupra artei si jocului tinerilor actori romani, Platforma va deveni un outlet nou si diferit, o companie care sa le ofere suport pentru proiecte precum si oportunitatea de a lucra cu regizori, creatori si actori de renume international cu experiente culturale si educationale diverse.

Asa cum ar spune, de fiecare data la fel de impresionant, Maia Morgenstern. „Trebuie sa renuntam la prejudecati si complexe!” Si asa cum o spun eu...”Haideti sa depasim barierele de limba si sa pregatim terenul pentru ca mai multa arta sa se intample.”

6. Simt ca n-as indreptati pe deplin personalitatea ta inspiratoare si energia ta contagioasa daca n-as aduce in centrul atentiei un subiect cu adevarat exceptional, poate cel mai interesant si frumos: tu insati, Cristina Bejan, personajul real. Ce o face pe Cristina sa se simta cel mai multa ea insasi si cel mai mult o parte din Romania, ca sa folosesc unul dintre propriile tale sloganuri? Ce muze te stimuleaza in munca ta, in calatoriile tale, in distractie, prietenie si dragoste?

Eu cred ca fiecare dintre noi avem autoritatea de a ne modela realitatea. (Aici se exprima poate latura Kantiana din mine). Ce ma face sa ma simt mai mult eu insami? Sa transmit energie pozitiva in univers, sa-i tratez pe ceilalti asa cum isi doresc sa fie tratati, sa creez, sa ma exprim, sa ascult, sa invat, sa dansez, sa cant, sa explorez, sa iubesc. Si pentru cel mai roman? Sa fac tot sus in limba romana, intr-un spatiu roman cu prietenii mei romani! Si … cu o silva bruna in mana mea

Muze? Sunt binecuvantata cu o familie incredibila si prieteni care ma inspira, care m-au ajutat intotdeauna sa ma ridic. Ma inspira in orice moment ganditorii si artistii pe care ii admir (inclusiv cativa dintre cei pe care ii studiez) precum  Eugene Ionesco, Petru Comarnescu, Mihail Sebastian, Mircea Eliade, Rainer Maria Rilke, Goethe, Nietzsche, Elie Wiesel, Tony Kushner, Milan Kundera, Samuel Beckett, Vaclav Havel, Virginia Woolf, Dan si Lia Perjovschi si bunicii mei, atat cei din Romania cat si cei din State.Cred cu fermitate (iar prietenii si colaboratorii mei pot sustine asta) in faptul ca orice calatorie este destinatia. In termeni de teatru, aceasta inseamna ca ma concentrez mai degraba pe proces decat pe produs. Aceasta nu inseamna ca nu valorizez produsul, bineinteles ca ii apreciez importanta. Cred doar ca daca reusesti ca procesul sa fie excelent, restul se implineste de la sine. A pune prea multa emfaza pe produs (scopul final) distrage artistul de la calatoria pe care o face. Aceasta metafora se aplica si in viata si in fiecare zi incerc sa-mi traiesc cu adevarat abordarea fata de teatru.

Whatta woman! We all miss you here, Cristina!

Interviul Cristinei publicat in Evenimentul Zilei: http://www.evz.ro/dmain/article/858630/Teatru-romanesc-relansat-pe-scena-lumii-de-o-romanca-nascuta-in-SUA/?id_domain=2