We
often praise the way that its physical immediacy makes live performance
a deeper, richer experience than film. But that same immediacy can,
disappointingly often, mean that nuances and discretions available to
the more distantiated eye of the film camera are lost or discarded in a
stage version. This is the case with the Nottara Theatre of Bucharest’s
adaptation of Thomas Vinterberg’s Dogme film
Festen.
It
is partly a consequence of the logistics of stage adaptation. Limiting
the action at this family reunion to the single location of the dining
room and making events more or less continuous give fewer opportunities
for sidelights on the various family members which might contextualise
Christian’s announcement, by way of a 60th-birthday toast, that his
father had repeatedly raped him and his now-dead twin sister during
their childhood. However, director Vlad Massaci has also chosen to
clarify, i.e. simplify, the moral and factual picture. Much of the
uneasiness generated by the film in its middle phase stems from our
uncertainty as to whether Christian’s accusation is true or a figment
from his history of mental disturbance, then from similar doubt as to
how the family will respond. Here, regular appearances by Linda’s ghost
lend credence to his claim from the beginning. So does the performance
of Alexandru Repan as their father Helge: in his white tuxedo,
cummerbund and matching patent leather shoes, he is not just a
paterfamilias but a Godfather, exuberant but also menacing. It is
easier to believe such a man would be an abuser than to side with him
against Ion Grosu’s far from saintly but still palpably martyred
Christian. Massaci’s programme notes hint at a significance in
Christian’s naming, as they paint the piece as a portrait of a society
waiting for someone such as him to speak out truthfully, after which
they are compelled to take the right position.
Massaci
retains a nod towards the work’s filmic origins by having a video
camera shoot the “celebratory” dinner and the succession of family
speeches; in a deep thrust staging on three sides, this also helps
those banks of the audience who may not be able to see directly the
expression of a given speechmaker or listener. It is an adroitly
crafted ensemble piece, but this is one of those occasions when
cross-media comparisons are invidious.
Written for the Financial
Times.