Inspired by Plato: Patterns, Eternal Truth, and Boris Nebyla’s Ballet Vision

Ballet Class of Boris Nebyla, a pathway toward an ultimate artistic and aesthetic truth

The connection between ballet and philosophy might not seem obvious at first, but when viewed through the lens of Plato’s Theory of Forms, it becomes clear that both disciplines share a fundamental pursuit: the quest for an ideal truth beyond physical imperfections. Boris Nebyla, a renowned ballet master, embodies this vision in his teaching, where movements are not just technical exercises but a pathway toward an ultimate artistic and aesthetic truth.

Plato’s Forms and the Ideal Ballet Technique

Plato believed that everything in the material world is a mere imperfect copy of a higher, unchanging reality of Forms. Just as a physical chair is an incomplete manifestation of the perfect, immaterial Form of "chairness," every ballet movement performed in class is a reflection of an ideal execution that exists beyond any single dancer’s ability.

Nebyla’s ballet instruction mirrors this idea: he does not teach mere mechanical steps but guides dancers toward a perfect, yet unreachable essence of movement. The pirouette, the arabesque, the grand jeté—each of these exists in its purest form beyond any single performance, and the dancer’s task is to strive toward that perfection.

The Role of the Ballet Master: A Philosopher in Dance

In Plato’s philosophy, the role of the philosopher is to lead others toward the truth—to help them see beyond shadows and illusions. Similarly, Boris Nebyla acts as a philosophical guide in ballet, directing his students beyond superficial execution toward a deeper understanding of the patterns and principles underlying classical dance. Through rigorous correction, repetition, and refinement, he encourages dancers to go beyond muscle memory and connect with the essence of movement itself.

Patterns as the Key to Ultimate Truth

Plato taught that knowledge comes from recognizing eternal patterns that structure reality. Ballet, too, is built on a precise system of geometric and rhythmic patterns. From the turnout of the feet to the symmetrical structure of a choreographic sequence, ballet relies on a set of fundamental principles that, when understood and embodied, elevate mere movement into artistic truth.

In Nebyla’s ballet class, dancers do not simply mimic steps—they learn to recognize and internalize these patterns, refining their movements toward a greater harmony that mirrors Plato’s idea of universal beauty and order. The dancer who achieves the closest approximation of these patterns experiences a moment of transcendence, where physicality and philosophy merge.

The Dance of Forms: Ballet as a Philosophical Journey

In Plato’s famous Allegory of the Cave, prisoners mistake shadows for reality until they are guided toward the light of true knowledge. Likewise, a beginner in ballet may focus on superficial steps, but under the guidance of a master like Nebyla, they come to see beyond individual movements to the deeper structures of classical technique. The ultimate goal is not just technical mastery, but the pursuit of an artistic ideal that is as timeless as Plato’s Forms.

Thus, Boris Nebyla’s vision for ballet is more than just a method of teaching—it is a philosophical journey. In every class, dancers engage in a pursuit akin to the philosopher’s quest: reaching beyond the physical world, guided by patterns, discipline, and an eternal striving toward beauty. In this way, ballet becomes not just an art, but a profound reflection of Plato’s ultimate truth.

#borisnebyla #francescogrillo #ebgp #simonanojanebyla

Join us for an exclusive interview with Simona Noja-Nebyla, Founder and Director of EBGP Vienna, and her special guest, Hana Kosaki, CEO of Unblanché, Tokyo, Japan!

Exclusive interview

Welcome to the electrifying world of ballet competition and audition! We are here at the EBGP, one of the prestigious ballet competitions in Europe, where young and talented dancers from around the globe come to showcase their artistry, technique, and passion. But beyond the stunning pirouettes and breathtaking leaps, what really goes on behind the scenes? What does it take to compete at this level?

Today, we go beyond the stage and come closer to the “why” competitions are cherished. In this exclusive interview Simona Noja-Nebyla, Founder and Director of EBGP Vienna sits down with Hana Kosaki, CEO of Unblanché, Tokyo, Japan, juror at the 8th edition of the EBGP Competition and Audition in Vienna to discuss the evolving landscape of ballet competitions, the importance of an open mindset, and the future of young dancers in the industry.

Hana Kosaki, a ballet teacher and mentor, believes that competitions help with self-evaluation by allowing dancers to test their abilities in front of different audiences. In Japan, ballet training is offered exclusively through private schools. Unlike European ballet schools, they do not have standardized exams. As a result, “going out of their bubble”, and undergoing an evaluation provides significant benefits, helping dancers assess their progress and refine their skills.

touch their hearts when they perform

Also, having the opportunity to perform on stage more than just once a year, as is common in Japan, is important for students. It allows them to truly "touch their hearts when they perform."

testing what works and what doesn’t is essential to becoming a better dancer

She explains, "It is important to step outside your own country because different cultures, audiences, and reactions shape your growth. You must understand that your dance cannot always remain the same. Testing what works and what doesn’t is essential to becoming a better dancer."

they become so open-minded… it is life-changing for them

It is surprising how the overall experience of a competition— including flights, travel, and everything involved—has such a strong impact on them. They become more open-minded, and in the end, I have noticed that it is a truly life-changing experience.

It has to be the full package to become a good dancer

All of this broadens their horizons, not only as ballet dancers but also as human beings—something we sometimes forget. "IIt has to be the full package to become a good dancer." In the end, it’s not just about technique but about the heart you put into it, and that is what truly touches the audience, Hana believes.

the reasons why classical ballets were created the way they were

When asked if she could change something in the ballet world, Hana expresses her strong belief in tradition and the reasons why classical ballets were created the way they were. However, she would love to create more work opportunities for ballet dancers, especially in Japan.

What makes EBGP different than other competitions?

Beyond the numerous opportunities to be seen, earn scholarships, and receive awards, what truly matters is your belief in the art form—your deep appreciation for ballet as something more than mere spectacle, but as a profound expression of artistry and passion.

Hana Kosaki: "I believe EBGP stands for a competition that truly values and celebrates the art of ballet!"

Thank you!

Key Themes from the Interview of Hana Kosaki at EBGP 2025

1. The Significance of Ballet Competitions

   • Competitions provide young dancers with a platform to showcase their artistry, technique, and passion.

   • Beyond the performances, competitions offer valuable experiences that shape dancers’ growth.

2. Self-Evaluation and Growth Through Competition

   • Hana Kosaki emphasizes the importance of competition in self-assessment.

   • In Japan, without standardized exams in ballet schools, international competitions serve as key evaluation opportunities.

3. Stepping Beyond Comfort Zones

   • Exposure to different cultures, audiences, and feedback is crucial for development.

   • Testing what works and what doesn’t helps dancers refine their skills and artistic expression.

4. The Transformative Power of the Experience

   • Travel, performances, and the competitive environment open dancers' minds.

   • Many find the experience life-changing, broadening their perspectives beyond ballet.

5. The Importance of Stage Experience

   • Performing more than once a year is essential for artistic and emotional growth.

   • True artistry comes from touching hearts through performance.

6. The Full Package: Technique and Emotion

   • Becoming a great dancer requires more than technical skills—it demands emotional depth.

   • The connection between dancer and audience is what truly makes a performance memorable.

7. Honoring Tradition While Expanding Opportunities

   • Hana Kosaki believes in the importance of preserving classical ballet’s traditions.

   • She advocates for creating more work opportunities for ballet dancers, particularly in Japan.

8. What Sets EBGP Apart?

   • EBGP provides not just recognition but a space for genuine artistic appreciation.

   • It is a competition that values ballet as an art form, not just a spectacle.

9. A Motto for EBGP

   • "I believe EBGP stands for a competition that truly values and celebrates the art of ballet!" – Hana Kosaki.

Ballet X: How Do You Go From Good to Great

As a former principal dancer, director, and researcher, I have dedicated my career to celebrating the profound impact of ballet on individuals and communities. Few organizations embody this mission more vividly than BalletX, whose innovative approach has been rightfully celebrated by Forbes. Their commitment to fundraising, gratitude, and giving back underscores the transformative power of dance.

A Vision Rooted in Gratitude

BalletX, under the visionary leadership of Artistic Director Christine Cox, demonstrates a profound sense of gratitude toward its community and supporters. This gratitude manifests in their ambitious and creative productions, which bridge tradition and innovation. BalletX also stands out for its honesty and transparency in defending values of excellence, integrity, and gratitude at both the personal and community levels.

Dance is not merely an art form; it is an expression of shared human experience and a way to give back to the world. Forbes has highlighted BalletX’s dedication to connecting with audiences through authentic storytelling, a testament to their appreciation of the role that art plays in society.

Fundraising: Building a Sustainable Future

The sustainability of any arts organization lies in its ability to innovate both on and off the stage. BalletX excels in this domain. As Forbes reports, their partnerships with corporate giants like Tesla and Adobe have provided a stable financial foundation. These collaborations, rooted in mutual respect and shared values, ensure that the company can offer competitive salaries to its artists while maintaining creative freedom.

Their digital platform, BalletX+, launched during the pandemic, exemplifies forward-thinking fundraising. With over 50,000 subscribers, it has created an additional revenue stream while making their art accessible to global audiences. This pioneering approach inspires hope for a resilient future in the performing arts.

The Power of Dance to Give Back

BalletX’s ethos extends beyond the stage, as their "Dance Forward" initiative demonstrates. By offering free workshops, scholarships, and mentorship programs, they provide opportunities to individuals who might otherwise never experience the transformative power of dance. Forbes has praised this commitment to inclusivity, noting the profound impact it has on underserved communities.

Honesty and transparency are at the heart of these initiatives. BalletX ensures that every step they take reflects their commitment to defending and promoting the values of integrity, gratitude, and excellence. These efforts showcase the power of dance not only as an art form but as a force for societal good.

Dance has the power to heal, unite, and inspire. BalletX exemplifies this truth, using its platform to foster social change and ensure that art remains a force for good.

Lessons for the Arts World

The success of BalletX underscores the importance of gratitude as a driving force in the arts. Their ability to balance financial sustainability with a genuine commitment to community engagement offers a model for other organizations. Forbes’ recognition of their efforts reminds us all of the immense potential of dance to make a difference.

For those in the dance world, the lesson is clear: prioritize gratitude, invest in creative fundraising, and give back to the communities that support you. Ballet, as we often say, is not just about movement—it is about connection.

Looking Ahead

As we all continue our advocacy for dance, I find immense inspiration in BalletX’s journey. Their story, as chronicled by Forbes, reflects a future where ballet is not only preserved but transformed into an accessible, impactful, and sustainable art form.

The work of BalletX reminds us of the enduring relevance of dance in our lives. The challenge for us all is to embody their spirit of gratitude, innovate with purpose, and ensure that dance remains a powerful force for good in the world.

FORBES (Interview with the Artistic Director Christine Cox)

In the Loving Memory of Peter Rapos

In Loving Memory of Uncle Peter Rapos
On What Would Have Been His 93rd Birthday

Today, we pause to remember and celebrate the life of our beloved Uncle Peter Rapos, who would have turned 93 years old. Though he may no longer be with us in person, his spirit continues to live on in our hearts, in the stories we tell, and in the countless cherished memories he left behind.

Uncle Peter was more than just an uncle; he was a source of wisdom, humor, and unwavering love. Whether it was his kind smile that brightened the room, his stories that connected generations, or his quiet strength that provided comfort, he made each of us feel special and seen.

His life was a testament to perseverance, compassion, and joy. He taught us the value of hard work, the importance of arts in our lives, and the beauty of life’s simple moments. Whether it was sitting around the table sharing meals, watching him share his ballet knowledge, or hearing his laughter echo during a family gathering, Uncle Peter had a way of making every moment meaningful.

As we reflect on his 93rd birthday, let us honor him by carrying forward the lessons he taught us: to be kind, to cherish beauty, and to live with purpose and gratitude. Though we miss him deeply, his legacy continues in every act of kindness, in every shared laugh, and in the bonds that keep us together.

Uncle Peter, today we celebrate you with love, remembrance, and gratitude. Your presence may be missed, but your love and light remain eternal. We raise a glass to you, dear Uncle, and smile as we think of you watching over us, forever in our hearts.

With all our love and fondest memories,
Your Family

Elevating Grace: The EBGP Journey to Vienna

Preparing for the International Ballet Competition
The European Ballet Grand Prix in Vienna

Elevating Grace

Dear Aspiring Ballet Dancer,

The road to success is paved with hard work, discipline, and passion—and you have already shown these qualities by setting your sights on the prestigious European Ballet Grand Prix in Vienna. This incredible competition is not only a chance to showcase your artistry but also a vital audition where the world’s stage opens up to those who dare to dream big. It is a remarkable opportunity to present your talent, dedication, and unique style before an audience that includes some of the most influential figures in ballet.

With the right preparation, you’ll not only compete but also thrive, leaving a lasting impression on judges, coaches, and fellow artists. This guide is designed to help you prepare for every aspect of the competition and audition process, ensuring you are mentally, physically, and artistically ready to shine on this international platform.

Preparing for the Competition and Q&A Session

This edition of the EBGP competition often includes a unique Q&A session with the jury—an invaluable chance to learn from industry experts, gain feedback, and deepen your understanding of what it takes to succeed in the world of professional ballet. Your preparation should also include thoughtful questions for the jury that showcase your curiosity, respect for their expertise, and desire to grow as an artist.

Here’s a comprehensive preparation guide that also incorporates strategies for excelling in the Q&A session:

1. Set Clear Goals

• Define what you aim to achieve in this competition and audition: whether it’s mastering a technically demanding variation, standing out in the audition process, or making connections with key professionals.

• Write these goals down and remind yourself of them daily. Each practice session should bring you closer to them.

2. Perfect Your Technique

• Dedicate focused time to polishing your selected variations or audition routines. Pay attention to precision, timing, and fluidity.

• Work closely with your coach to refine even the smallest details. Nuances often set apart a strong audition performance from the rest.

• Schedule daily drills for core techniques like pirouettes, jumps, and extensions to ensure you are technically sharp.

3. Develop Emotional Expression

• Ballet and dance is not just about technique; it’s about storytelling. Dive deep into the narrative of your chosen piece and bring out its essence. Become the character you play!

• Practice emoting through movement—every gesture, glance, and line should communicate with your audience and the judges.

• Remember, the judges are looking for performers who can convey passion and connect emotionally with their work.

4. Prioritize Physical Conditioning

• Cross-training enhances strength, flexibility, and stamina. To build core strength and prevent injuries, consider the Alexander Technique, Body-Mind Centering, Girokinesis, Pilates, yoga, etc.

• Don’t underestimate the importance of rest and recovery—your body needs time to repair and recharge.

• Maintain a balanced diet to fuel your rigorous training regimen. Proper nutrition supports peak performance during auditions and competitions.

5. Perfect Your Costume and Presentation

• Choose costumes that complement your routine and fit the professional tone of an audition and competition setting. Attention to detail shows your readiness and professionalism.

• Test your costume during rehearsals to ensure comfort, fit, and freedom of movement under performance conditions.

6. Mental Preparation is Key

• Cultivate a positive mindset. Visualization techniques can help you imagine yourself succeeding during both the competition and audition stages.

• Practice mindfulness or meditation to calm your nerves and channel your focus.

• Embrace critiques and challenges as stepping stones toward greatness. Each rehearsal is an opportunity to improve.

7. Research the Competition and Prepare Questions for the Jury

• Familiarize yourself with the format, judging criteria, and expectations of the EBGP in Vienna.

• Study previous competitors and winners to understand what made them stand out.

• Prepare thoughtful questions to ask the jury during the Q&A session. These questions can help you gain insight into the competition and your potential career path.

Suggested Questions for the Jury

1. Technique & Performance:

   • What qualities do you look for in a winning performance?

   • How do you balance technical precision with artistic expression in your evaluations?

   • Can you share an example of a dancer whose performance stood out and why?

2. Feedback for Growth:

   • What is one piece of advice you would give to dancers who want to grow as performers?

   • If a dancer doesn’t win a prize, what key lessons should they take away from the competition?

3. Career Development:

   • What do you believe is the most critical skill or quality for a dancer entering the professional world?

   • How important are competitions like EBGP for a dancer’s career trajectory?

4. Cultural Connection:

   • How can dancers draw inspiration from Vienna’s rich artistic heritage and incorporate it into their performances?

5. Overcoming Challenges:

   • What are common mistakes dancers make during auditions, and how can we avoid them?

   • How can dancers overcome stage fright or performance anxiety in high-pressure settings?

8. Schedule Regular Mock Performances

• Perform your routine in front of friends, family, or mentors to simulate both the competition and audition conditions.

• Accept feedback with an open mind and incorporate constructive criticism into your practice.

9. Take Care of Your Well-Being

• The journey to Vienna is as much about the process as it is about the performance. Celebrate milestones, no matter how small.

• Surround yourself with a supportive community that uplifts you and shares in your dreams.

10. Remember Why You Dance

• At the heart of all your preparation, never lose sight of the joy that brought you to ballet. Dance with your heart, let your soul shine, and connect with the music and the audience.

• Auditions and competitions are not just tests; they are opportunities to share your passion and tell your story.

This competition and audition are a testament to your years of dedication, discipline, and passion. It is a stage that will challenge you, transform you, and inspire you to reach new heights. Remember, the journey is just as important as the destination. Each step, leap, and pirouette brings you closer to your dream.

Vienna awaits your artistry, grace, and brilliance. Believe in yourself—you have what it takes to captivate the world.

With all my admiration and best wishes,

Simona Noja-Nebyla (former principal dancer, director, and dance researcher)

Ion NOJA: Filatelia - deschidere spre lume

RAFTUL CU CĂRŢI 128 „ORAȘUL” revistă de cultură urbană | ANUL XIX (2024), Nr. 1-2 (63-64)

Ion NOJA Filatelia - deschidere spre lume

Apărută recent la Editura Școala Ardeleană, sub coordonarea lui Ioan Constantinescu, lucrarea Filatelia Clujeană.

Istorie, pasiune, valoare, dedicată filateliei clujene de la începuturi și până în prezent, învederează sub multiple aspecte un volum de excepţie pentru scrierile de acest fel apărute în cultura noastră. Înainte de toate, cartea este expresia unei pasiuni materializate în fapte, ce presupune, în egală măsură, documentare, cunoaștere, consecvenţă, evaluări adecvate și, nu în ultimul rând, un efort financiar predictibil pe timp îndelungat; adică tot ce trebuie să aibă un colecţionar de produse filatelice pentru a se ridica la standardele de natură să viabilizeze această preocupare. În același timp, cartea reconfirmă un adevăr bine-cunoscut, dar insuficient luat ca argument pentru activitatea de perspectivă: faptul că filatelia este și rămâne un câmp al pasiunii cultivate generaţii la rând; un fenomen cu atractivă deschidere socială. Iar filatelia clujeană atestă pe deplin această realitate. Aici, aspiraţia spre frumos a atras oameni din toate categoriile socio-profesionale, de toate vârstele și credinţele. Este surprinzător numărul mare de personalităţi arhicunoscute pe plan local și naţional prezente în mod constant la toate activităţile filatelice. Academicieni, savanţi, cadre universitare, economiști, medici, juriști, oameni din domeniul literaturii, artei și culturii au cultivat cu ardoare și rezultate remarcabile această pasiune socializantă, generatoare de bună colegialitate. Multe dintre activităţile filatelice de amploare – expoziţii, concursuri, conferinţe, colaborări cu organizaţii similare din ţară și străinătate – au rămas în memoria celor prezenţi și datorită prestigiului personal cu care aceste personalităţi s-au implicat nemijlocit în derularea evenimentelor. Cartea dovedește că mișcarea filatelică clujeană a beneficiat, încă de la începuturile sale, de oameni care mereu au întrunit și pus în practica de organizare, valorizare și promovare a activităţilor filatelice pasiune, pricepere și prestigiu. Iar acest potenţial s-a regăsit în cuprinderea, conţinutul și finalitatea acţiunilor organizate, contribuind astfel într-o măsură unanim apreciată la dezvoltarea filateliei românești în general. Retrospectiva filatelică oferită de cartea recent apărută dovedește, o dată în plus, că Asociaţia clujeană a fost mereu caracterizată, în cei peste o sută de ani de existenţă, de rigoarea colecţionarului atent la amănuntele ce dau farmec și inedite surprize pasiunii sale. Semnificativă și mereu prioritară a fost atenţia acordată în timp respectării tradiţiei. Acest stil de lucru a fost definitoriu pentru președinţii Asociaţiei, din rândul cărora Ioan Constantinescu, coordonatorul lucrării, s-a remarcat deopotrivă prin durata activităţii, amploarea și calitatea iniţiativelor luate. Fiecare etapă istorică a devenirii spre România de astăzi se reflectă cu fidelitate și în mișcarea noastră filatelică. Și asta în condiţiile în care filatelia clujeană continuă să fie recunoscută pe plan intern și extern pentru spiritul inovator pe care l-a impregnat preocupărilor sale. Prin mijloacele sale specifice, individuale și de grup – colecţii, expoziţii, schimburi de experienţă, concursuri – filatelia clujeană a întreţinut o stare afectivă benefică în preajma evenimentelor judeţene și naţionale, cum au fost cele privitoare la: Istoria naţională evocată prin acţiuni filatelice clujene, Napoca-Cluj 1850, Independenţa României, Medici români în Războiul de Independenţă, Unirea cea Mare și filatelia etc. Este bine știut faptul că numai pasiunile puternice, constante și de durată au șanse să devină tradiţii pentru o colectivitate. Numai după ce și-au dovedit importanţa lor ca valori identitare pentru cei care le practică, obiceiurile ajung dorite, asumate și cultivate de urmași. Astăzi, vorbind de tradiţiile filateliei clujene nu facem decât să reafirmăm convingerea că această activitate are un trecut bine conturat în contextul social, că este în continuare generatoare de pasiune, pentru toate categoriile socio-profesionale și de vârstă, reușind să-și păstreze locul ei distinct și inepuizabil ca sursă de satisfacţie pentru cei care o cultivă. Este o realitate atestată convingător de conţinutul acestei cărţi. Din paginile ei se desprind fapte autentice de cultură, rezultate în urma unor eforturi organizatorice exemplare și ale unor concepţii legate nemijlocit de viaţa reală. O bună parte din manifestările filatelice au fost centrate, de-a lungul anilor, pe prezentarea marilor noastre personalităţi, fie ele istorice – Ștefan cel Mare, Mihai Viteazul, Iancu de Hunedoara; din domeniul știinţei și tehnicii – Aurel Vlaicu, Traian Vuia, Henri Coandă; din literatura clasică – Eminescu, Creangă, Macedonski, Rebreanu; din domeniul picturii – Nicolae Grigorescu; sculpturii – Constantin Brâncuși; sau din muzică: George Enescu, Ciprian Porumbescu. De un interes larg din partea membrilor Asociaţiei și a publicului s-au bucurat acţiunile prin care filatelia clujeană s-a integrat și armonizat cu tradiţiile culturale locale. Clujul universitar este un câmp vast, fertil și binecuvântat pentru roadele sale în domeniul cunoașterii teoretice și practice, al știinţei, învăţământului, culturii și artei. Motiv pentru care expoziţii precum cele organizate sub egida ideii tematice Studentfila au fost și au rămas însemne de pasiune durabilă în viaţa clujenilor. La fel se petrec lucrurile cu Toamna muzicală, „transpusă” filatelic cu grijă similară efortului și talentului necesare obţinerii bijuteriilor sonore caracteristice evenimentului, sau cu expoziţiile prin care imaginea filatelică este pusă în slujba protecţiei mediului și naturii. Ca să respecte tradiţia și standardele de calitate, cartea de referinţă trebuia să ofere o mostră convingătoare de bun gust editorial și să dea cititorilor șansa unui exerciţiu viabil de cultură vizuală. O face cu prisosinţă, adăugând valoare unui patrimoniu filatelic bogat, divers și mereu deschis primenirii.

Interviu cu Simona Noja-Nebyla în revista Orașul, 2024

Mulțumesc revistei Orașul, 2024! Pentru cei interesați, aveți aici interviul integral.

"The Holiday Trilogy" by Carlo Goldoni: A Theatrical Exploration of the Sacred and the Profane at the Theater in Josefstadt, Vienna

Essay by Simona Noja-Nebyla

On November 26, 2024, I attended Carlo Goldoni's Trilogia della villeggiatura (The Holiday Trilogy) at the Theater in Josefstadt, Vienna. This production provided a profound opportunity to reconnect with the theater as a space of transformative encounters, which can retrospectively be understood as sacred on multiple levels.

The Theater in Josefstadt, situated in Vienna's 8th district, was originally constructed in 1788 as a modest neighborhood theater. It was later redesigned in 1822 by architect Joseph Kornhäusel in the Biedermeier style, characterized by simplicity and elegance. In 1924, under the direction of Max Reinhardt, the theater underwent significant renovation by architect Carl Witzmann, who drew inspiration from the Teatro La Fenice in Venice. This renovation introduced neoclassical and Baroque influences, further enhancing the theater's aesthetic appeal.

While familiar with the preparation of the artistic act on stage and the creative process it entails, I was intrigued by the deliberate framing of the audience's role in this production. The spectator, much like the actor, undergoes a process of transformation—a necessary purification from the mundane, particularly relevant in today’s politically charged climate. This purification begins as one ascends the narrow staircases and navigates the low-ceilinged corridors of the theater, admiring the intricate designs of the box doors and feeling the tactile allure of the red velvet seating. Such sensory experiences create a liminal space, where one is drawn towards either the sacred or the profane.

As noted by Mircea Eliade, the sacred does not represent a homogeneous space but rather one punctuated by openings that allow for the manifestation of the sacred. Eliade posits that the homo religiosus "always believes in the existence of an absolute reality, the sacred, which transcends this world but manifests within it, sanctifying and making it real" (The Sacred and the Profane). Similarly, the homo creator, whether understood as homo faber (the artisan) or homo ludens (the playful being), requires a space where their creative essence can take root and bear fruit.

Recent advances in neuroscience corroborate the existence of a shared cognitive space between artist and audience—a dynamic interplay facilitated by mirror neurons. These neurons serve as intermediaries, creating a symbiotic relationship between action and observation, actor and spectator, and, by extension, the sacred and the profane. The "profane," in this context, denotes that which remains unexplored or unknown.

Goldoni's fictional Montemare—a symbol of the Venetian aristocracy's 18th-century desire to escape the urban environment for the rural idyll—becomes the site of this transformative journey. The trilogy, comprising Le smanie per la villeggiatura (The Fever of Vacation), Le avventure della villeggiatura (The Adventures of Vacation), and Il ritorno dalla villeggiatura (The Return from Vacation), marks a departure from the conventional masks of commedia dell'arte. While Goldoni retains the essence of character-driven storytelling, he deepens the psychological complexity of his figures.

Psychological Archetypes and Their Commedia dell'arte Parallels

1. Giacinta (Juliette Larat): An intelligent and independent young woman grappling with societal and familial pressures regarding marriage and social status, Giacinta recalls Isabella from commedia dell'arte, a character known for her beauty and wit.

2. Leonardo (Claudius von Stolzmann): A young aristocrat obsessed with appearances and social standing, Leonardo mirrors Flavio, the idealistic yet often naive lover.

3. Guglielmo (Alexander Absenger): Leonardo's rival, embroiled in romantic and social intrigues, Guglielmo aligns with Leandro, another archetype of the lover, often depicted as Flavio’s competitor.

4. Filippo (Marcus Bluhm): Giacinta's father, preoccupied with family reputation and advantageous matrimonial alliances, evokes Pantalone, the avaricious patriarch of commedia dell'arte.

5. Brigida (Katharina Klar): Giacinta’s practical and witty maid, Brigida parallels Colombina, the clever and loyal servant.

Themes of Transformation and Reflection

Goldoni’s characters, driven by their obsession with a summer retreat in Montemare—a vacation that symbolizes social prestige and the fulfillment of latent desires—undergo significant transformation throughout their journey. This process invites the audience to reflect on their own hidden aspirations. Do we, too, harbor a "Montemare" within ourselves? What are the social and economic consequences of striving to maintain appearances and social status? How do societal and familial pressures influence individual choices, particularly regarding relationships and marriage? What is the impact of escapism on interpersonal dynamics and personal identity?

The Staging: A Journey Through Purgatory

Director Janusz Kica and set designer Karin Fritz frame the trilogy as a journey akin to Dante’s Divine Comedy. The audience is metaphorically guided through seven terraces of Purgatory, faced with the choice of ascending to the paradisiacal or descending into infernal realms. Despite the minimalist staging of Goldoni’s Venetian terraces, the audience is invited to navigate these levels imaginatively, in accordance with their complicity in the theatrical act. The decision to pursue the sacred or the profane remains an open and deeply personal choice.

This production masterfully bridges the gap between Goldoni’s 18th-century context and contemporary questions of identity, societal expectation, and the transformative potential of art. Through its interplay of the sacred and the profane, it reaffirms theater's enduring power to illuminate and elevate.

"Trilogia vacanței la țară" de Carlo Goldoni: o călătorie teatrală între sacru și profan la Teatrul din Josefstadt, Viena

Eseu de Simona Noja-Nebyla

"Trilogia despre vacanța la țară" ("Trilogia della villeggiatura") de Carlo Goldoni, vizionată ieri, 26.11.2024 la Teatrul din Josefstadt, Viena, mi-a oferit șansa unei reîntâlniri cu teatrul ca loc al întâlnirilor magice, care, retrospectiv, pot fi considerate la mai multe niveluri, chiar sacre.

Teatrul din Josefstadt, situat în districtul 8 din Viena, a fost inițial construit în 1788 ca o structură simplă, specifică teatrelor de cartier ale acelei perioade. În 1822, arhitectul Joseph Kornhäusel a reconstruit teatrul, integrând elemente ale stilului Biedermeier, caracterizat prin simplitate și eleganță. În 1924, sub conducerea lui Max Reinhardt, teatrul a fost renovat de arhitectul Carl Witzmann, inspirându-se din designul Teatro La Fenice din Veneția, adăugând astfel influențe ale stilului neoclasic și baroc.

Obișnuită cu pregătirea actului artistic în sine, desfășurat pe scenă, familiară cu ceea ce ține de actul de creație sau de interpretare, am fost oarecum luată pe nepregătite de așezarea în cadru a publicului, de actul de intrare în rol al spectatorului. Fiindcă, da, și spectatorul trece printr-un proces de transformare, de purificare de cotidian (cu atât mai necesar cu cât acesta este unul politic, cum este cel din aceste zile, de alegere de președinți). Și, începând să înțeleg cum să-mi intru în rolul de spectator, am pășit atent pe scările înguste, prin coridoarele cu plafon coborât, admirând fiecare ușă de lojă cu desenul ei, simțind proximitatea spectatorilor, atingând catifeaua roșie a lojei, îmbietoare la perceperi senzuale... care te trimit fie spre sacru, fie spre profan.

Știm de la Eliade (dacă nu și de dinainte) că sacrul nu înseamnă pentru omul religios un spațiu omogen, ci dimpotrivă, unul cu goluri, sau mai degrabă cu deschideri mirabolante, în care sacrul să se poată manifesta. Homo religiosus "crede întotdeauna în existența unei realități absolute, sacrul, care transcende această lume, dar care se manifestă în ea și care o sfințește și o face reală" (Eliade, "Sacrul și profanul"). La fel ca homo religiosus, are nevoie și homo creator, fie că este homo faber (omul meșteșugar), fie că este homo ludens (omul care se joacă), de un spațiu în care propria sacralitate să prindă rădăcini și, eventual, să dea rod.

Mai știm, de asemenea, din neuroștiințele secolului XXI, de existența unui spațiu comun între artist și public, un spațiu al întâlnirii dinamice dintre mișcarea actorului și observarea spectatorului, un spațiu în care personajele principale devin neuronii-oglindă, care, într-un fel sau altul, preiau rolul mesagerilor divini. Ei țes o comuniune simbiotică între acțiune și observație, între actori și public, între sacru și profan (profanul însemnând în acest caz încă necunoaștere).

Odată deschis drumul spre nou, spre o posibilă cunoaștere, (de ce nu o posibilă sacralitate?), călătoria spre Montemare - locul fictiv unde personajele lui Goldoni vor să își petreacă vacanța de vară, simbol al dorinței aristocrației venețiene din secolul al XVIII-lea de a evada din viața cotidiană și de a se relaxa în mediul rural - poate începe.

În "Trilogia vacanței la țară" ("Trilogia della villeggiatura"), care include piesele "Le smanie per la villeggiatura" ("Febra vacanței"), "Le avventure della villeggiatura" ("Aventurile vacanței") și "Il ritorno dalla villeggiatura" ("Întoarcerea din vacanță"), Goldoni lasă măștile commediei dell'arte să cadă, păstrând însă mesajul caracterelor și aprofundându-le caracteristicile psihologice.

Giacinta, (interpretată de Juliette Larat), o tânără inteligentă și independentă, care se confruntă cu presiunile sociale și familiale legate de căsătorie și statut social, poate fi comparată cu Isabella, personajul feminin principal din commedia dell'arte, cunoscută pentru frumusețea și inteligența sa.

Leonardo, (interpretat de Claudius von Stolzmann), un tânăr din înalta societate, preocupat de aparențe și de menținerea unui statut social ridicat, adesea prin cheltuieli extravagante, reflectă trăsături ale lui Flavio, tânărul îndrăgostit și adesea naiv.

Guglielmo, (interpretat de Alexander Absenger), un alt tânăr din cercurile înalte, rival al lui Leonardo, implicat în intrigile amoroase și sociale ale grupului, poate fi asociat cu Leandro, un alt tip de îndrăgostit din commedia dell'arte, adesea rival al lui Flavio.

Filippo, (interpretat de Marcus Bluhm), tatăl Giacintei, preocupat de reputația familiei și de aranjamentele matrimoniale avantajoase, ne amintește de Pantalone, bătrânul avar și preocupat de statutul social.

Brigida, (interpretată de Katharina Klar,), servitoarea Giacintei, oferă perspective practice și comentarii asupra evenimentelor, fiind similară cu Colombina, servitoarea isteață și loială din commedia dell'arte.

Obsedate de ideea de a merge în vacanță la Montemare, într-o escapadă estivală considerată un simbol al statutului social și un posibil mod de împlinire a dorințelor ascunse, personajele lui Goldoni se transformă de-a lungul vacanței și, în același timp, ne transformă și pe noi. Avem și noi în adâncul sufletului un Montemare încă ascuns? Există consecințe (sociale și economice) ale dorinței de a menține aparențele și statutul social? Cum influențează presiunile sociale și familiale alegerile individuale, în special în ceea ce privește căsătoria și relațiile personale? Care este impactul dorinței de evadare din cotidian asupra relațiilor interpersonale și asupra identității individuale?

În spiritul "Divinei Comedii" a lui Dante, regizorul Janusz Kica și scenografa Karin Fritz ne ajută să traversăm cele șapte terase ale Purgatoriului, lăsându-ne opțiunea de a accede în cerurile Paradisului sau de a cădea în cercurile Infernului. Chiar dacă terasele venețiene ale lui Goldoni sunt redate minimalist, le putem urca (sau coborî) imaginar la o magnitudine corespunzătoare complicității noastre de spectatori cu actul actoricesc, în care opțiunea spre sacru sau spre profan ne rămâne mereu la liberă alegere.