Gianina carbunariu biography templates
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Asparagus
Using the theatrical convention of the interior monologue, the play brings together two characters with their prejudices, their frustrations, their vulnerability, their fears and their moments of unexpected kindness. They would probably never articulate their thoughts publicly, but these ideas are there all the time, in their mind. Some of the thoughts addressed here are taken from different internet sites and forums, where the anonymity functions the same way as the “inner monologue” in theatre: people feel safe to think and articulate the most crazy/terrible/unexpected things.
The story was inspired by an interview of a Romanian man who was working in UK for a few months.
The place where the two characters meet is a supermarket in a small British town. Twenty minutes before the closing of the supermarket, the food expiring that day is reduced and many people come to the supermarket one hour before in order to see what products will be reduced. In this case, they also come earlier because there are a lot of people willing to buy such products and they have to move faster in order to manage to get something.
One of the characters is a Romanian man of who is a worker, picking up asparagus for a British company. He lives with other Romanian, Polish, Bulgarian w
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Gianina Carbunariu's two performances
Related papers
Carmen Dominte
Swedish journal of Romanian studies,
During the nineties, a new theatrical trend developed. It was called New European Drama or New Writing. It was represented by authors such as the British Sarah Kane, Mark Ravenhill or the German playwright Marius von Mayernburg. The classical theatre will never be able to return to itself, unless giving the spectator the utopian sense of life that only a staged play could perform, not from a delusive perspective, but from a real and personalized perspective, giving a certain meaning to reality. Being against the conservatory type, the authors put an end to all the theatrical conventions. They considered that it had to come to a point of changing the old patterns, of introducing new themes, new structures, new means of performing in the attempt of seducing and shocking the audience. Most of the dramatic texts focus on the plots about hard human existence such as racism, madness, suicide, sexuality, drug addiction and any type of abuse. The language is vulgar and slangy. All the dramatic texts when performed on stage invade the personal space of the people watching, who is now considered one of the characte
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Do You Discourse Silence?, asks Gianina Cărbunariu in Sibiu, Romania
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