{"id":4360,"date":"2017-05-17T11:37:56","date_gmt":"2017-05-17T11:37:56","guid":{"rendered":"http:\/\/artapolitica.ro\/?p=4360"},"modified":"2017-05-17T11:52:32","modified_gmt":"2017-05-17T11:52:32","slug":"cronica-spectatoarei-meraptuchi-giuvlipen","status":"publish","type":"post","link":"https:\/\/artapolitica.ro\/gazetapolitica\/2017\/05\/17\/cronica-spectatoarei-meraptuchi-giuvlipen\/","title":{"rendered":"Cronica Spectatoarei – Meraptuchi, Giuvlipen!"},"content":{"rendered":"

de Elena I.<\/span><\/span><\/i><\/span><\/span><\/p>\n

G\u00e2nduri despre spectacolul <\/i><\/span><\/span>Gadjo Dildo<\/b><\/i><\/span><\/span>, cu: Mihaela Dr\u0103gan, Elena Duminic\u0103, Zita Moldovan, Paul Dunca; muzica: Ion din Doroban\u0163i; costume: Diana Bobina; afi\u0219: Alexandra Horghidan; coregrafia: Paul Dunca; regia: Mihai Lukacs; produc\u021bia: Compania de Teatru Giuvlipen<\/i><\/span><\/span><\/span><\/span><\/p>\n

\u201eVorbirea, \u00eempotrivirea la<\/span><\/span><\/span> reducerea la t\u0103cere, este pentru cei oprima\u021bi, pentru cei coloniza\u021bi, exploata\u021bi \u0219i pentru cei care se ridic\u0103 \u0219i lupt\u0103 um\u0103r la um\u0103r, un act de \u00eenfruntare care vindec\u0103, care face posibil\u0103 o nou\u0103 via\u021b\u0103 \u0219i o nou\u0103 cre\u0219tere. <\/span><\/span><\/span>A<\/span><\/span><\/span>cel act de vorbire, de <\/span><\/span><\/span>vorbire \u00eenapoi<\/i><\/span><\/span><\/span>, acel <\/span><\/span><\/span>r\u0103spuns obraznic<\/i><\/span><\/span><\/span> care nu \u00eenseamn\u0103 doar o \u00een\u0219iruire de cuvinte goale, este expresia mi\u0219c\u0103rii noastre din pozi\u021bia de obiect spre cea de subiect \u2013 este vocea eliberat\u0103.\u201c<\/span><\/span><\/span>(<\/i><\/span><\/span><\/span>bell hooks<\/span><\/span><\/span>, <\/i><\/span><\/span><\/span>vorbind \u00eenapoi: g\u00e2ndim feminist, g\u00e2ndim negru<\/b><\/span><\/span><\/span>)1<\/sup><\/a><\/i><\/span><\/span><\/span><\/span><\/span><\/p>\n

S<\/span><\/span><\/span>\u0103 ascul\u021bi femei vorbind despre propria sexualitate este \u00eentotdeauna o gur\u0103 de aer proasp\u0103t \u00eentr-un context patriarhal sufocant<\/span><\/span><\/span>; c<\/span><\/span><\/span>\u0103 asta se \u00eent\u00e2mpl\u0103 \u00een (fa\u021ba unui) public, pe scen\u0103, \u00eentr-un spectacol de teatru, \u0219i c\u0103 vorbitoarele sunt femei rome iar compania de teatru2<\/sup><\/a> este \u00eenfiin\u021bat\u0103 de ele \u0219i asumat\u0103 deschis ca feminist\u0103, e motiv de bucurie, m\u00e2ndrie, speran\u021b\u0103, s\u0103rb\u0103toare.<\/span><\/span><\/span><\/span><\/span><\/p>\n

Istoria etniei rome \u00een arealul geografic denumit ast\u0103zi Rom\u00e2nia e un torent de forme de abuz \u0219i oprimare, de cele mai multe ori institu\u021bionalizate: 500 de ani de sclavie cu crimele, violurile, maltrat\u0103rile, v\u00e2nz\u0103rile, castr\u0103rile \u0219i umilin\u021bele aferente, deportare \u0219i ucidere \u00een mas\u0103 \u00een holocaust (<\/span><\/span><\/span>Porajmos<\/i><\/span><\/span><\/span> \u00een limba romani), asimilare for\u021bat\u0103, marginalizare \u0219i ghetoizare, dispre\u021b \u0219i \u00eengr\u0103direa drepturilor la s\u0103n\u0103tate \u0219i educa\u021bie, evacu\u0103ri for\u021bate, \u0219i din nou crime \u0219i umilin\u021be \u0219i condamnare la s\u0103r\u0103cie. \u00cen ultimii ani, pe scena teatral\u0103 independent\u0103, teme precum sclavia rom\u0103, ru\u0219inea internalizat\u0103, identitatea rom\u0103 \u0219i asumarea ei, stereotipurile care inconjoar\u0103 imaginea femeii rome, rasism, evacu\u0103ri for\u021bate, discriminare, violen\u021ba poli\u021biei orientat\u0103 etnic, dificultatea accesului la educa\u021bie sunt abordate \u00een \u00eencerc\u0103ri curajoase3<\/sup><\/a> de a combate absen\u021ba lor din discursul public \u0219i institu\u021bional. De cele mai multe ori, chiar arti\u0219tii de etnie rom\u0103 <\/span><\/span><\/span>sunt <\/span><\/span><\/span>cei care \u00ee\u0219i spun pove\u0219tile \u0219i documenteaz\u0103 istoria neglijat\u0103 a acestei minorit\u0103\u021bi (a doua ca num\u0103r de persoane declarate, dar care nu are \u00eenc\u0103 nici un teatru de stat \u00een limba sa). <\/span><\/span><\/span><\/span><\/span><\/p>\n

\"giuvlipen\"<\/span><\/span><\/span><\/span><\/span><\/p>\n

Ce face <\/span><\/span><\/span>Gadjo Dildo<\/b><\/span><\/span><\/span> diferit \u00een acest peisaj este s\u0103 vorbeasc\u0103 <\/span><\/span><\/span>\u201e<\/span><\/span><\/span>cu neru\u0219inare\u201d despre sexualitatea femeilor rome: o tem\u0103 de dou\u0103 ori tabu \u00eentr-o societate rom\u00e2neasc\u0103 patriarhal\u0103 \u0219i rasist\u0103. Acest fel de a <\/span><\/span><\/span>\u201e<\/span><\/span><\/span>vorbi <\/span><\/span><\/span>\u00eenapoi<\/span><\/span><\/span>\u201d, de a <\/span><\/span><\/span>\u201e<\/span><\/span><\/span>r\u0103spunde obraznic\u201d prejudec<\/span><\/span><\/span>\u0103\u021bilor sexiste \u0219i etnice este ceea ce m-a l\u0103sat la sf\u00e2r\u0219itul spectacolului cu un sentiment de satisfac\u021bie \u0219i curaj de a merge \u00eenainte \u00een lupta personal\u0103, dar mai ales \u00een cea comun\u0103, de emancipare politic\u0103.<\/span><\/span><\/span><\/span><\/span><\/p>\n

\u00cenc\u0103 din titlu, <\/span><\/span><\/span>Gadjo Dildo<\/b><\/span><\/span><\/span> ironizeaz\u0103 romanti<\/span><\/span><\/span>zarea<\/span><\/span><\/span> \u0219i exotizarea imaginii femeii rome \u00een produc\u021bia cinematografic\u01034<\/sup><\/a> a lui Tony Gatliff, regizor francez cu origini rome \u0219i algeriene. Controversat pentru portretizarea romilor dintr-o mic\u0103 comunitate tradi\u021bional\u0103 din Rom\u00e2nia <\/span><\/span><\/span>prin uzitarea unei \u00eentregi liste<\/span><\/span><\/span> de stereotipuri din jurul acestei etnii (s\u0103r\u0103cie, infrac\u021bionalitate, alcoolism, violen\u021b\u0103, vulgaritate, impulsivitate), filmul a ridicat \u00een picioare, cu aplauze de 10 minute, 3000 de spectatori ai Festivalului de la Locarno, dar a fost primit de c\u0103tre spectatori romi ca o alt\u0103 fals\u0103, stereotipic\u0103 \u0219i dureroas\u0103 reprezentare gadjie. Da, Tony Gatliff are r\u0103d\u0103cini rome, dar privirea care ghideaz\u0103 nara\u021biunea este cea a t\u00e2n\u0103rului francez, alb, educat, curios; da, Tony Gatliff iube\u0219te romii, dar \u00eei exotizeaz\u0103 \u0219i romantizeaz\u0103, \u00eenf\u0103\u021bi\u0219\u00e2ndu-i drept liberi, s\u0103lbatici \u0219i pasionali, cre\u00e2nd impresia c\u0103 comunitatea aleas\u0103 de el \u0219i analizat\u0103 \u00een film este reprezentativ\u0103 pentru \u00eentreaga etnie5<\/sup><\/a>. Desigur, nu putea s\u0103 lipseasc\u0103 povestea de dragoste cu t\u00e2n\u0103ra rom\u0103 rebel\u0103 (\u0219i-a abandonat b\u0103rbatul), nesupus\u0103 (o scen\u0103 deosebit de inconfortabil\u0103 este \u00eencercarea patriarhului rom care \u00eel g\u0103zduie\u0219te pe francez de a o viola, sub pretextul alin\u0103rii suferin\u021bei sale suflete\u0219ti), frumoas\u0103, dar din nou \u00een limitele prescrip\u021biilor gadjii (are un dintre \u00eembr\u0103cat \u00een aur, \u00ee\u0219i freac\u0103 trupul cu flori parfumate dup\u0103 baia \u00een albie), pasional\u0103 \u0219i, desigur, vulgar\u0103 \u00een limbaj. Aceste atribute sunt cli\u0219ee care populeaz\u0103 imaginarul gadjiu cu privire la femeile rome, din care fac parte, aparent paradoxal, \u0219i tr\u0103s\u0103turile opuse, precum supu\u0219enia, caracterul domestic, virginitatea \u00een momentul c\u0103s\u0103toriei sau fidelitatea.<\/span><\/span><\/span><\/span><\/span><\/p>\n

\"gadjod\" Indiferent de tipurile de a\u0219tept\u0103ri \u0219i prejudec\u0103\u021bi pe care gadjiii le au fa\u021b\u0103 de femeile rome, toate sunt nocive pentru c\u0103 \u00eempiedic\u0103 cunoa\u0219terea real\u0103 \u0219i empatia \u0219i le \u00eencremenesc pe cele din urm\u0103 \u00een pozi\u021bii impuse din exterior, care nu au nimic de a face cu ele, dar c\u0103rora adeseori trebuie s\u0103 se conformeze. \u00cen diverse momente din spectacol, cele trei actri\u021be (Mihaela Dr\u0103gan, Elena Duminic\u0103 \u0219i Zita Moldovan) se joac\u0103 cu aceste cli\u0219ee, demasc\u00e2ndu-le \u0219i deconstruindu-le. Exist\u0103 scena amuzant\u0103, \u00een care prejudec\u0103\u021bile sunt enun\u021bate \u0219i urmate de \u00eentreb\u0103ri care expliciteaz\u0103 adev\u0103rata a\u0219teptare a b\u0103rbatului gadjo, adev\u0103rata dorin\u021b\u0103 pe care femeia rom\u0103 ar trebui s\u0103 o satisfac\u0103: <\/span><\/span>\u201e<\/i><\/span><\/span>cu frumuse\u021be interioar\u0103\u201d<\/i><\/span><\/span>, Care nu vorbe\u0219te mult?, <\/i><\/span><\/span>\u201ecare poate oferi o experien\u021b\u0103 cultural\u0103 inedit\u0103\u201d<\/i><\/span><\/span>, S\u0103 \u00ee\u021bi pun \u00een practic\u0103 cele mai exotice fantezii?<\/i><\/span><\/span>. \u0218i exist\u0103 scena puternic\u0103 \u0219i emo\u021bionant\u0103 \u00een care, chestionat\u0103 asupra originii sale, femeia r\u0103spunde enumer\u00e2nd momente dureroase din istoria etniei rome, situa\u021bii de discriminare structural\u0103 (<\/span><\/span>Sunt dintr-un formular \u00een care am bifat c\u0103su\u021ba cu \u201ealt\u0103 categorie etnic\u0103\u201d),<\/i><\/span><\/span> contexte \u00een care trecutul \u0219i propria cultur\u0103 devin pentru gadjii prilej de ironie (<\/span><\/span>Sunt de unde mama mea era vr\u0103jitoarea care m-a \u00eenv\u0103\u021bat s\u0103 dau \u00een ghioc<\/i><\/span><\/span>), dar \u0219i momente de auto-definire \u0219i putere asupra propriului destin (<\/span><\/span>De unde m-am construit pe mine. De unde m-am schimbat.<\/i><\/span><\/span>).<\/span><\/span><\/p>\n

Imaginarul plin de contradic\u021bii care \u00eenconjoar\u0103 figura femeii rome este cel care a produs caricaturalul gadjiu care o curteaz\u0103 pe Vanessa (unul dintre cele trei personaje ale spectacolului produs de Giuvlipen) \u0219i care, confuz, o invit\u0103 \u00eent\u00e2i la biseric\u0103 \u0219i apoi la sex shop, produc\u00e2nd o \u00eendrept\u0103\u021bit\u0103 reac\u021bie furioas\u0103: <\/span><\/span>\u201cUnirea sexual\u0103 este un act divin. <\/i><\/span><\/span>B\u0103i, gadjo dildo! Ai dreptate, dar bag\u0103-\u021bi alea unde vrei, mie \u00eemi place natural!\u201d<\/i><\/span><\/span>. Vanessa (jucat\u0103 de Zita Moldovan), o femeie rom\u0103 cu succes pe scena muzical\u0103, este inspirat\u0103 de traiectoria artistic\u0103 a c\u00e2nt\u0103re\u021bului Connect-R, cel care la ridicarea premiului Best Song la Romanian Music Awards 2010 \u0219i-a deschis jacheta l\u0103s\u00e2nd la iveal\u0103 un tricou alb cu inscrip\u021bia <\/span><\/span>Sunt <\/i><\/span><\/span>\u021bigan<\/i><\/span><\/span>. Giuvlipen \u0219i-a imaginat ce ar fi urmat dup\u0103 acest gest pentru Connect-R dac\u0103 ar fi fost femeie: pentru Vanessa, momentul asum<\/span><\/span>\u0103rii publice a etniei a \u00eensemnat sf\u00e2r\u0219itul carierei muzicale \u0219i c\u00e2\u0219tigarea aten\u021biei ONG-urilor ce se ocup\u0103 de drepturile romilor. \u0218i odat\u0103 cu asta, critici din partea co-etnicilor \u2013 c\u0103 nu e tradi\u021bional\u0103, c\u0103 poart\u0103 fuste mini, c\u0103 danseaz\u0103 pentru pl\u0103cerea ne-romilor, c\u0103 face etnia de ru\u0219ine \u2013 \u0219i prezent\u0103ri senza\u021bionaliste \u00een pres\u0103 (\u201c<\/span><\/span>din \u0219atr\u0103, pe marile scene<\/i><\/span><\/span>\u201d) care insinueaz\u0103 \u00een mod eronat excep\u021bionalitatea pozi\u021biei ei. Liber\u0103 \u0219i curajoas\u0103, Vanessa lezeaz\u0103 discursuri \u0219i viziuni dominante, fie ele gadjii sau rome. Iar ea \u201er\u0103spunde\u201d \u00eenc\u0103 o dat\u0103, pentru c\u0103 \u201c\u2026 este mai bine s\u0103 vorbim \u0219i s\u0103 nu uit\u0103m c\u0103 nu eram menite s\u0103 supravie\u021buim\u201d6<\/sup><\/a>:<\/span><\/span><\/p>\n

\u201eC\u0103 te-a \u00eenv\u0103\u021bat pe tine tac-tu c\u0103 numai curvele poart\u0103 chilo\u021bi \u0219i o \u021biganc\u0103 adev\u0103rat\u0103 nu ar face a\u0219a ceva de ru\u0219ine. <\/i><\/span><\/span>Adic\u0103 vrei s\u0103-mi spui tu mie c\u0103 buc\u0103\u021bica aia de material care de fapt m\u0103 acoper\u0103 \u00eenseamn\u0103 pentru tine o invita\u021bie: ia uite ce am eu aici?\u201d<\/i><\/span><\/span>.<\/span><\/span><\/p>\n

\"gadjod2\" Povestea Stelei (interpretat\u0103 de Mihaela Dr\u0103gan), cea mai neconven\u021bional\u0103 \u0219i cutremur\u0103toare, este \u0219i ea inspirat\u0103 din via\u021ba unei femei pe care actri\u021bele o cunosc \u0219i despre care au \u00eenv\u0103\u021bat ini\u021bial dintr-un interviu realizat de Casa Jurnalistului7<\/sup><\/a>. Stela e o femeie rom<\/span><\/span><\/span>\u0103<\/span><\/span><\/span> cu o copil\u0103rie grea, tr\u0103it\u0103 \u00een s\u0103r\u0103cie \u0219i \u00eentr-o familie dezbinat\u0103 \u00een care a fost nevoit\u0103 s\u0103 se responsabilizeze de mic\u0103 pentru p\u00e2inea \u0219i supravie\u021buirea celor apropia\u021bi. O femeie care s-a descurcat, care a f\u0103cut de toate, a muncit, a f\u0103cut <\/span><\/span><\/span>\u201e<\/span><\/span><\/span>combina<\/span><\/span><\/span>\u021bii<\/span><\/span><\/span>\u201d, a evitat violent tentative de viol, a f\u0103cut sex cu un b\u0103rbat ca s\u0103 demonstreze c\u0103 \u00eenc\u0103 era virgin\u0103, a f\u0103cut pu\u0219c\u0103rie \u0219i a iubit femei. Chiar dac\u0103, ca mai peste tot \u00een cadrul spectacolului, portretul Stelei este realizat cu umor iar ea este <\/span><\/span><\/span>\u201e<\/span><\/span><\/span>elementul butch din Gipsy Experience\u201d<\/i><\/span><\/span><\/span>, scena <\/span><\/span><\/span>\u00een care se lupt\u0103 s\u00e2ngeros cu mai mul\u021bi b\u0103rba\u021bi \u0219i sare prin geam pentru a evita s\u0103 fie violat\u0103 \u00ee\u021bi \u00eenghea\u021b\u0103 z\u00e2mbetul pe buze. Cu at\u00e2t mai mult cu c\u00e2t, de\u0219i nesurprinz\u0103tor, Stela petrece 18 zile \u00een arest pentru c\u0103 s-a ap\u0103rat, la fel ca \u0219i atacatorii. Dar, \u00een rest, Stelei \u00eei plac femeile \u0219i nu tace despre asta, chiar dac\u0103 pentru mul\u021bi e ciudat c\u0103 o rom\u0103 e lesbian\u0103: <\/span><\/span><\/span>\u201eNimeni nu se g\u00e2nde\u0219te c\u0103 \u021big\u0103ncu\u0219a asta micu\u021b\u0103 \u0219i dr\u0103gu\u021b\u0103 vrea s\u0103 c\u00e2nte la muzicu\u021b\u0103. Vrea s\u0103 miroas\u0103 crini. Dar eu vreau, v\u0103 jur c\u0103 vreau.\u201d<\/i><\/span><\/span><\/span> Ne poveste\u0219te cum s-a \u00eendr\u0103gostit de \u00eenv\u0103\u021b\u0103toare \u00een copil\u0103rie, cum a cunoscut-o \u0219i cucerit-o pe prima ei iubire, c\u00e2t de complicat e s\u0103 interac\u021bioneze cu femei care iau avansurile ei drept simple dovezi de prietenie \u0219i cum a pierdut \u201e\u0219irul gagicilor\u201d pe care obi\u0219nuia s\u0103 le treac\u0103 \u00eentr-o agend\u0103. Pozi\u021bia ei, mai complicat\u0103 chiar dec\u00e2t a Vanessei, e construit\u0103 la intersec\u021bia dintre trei axe de oprimare, pentru c\u0103 este rom\u0103, femeie \u0219i lesbian\u0103. Iar ea se \u00eentreab\u0103 cu un umor amar: <\/span><\/span><\/span>\u201eAdic\u0103 sunt mai \u021big\u0103ncu\u0219\u0103 dec\u00e2t dr\u0103gu\u021b\u0103? Sau mai \u021big\u0103ncu\u0219\u0103 dec\u00e2t pe invers? Ce chestie.\u201d \u00ad<\/i><\/span><\/span><\/span><\/span><\/span><\/p>\n

\u00cen povestea celei de-a treia femei, <\/span><\/span><\/span>Gadjo Dildo<\/b><\/span><\/span><\/span> m\u0103rturise\u0219te despre lupta de a fi ca to\u021bi ceilal\u021bi pe care o duc unii romi, \u00een special \u00een copil\u0103rie, c\u00e2nd nevoia de a fi acceptat este mult mai puternic\u0103. Sidonia (interpretat\u0103 de Elena Duminic\u0103) vine dintr-o familie de l\u0103utari care, la v\u00e2rsta \u0219colar\u0103, au protestat \u00eempotriva rasismului care-i expediase \u00een fos\u0103, sub scen\u0103, pentru c\u0103 un cor de elevi nu poate fi, pe 23 august, dec\u00e2t de culoare alb\u0103. Din fos\u0103, cei trei romi au \u00eenceput s\u0103 c\u00e2nte muzic\u0103 l\u0103ut\u0103reasc\u0103, ruin\u00e2nd festivitatea. \u00cen \u0219coala primar\u0103, Sidonia simte dispre\u021bul \u00eenv\u0103\u021b\u0103toarei care o mut\u0103 \u00een ultima banc\u0103 \u0219i o trimite acas\u0103 atunci c\u00e2nd sunt inspec\u021bii \u0219colare. \u0218i \u00ee\u0219i dore\u0219te s\u0103 \u00eendep\u0103rteze de pe corpul ei culoarea \u0219i alte semne care ar putea s\u0103 dea de gol faptul c\u0103 ea este, a\u0219a cum \u00eei explic\u0103 mama, doar adoptat\u0103 de aceast\u0103 \u021bar\u0103, \u0219i nu o rom\u00e2nc\u0103 adev\u0103rat\u0103. C\u00e2nd cre\u0219te, Sidonia continu\u0103 s\u0103-\u0219i ascund\u0103 identitatea, evit\u00e2nd s\u0103 le prezinte p\u0103rin\u021bilor pe vreunul dintre b\u0103rba\u021bii cu care are rela\u021bii. Tr\u0103ie\u0219te ca orice t\u00e2n\u0103r\u0103 de v\u00e2rsta ei, merge \u00een cluburi \u0219i la filme, d\u0103 petreceri, iar atunci c\u00e2nd se \u00eendr\u0103goste\u0219te de un b\u0103iat rom dore\u0219te s\u0103 p\u0103streze \u00een continuare aparen\u021bele: <\/span><\/span><\/span>\u201eNu \u00eemi e ru\u0219ine de mo\u0219tenirea rom\u0103 de pe fa\u021ba mea, dar noi doi am avut un pact nescris \u2013 te prefaci c\u0103 nu te-ai prins c\u0103 sunt rom\u0103, m\u0103 prefac c\u0103 nu \u0219tiu c\u0103 e\u0219ti rom.\u201d<\/i><\/span><\/span><\/span> Spectacolul sugereaz\u0103 (prin c\u00e2ntecul <\/span><\/span><\/span>Regina triste\u021bi<\/b><\/span><\/span><\/span>i8<\/sup><\/a>, interpretat de Sidonia) c\u0103 aceast\u0103 pozi\u021bie, \u00een care femeii nu \u00eei este ru\u0219ine, dar prefer\u0103 s\u0103 tac\u0103, este una care consum\u0103 energia creativ\u0103 \u0219i bucuria de via\u021b\u0103. \u00cen momentul \u00een care, dup\u0103 ce au f\u0103cut dragoste, iubitul rom \u00eei spune Sidoniei <\/span><\/span><\/span>\u201eMeraptuchi\u201d <\/i><\/span><\/span><\/span>(<\/span><\/span><\/span>\u201eTe iubesc\u201d<\/i><\/span><\/span><\/span>), ea nu \u00een\u021belege \u0219i nu poate r\u0103spunde, dar un proces de acceptare \u0219i transformare este declan\u0219at \u0219i astfel Sidonia ajunge \u00een fa\u021ba noastr\u0103, pe scen\u0103, pentru a vorbi despre lucruri de ne-vorbit. <\/span><\/span><\/span><\/span><\/span><\/p>\n

\u00cenc\u0103 o dat\u0103, \u00een \u00eencheier<\/span><\/span><\/span>e<\/span><\/span><\/span>a spectacolului, cele trei actri\u021be vorbesc r\u0103spicat despre nevoile \u0219i dorin\u021bele lor, \u00ee\u0219i declar\u0103 inten\u021biile, \u00eenjur\u0103 \u0219i amenin\u021b\u0103 s\u0103 nu \u00eendeplineasc\u0103 fanteziile gadjii care se deruleaz\u0103 pe ecranul din fundal. Prin vestimenta\u021bia care transgreseaz\u0103 genul (costumul <\/span><\/span><\/span>butch<\/i><\/span><\/span><\/span> al Stelei \u0219i travestiul prezentatorului (Paul Dunca)), prin muzic\u0103 \u0219i umor f\u0103r\u0103 perdea, dar mai ales prin franche\u021bea \u0219i curajul cu care femeile vorbesc despre etnia lor \u2013 atunci c\u00e2nd regulile jocului o cer trecut\u0103 sub t\u0103cere \u2013 \u0219i despre genul \u0219i sexualitatea lor \u2013 atunci c\u00e2nd patriarhatul \u0219i rasismul le vor doar o oglind\u0103 a unor prejudec\u0103\u021bi \u0219i interese oprimante \u2013, <\/span><\/span><\/span>Gadjo Dildo<\/b><\/span><\/span><\/span> este <\/span><\/span><\/span>\u201e<\/span><\/span><\/span>r\u0103spunsul obraznic\u201d,<\/i><\/span><\/span><\/span> este <\/span><\/span><\/span>\u201e<\/span><\/span><\/span>vocea eliberat\u0103\u201d<\/i><\/span><\/span><\/span>. Ca ne-rom\u0103, m-am temut \u0219i am vrut s\u0103 evit ca ceva din cronica asta s\u0103 vorbeasc\u0103 \u00een numele unei etnii c\u0103reia nu \u00eei apar\u021bin; dar ca femeie, sunt m\u00e2ndr\u0103 c\u0103 surorile feministe din Giuvlipen vorbesc, prin acest spectacol, \u0219i \u00een numele meu.<\/span><\/span><\/span><\/span><\/span><\/p>\n

\n

1<\/a>\u0002<\/sup> Traducerea mea pentru: \u201cMoving from silence into speech is for the oppressed, the colonized, the exploited, and those who stand and struggle side by side a gesture of defiance that heals, that makes new life and new growth possible. It is that act of speech, of \u201ctalking back,\u201d that is no mere gesture of empty words, that is the expression of our movement from object to subject\u2014the liberated voice.\u201d (bell hooks, <\/span>talking back: thinking feminist, thinking black<\/b><\/span>)<\/span><\/span><\/span><\/p>\n<\/div>\n

\n

2<\/a>\u0002<\/sup> https:\/\/www.totb.ro\/giuvlipen-trupa-de-teatru-care-a-inventat-cuvantul-feminism-in-limba-romani\/<\/span><\/span><\/p>\n<\/div>\n

\n

3<\/a>\u0002<\/sup> Declar pe propria r\u0103spundere<\/span><\/a>; Google \u021bara mea<\/a>; Del Duma, vorbe\u0219te-le despre mine<\/a>; F\u0103r\u0103 sprijin <\/a>; La harneal\u0103<\/a>; Voi n-a\u021bi v\u0103zut nimic<\/a>; Privind prin piele<\/a>; Marea ru\u0219ine<\/a>; Cine a omor\u00e2t-o pe Szomna Grancsa?<\/a><\/span><\/span><\/span><\/p>\n

4<\/a>\u0002<\/sup> Gadjo dilo<\/b><\/span> (Str\u0103inul nebun, 1997)<\/span>, Regia: Tony Gatliff, http:\/\/www.imdb.com\/title\/tt0122082\/.<\/span><\/span><\/span><\/p>\n<\/div>\n

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5<\/a>\u0002<\/sup> http:\/\/www.errc.org\/article\/tony-gatlifs-film-gadjo-dilo-furthers-the-roma-cause\/966<\/span><\/span><\/span><\/p>\n<\/div>\n

\n

6<\/a>\u0002<\/sup> Traducerea mea, vers din \u201c<\/span>Litany for survival\u201d de Audre Lorde<\/span><\/span><\/span><\/p>\n<\/div>\n

\n

7<\/a>\u0002<\/sup> http:\/\/casajurnalistului.ro\/am-fost-smardoaica\/<\/span><\/span><\/span><\/p>\n<\/div>\n

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8<\/a>\u0002<\/sup> https:\/\/www.youtube.com\/watch?v=VNHWU0cgGnU<\/span><\/span><\/span><\/p>\n<\/div>\n

<\/p>","protected":false},"excerpt":{"rendered":"

de Elena I. G\u00e2nduri despre spectacolul Gadjo Dildo, cu: Mihaela Dr\u0103gan, Elena Duminic\u0103, Zita Moldovan, Paul Dunca; muzica: Ion din Doroban\u0163i; costume: Diana Bobina; afi\u0219: Alexandra Horghidan; coregrafia: Paul Dunca; regia: Mihai Lukacs; produc\u021bia: Compania de Teatru Giuvlipen \u201eVorbirea, \u00eempotrivirea la reducerea la t\u0103cere, este pentru cei oprima\u021bi, pentru cei coloniza\u021bi, exploata\u021bi \u0219i pentru cei care se ridic\u0103 \u0219i lupt\u0103 um\u0103r la um\u0103r, un act de \u00eenfruntare care vindec\u0103, care face posibil\u0103 o nou\u0103 via\u021b\u0103 \u0219i o nou\u0103 cre\u0219tere. Acel act de vorbire, de vorbire \u00eenapoi, acel r\u0103spuns obraznic care nu \u00eenseamn\u0103 doar o \u00een\u0219iruire de cuvinte goale, este expresia…<\/p>\n","protected":false},"author":4,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":[],"categories":[93,161],"tags":[295,294,269],"_links":{"self":[{"href":"https:\/\/artapolitica.ro\/gazetapolitica\/wp-json\/wp\/v2\/posts\/4360"}],"collection":[{"href":"https:\/\/artapolitica.ro\/gazetapolitica\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/artapolitica.ro\/gazetapolitica\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/artapolitica.ro\/gazetapolitica\/wp-json\/wp\/v2\/users\/4"}],"replies":[{"embeddable":true,"href":"https:\/\/artapolitica.ro\/gazetapolitica\/wp-json\/wp\/v2\/comments?post=4360"}],"version-history":[{"count":3,"href":"https:\/\/artapolitica.ro\/gazetapolitica\/wp-json\/wp\/v2\/posts\/4360\/revisions"}],"predecessor-version":[{"id":4366,"href":"https:\/\/artapolitica.ro\/gazetapolitica\/wp-json\/wp\/v2\/posts\/4360\/revisions\/4366"}],"wp:attachment":[{"href":"https:\/\/artapolitica.ro\/gazetapolitica\/wp-json\/wp\/v2\/media?parent=4360"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/artapolitica.ro\/gazetapolitica\/wp-json\/wp\/v2\/categories?post=4360"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/artapolitica.ro\/gazetapolitica\/wp-json\/wp\/v2\/tags?post=4360"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}