Gica Manescu: Cum devenisem milionar

O noua contributie a prietenului meu Gica Manescu – un fragment de amintiri si note de calatorie inedite

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Titlul nu se refera la anul 1947,  in Romania, cand eram cu totii milonarii saraci.

Se refera la Turcia de acum mai multi ani. Cum  e azi, dupa cate stiu, tot  inflatie. Cat e valoarea lirei turcesti nu m-am informat, ca n-am interes si nici nu plec. Cand ne-am dus spre poartata – gate-ul, de imbarcare, era un aparat de schimbat bani. Pentru 20 dolari USA , am primit  un milion si jumatate de lire. Era  ceva in jur de 70 sekeli. Nu stiam valoarea acolo, dar a fost buna, pentru straini. Cand la un restaurant de clasa superioara, am vazut nota de plata, m-au trecut fiori. Dar revenindu-mi  si socotind, erau  30$.

source www.universes-in-universe.de

La Istanbul, la un hotel foarte luxos, calm, spre periferie,  am fost foarte bine primiti si tratati de gazde si de o israelianca, ca indrumatoare. Pentru iesiri colective, cu un  ghid vorbitor de franceza , calatoream cu un microbuz sau taxi.

Am decolat din Levantul cel mic si am aterizat in cel mare

Orasul enorm, cu o intindere de vreo 350 Km , cam  de la Haifa la Ashdod, cu peste 12 milioane de locuitori, dintre care, pe atunci, erau doar 15.000 evrei, deci ceva mai mult de 0,1 %.  Nereligiosi, traditionalisti si cu totii faceau afaceri. Pe firma unui magazin, in centru,  cu obiecte de aur, am citit numele – Goldenberg. In alta parte, articole din piele, “Beged or “. Cum era la “Polgat” in Tel Aviv.

Orasul nu are personalitate, nu e impregnat de nici un stil architectonic, de nici o randuiala. S-a construit cum s-a putut, cum au dorit cetatenii sau proprietarii. Umblam ore intregi in anumite cartiere, si parca ai fi fost la Petah Tikva sau Rehovot . Pe strazile in panta eram ca in Tzfatul nordic, de aici.

Circulatia, inebunitoare. Admiram totdeauna la noi, soferii de taxiuri si autobuze. In unele privinte, cei turci ii intrec. Ma enervez cand la noi vad cum se traverseza de pe un trotuar pe altul cand semaforul are lumina rosie. Acolo, unui trecator grabit, soferul i-a deschis usa in mijlocul traficului, ca sa poata cobora si strecura prin sirul de vehicule, pana pe trotuarul de peste drum. Sunt grabiti. Parca si la New York  pe strazile din Manhattan, pietonii merg parca fara rabdare, Pasi repezi, fuga. In Romania, grabitilor, la orice, li se spunea sa fie calmi, ca “ nu vin turcii “.

Prin gradini, sali de asteptare, cei ce nu gasesc un loc pe o  banca, un scaun, se chircesc, stau “turceste “. cum o faceam si eu in copilarie, cand ma jucam. Pe un  vapor de croaziera, unul de langa mine  fuma tigara de la tigara,  “ca un turc “. In vitrina unui magazine de armurarie, am cautat sa vad un pistol ca un  turc. N-am putut. N-am stiut ce fel este si n-am inteles zicala “ Cum e turcul, e si pistolul “.

source tripadvisor.com

Istanbul e un oras sui-generis. Nu m-am asteptat sa gasesc monumente istorice si opera de arta, in sensul stiut de noi. Moscheele, sa citez doar doua, Sf. Sofia, azi muzeu, si “Albastra”, sunt minunate si cuprinzatoare. Palatele , marete. Topkapi, imens, plin de averi ca si Dolmahbace, majestos, elegant, curat.

Toate orologiile sunt fixate la ora 9:30, timpul zilei cand a murit Kemal Ataturc, fondatorul Turciei moderne, laice. Mi-am amintit, ca de la” Poarta”  (nici azi nu stiu ce Poarta ) au venit Domnii “nostri” fanarioti, dar Fanarul o parte a orasului, nu ne-a interesat.

Bazarul acoperit e o imensitate de coridoare si magazine. Iti iau ochii. Lumina stralucitoare se revarsa peste produsele variate, tentante, frumos randuite. Ne-am oprit si am cumparat rahat, de diferite gusturi, arome si culori. Apoi, “ La botul calului “- statul in picioare si esti servit-ne-am oprit la baclavale. Eram la “ mama lor “. Am cumparat cateva. Cuburi mici in care negustorul a infipt o scobitoare, cateva pe un carton, oferite si cu un servetel. Ieftine si delicioase.

source photography.nationalgeographic.com

Am vizitat subsolul, ca o pivnita enorma a unei cladiri, cu tevi si coloane, apa pe jos, aerul rece. Apartine instalatiilor de aprovizionare cu apa. Ni se spusee ca nu e potabila, si se consuma doar ce minerala.

Limba dificila si desi scrisa cu litere latine, are o pronuntare greoaie pentru noi si am reusit sa tin minte  (imi notasem), cikis= iesire, in afara de cele stiute de acasa: huzur, bacsis,musaca, halva si rahat, pe care le-am mancat la propriu.

Pe o strada de langa port, un magazin cu condimente egiptene si din alte tari musulmane. Nu vazusem, nu invatasem si era doar o curiozitate.

In grupa noastra erau si cateve evreice-egiptene, femei instarite, dupa cumparaturile lor (bijuterii, blanuri, s.a.)    S-a programat o excursie cu vaporul, pe Marea de Marmara, cu o oprire pe Insula Printesei. Ghid, un japonez tanar, vorbitor de franceza, dar cu accentul deosebit. Extrem de serviabil si priceput. Am patruns, coborand din vapor, intr-un mic rai pe pamantul turcesc. Din locuitorii din ceruri, n-am dat de nimeni. Vile, palate,gradini, flori, verdeata, liniste. Nu circula nici un vehicul motorizat. Pentru plimbari, (am facut cu alta pereche) se folosesc trasuri confortabile, trase de doi cai robusti.  Strazi curate,rareori cate un biciclist. Uneori miros de “ produse cabaline” Doar si caii au tub digestiv si aparat urinar.

source europetheeasyway.com

Imi inchipui ca unele sau tot ce scriu sunt cunoscute multora dintre cititori. Pentru ei, ca si pentru mine, e o rememorare a unor zile frumoase , placute si de imbogatire a cunostintelor,  a incantarii ochilor si a destinderii.

Azi, din cauza relatiilor dusmanoase, la capatul opus al celor prietenesti si de colaborare, pana nu de mult, nu imi inchipui ca israelieni evrei, isi fac vacante si cheltuiesc bani in tara cu tendinta islamica anti-israeliana, chiar si  antisemita. Prietenia stransa cu Iranul, Siria, etc. o  arata. Sotia Presedintelui, nu umbla cu capul fara acoperire – fisiu – sau cum se cheama. Legea islamica. Ei  ar vrea sa intre in CE. Dar tari ca Franta, Germania, Anglia,s.a,se opun. Si bine fac. Le ajunge cati au la ele si unde e o problema grea integrarea.

Revenind acasa, ne-am bucurat, am avut de dat jos cateva kg, puse pe noi si multumiti, n-am spus “ hai sictir “.

_________

Dr.G. Manescu

Februarie 2011.

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Book: Steve Berry – The Romanov Prophecy

From time to time I am getting back to the kind of books that I loved to read when I was a kid and a teenager, and actually I never stopped loving them. Action books with historic background or even better contemporary adventure books solving enigmas from the past which somehow impact our present. This is a genre which despite the rumors was not invented by Dan Brown (whose books I like very much to the horror of some of my friends) although Brown became kind of the reference for the genre. Even this last book I read has as a banner ‘Berry pulls a Dan Brown, throwing the reader right into the action‘. I guess that when a writer’s name becomes a common name this should be considered a compliment.

source www.bookreporter.com

One can learn about Steve Berry and his books from http://www.steveberry.org/. He is born in 1955, lives in Florida and studied law so no wonder that many of his heroes (as John Grisham’s also a lawyer by formation) come from the same profession. His literary breakthrough came around 2003 and I had read his first novel ‘The Amber Room’ and liked it. ‘The Romanov Prophecy’ is his second.

source georgiacenterforthebook.org

The common thread between the two books is the interest for the 20th century Russian history and especially for the last Czar’s fate and legacy. Steve Berry has done here a good work of documentation, as much of the action is based on the last days of the Czar and of his family, their execution by the Bolsheviks and the legend of the survival of some of the members of the family. Real documents are being brought in the book together with other fictive documents written in the same style. The story is based on a fictive what-if scenario that never happened. Russia tired by the democratic experiments of Yeltsin and Putin votes in a referendum to restore the Czars. A commission is looking for the closest descendants of the Romanov family, and one convenient candidate that would play well in the hands of the Russian mafia, oligarchs and nostalgics of the Communist regime is the favorite. All would play well if a true direct descendant of the last Czar is not found, but of course, things will get much more complicated.

source boston.com

The book was first published in 2004, maybe it was written a few years earlier, and we all know that Russia’s history took a different turn. This does not help with the credibility of the intrigue, one of the required conditions for a successful book in the genre. While having the innocent and unprepared every-day American (you guessed – a lawyer) survive all assassination attempts and fight a small contingent of professional killers is one of the conventions of this kind of books that we learned to live with, there are some other details that are a little bit too round-cornered (for example the absence of mobile phones is not credible in the 2000s of the US and even Russia) and so are the too easy and idealistic references to the Czarist period. “What happened in 1917 was so sad. The country was on the verge of a social renaissance. Poets, writers, painters, playwrights were at their peak. The press was free. Then it all died. Overnight.” says one Russian character (pag. 232).  Well, all died indeed almost overnight, but the situation was far from that ideal even before the Russian Revolution, and any Russian knows it. So, as a reader one needs to accept these historical shortcuts and focus on enjoying the action. The good news is that Steve Berry writes well, builds the tension and keeps the pace as you expect, his characters are maybe not too deep but well sketched and the book is well sized, not too short, not too long so details are not lost. With more luck the future books may go on more credible historic or fantasy paths, so I think that I will give them more chances.

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Moliere’s ‘Don Juan’ at the Gesher Theatre

I have seen last Saturday the most recent play brought to stage at the Gesher Theater in Jaffo – Moliere’s Don Juan under the direction of the Bulgarian guest director Alexander Morfov.  Although it does not reach the peak levels I am used to expect from this theater, one of top two ensembles in Israel, it provides for a satisfying theater evening for most of the time.

source www.gesher-theatre.co.il

I knew nothing about Morfov, and the Internet information tells me that he is easily the most recognisable name in contemporary Bulgarian theatre. Fans of the Gesher immediatly will recognize that he comes from the same school of thought as theater leader and artistic director Evgheny Arie. His cut on the French classic text is cinematographic and allows for freedom of creation to gifted actors, while keeping the essence and the main philosophical lines of the play.

source www.gesher-theatre.co.il

The team of talents at Gesher asks nothing but be given such an opportunity. The result is an homogeneous and interesting performance for most of the time, with the theater star Sasha Demidov shining in another of his master roles, one that fits him and allows him to create a Don Juan of his own. The best Don Juan I have ever seen on stage was maybe 40 years ago on the stage of the Comedia Theater in Bucharest. I remember that the director was Dinu Cernescu, I forgot who acted as Don Juan. I am pretty sure that for this performance I will not forget that Sasha Demidov was Don Juan. Dvir Benedek seconds Demidov as Sganarel and it is amazing how this actor finds his potential on this stage after the great performance he gave in Revizor which I wrote about two weeks ago.

source en.wikipedia.org

The only disappointment comes unfortunately in the final scene – the scene that cuts short the path of sin and revolt against God of Don Juan and brings to the audiences his meeting with destiny in the image of the spirit of the Comandore. The stage solution for this scene makes or breaks often the whole performance and defines the work of a great director. I was disappointed by what Morfov created here. Maybe I am spoiled by the fabulous final scene created by Zeffirelli on the stage of the Opera a few years ago and expectations were too high. In any case, this otherwise good performance ended for me in an unexpected low tone key.

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Film: True Grit (Coen Brothers – 2010)

For once the Coen brothers played it according to all the rules of commercial cinema, and no wonder they did it as the producer of True Grit is no other than Steven Spielberg. The film went out in time for the Christmas week (in the US) and for the Oscar season, and the result is 10 nominations including the one for the Best Movie, although I am not sure it will eventually get that many (it certainly deserves the one for the cinematography – the camera work is exquisite). It is also probably the most mainstream film the Coen brothers have ever made, so mainstream that I had all over the feeling that a twist in the action may happen, or a there are some hidden underground meanings that I am missing. Yet, the director brothers chose to do a very well made version of a novel adaptation already brought to screen in 1969 by Henry Hathaway with John Wayne in the main role, a classical Western with many moments of good cinema. Not little thing, just less surprising that I would have expected from them.

source www.imdb.com

Much of this story of pursuit and revenge in Texas and the Indian country relies on the actors. Jeff Bridges melts in the role of marshal Cogburn, a drunken but effective and heart-opened man of law. Hailee Steinfeld is the 14 years old girl whose coming into age is destined to be spent searching for justice in Wild West and her role has all the chances to launch a great career. Matt Damon and Josh Brolin act fine in the two supporting roles that fill in the human landscape of the film. They all do a fine job, and some beautifully written dialogs help in the way – watch the one of the bargaining of the young girl with the man that had a dept with her late father and remember it – or maybe you need not as film anthologies will help you do it in case you forget.

http://www.youtube.com/watch?v=5GkAH7IUWOE

(video source ClevverMovies)

As in many classical Westerns the landscape and the rendering of the atmosphere of the wild country in the second half of the 19th century America play a central role. As I already said the camera work is wonderful, and it creates the right setting for this very credible story of human solidarity. I do not like many of the post action epilogues in movies, especially when told with the off screen voice of the heroes quoting from the original book (so it seems) but here it fits movingly, but this is again the combination of the image and words that enhance the human feelings. Surprises may be missing but True Grit is a piece of true (and good) cinema.

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Zellenberg Gewurtztraminer from Marc Tempe

I discovered a splendid wine and I would like to share the news with you. After the Litvak Gallery and the Orna Ben Ami art exhibition I wrote about we entered to have lunch at Toto – considered to be one of the best restaurants in Tel Aviv.  The Friday afternoon business menu was up to the expectations, although prices were quite on the upper part of the scale. When we got to selecting the wine the ladies choice was for a Gewurtztraminer. They had the 2007 Yarden brand we had a few weeks ago at another restaurant in Tel Aviv but for 20 shekels more and yet at a ‘reasonable’ (for the location) price of 175 shekels they offered an Alsatian brand. I went for it and I had no reasons of regret.

Zellenberg Gewurtztraminer from Marc Tempe

The place this wonderful Gewurtztraminer comes from is Zellenberg and the name of the winemaker is Marc Tempe. I found some information about him on the Internet at http://www.marctempe.fr/. Zellenberg is located on the Route des Vins which traverses the Alsace from North to South, one kilometer afar from the touristic and picturesque small city of Riquewihr which we had visited a few months ago. The place is perfect for wine making, 300 meters altitude, and a wonderful climate. Marc Tempe comes from a family of wine makers and he started his own vineyard in 1995, adopting a method he calls ‘biodynamics’ which is a variant of organic wine making with no pesticides involved.

vineyards near Zellenberg

Alsatian Gewurztraminer is usually very good, but most of the wines of the type light and witty. The Zellenberg brand is much deeper, the color goes to amber and it has a sweetness which reminds the Grasa de Cotnari without becoming heavy. It’s a wonderful experience and I recommend it warmly. Marc Tempe also does other sorts of wine – Pinot Gris, Riesling and more – worth looking for this brand. If they come even closer to the 2006 Gewurtztraminer they are excellent.

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Exhibition – Orna Ben Ami

In the hallway of the building which hosts the Litvak Gallery part of the space is used for other exhibitions which can be seen as introducing the visitor into the art shows atmosphere. These are free, so even if you do not want to pay or you cannot allow the relatively high entry price to the Chihuly glass exhibition for example you can still enjoy the art exposed here.

Together

The current exhibition there belongs to artist Orna Ben Ami, who makes iron sculptures. If there is something different or even opposite to glass as art material it’s iron the the counterpoint is extreme. About Orna we ca learn something from her Web site at  http://www.ornabenami.com/default-en.aspx. She must be in her 50s, studied History and Political Sciences at the Hebrew University in Jerusalem, and seems to have gotten to art quite late, while living in the US

Memories

If the material is hard to master, her style is unexpectedly light, humorous, familiar. The objects are big and the material may be intimidating, but you can imagine very easily the same works at smaller dimensions or different media.

Roots

There is irony and tenderness in works like ‘Together’ or ‘The Rag Doll’ …

Rag Doll

… social commentaries in ‘Memories’ or ‘The Chairman’ …

The Chairman

… and deeper meanings in a piece like ‘Roots’.

In her work Orna Ben Ami succeeds to make a presumably hostile material close to our souls and capable or creating emotion. No easy task, but she succeeds, and what can an artist ask more?

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Albert Kahn’s World

I have spent part of this weekend watching the first episodes of the BBC series The Wonderful World of Albert Kahn http://www.albertkahn.co.uk/ which tells the story of an extraordinary character and of a collection of photographs that keep the visual memory of the world as it was a century ago.

Albert Kahn - source http://www.albertkahn.co.uk/

Albert Kahn was a French Alsatian of Jewish origin who made a fortune at the start of the 20th century and decided to embark in a project that would keep bring together people living in the most remote places of the planet and make them know better each other. He decided to hire cameramen and photographers and use the very recent inventions of motion filming and color photography in order to document life on the most remote places of Earth. A pacifist and an idealist he believed that by helping humans see how other people lived he could bring them together, and avoid conflicts. The history of the 20th century proved him wrong in his pacifist endeavors, but his work built a library of films and photos that keep the visual image of the world as it was 100 years ago, of people, countries and customs that are no more.

woman in Ireland - source http://www.albertkahn.co.uk/

You need to go and explore by yourselves this extraordinary collection of images. Here are a few that were presented in the episodes of the series that I have seen until now. Ireland for example was still part of the United Kingdom by that time, and the last Celtic villages were populated by people like the woman above with the red mantle typical to the area.

Walls of the Forbidden City - source http://www.albertkahn.co.uk/

Albert Kahn took his team into a trip around the world visiting several continents among which Asia. Here is a photo of the Imperial City in Beijing – it was still really the Forbidden City by that time when the last emperor of China ascended to the throne at the age of 2 years. I visited the place just a few months ago and it looks like a different world.

Plaza Hotel in New York - source http://www.albertkahn.co.uk/

People who know New York may be familiar with the 28-store Plaza Hotel in the proximity of Central Park, today crushed by the neighboring sky-scrapers. Around 1910 it was a brand new building dominating the skyline.

Greek inhabitants - source http://www.albertkahn.co.uk/

Kahn and his team visited the Balkans area just before and during the Balkan wars that were the prelude of World War I. He photographed the different communities that were living so close in a limited geographical area, sometimes speaking the same languages and yet so divided by the national and religious differences. He photographed Thessaloniki at a time when the Turkish and Jewish communities were still part of a multinational vibrant city.

soldiers in World War I - source http://www.albertkahn.co.uk/

World War I was a deep shock for the pacifist Kahn, but at the same time he was a French patriot and volunteered to photograph and document the life of the French soldiers and the destruction of war. The result is a realistic and poignant rendition of how human beings behave and suffer when caught in a big conflagration.

The quality of the photography in the collection is amazing. Some of them get to the level of the best pictures in National Geographic and they were taken one century ago! I invite you all to visit the Web site. I plan to include also the museum that keeps the collection and the memory of Albert Kahn on my next visit to Paris – http://www.albert-kahn.fr/

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Gica Manescu – Bar / Bat Mitzvah in America

Gazduiesc pe blog o noua contributie a prietenului si colaboratorului meu, doctorul Gica Manescu.

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La New Rochelle plec de multa vreme, in fiecare an. Este un oras in Statul New York, la ceva mai mult de jumatate de ora, cu trenul sau automobilul, pana in  Manhattan-centru. La o populatie de aproximativ 80.000 de loc uitori,cam 20 % sunt evrei, reprezentati prin cele trei Comunitati importante : ortdoxa, conservatoare si reformista. Despre ultima, unii spun ca e o inventie americana. Poate sunt si unii neinscrisi  ca atare. Ortodocsii, locuiessc in jurul templelor, ca sa poata merge pe jos in zilele de sambata si sarbatori. Celelate temple sunt imprastiate prin  oras sau imprejurimi. Au locuri de parcare mari pentru a cuprinde masinile celor ce vin la slujbe religioase, la sarbatori, sambete si diverse ceremonii.

Am avut ocazia, nu de mult, sa asist, intr-o sambata dimineata, in templul  reformist, la o  Bar/Bat- Mitva. Nu-mi aduc aminte ca in Romania si poate nici in Israel, fetitele de 12 ani, sa fie chemate la Thora. Eu nu stiu.Era vorba de fiul unor prieteni ai  familiei mele. Tatal israelian venit din Haifa acum peste 30  de  ani, mama, americana. Am cunoscut  bunicii israelieni. Ea, nascuta la Berlin, refugiata cu parintii in Palestina, batranul,  nascut aici, chazar de origine, ajutati de un Consulat Italian, cu nume italiene, sa emigreze aici. Chazarii erau o comunitate  care in sec. VI-lea au intronat un  regat, intre Don si Volga. Prin sec. 8 -9 au trecut la Judaism, au ajuns pana in  regiunea Kiev si au avut legaturi bune cu Bizantul.

Beth El Synagogue in New Rochelle - source newrochelle.patch.com

O cladire  spatioasa, modern construita, adaposteste, pe langa sediul Comunitatii, sali de conferinte si festivitati, sali de clasa pentru elevii care vin  sa studieze religia si Istoria evreilor si templul propriu zis.  O incapere mare cu vitralii multicolore,vreo 200 de scaune comode, pe care sunt carti de rugaciuni, asteapta credinciosii. In fata, o Menora si steagurile american si israelian, care strajuiesc o estrada. Din mijlocul acesteia se ridica amvonul, cu cate 4 jilturi, de o parte si alta, in care iau loc, cei ce oficiaza serviciul religios si “eroii “ zilei. In spatele unei perdele albe, o nise incapatoare in care sunt pastrate cateva suluri de Thora, impodobite cu argintarii.

Participantii barbati, au gasit intr-un cosulet, kipot ( cred ca “cipilici”) noi. Rabinul, un barbat prezentabil, era secundat de doua femei: rabinul- adjunct si cantorul. Toti erau imbracati cu robe negre si pe umeri, in jurul gatului, talit de matase. Femeile aveau pe cap kipot albe, rabinul doar parul. Mi s-a parut curios. O Comunitate care celor ce vin la sarbatorire, sa-si acopere capul, iar cel   ce sta in fruntea ei, e altfel ?

Intrebat de cineva, rabinul a dat niste explicatii din Halaha. Eu nu am inteles si nici nu mi-a placut.

Rugaciunile sunt spuse  in ebraica sau engleza, sau numai traduse. Tatal si alt membru al familiei (bunic, bunica,sau altii) sunt de asemenea chemati, pentru mici rugaciuni de multumire inainte si  dupa citirea din Torah.

S-a inceput cu ceremonia  pentru fata.

Nu sunt religios, dar mi-a placut si m-a miscat, cand cei prezenti, in picioare, cu cartile de rugaciuni deschise, citeau in cor, in engleza, raspunsurile de multumire si slava, la diverse pasaje.

M-a emotionat profund cand am aflat ca tanarul de 13 ani pentru care am venit, un elev silitor, sportiv, se distreaza cu computerul . Se joaca cu el,si totusi a invatat cu sarguinta, tot ce avea de spus.

Intr-un costum negru, cu camase alba si cravata potrivita, nepurtand talit,cu un mers sigur.emotionat, a urcat treptele si de la pupitru, cu o voce cristalina si o dictiune clara, a dat  citire textelor invatate , unele chiar usor cantate. N-a pus tefilin (filactere), pe brata si frunte. In urma cu multi ani, in Templul Coral din Focsani, eu am facut-o. A incheiat cu un mic discurs, ca pretutindeni si “Shabat shalom “.

Ceremonia se incheie dupa ce cantorul, in fata sulurilor sfinte, canta o rugaciune, pe melodia “ Hatikva”   imnul Statului Israel ).

Din plafon, o camera de luat vederi, imprima ceremonia, pentru amintiri.

Se trece apoi intr-o sala alaturata, se face o  rugaciune pentru paine- hala care este taiata si se mananca din ea.Se ciocnesc paharele cu lichior.

Cu shalom si bye – bye, fiecare pleaca in drumul lui.

________

Dr. G.Manescu.

Ianuarie 2011.

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Moshe Gershuni and other exhibitions at the Tel Aviv Museum of Art

A visit to the Tel Aviv Museum of Art allows nowadays to play not only a labyrinth orientation game around the building which will soon enjoy the opening of a new wing, but also visiting a few exhibitions that are interesting and at least will challenge the art lovers who will visit them in the coming weeks. A lot of information about the museum and its exhibitions can be read on the museum Web site at http://www.tamuseum.com/ which is also the source of the illustrations.

Gershuni - El Male Rahamim

The principal exhibition open in the museum right now is the retrospective of the works of Moshe Gershuni – now extended to stay open until after mid February. Gershuni is one of the most socially active, controversial and interesting artists who lives today in Israel, and the show covers works from his first paintings at the start of the 70s until very recent works. Some like the above question the relation between the artist (who had religious education during his childhood) and God.

Gershuni - Beautiful Soldier

The soldiers series in the 80s made Gershuni famous not only for his non-conventional painting technique but also for his left-wing and pacifist political standings, which are still a landmark for his works until today.

Gershuni - anti-icon

The ‘anti-icon’ series (unofficial name) use shoes boxes open in the shape of the cross which is an anti-symbol in the Jewish iconography. Asking questions on faith and its representation on this already unusual and almost provocative media is another challenge that the artist launches to the viewers.

Gershuni - Hi Cyclamen

The Gershuni exhibition must be seen, as such a gathering of the works of the artist will not be available again so soon if ever. There is much more to be seen lyke the cyclamen series, the Jerusalem inspired landscapes (if they can be called so), the “Jewish ceramics” or the sculptures which are if I am not mistaken shown for the first time to the public. Viewers may not like all or anything of what they will see in this exhibition, but they will not remain indifferent.

Rainer Fetting - Self-Portrait

Another exhibition worth being seen is based on a donation of New Yorkers Susan and Martin Sanders who gave to the museum a grouping of German art created in the 1970s and 1980s in the Neo-Expressionist style very typical to the German art of the period. The range of works deal with subjects that start from the aesthetic and personal themes of the Expressionism and go until the more engaged paintings inspired by the fall of the Berlin Wall in 1989 and the reunification of Berlin and of Germany that followed. Rainer Fetting is one of the painters best represented in the exhibition, roughly half of the paintings belong to him and they are certainly worth being seen, as Fetting is one of the best known, mature and interesting German painters today.

Henry Moore - Model for Reclining Figure

Another collection exhibition groups the sculptures donated 15 years ago to the museum by Helene and Zygfryd Wolloch, a couple from Scarsdale, New York. The show starts with a piece by Rodin and extends until sculpture of the last decades of the 20th century. No masterpieces in this exhibition but a few fine pieces like the Henry Moore above, a sophisticated game interleaving forms and empty spaces, as in the best of the Moore sculptures.

Jean Arp - Idol

The Jean Arp ‘Idol’ is also remarkable. However, the exhibition suffers from a very unpractical labeling system which requires the visitors to switch their attention from the works to small labels on the walls in order to map the sculptures grouped in quasi-random order. More explanation material would also have improved the visiting experience.

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Gogol’s ‘Revizor’ at the Gesher Theater

Gogol’s Revizor (The Inspector General as translated in English here) is one of these few great plays in the universal theater repertoire that has the potential of becoming inflammatory and subversive material for any society in any time. The combination between human observation and social critic have made uncomfortable many censors at many moments in history and places on the globe despite the play being written and referring to Russia of the 1830s. My Romanian friends who lived the times of the Communism regime may remember the big scandal that followed the presentation of the play under the direction of Lucian Pintilie at the Bulandra Theater in the 1970s, and the fact that censorship took it out of stage soon after the first representations enjoyed a great success. ‘Revizor’ puts in the face of the audiences a mirror where the reflection of their morals, and social and human failures is not easy to digest.

source www.gesher-theatre.co.il

Evgheny Arye’s performance at the Gesher Theater in Jaffo is one of the best stage events I have seen lately (the premiere took place last year). I cannot deny the fact that the style of direction may be much closer to the type of theater that I got used to in my younger days in Romania – a combination of respect to the spirit of the text and innovation in form that goes back to the classical theater genres, to popular theater and circus and to complex artistic performances with music on stage. It goes so far from the commercial theater and Broadway inspired style that is popular in Israel, and I am quite concerned that the commercial appeal for such theater is decreasing as the audiences used with the style of directing driven by Aryeh are also decreasing in numbers after the pick of the alyah from the former Soviet Union in the 1990s. This is life however, but with the theater performing only a few times each week I would not have expected emlty seats at such a good performance (there were not too many however).

source www.gesher-theatre.co.il

The fluent staging of the ‘Revizor’ is all the time interesting and challenging visually and emotionally. I will describe what I perceive as a measure of the quality of the directing just by observing the performances in the two principal roles in the play. The Governor is played by Dvir Benedek – who is an Israeli actor made popular by redneck roles in crime dramas and TV commercials. Here he is all the atemporal archetype of the local Mafia boss can be, with the lies and brutality, corruption and stupidity of this eternal type. Khlestakov (the Revizor) is played by Alon Friedman, another younger Israeli-born actor which I do not remember from any other film, play or TV show. He makes here a memorable creation, a complex combination of ingenuity and shrewdness, and we can see the virus of corruption taking control over him as the play progresses. I can only hope that he will use the huge potential that the director put in evidence in his creation for the further roles in his career.

The Web site of the Gesher Theater is available at http://www.gesher-theatre.co.il/.

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