The German language is like Lego pieces; the words can
interlock with each other, reaching incredible lengths. They adopt each other
to form new words, new subtle or specific meanings. In that regard, it is a
rather poetical language, even though it may sound abrupt. In Romanian, the
title of the show was Căpşunile şi orfanii (Strawberry Orphans), which in
German was translated as Erdbeerwaisen, almost identical to its English title – Strawberry
Orphans; this translation didn’t suggest that those children belonged to
strawberries and became orphans as a result of their absence, but rather meant
that they were made orphans by strawberries. The English language is more
flexible than Romanian too, because it even has a word for making, turning
someone into an orphan: The children were orphaned by strawberries.
(...) "we have long become accustomed to the thought that
people go away to Spain, Italy, England, Greece, Germany, and many other
countries where this very complicated economy seems to be more stable." (...)
When I was little, I was under the impression that the
world can only evolve and constantly improve, albeit at a slower pace. It only
seemed natural, perhaps thanks to the stories I read, which always ended well
for everyone who was good. I honestly believed that politicians learn from past
mistakes and will automatically avoid repeating history, and I was convinced
that economists can only improve the methods meant to control the economy. I
have no better understanding of these things now, but at least I understand
that everything is much, much too complicated and that people don’t always
know, or do what’s best. Nor do Romanians know whether it’s always best to go
and work in other countries; but when it seems to be the only option, and many
others around you are doing it, you don’t waste time in securing your chance.
Thus, we have long become accustomed to the thought that people go away to
Spain, Italy, England, Greece, Germany, and many other countries where this
very complicated economy seems to be more stable. And we’re used to hearing
stories about those who left – some better, some worse. We, from the younger
generations, have friends whose parents seem to have always been away, friends
who come to aspire to the same goal because it’s the best success example
they’ve ever had.
It is also commonly known, although a generalization,
that the orphans whose parents have left either miss a lot of school, or barely
learn anything. They also say that all Roma people went abroad to steal or beg.
Lots of other stereotypes circulate among us, oral and from the media; both the
foreign press and the Romanian press have magnified these stereotypes for
ratings’ sake, and we’ve assumed them without even realizing. The subject of
the strawberry pickers has been disputed so much that we’ve somehow forgotten
to pay attention to it; which is why a performance like Strawberry Orphans
turns into a fundamental reflection, because it restores an objective
perspective on the situation that has been happening in Romania for such a long
time. The show, created within “The Art of Ageing” project, brought together
four actors: two from Romania, from the National Theatre “Marin Sorescu” of
Craiova, and two from Germany, from Staatstheater Braunschweig of the
homonymous city. It was also supported by Goethe-Institut Bucharest, but by
WorldVision and Save the Children too, which helped the artists’ team on their
research work; through these two organizations, they were able to communicate
with children, grandparents and families who live the reality of having
relatives that work abroad. Their stories were dramatized in the performance I
saw on the 28th of September in Craiova. Actors Gina Călinoiu, Gabriela Baciu,
Sven Hönig and Oliver Simon animated these characters who live among us, and
who were so real on stage that they must have brought tears to spectators’ eyes
throughout the performance. On stage with the actors was musician Kim Efert,
who provided the live soundtrack created with an electric guitar, synthesizers,
a drum brush, and rhythmic tapping on the enormous cardboard box that was, in
turn, a closet, the actors’ wardrobe kit, a children’s playground, or any other
necessary furniture piece.
The actors took their part in the research work; back
in Germany, all four of them spent a day on a strawberry field, picking full
baskets of this significant fruit, probably reflecting on how difficult it is
to perform a task like this, day after day. The show’s director, Julia Roesler,
together with other members of werkgruppe2, interviewed and had discussions
with approximately 30 families in the Craiova area; the stories from the show
are their stories, which the team tried to transpose in all their variety. The
main subject here are the children and what happens to them when they cannot
grow up next to their parents. Sven Hönig, an actor who is rather well-known on
the scene of German cinematography as well, and who best managed to sink into
the minds and worlds of the children he interpreted, concluded that for these
so-called orphans, communication becomes the most difficult thing to do.
Children like these don’t receive the same attention, or the same solid
structure that would allow them to grow and evolve normally, with normal
children’s thoughts. If Hönig was the most credible child, Gina Călinoiu was
the most sensible one; her interpretation, oftentimes incredibly touching,
demonstrated a level of empathy we should expect from all the citizens of this
Europe we want to live in.
The show has its moments of original humor as well,
but it works to further highlight the true bitterness of reality, like the
scene when the cardboard box becomes an outhouse, and an interviewer’s voice
asks: was this your toilet? The reply comes: it still is! On stage, we saw
children who wished their parents brought them some doll when they came back,
but more than anything, that they simply returned; children who tried to raise
their younger brothers and sisters almost on their own, children who were
apparently rejoicing in the liberty created by their parents’ absence,
grotesquely matured children, sad children, but grandparents as well, who
couldn’t enjoy their retirement, worried when their children stopped calling,
or fearing that someday, the money might stop arriving. Similar situations from
the Roma communities were interpreted, communities where the same children who
rarely have access to a real education and equal rights – due to certain
traditions, but also because of a less than tolerant society which is
everything but equipped for such a responsibility –, are also deprived of the
presence of parents who would at least love them. In order to have a real
awareness impact, at the end of every show the actors are available for
discussions and questions; the more we talk about this subject, the more real
it will become, and we will come closer to finding a possible solution, or at
least closer to eliminating a generalizing mentality that tends to discriminate
against the seasonal immigrants from the get-go in the countries where they
appear, but their children as well, whose poor start in life hinders a normal
evolution in society. The performance will also be played in other Romanian
cities like Sibiu, Brașov and Bucharest, thereupon following a similar route
through Germany.
The situation is clearly overwhelming for all those
involved, perhaps even more so for those who only know of these cases, like the
Romanians, or for those who meet these cases in their own countries, like the
Germans, the Italians, the Spanish, the French and so on. And yet we’re the
ones who might be able to help, we whose families are at least together; the
people who talked to the artists from werkgruppe2 often receive aid from the
NGOs involved in this project, and which are mostly interested in providing the
children with school supplies, making sure they can continue with their studies
even when life at home is difficult. Projects like Strawberry Orphans are
necessary, because they remind us to not become used to a tough situation, even
if it’s been going on for such a long time that we barely notice it anymore.
Habit leads to negligence, to forgetfulness, to indifference; and the theatre
must take on a social role as well, like any of the arts – something that the
collaborating artists have fully managed with this show. A show which, if
analyzed from a purely aesthetic point of view, is well put together, played by
discerning and skilled actors, and carrying that quality of keeping spectators
on the edge of their seats, only this time being uncomfortable as well, because
the theme itself brought to mind conflicting thoughts and emotions; a modern
show directed with precision and minimal use of raw matter, but generous in
subjects, range of emotions, and interpretation.
Lia
Boangiu, Essayist & translator
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