By Carmina Masoliver
The first instalment of a series of short summaries of a wide variety of performances, from the comedic to the dramatic to the bizarre, direct from the Edinburgh Festival Fringe. Each entry is preceded by the title of the work in question, and the venue(s) at which it is being performed as part of the Fringe.
Content warning: mentions suicide, sexual assault
by Jonathan Lee
Kon mangel te kerel tumendar rroburen chi shoxa phenela tumen o chachimos pa tumare perintonde.
“He who wants to enslave you will never tell you the truth about your forefathers.”
In the mid to late 19th century, Bucharest was a city typical of the reformist changes of the era. The influences of the Late Enlightenment and Romanticism in cultural arts were emerging in public administration, economics and politics. The growing call for egalitarianism across Europe had given birth to revolutionary movements and philosophies, out of which Marxism, Idealism and Existentialism, to name a few, began to take shape. Bucharest saw increasing civil mobility as anti-aristocratic sentiment spread, culminating in Prince Bibescu renouncing the throne. The increase of Liberalism across Europe was matched by feats of human endeavour and the creation of centres of intellectualism in the major cities of the continent.
In Bucharest, the Grand Theatre of Bucharest was constructed in 1852, a modern water supply network was put in place and the Cișmigiu public gardens were created. During the mid to late 19th century the city was transformed by gas street lighting, the creation of the University of Bucharest, a tram system and the establishment of the National Bank of Romania. The wave of modernity and reform which was sweeping the continent was becoming ever more present in the visible character of the city.