Marie was such an actress who knew to observe the expressivity; she was able
to spread " the artist’s magic" on stage. Acting in "The lass of the
mountains" she chose to "pry", an internal prying, using it as the only
element in order to give the idea of the blind person, and to cope,
simultaneously, with the lass' world.
When we talk about great actors we feel that their being gets dissolved in
front of the audience and goes deep into the character's world ; there it is
expanded in the time, in the magic of the part they (artists) are playing,
entering anybody 's sentiment. This is valuable for Marie Logoreci, too :
her life was dissolved as she was seeking the life of the character she was
acting. She has created three different mothers in three plays, "Our land",
"The lass of the mountains" and Lorca's "The house of Bernarda Alba". A
friend of mine, a poet, has defined better the greatness of the artist
Logoreci : "She breaks the role to pieces, like a precious stone breaking
the sunrays, and although they are sunrays, they are not the same with one
anther".
The figure of Loke, in its radiation, remains complex, and may provide
several analytic plans psychologically. In "Our land" she offers three kind
of emotions, while representing the old woman who had been wandering for
seventeen years seeking justice, and with a face showing the love for her
son Leka and her hatred for Tuc Maku, the evil person in the play. Marie
once mentioned that she has "always acted a character older than I was or
am; but I can say I found a great spiritual world in acting mothers roles".
Her "magic" as an actor was relevant in Lorca's "The house of Bernarda
Alba". Marie seem to have studied the author's notes on describing the
environment of the play, constructed an opposite circumstance to help her
construct the role. She made use of Lorca's contrast given to "the facade
luster" (given to furnishings, white and clean etc.) and that luster of the
situation in the family. The soul of Bernarda Alba’s blackness, human
sensations are destined to bleach and shrivel. Bernarda - Marie knows how to
despise her daughters' love and youth sentiments, a great symbol in Lorca's
text, an incarnation of the virtues on the Spanish renaissance. Marie knows
how to behave on stage, exercising tyrannyc power in an atmosphere full of
prejudgments. Let's follow the text: Bernarda Alba says about her eighty
years-old mother: (to the maid) - Send her out in the courtyard, let her
scream freely". Then she goes: Go and see her, she might bent near the well.
And when the maid says to her that the old woman has no intentions to drown,
Bernarda says: I don't intend that... The well is near the garden fence and
the neighbors might see her from their windows. This last moment is recited
with a terrible calmness, as many critics did observed, devoid of many human
sensibility. And so Marie provides three situations in three sentences.
>Marie always said, during several talks, that the actor should find the
detail in the spirit of the character the actor is acting. That's why this
spirit is, in the roles she acted, almost imperceptible. Marie did not
honored episodic parts that much; she was always given a leading part and
Marie always thumbed in the book of her character's lives. She was a master
of the stage, multidimensional and there remain a lot of her acting skills
to be examined yet.
Marie created several distinguished roles like Gertrude in "Hamlet", Ledi
Millford in "Intrigue and Love", Tringa in "The seven Knights" etc. Her
acting made her to be unified with characters she played. But her real
character - nickname remains Loke.
