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Victor Rebengiuc Net Worth
How much is Victor Rebengiuc worth? For this question we spent 25 hours on research (Wikipedia, Youtube, we read books in libraries, etc) to review the post.
The main source of income: Actors
Total Net Worth at the moment 2024 year – is about $56,2 Million.
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Biography
Victor Rebengiuc information Birth date: February 10, 1933 Birth place: Bucharest, Romania Profession:Actor
Height, Weight:
How tall is Victor Rebengiuc – 1,81m.
How much weight is Victor Rebengiuc – 57kg
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Biography,Early lifeA native of Bucharest, Rebengiuc hails from a modest family. After his parents separated when he was three years old, he and his younger brother were raised by their maternal grandparents. He grew up on the citys outskirts, in the low-income quarters, and, as he remembers, his family frequently changed residence in order to afford the rent. They lived in Dristor, then in Chiajna, Rahova, Dealul Spirii and ultimately northern Bucharest. His father Gheorghe, whom the two sons seldom met, was drafted during World War II, and died fighting in the land Forces during the Battle of Stalingrad, Victor and his brother were subsequently granted a pension. His mother worked as a clerk, and, just before her retirement, was an employee of the Transport Ministry. Rebengiuc credits his fathers genes with his own acting ability. He noted in an interview: I was pained by my fathers absence and, in a way, I always felt like there was something missing, although the bond between us was not strong.Victor Rebengiuc completed his secondary studies at the Military High School, a school which he is grateful to for having instilled in him a sense of discipline. After a period of collaboration with an amateur troupe located in the Vitan area, Rebengiuc attended the Theater Institute, where he had for his professor actress Aura Buzescu, whom he credits, alongside Clody Bertola, with having inspired his technique. Among the artists who have shaped his work, Rebengiuc also includes the major Soviet actors Mikhail Zharov and Ruben Simonov, whose performances in films he followed closely, and his older Romanian colleague Radu Beligan. He says: Back when I started I was acting with the amateurs, I was imitating Beligan. […] Only when I was undergoing examination at the Institute, I was told, hey, youre imitating Beligan! And then I realized it and try to get rid of this thing.Victor Rebengiuc in 1992He graduated in 1956, and, after a six-month stint at the National Theater in Craiova, returned to Bucharest, settling in the vicinity of Cismigiu Gardens and starting work with Bulandra. Rebengiuc was at the time in a relationship with Anca Veresti, whom he married in 1960, divorcing her five years later.Rebengiucs first drama role was as Biff in Arthur Millers play Death of a Salesman, a performance which he regrets, describing its director, Dinu Negreanu, as an untalented person promoted over political reasons. He also recounts that training for the part brought his first collaboration with Liviu Ciulei, which he sees as one of the few positive aspects of the production. At around the same time, he began a collaboration with the Teatrul Mic company and director Radu Penciulescu, being, together with Leopoldina Balanuta, George Constantin and Olga Tudorache, one of the first actors to embark on the project. Rebengiuc appeared in several of Penciulescus experimental productions: Two for the Seesaw by William Gibson, Tango by Slawomir Mrozek and Richard II by William Shakespeare. Theater critic Simona Chitan saw the collaboration as an aspect of the liberalization following the socialist realist years: Penciulescu and Rebengiuc have thus opened […] a positive period for Romanian theater: the repertoire had been widened, foreign, not just Soviet, plays were being performed, authors modern for the age in question had their plays produced.First major rolesRebengiuc debuted in cinema with the 1956 Mindrie, and went on to minor roles in several films, including the 1960 Furtuna, adapted by Andrei Blaier from one of Titus Popovicis writings, Iulian Mihus Poveste sentimentala (from a work by Horia Lovinescu) and Darclee, the biographical story of opera singer Hariclea Darclee. In 1965, Victor Rebengiuc portrayed Apostol Bologa, the central character in Ciuleis film The Forest of the Hanged (adapted from Liviu Rebreanus novel of the same name). The film earned Ciulei the Best Director Award at the Cannes Film Festival, and was received with a standing ovation at the Acapulco Film Festival in Mexico. Thirty-six years after, Rebengiuc acknowledged that the film was his breakthrough role, and indicated that the films depiction of ethnic conflicts in Austria-Hungary made it absolutely fresh, undated, drawing a parallel between its script and the issues posed by the Yugoslav wars. According to his recollections, his angelic face had initially been judged unsatisfactory by Ciulei, but he managed to convince during casting. He also says that, upon receiving the news of his acceptance, my legs began trembling and I fell off my chair.It was on the set that he met and fell in love with Mariana Mihut, marrying her in 1965. He fathered a son, Tudor, in 1975, and later recounted that his wife had decided to keep him only because abortion had been outlawed and the clandestine interventions had become unsanitary (see Abortion in Romania, Decretei). Tudor Rebengiuc is a known architect.Ever since he became known to the public, Rebengiuc established himself as one of the leading actors of his generation, and won praise for both his technique and natural ability.[11] Philosopher and critic Andrei Plesu writes: Victor Rebengiuc can act magnificently in any role, for he never acts in the role of the artist. The only signal of his specific involvement is, perhaps, the unmistakable crystal-like nature of his speech, the break-through diction, the natural attention toward the clarity of the vocal emission and the message. And this does not mean the usual affectation of the stage, the pedantic, artificial care for sound effects, for the virile imposture of the voice. It means the respect for the text, for the partner in dialog and for the language. Victor Rebengiucs talent stems, most of all, from a certain cult for the truth […] and a most rare ability for what is natural.[11] The actor acknowledges having a fear for improvisation, and recounts having prepared himself intensely for each of his roles. Collaborating with important stage directors such as Ciulei, Catalina Buzoianu and Andrei Serban, Rebengiuc won further notability for his performances in adaptations of Shakespearean plays (Orlando in As You Like It, Brutus in Julius Caesar, the title role in Richard II), as well as in those of Henrik Ibsen (Bernick in The Pillars of Society and the main character in Rosmersholm), Anton Chekhov (Michail Lvovich Astroff in Uncle Vanya), Oscar Wilde (Jack in The Importance of Being Earnest), Eugene ONeill (Long Days Journey into Night, A Moon for the Misbegotten) and Tennessee Williams (Stanley Kowalski in A Streetcar Named Desire). Before Penciulescu left for Sweden, he and Rebengiuc also worked on the Bulandra version of Rolf Hochhuths The Deputy (known in Romanian as Vicarul, The Vicar).After his debut in cinema, Rebengiuc became a regular presence on screen. His next film was the 1967 Nay-dalgata nosht, by Bulgarian director Vulo Radev, where he starred opposite Nevena Kokanova as the British prisoner. Two years later, under the direction of Mihai Iacob, Rebengiuc starred in The Castle of the Condemned. During the late 1960s and 1970s, he was present in two screen adaption from works by Romanias classical writer Ion Luca Caragiale (Cadou and O scrisoare pierduta). In 1972 and 1973, he starred two adaption of Manole Marcus adaptations of scripts by Titus Popovici: Conspiratia and Departe de Tipperary. Also in 1973, he appeared in Gheorghe Vitanidis Dimitrie Cantemir, and, the following year, had one of the main roles in Constantin Vaenis Zidul. Rebengiuc also had a role in the 1976 Tanase Scatiu (an adaptation of Duiliu Zamfirescus Comanestenilor literary cycle), which was his first collaboration with director Dan Pita. Two years later, he appeared in Marcus Cyanide and the Rain Drop, in Vaenis Buzduganul cu trei peceti, and in Pitas The Prophet, the Gold and the Transylvanians. In 1979, he was in The Man in the Overcoat, directed by Nicolae Margineanu.During the late 1970s, Rebengiuc was also required to appear in a series of film productions that he admits were of little quality and mainly catered to the ideological tenets newly imposed by the communist regime and President Nicolae Ceausescu (see July Theses). As an example, he cites Buzduganul cu trei peceti, where he portrayed the main character, late 16th-century conqueror of Transylvania Michael the Brave. Of communist films based on Michaels life, Rebengiuc says: Michael the Brave was Ceausescu himself [only] with a beard, mustache and a fur hat, and what came out of his mouth were Ceausescus speeches. Rebengiuc also states not having any regret for not being invited to star in similar films directed by Sergiu Nicolaescu.He acknowledges having managed to escape most other forms of endorsement for the communist leaders personality cult, but indicates that, without his permission, several of his performances were considered up for competition in communist-run festivals, and that he was sent a number of diplomas for his various roles. He remembers having refused to take part in Cantarea Romaniei festival, a nationwide quasi-compulsory form of socialist competition in the field of arts: I couldnt and I said no, sir! [They said:] Now, if you dont go well fire you. So fire me! Well, they didnt.1980s and RevolutionDuring the 1980s, he had several roles in Romanian productions, beginning with Lucian Pintilies 1981 film De ce trag clopotele, Mitica?, where he played Pampon, one of the main roles, while his wife Mihut was cast as Pampons lover Mita Baston. Pintilie, who planned the production over several years, later recounted that he had meant to cast Toma Caragiu as Pampon, and that he considered asking him just before Caragius death in the 1977 earthquake.[12] Regarding the new spin on his character, he noted: It was a Pampon, one of those who waste nights away, play cards, suffer out of love, is always jealous, is always cheated but does not ever realize it. It was a Pampon with a reduced intellect and tired, who only understands things with difficulty. Although set during the Belle Epoque and based on works by Caragiale, the films bleak atmosphere and irreverent tone alluded to the realities of Communist Romania, which caused it to be censored and ultimately banned before it could premiere.[13] The cooperation between the actor and director cemented their friendship: Rebengiuc calls Pintile a great director, and states I love him like a brother.In 1983, Rebengiuc appeared in Dan Pitas Dreptate in lanturi.[14] The same year, he also collaborated with Pita on Faleze de nisip, based on a screenplay by Bujor Nedelcovici. He starred as the surgeon Theodor Hristea, who, after some of his belongings are stolen, involves himself in the inquiry and directs the interrogation of a seemingly innocent man. The subtle criticism of authorities became a matter of scandal: just days after Faleze de nisip premiered, Nicolae Ceausescu spoke in front of Romanian Communist Party officials in Mangalia, singling it out from breaking with the ideological requirements, as a result, it was banned from cinemas.[15]In 1986, Rebengiuc was the central figure in Morometii, an adaption of Marin Predas 1955 book, directed by Stere Gulea. His critically acclaimed performance saw Rebengiuc being identified by the public with his character, the patriarchal and rigid peasant Ilie Moromete. Rebengiuc repeatedly stated having felt unsure about his participation in the film, indicating that he had only impersonated city-dwellers in his previous roles, and that he had limited knowledge of the rural world. He was initially deemed unfit for the part, but managed to convince the director after preparing for it by spending a month in Teleorman County, where he lived among the peasants. The Moromete performance earned Rebengiuc several prizes, including one handed to him during the San Remo Film Festival in Italy, and reportedly won Pintilies praise. He soon after also cast in Nicolae Margineanus The Forest Woman, alongside Manuela Harabor and Adrian Pintea.[16]In December 1989, Rebengiuc was a participant in the Romanian Revolution, which managed to topple the Ceausescu regime and end Communist Partys rule. He joined the crowd of revolutionaries heading into the Romanian Television building, and voiced anti-communist messages in front of live cameras. In early 1990, he rallied with the Golaniad protesters in University Square, expressing his opposition to the post-communist ruling party, the National Salvation Front.[17]1990s and early 2000sAfter the end of communism, Rebengiuc continued to act in cinema productions. In 1992, he starred as the Village Mayor in Pintilies award-winning Balanta, a role he considered small, but consistent. His line Americans are the stupidest people in the world is remembered as an ironic reflection of nationalism being recovered in communist and anti-capitalist discourse.The following year, he was in the cast of The Earths Most Beloved Son, another adaptation from Marin Preda (from the book Cel mai iubit dintre pamanteni). The second of Pintilies films to star Rebengiuc was the Palme dOr-nominated drama Too Late, which discussed the failings of justice in post-communist Romania, where he played the role of Elephant Foot.[18] In 1997, he was in Pitas The Man of the Day, which was based on a screenplay by Radu F. Alexandru, and, in 1999, starred alongside Hungarian and Romanian actors in Gabor Tompas Chinese Defense. Rebengiuc also starred as Grigore Cafanu in Pintilies 1998 film Last Stop Paradise (awarded the Special Grand Jury Prize at the Venice Film Festival).[19]He was also sporadically present on the stage with Bulandra, and stated that he was not interested in starring in works of experimental theater, indicating that it did not suit his taste. Between 1990 and 1996, he was head of the Theater Institute. Speaking in 2005, he said that his ultimate goal was to be a great actor, elaborating that this implied: acting in a role and not having anything to reproach myself afterwards. Acting without any specks, being without fault, this is what makes me continue. He made a similar statement in 2008, adding: I do not act beyond reproach. I have good accomplishments, but there are those sections of a part that I do not cover […]. When there will no longer be such uncovered sections […] only then will I say: man, Im a great actor!He was Caliban in Bulandras 1991 production of William Shakespeares The Tempest, appearing alongside his fellow actor and revolutionary Ion Caramitru. He starred in several main roles in classical plays, and, as Nick Bottom in Ciuleis production of Shakespeares A Midsummer Nights Dream, received the UNITER prize.[11] He had several main roles in play by acclaimed stage director Silviu Purcarete: Horazio in Carlo Goldonis The Comical Theater, Pelasgus in Aeschylus The Suppliants, and the title role in Shakespeares King Lear.[11] In 2001, Rebengiuc and his wife appeared together in Anton Chekhovs Uncle Vanya, produced for Bulandra by Russian director Yuri Kordonsky. The same year, he was Fetisov in Hristo Boytchevs The Colonel Bird and appeared in Samuel Becketts Waiting for Godot (directed by, respectively, Alexandru Dabija and Gabor Tompa).Rebengiuc also appeared in his first major television production, Tandretea lacustelor, adapted by Dan Necsulea from a screenplay by Eugene Pretorian, and aired by TVR 1 in 2003. It depicted the lives of people made rich and powerful by the Revolution, who invest their energies in undermining each others positions.[20] The same year, he again collaborated with Pintilie, starring opposite Razvan Vasilescu and Niki and Flo, impersonating Colonel Niki Ardelean. His character, whom Rebengiuc himself describes as a modest man, but one who knows his own value, is exasperated by Flos continuous intrusion into his life, and eventually turns to murder. He describes this part as the most straightforward of his film characters, and indicates that working with screenwriter Cristi Puiu impressed him. In 2004, he and Puiu collaborated on the short film Cigarettes and Coffee, which received the Golden Bear at the Berlin International Film Festival. Rebengiuc, who portrayed one of three characters (The Father), describes feeling pleased by the collaboration, and having to work with one of the best texts. This performance also earned him prizes at the Transilvania International Film Festival in Cluj-Napoca and the Anonimul Film Festival in the Danube Delta.Late 2000sWith the Bulandra crew, he was also cast as The Father in Liviu Ciuleis adaptation of Luigi Pirandellos Six Characters in Search of an Author (2005-2006 season). He was praised by critic Valentin Dumitrescu for a remarkable performance covering the palette of the tragic-grotesque and de-canonized myth of an insurmountable condition.[21] Rebengiuc starred in another of Pintilies productions, Tertium non datur (based on a story by Vasile Voiculescu), playing The General. He collaborated with Kordonsky on three other stage productions: Nikolai Gogols Marriage, Ion Luca Caragiales Conu Leonida fata cu reactiunea (which was shown only once, during a UNESCO festivity in Busteni) and Mikhail Bulgakovs Heart of a Dog, where he was Preobrazhensky. The latter play was notably showcased at the Jozsef Katona Theater in Budapest, Hungary during autumn 2007.[22] Rebengiuc also resumed his work in television productions, appearing in the short series La Urgenta (aired by TVR 1 in 2006-2007), and in several episodes of Pro TVs Cu un pas inainte. In 2007, entitled to an age pension provided he retires, the actor stated: I am valid and I still act… When I shall no longer act, I will place myself at a street corner, perchance someone will recognize me and hand me a pretzel or something.[23]In early 2008, he was Willy Loman in the Bulandra production of Death of a Salesman (directed by Felix Alexa).[24][25] He appeared again alongside Mihut, who played Linda, in what was announced as his comeback to the world of theater.[24] During the same months, Rebengiuc, together with Gheorghe Dinica and Marin Moraru, was awarded the title of Doctor honoris causa by the Theater Institute.[26]Also in 2007-2008, Rebengiuc was cast in two films: Dupa EA[27] and Silent Wedding, the debut production of his friend and colleague Horatiu Malaele.[28] He also released an audiobook version of Leo Tolstoys The Death of Ivan Ilyich.[29] In February, just before the actor turned 75, journalists Simona Chitan and Mihaela Michailov published De-a dreptul Victor Rebengiuc (Victor Rebengiuc for Sure), a book they dedicated to his acting career, edited by Humanitas. Rebengiuc, who discussed his Christian faith in interviews, also began applying his actors craft to religious broadcasting, with readings of the Psalms.His performance as Willy Loman was awarded another UNITER prize in April 2009.[25][30] The same year, Rebengiuc appeared in Calin Netzers film Medalia de onoare, and his interpretation as an unwitting war hero was awarded prizes at the Torino Film Festival and the International Thessaloniki Film Festival.[31][32] The role earned him another Best Male Actor Award at the Transilvania Film Festival, 2010 edition, where he was a guest of honor.[32] In October 2010, he received the Prometheus Opera Omnia Award for Performance Art, granted by the Anonimul Foundation.[33]He also embarked on a collaboration with the National Theater Bucharest (TNB), as Joe Keller in Arthur Millers All My Sons—under Caramitrus direction. Theater critic Silvia Dumitrache, who called the show lively and dynamic, tense and troubling, highlights the fact that Rebengiuc created a rather positive portrayal of a negative role, serving to cast an even more tragic light over the play.[30] Rebengiuc was also the lead in another TNB production, Legenda Marelui Inchizitor (The Legend of the Grand Inquisitor), adapted by Radu Penciulescu from Fyodor Dostoevskys eponymous parable.[34] Critic Dan Boicea, who noted that the production relied on Rebengiucs monologues, also argued: Rebengiuc does not in any way exaggerate, he is passionate through his gentleness, he is firm in the manner through which he spares his energy […]. He does not erupt at the moment of climax, although he could have well fallen into this sin.[34]
Summary
Wikipedia Source: Victor Rebengiuc