At Aiurart in Bucharest, a place dedicated to contemporary art, by the end of November there can be visited the exhibition entitled Rebecca.File from 15.00 to 19.00, included in the programme of the "Life is Beautiful!" Festival. Rebecca is the classical novel, masterpiece of the British writer Daphne du Maurier (1938), the cultured thriller, both suitable for critique and audience, directed by Alfred Hitchcock (1940) and the Gothic drama retold in a hit-musical by the American-Hungarian composer Sylvester Lévay and the German librettiste Michael Kunze (2006). The multisensory setting "Rebecca. File" explores the transgression from novel to musical score, from stage to the radio microphone, as the organizers state, they proposed a complex experience, where the invisible proposes images, inspired from a character who was never figured out - Rebecca de Winter.

How the idea of this exhibition arose and what it proposes to the audience, you can find out from an interview with Andrei Popov, RRI editor and one of the initiators of this project:

Rebecca. File is an adventure. It started haply. It began in 2009, when I discovered the Budapest Operetta and Musical Theater, a time when I got in contact with the artistic crew of that theater, a member of which was also the Romanian-Hungarian director Attila Beres. As I travelled there, I saw the musical Rebecca and after a while he remade the show, changing the essential parts in Bucharest. Together with a colleague from Radio Romania International, The French Service, where I actually work, we joined the rehearsals of this show. There resulted 40 hours of recordings, a huge material, that we obviously used for our documentaries, and at one point in time we said - what if we used this material for another purpose?

We tried to replace the novel in another context, the movie and the show. Therefore, currently, the exhibition, as it can be seen at the Aiurart location in Bucharest, is a fictional journey through different ways of making fiction. The concept of this events is built around some excerpts from the novel Rebecca, spread on the walls; they are not spread randomly, they lead somewhere, they emerge from something, they turn into something else so, on one side we have files from the novel and on the other side, we have testimonials - if you wish to call them so - about Rebecca and about how Rebecca was made - the novel, the movie, the show - behind the appearances. Rebecca is the novel, the movie, the show of absence and at the same time it is the novel, movie and show of a masculine presence which we neither can figure out.

How would you describe the experience that the attending audience might have at the exhibition?

A multisensory one; in one word: a multisensory one because it calls out all the senses, it is a complete experience - we believe, beginning with the visual impact, that certainly is high enough, at the acoustic dimension, that is practically the core element of this exhibition; for our first thought was to create illusions and fiction emphasized by sound rather than on perspective, because in the society we live in image is primordial. We aimed to do things differently and to let imagination develop on this land of sound and effects. I would not tell you about feeling and scenting, as these need to be discovered at the very place, for once they are told in words they lose some of their enchanting impact.