by Pascu Balaci

Artistic director: Adrian Moraru
Scenography: Oana Cernea
Premiere date: 05.06.2007

A young virgin, the Unnamed Victim, has defended her virginity at the cost of a crime. Sentenced to prison and then to death, she cannot be executed until she is raped by an Executioner, according to a prison custom that forbids the execution of virgins before their virginity is taken away. The bond that is born between the two is strange and disturbing, as previously unknown feelings arise in each of them, oscillating between love, guilt, desire, disgust and despair, in a dense, human and moving story.

Distribution:

Victim:  Anca Sigmirean
The executioner:  Serban Borda

by Mihail Sebastian

Artistic director: Victor Ioan Frunză
Scenography: Adriana Grand
Music: Tibor Cári
Premiere date: 05.05.2007

In the anonymous-generic setting of a provincial town located somewhere between Breaza and Câmpina, the luxurious express train from Bucharest stops to disembark a passenger without a ticket, a disturbing unknown. Enchanted by the magnificent appearance of the nameless beauty, the astronomy-passionate professor Marin Miroiu offers her his modest home as shelter for one night – a night that will be magical, in which the heavens open and in which both Mona and Marin have through the other the revelation of another world, a revelation from which Love is born. Although the petty light of day shatters the spell of the absolute nocturnal, the meeting was not in vain, because, even if the stars never return from their path, their flame continues to shine from above.

Distribution:

Station manager:  Alexander Rusu
A peasant:  Tiberiu Covaci
The teacher:  Sorin Ionescu
Ichim:  Ion Ruscut
Miss Cuckoo:  Suzana Macovei
Zamfirescu student:  Adela Lazar
Pastor:  Sebastian Wolf
The conductor:  Alexander Rois
Unknown:  Mihaela Trofimov
Udrea:  Pavel Sirghi
Greg:  M. Róbert Kardos
Madame Grigorescu:  Florence Szabo

Technical director: Alexandru Rois
Prompter: Florence Szabo
Lights: Sortin Precup, Sandor Attila Nagy, Iosif Balogh
Sound: Sorin Domide

by A.P. Chekhov
Dramatization: Petru Vutcărău

Artistic director: Petru Vutcărău
Scenography: Vioara Bara
Premiere date: 21.12.2006

In the „Ward No. 6” of a provincial hospital, five patients live, cared for by the doctor Andrei Efimich Ragin, a cruel and insolent young man, and a depraved and indifferent nurse to the suffering around them. One of the patients, Ivan Gromov, an educated young man from a good family, becomes the doctor’s favorite conversation partner, sharing the same culture and intellectual background, the same concerns for the problems of human suffering and perfection, of death, of the reality of inner life against a background of misery and illness. Dr. Ragin’s colleagues begin to question his mental health and convince him to go on a relaxing trip to Moscow and Warsaw. The trip is a failure and upon his return, Dr. Ragin is locked up in „Ward No. 6”, alongside his former patients. The inhuman treatment he is subjected to hastens his death, caused by an apoplexy attack.

Distribution:

The Narrator, the Nurse and Dariushka:  Elvira Platon Rîmbu
Raghin:  Volin Costin
Ivan Dmitrievich Gromov:  Richard Balint
Mihail Averianic:  Alexander Rusu
Evgeny Fyodorovich Hobotov:  Sorin Ionescu
A patient:  Petre Ghimbasan
A patient:  Pavel Sirghi
A madman:  Ciprian Ciuciu

Technical director: Florin Popescu
Prompter: Florence Szabo
Lighting: Sorin Precup, Sandor Attila Nagy, Iosif Balogh
Sound: Sorin Domide

by August Strindberg

Artistic director: Petru Vutcărău
Scenography: Vioara Bara
Premiere date: 17.12.2006

Two women meet, as if by chance, on Christmas Eve, in an elegant, empty restaurant. From the beginning, the relationship between the two, actresses, former colleagues and even friends for a time, is tense, and gradually, monologuing, the Wife realizes that the one in front of her is in fact her husband's mistress. The revolt that grips her because she did not understand sooner who her husband is cheating on her with is doubled by the frustration of having had to do everything her rival liked for years (to baptize her child Eskil, after her father, to drink her favorite drinks and to dress in her style). After discharging her negative energies on the mistress who is silent, smiling, the Wife apparently triumphantly goes home, where her husband and children are waiting for her, and the mistress is left alone and sad.

Distribution:

Mrs. X, actress, married:  Corina Cernea
Miss Y, actress, unmarried:  Lucia Rogoz
The waiter:  Andrian Locovei

by Alexandr Ghelman
Translation: Tudor Steriade

Artistic director: Ion Mainea
Premiere date: 20.10.2006

„"In a Park... on a Bench" can be considered an original and modern love story, between two people whose destinies meet, apparently by chance, in a park, on a bench. The play is constituted as a succession of confessions, a game of masks through which the two try to establish a communion, explore paths of understanding, of deep connections. Their dialogue is a meditation on loneliness, love and life, but marked by helplessness, violence and hopelessness.

Distribution:

It: Mirela Nita Lupu
He:  Sebastian Wolf

by Sergi Belbel
Translation: Delia Prodan

Artistic direction: Claudiu Goga
Scenography: Ramona Ingrid Macarie
Light design and soundtrack: Claudiu Goga
Premiere date: 23.09.2006

The action of the play "After the Rain" takes place on the terrace of a 49-story skyscraper, the headquarters of several companies. The pretext for the characters' meeting in this special place is the ban on smoking inside the building. The terrace is, thus, the secret place where, from secretaries to bosses, everyone comes secretly to defy the bans and smoke the holy cigarette. By placing the characters under the sign of permanent danger, Sergi Belbel reveals all the small things that exist in human relationships, especially in situations of power, the difficulty of communicating, the loneliness of each one. Therefore, the terrace gradually becomes a place of projections. Dreams of murder or suicide follow scenes of flirtation. Only the rain, which has not fallen for two years, will free the characters from their own dryness, absence of sensitivity or heart. A storm breaks out at the end, the pace accelerates, between thunder and lightning, passions are unleashed in a happy ending, however unrealistic.

Distribution:

The blonde secretary:  Ioana Dragos Gajdo
Brunette secretary:  Adela Lazar
The redheaded secretary:  Angela Tanko
The brown-haired secretary:  Elvira Platon Rîmbu
Executive Director:  Suzana Macovei
The programmer:  Petre Ghimbasan
Administrative head:  Sebastian Wolf
Local courier:  Andrian Locovei
Angels:  Mirela Nita Lupu, Mihaela Gherdan, Lucia Rogoz, Ion Ruscut, Pavel Sirghi

Technical director: Florin Popescu
Prompter: Florence Szabo
Lighting: Sorin Precup, Sandor Attila Nagy, Iosif Balogh
Sound: Sorin Domide, Adrian Gherdan

by Leonid Andreev
Translation: Mircea Ştefănescu and Ludmila Vidraşcu

Artistic director: Alexander Hausvater
Scenography: Vioara Bara
Choreography: Adrian Ştefan
Piano: Gabriel Băruţa
Assistant director: Corina Cernea
Premiere date: 02.05.2006

"The One Who Gets Slapped" is probably the best-known and most performed play by Leonid Andreev, whose action, set in the world of the circus, evokes a magical space where everything is possible, a fascinating world dominated by strong passions and contradictory feelings. The central character, "The One Who Gets Slapped", nicknamed The One, seeks to hide his true identity under a clown mask, proving that the circus is equally a place of refuge. The One becomes admired by the public and his colleagues and falls in love with Consuella, a circus rider. She is the daughter of a count who wants to marry her to an old and rich baron, so that in the end, The One poisons her to spare her the misfortune of living with that baron. The emotion conveyed by the show is enhanced by the dancing moments and stage effects, giving the play an alert rhythm, dynamism and unforgettable intensity.

Distribution:

Consuella, circus rider:  Mihaela Gherdan
Count Mancini, Consuella's father:  Petre Panait
The clown at the Briquet circus:  Richard Balint
Briquet, the circus director:  Daniel Vulcu
Zinida, lion tamer, Briquet's wife:  Suzana Macovei
Alfred Bezano, jockey:  Andrian Locovei
Mr:  Serban Borda
Baron Regnard:  Ion Abrudan
Jackson, clown:  Sebastian Wolf

Technical director: Florin Popescu
Prompter: Florence Szabo
Lights: Sorin Precup, Sandor Attila Nagy, Iosif Balogh, Roland Rois
Sound: Sorin Domide, Adrian Gherdan

by Matei Visniec
Artistic director: Petre Vutcărău
Premiere date: 05.03.2006

In a waiting room, where we do not know what awaits, three people try to cope with the lack of occupation, boredom and the passage of time. The fourth plays the cello, unperturbed, without stopping. If at first, his music arouses the interest of the others, this gradually turns into indifference, then even into exasperation, into the refusal to listen to the unknown singer shrouded in mystery. In the end, the instrumentalist will be forcibly evacuated, leaving behind the cello, awkward and useless. From here is born the leitmotif that will give the title of the play: "And what do we do with the cello?" enunciated almost obsessively towards the end. If at a first level, the theme of the incompatibility between art and the obtuseness of some individuals is approached, at another level, derived from the theater of the absurd, the play can be interpreted as a metaphor for the installation of a symptomatic state for contemporary man.

Distribution:

The man with the cello:  Gheorghe Crisan
The man with the newspaper:  Doru Firte
The man with the stick:  Petre Panait
The veiled woman:  Elvira Platon Rîmbu

by Slawomir Mrožek
Translation: Stan Velea

Artistic direction: Doru Fîrte
Scenography: Oana Cernea
Musical selection: Sergiu Fîrte
Premiere date: 27.01.2006

The action of the play "Strip-tease" takes place in a fiery red space, hermetically sealed, which will turn out to be the antechamber of death, where two men dressed and equipped identically, wait to pass "beyond". Mr. 1 and Mr. 2 behave and think differently, they problematize, they ask themselves questions without answers, but essentially, the conclusion that emerges from the show is the same: as the moment of passing approaches, people become more and more empty of soul, and the spirit is purified. The annihilation of personalities, of identities is suggested by their undressing by the "Great Whore", dressed in elegant underwear. The fate of the two is decided when they are stripped of their bodies, like a garment.

Distribution:

Mr. 1:  Petre Ghimbasan
Mr. 2:  Andrian Locovei
The dancer:  Annamaria Boruzs

Soap opera based on the play of the same name by William Shakespeare
Stage version: Victor Ioan Frunză, Marian Popescu and Victoria Balint, after:  The Merry Wives of Windsor (translation: Vlaicu Bârna), The Merry Wives of Windsor (translation: Dragoş Protopopescu), The Merry Wives of Windsor (translation: Marian Popescu) and fragments from Henry IV (part I: translation: Dan Duţescu)

Artistic director: Victor Ioan Frunză
Decor, costumes and props: Adriana Grand
Music: Tibor Cári
Set design assistant: Oana Cernea
Actors training: Daniel Vulcu
In the decoration, graphics by Adriana Grand, photographed and post-processed by Richard Balint
Video images: Petru Selegian
Stage effects: Richard Balint and Victor Ioan Frunză
Stained glass windows: Adriana Grand and Oana Cernea
Premiere date: 19.11.2005

The show is a compilation of several versions of the play, including fragments from "Henry IV" and brings the action and lively humor of the Shakespearean text to a contemporary setting. The music is performed by a live, rock orchestra on stage, with songs composed by Tibor Cári, in various styles, from rock to hip-hop. The show also has a special image, created by and inspired by street culture, with light shows, pyrotechnic effects and a specific dynamism, ensured by the presence of almost fifty people on stage. The play demonstrates that, as David Thacker states, regardless of the era, "the actors are there (on stage) to show the world what the times they live in really look like." In 2006, the show "The Merry Wives of Windsor" received two nominations for the Uniter awards: Victor Ioan Frunză for direction and Richard Balint for "Best Supporting Role".

Distribution:

John Falstaff:  Daniel Vulcu
Shallow, judge:  Ion Abrudan
Slender, Shallow's nephew:  Pavel Sirghi
Ford, businessman:  Ovidiu Mihaita
George Page, a gentleman from Windsor:  Petre Ghimbasan
Doctor Caius, French physician:  Richard Balint
Hugh Evans, Welsh priest:  Alexander Rusu
Mrs. Page:  Suzana Macovei
Anne Page, her daughter:  Anca Sigmirean
Mrs. Ford:  Elvira Platon Rîmbu
Mrs. Quickly:  Ioana Dragos Gajdo
Pistol, disciple of Falstaff:  John Codrea
Nym, disciple of Falstaff:  Andrian Locovei
Robin, disciple of Falstaff:  Ciprian Ciuciu
Max, bartender at Gartiera:  George Voinese
Simple, Slender's employee:  Ion Ruscut
Rugby, Caius' employee:  Tiberiu Covaci
In other roles:  Corina Cernea, Angela Tanko, Adela Lazar, Mihaela Gherdan, Mirela Jurca, Sebastian Lupu, Nicolae Maghiar
Orchestra: Tibor Cári (piano), Szabó István (percussion), Kovács István (double bass), Bodó Tibor (trumpet), Richard Balint (guitar), Kelemen Júlia (soprano)
The musical score is performed live (orchestra and voices)

Technical director: Florin Popescu
Prompter: Florence Szabo
Lights: Sorin Precup, Sandor Attila Nagy, Laviniu Gorun, Attila Moszorják
Sound: Sorin Domide, Adrian Gherdan

by William Saroyan
Translation: Catinca Ralea

Artistic director: Emil Sauciuc
Scenography: Vioara Bara
Premiere date: 24.09.2005

In "The Cavemen", William Saroyan re-problematizes the existence of values, the condition of the actor and the theater man, his fate and place in society. For Saroyan, theater is another version of the world, a new dimension of human reality. The main characters are the King and the Queen, the Duke - a former boxer, a girl and a family consisting of her two husbands, a newborn and a bear, who are forced to beg to survive and spend their days in an abandoned theater subject to demolition. Today's beggar, a former clown, was once Lear, and the poor, sick, aging Queen was once an actress, one of the many forgotten queens of the theater. A moving performance, whose essential revelation is that the secret of theater lies in love.

Distribution:

The Duke:  Doru Firte
Girl:  Anca Sigmirean
Queen:  Mariana Vasile
The King:  Ion Abrudan
Father:  Petre Ghimbasan
Gorky:  Ion Ruscut
Parent:  Mihaela Gherdan
The silent boy:  Andrian Locovei
Jamie:  Pavel Sirghi
Demolition team leader:  Tiberiu Covaci
Ghosts:  Mirela Jurca, Annamaria Boruzs, Simona Codreanu, Alexandra Bogdan, Cosmina Beldie, Diana Avramut, Sergiu Firte, Paul Paul, Vlad Vladulescu

Technical director: Florin Popescu
Prompter: Florence Szabo
Lighting: Sandor Attila Nagy, Sorin Precup, Iosif Balogh
Sound: Sorin Domide, Adrian Gherdan

by Marius Damian
Artistic director: Traian Şoimu
Premiere date: 10.04.2005

"One evening, at the end of a show, in the cabin that has become the home of a not-so-talented clown (Felippo), a young woman arrives who claims to be in love with the circus precisely because her family once owned a famous circus that was consumed in a fire. In fact, the girl in question is a successful actress who, retaining the nostalgia for the great role of Nina Zarecinaia, is ready, in order to earn a piece of bread, to play in a circus show. Renamed Felippa, she will conquer Felippo, they will try to build a new act together which, not being successful, will cost them both their jobs. Humiliations, hunger and the girl's death will follow..." (Mircea Morariu)

Distribution:

Felipa: Oana Rusu
Felipo: Marius Damian

Screenplay by Mona Chirilă, based on Molière and Mikhail Bulgakov
Translation The imaginary patient: Tudor Bogdan and Stefan Crudu
Translation The Life of Mr. de Molière: Natalia Cantemir

Artistic director: Mona Chirilă
Scenography: Eugenia Tărăşescu Jianu
Set design assistant: Oana Cernea
Music illustration: Corina Sârbu
Premiere date: 02.04.2005

„"The Imaginary Sick Man" is Molière's last creation, in which the playwright himself played, until the eve of his death. Implicitly, the text problematizes the condition of the artist dedicated body and soul to his art, thus becoming a tribute to the actor.

The main character, Aragan, is a hypochondriac addicted to doctors and medication, firmly convinced that he is seriously ill, on the verge of death. For these reasons, he wants to marry his only daughter to a doctor, although she is in love with another man. Through a ruse, simulating death, Argan finds out that his wife is a fake, concerned only with his money, and the only one who truly loves him is his daughter. The play is not represented in the classical register, but benefits from a modern vision, which does not lack refined allusions to the morality of doctors, the deficient state of the medical system, or the titles obtained without merit.

Distribution:

Argan:  Daniel Vulcu
Béline:  Geo Dinescu
Angelique:  Mara Stop
Toilet:  Elvira Platon Rîmbu
Beralde:  Tiberiu Covaci
Clean:  Sebastian Wolf
Mr. Diafoirus:  Dorin Presecan
Thomas Diafoirus:  Alexander Rusu
Mr. Purgon:  Ion Ruscut
Mr. Fleurant:  Petre Ghimbasan
Mr. Bonefoi:  Ion Abrudan
Polchinelle:  Richard Balint
First actor:  Angela Tanko
Second actor:  Mirela Nita Lupu
Third actor:  Corina Cernea
Fourth actor:  Andrian Locovei

Technical director: Florin Popescu
Prompter: Florence Szabo
Lighting: Sorin Precup, Sandor Attila Nagy, Iosif Balogh
Sound: Sorin Domide

by Samuel Beckett
Translation: Gellu Naum

Artistic direction and musical illustration: Emil Sauciuc
Scenography: Oana Cernea and Emil Sauciuc
Premiere date: 14.01.2005

In the 2005-2006 season, the "Iosif Vulcan" troupe of the Oradea State Theatre staged for the first time Samuel Beckett's well-known play, "Waiting for Godot". In a space that could be located anywhere, two beggars, Vladimir and Estragon, discuss, argue, reconcile, have thoughts of suicide, then enter into conversation with two other bizarre characters, Pozzo and Lucky, master and servant. The two form an indestructible couple, united to each other by fear, hatred, pity, but also by the power of habit. What is surprising in this play is the fact that nothing happens while Gogo and Didi wait for Godot, who will save the whole situation. However, Godot is characterized only by his absence, although his messenger repeatedly promises that his master will come the next day. Even though the essential imagery is Christian, the symbols and the pessimism of the philosophy contained in the play speak of man's loneliness, and his alienation. Time passes at different speeds for the protagonists, but the only visible evolution is the tree's leafing out.

Compared to the original text, the details of clothing, set design and movement in the show emphasize the concern for the dehumanization and robotization of man. Estragon, Vladimir, Pozzo and Lucky wear microprocessors and often behave like creatures beyond the human sphere. The cold, devastated setting contributes to the creation of an apocalyptic atmosphere, in which terror, uncertainty, boredom and moral pain are above all in the empty universe.

Distribution:

Tarragon:  Petre Ghimbasan
Vladimir:  Richard Balint
Well:  Sebastian Wolf
Lucky:  Tiberiu Covaci
The boy:  Pavel Sirghi

A screenplay by Mihai Măniuţiu, based on Interviews with Primo Levi
Translation: Anca Măniuţiu

Artistic director: Mihai Măniuţiu
Sets: Valentin Codoiu
Costumes: Iuliana Vîlsan
Musical direction: W. Vilan Gyuri
Dances: Vava Ştefănescu
Premiere date: 04.12.2004

„"Shoah. Primo Levi's Version" is an adaptation by director Mihai Măniuţiu based on a series of interviews with Primo Levi, one of the most prominent Italian writers of the 20th century and a survivor of the Auschwitz concentration camp. "Shoah" means Holocaust, and the play turns into a shocking testimony of one of the greatest horrors of humanity. Primo Levi is so marked by the absurdity of this stain on human history that he does not have the strength to hate the guilty. He realizes the futility of any attempt to change destiny when he fails to save children from a miniature train, in which he sees the trains of death again. The sometimes aggressive presences of the three reporters are contrasted with the tragedy evoked by the performance of sacred Jewish songs on stage. The play takes the form of a dream in which the past in the form of Levi's memories meets the future symbolized by the children; but it is a dream unfolding on the edge of a nightmare, the spectacle of the consciousness of a man who has the power to remain human to the end.

Distribution:

Primo Levi:  Marian Ralea
Reporters:  Dorin Presecan, Suzana Macovei, Mariana Presecan
The Bat:  Petre Panait
Jewish choir:  Ileana Iurciuc, Mariana Neagu, Angela Tanko, Mirela Nita Lupu, Corina Cernea, Mirela Jurca, Anca Opris, Corina Szatmari, Doru Firte, George Voinese, Sebastian Lupu, Serban Borda, Andrian Locovei, Pavel Sarghi, Sebastian Lakatos, Stefan Lakatos
Children:  Petra Szabo, Loredana Denisa Fodor, Alexandra Ramona Fodor, Madalina Roxana Fodor, Tihamér Macovei
Jewish Orchestra: W. Vilan Gyuri, Gavril Ardelean, Petre Boros

Technical director: Ofelia Fîrte
Prompter: Florence Szabo
Lighting: Sorin Precup, Sandor Attila Nagy, Iosif Balogh
Sound: Sorin Domide

by Ayn Rand
Translation: Horia Gârbea

Artistic direction: Alexandru Hausvater
Scenography: Vioara Bara
Choreography: Hugo Wolff
Music: Mircea Kiraly
Assistant director: Corina Cernea
Set design assistant: Oana Cernea
Premiere date: 29.06.2004

„"The Night of January 16" is a musical full of suspense and mystery, dynamism and color, based on a real case that took place in America in the 1930s. Young Karen Andre is accused of having killed her lover, one of the richest American businessmen, nicknamed the prince of the first financial empire in the world. The show captures three major dimensions: the trial with the hearing of witnesses and the pleadings of lawyers; the cabaret and the courtroom transformed into a cabaret; a reporter's story. Compared to the real world represented by the trial, the cabaret symbolizes the private life of each person, the doubling of personality, the falling of the mask. The elements related to the media plan refer to the distortion of reality by the press, which is always in search of the sensational, of explosive situations.

Although the businessman Faulkner is an absent character, the whole process actually tells his story, the story of a conqueror, a man of perfect inner freedom, who lives his life on the edge, ready at any moment to abandon his financial empire in order to live his love. By outlining such a character, "The Night of January 16th" also becomes an apology to America, which offers the space conducive to the development of such a modern romantic hero, ensuring freedom and the open path to the affirmation of the individual.

Distribution:

Karen Andre:  Mariana Presecan
Prosecutor Flint:  Elvira Platon Rîmbu
Stevens, defense attorney:  Suzana Macovei
Faulkner:  Andras Csaba MOLN
Judge Heath:  George Voinese
Reporter:  Marius Damian
Dr. Kirkland:  Petre Ghimbasan
John Hutchins:  Andrian Locovei
Homer van Fleet:  Daniel Vulcu
Elmer Sweeney:  Serban Borda
Magda Svenson:  Ileana Iurciuc
Nancy Lee Faulkner:  Angela Tanko
John Graham Whitfield:  Ion Abrudan
Jane Chandler:  Oana Rusu
Siegfried Jungquist:  Emil Sauciuc
Lawrence Regan:  Richard Balint
The cameraman:  Alexander Rusu   

by Roland Schimmelpfennig
Translation: Victor Scoradeţ

Artistic director: Cristian Juncu
Scenography: Cosmin Ardeleanu
Choreography: András Lóránt
Premiere date: 08.06.2004

„"The Arabian Nights" can be considered a dramatic fairy tale, explicit even from the title. At first, nothing announces the unusual events that will follow. Everything takes place in a seven-story apartment building in Germany, inhabited by modest people, coming from many corners of the world. Solitudes, dreams, the need for communication, for love, are embedded in a play that includes the epic, the poetic and the dramatic. The fantastic gradually insinuates itself into these existences, making room in equal measure for fulfillment and tragedy. The concrete of the block becomes more bearable when unsuspected dreams and fantasies hide between the cracks of the walls.

Distribution:

Hans Lomeier:  Petre Ghimbasan
Fatima Mansur:  Oana Rusu
Franziska Dehke:  Angela Tanko
Kalil:  Alexander Rusu
Peter Karpati:  Sebastian Wolf

Technical director: Ofelia Fîrte
Prompter: Florence Szabo
Lighting: Sorin Precup, Sandor Attila Nagy, Iosif Balogh
Sound: Sorin Domide, Adrian Gherdan

by Isaac Bashevis Singer

Adaptation and artistic direction: Cristian Juncu
Premiere date: 26.05.2004

The play "Netotu'", with a script based on fragments from the short story collection "Ghimpel the Fool" by Isaac Bashevis Singer and from the collection "The Liar's Circle" by Jean-Claude Carrière, brings to the fore the figure of the simple man, who never doubts anything. He is the naive fooled by everyone, including his wife who cheats on him, taking advantage of his good faith. Netotu' never hesitates to do good to those around him, although they do not return his kindness, but, moreover, turn it into an object of derision. The text, apparently simplistic, acquires an accent of seriousness by relating to God, through faith, which also offers the solution to resistance to evil. The play suggests that in order to believe completely in God and in the fact that everything has a purpose in the world as He gave it, in order to love absolutely and without questions, in order to believe in your fellow men beyond human powers, you must borrow something from the way of being of a netotu. The show is constructed as a dramatic monologue that, beyond the intrinsic humor, hides a bitter philosophy, but also an intelligence and maturity camouflaged behind the most modest expressions.

Interpret: 

Marius Damian