show-coupé
Premiere date: December 5, 1984

Water by Dumitru Solomon
Artistic director: Victor Ioan Frunză
Scenography: Adriana Grand

A theoretician calls two philosophers into a flooded cellar to debate a solution to get out of the closed space. Exiting through the door is possible, but completely excluded from the beginning. This is the situational pretext imagined by Dumitru Solomon to create a parable about „the process of the birth and proliferation of an aberrant psyche in the face of a radical danger that threatens a collectivity. Following in the footsteps of Dürrenmatt, Ionescu or Max Frisch, Solomon follows the phases of the process – from the generalized nonsense that forgets the meaning and purpose for the sake of speculation itself, to the stubborn refusal of the evidence. And which projects, from a certain moment, with violence, human beings into a primary zoological kingdom” (Valentin Silvestru, „Romania literară”, January 3, 1985). Through conceptual oppositions (culture/humanism), the play captures in poetic accents man's struggle to preserve his humanity unaltered, despite the adverse conditions of existence.

Distribution:
X:  Daniel Vulcu
Y:  Nicolae Barosan
Z:  Dan Badarau
The child:  Robi Bordas

Technical direction and prompter: Florence Szabo
Lights: Iosif Balogh
Sound: Valentin Bodonea

Show distinguished with:
-Grand Prize
-Directing Award at the Short Theatre Week, 6th edition (Oradea, 1984)

The Gates (Bright Week) by Mihai Saulescu
Stage adaptation and artistic direction: Alexandru Darie
Assistant director: Cristian Şofron
Scenography: Maria Miu

„The Gates” is an adaptation of the symbolist play „The Bright Week” by Mihai Săulescu, whose pretext is the popular belief that only those who die during this spiritual interval can be forgiven all their sins. In this case, the dying man is a robber, surrounded by the Mother, the Guard and the Priest. As Marian Popescu noted in the December 21, 1984 issue of the magazine „Flacăra”, „as in Maeterlinck’s theatre (”The Intruder”, for example), death is a corrosive presence.” The agony is unbearably prolonged, in a terrifying atmosphere, full of fear and obscure allusions. The tragic ceremonial ends with a so-called useful crime, without the perpetrators being absolved of their own darkness. Absolving the dying man of sins does not mean that everyone is innocent…

Distribution:
Parent:  Mariana Vasile
Son:  Emil Sauciuc
The guard:  Nicholas Thomas
The priest:  Cristian Sofron

Technical director: Maria Goina
Prompter: Iuliana Chelu
Lighting: Vasile Blejan, Iosif Balogh
Sound: Valentin Bodonea

AWARDS:
-Mariana Vasile was awarded the Fáklya Newspaper Award for her performance at the 6th edition of the Short Theatre Week (Oradea, 1984)