28 October| 18:00 and 21:00 – I.L.Caragiale National Theatre, Bucharest, Studio Hall
Matei Vișniec created a world where fiction and reality become inseparable, and the individual fates presented through these stories slowly sink under the skin of their viewer. It is a long journey, which starts on an overly crowded boat full of migrants leaving their country in hope of something better, and ends with them arriving and us, spectators, following their steps.
Elihu, migrant 4 : Jakab Tamás
Smuggler, children smuggler 1/ smuggler 1/ migrant 1: Barabás Árpád
The President, madame, migrant 7: Bekő-Fóri Zenkő
Migrant 2: Boda-Szász Kriszta
The Man, migrant 12 : Dunkler Róbert
Political correctness coach, migrant 6 : Esti Norbert
Presenter of the closing-in show 3, interpreter, German teacher, migrant 8 : László Kata
Presenter of the closing-in show 2, girl 2, the old woman, migrant 5 : Márkó Eszter
The wife, girl 6, migrant 9 : Mezei Gabriella
Ayub, Ali, smuggler 3, migrant 13 : Pál Attila
Fehed, the undertaker, smuggler 2, children smuggler 2, migrant 3 : Szűcs-Olcsváry Gellért
The Man who smiles, transvestite, migrant 11 : Tóth Árpád
Presenter of the closing-in show 1, singer, veiled singer, girl 1, migrant 10: Pál-Varga Márta
The Presenter: Kudelász Nóbel
Translated by: Bereczki Ágota
Directed by: Zakariás Zalán
Set and Costume Design : Csiki Csaba
Dramaturgy: Bereczki Ágota
Stage Manager : Máthé Miklós Mónika
Music: Csiki Csaba
Sound: Boca Hunor-Lehel
Light Design: Toásó István
Length: 1 h 50 min (no intermission)
“Tomcsa Sándor” Theatre, Odorheiu Secuiesc
Performance in Hungarian with English and Romanian surtitles
Suitable for ages 14 and above
The stories lead through the many facets of a humane dilemma: we do not only smell the salty ocean, feel the ragged skin of those in flight, or see the fright of the unknown in the eyes of simple people, but also feel that this chaos is well-devised, the luxurious softness of high chairs and metal minds reaches out, unseen, through the blindness of screens to grab and hold the power.
Zalán Zakariás put feelings and sensations on stage, visually recreating internal processes of mind, body and soul. In an inverted space, the spectators are crammed on the stage, while the empty seats of the auditorium stare back at them, ominous and patiently awaiting. As they go deeper into the story, the playing area gets closer and closer to those jam-packed on the stage. The ending scene reaches viewers’ feet, while querying eyes are searching their gaze.
A play for those interested in a theatre of the senses, a forum of ideas, rather than closed forms of moralising and un-weighed truths.