class="">MIGRAAANTS OR THERE’S TOO MANY PEOPLE ON THIS DAMN BOAT by Matei Vișniec

MIGRAAANTS OR THERE’S TOO MANY PEOPLE ON THIS DAMN BOAT by Matei Vișniec

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.

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Cast:

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.