27 September 2019
The Tót Family of Gheorgheni is impossible to located in time and space. It is played somewhere in a Hungarian speaking area, that’s broadly sure. Its world is a post-apocalyptic world, this untouched island can be sustained for a while in the decay’s and aggression’s chaos by illusions, but the infiltration of the beyond-rind reality is inevitable with the arriving of the major.
The play examines the person forced into crisis by others (well-meaning or unwittingly), and the process of the victim forming itself through the concept couple “victim-hangman”. It’s the illusion of the happiness and reaching an ideal, whatever small or huge this ideal is. It’s the parabola of the need of sacrifice in that moment, when the dominant aggression – determined by the war – starts to threaten the known human life’s scenery.
“If it is true, that our life is a pendulum toy of hope and despondency, then the existence itself is not absurd, just can become in certain situations, eras, moments. When we act hopelessly, then that activity is absurd. My believe is - and this is what The Tót Family exemplifies -, that the only way out of the human is the act. (…) In that sense, in the state of despondency, Tót Lajos really becomes an >>absurd hero<<.” (István Örkény)
OWNER OF THE WATER WAGON, PRIEST TOMAJI, PROFESSOR CIPRIANI
Set and costume design: Cristina Milea
Choreographer: Andrea Gavriliu
Scenery consultant: Miruna Croitoru, Ion Cornescu
Directed by: Florin Vidamski