We would like to let you know the Theatre's Ticket Agency is closed between 24 December 2017 - 2 January 2018.
We also want to inform you that between 22 December 2017 - 2 January 2018, tickets for January performances can be purchased solely online, through the platform www.biletmaster.ro. Starting with 3 January 2018, they will also be available at the Ticket Agency.
We wish you Happy Holidays and a New Year full of inspiration!
Ada Milea's musical collaboration with the National Theatre of Cluj-Napoca began seven years ago, when director Alexandru Dabija came here with the production of Gellu Naum's I am Florence. Other productions by Alexandru Dabija followed: Sânziana and Pepelea by Vasile Alecsandri, Mein Kampf by George Tabori and Linoleum by the Presniakov Brothers. Then came Apolodor after Gellu Naum and Ubuzdup! by Alfred Jarry, directed by Tompa Gábor. The Island after Gellu Naum enjoyed great success, winning several prizes and superlative acclaim from the public and from critics in the domain. Marina Constantinescu wrote about her unconditional admiration for this performance: "Ada Milea has genius. Just like that. And she does what she wants with our minds... I stopped (...) on hers and Gellu Namu's Island (...), the melancholy poem about the freedom of the human being, about the Robinson and the Mermaid lying within each of us, about Friday, the Pirate, and Selkirke Grandmas, a poem which hints at each of us' travel towards the centre of the earth. A foam of words, meanings and revelations leading us through waves of boundless fantasy. There we find Ada Milea. There takes shape her stunningly wonderful performance (...) A burst of laughter on the sky of loneliness. Rigour and joy".
I took the opportunity of Ada Milea's presence at the production of the concert-performance Švejk in concert after Jaroslav Hašek to ask her some questions about the future premiere.
Eugenia Sarvari: Ada Milea, you are developing a new collaboration with the National Theatre of Cluj. After getting through Gellu Naum's surrealism, how did you find soldier Švejk's realism?
Ada Milea: With Mr. Alexandru Dabija's help. He directed the first part of the book at the Odeon Theatre, and I wrote three songs for that performance.
The "Lucian Blaga" National Theatre of Cluj-Napoca announces the premiere ŠVEJK IN CONCERT after THE FATEFUL ADVENTURES OF THE GOOD SOLDIER ŠVEJK by Jaroslav Hašek, translated in Romanian by Jean Grosu, which will take place in the Main Hall, Thursday December 21, 2017, from 7.00 p.m.
Here's what Ada Milea tells us about the idea of the in-progress performance: "I wanted it to look like a train journey towards the front line, with the possibility of «derailing» from what it seems to be. I chose a few characters and situations, and placed them in the train, even if they got nothing to do with the travel from Hašek's book. I was interested in the different attitudes each one has towards destruction and death. The book (and I hope also the concert) fully exploits the humour of the situations and proves that war is an utter madness with nothing to do with us (unless, of course, it kills us)".
This year's edition of the event Doors Open Night, which took place on 9 December, brought a series of new things. One of the most successful news was the series of FACE TO FACE Meetings, which enabled theatre visitors to have 10-minute individual meetings with an actor. The meetings were touching not only for the viewers, but also for our fellow actors, each of whom met face to face six spectators during one hour. Angelica Nicoară, Anca Hanu, Sânziana Tarța, Ionuț Caras, Radu Lărgeanu and Cristian Grosu shared their thoughts after this experience. We asked them what they thought about meeting face to face the spectators that applaud them evening after evening, which meeting impressed them the most, and whether that face to face encounter somehow resembled a psychoanalytic session?
Angelica Nicoară greeted enthusiastically this initiative, and confessed that: "It was wonderful. I had emotions for almost the entire day and I prepared for the meeting almost like for a performance, so I hereby declare I intend to repeat this experience next year. I do believe, though, ten minutes are a bit less for the duration. There were so many spectators, both young and mature, with whom we discussed theatre matters, but also life matters. We talked heart-to-heart about them. I don't think we talked as actor and spectator, but as two people face to face, enjoying our meeting. I am grateful for this idea and for the fact that I was one of the first to participate to this premiere.