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Cluj-Napoca National Theatre has been invited to participate with two productions at the International Theatre Festival in Almada, organized by the "Joaquim Benite" Municipal Theatre from Almada, Portugal. The productions that will participate are The Cherry Orchard by A. P. Chekhov, director Roberto Bacci, and The Spectator Sentenced to Death by Matei Vişniec, director Răzvan Mureşan.


The 32nd edition of the festival will take place from 4 to 18 July 2015. This year, the selection comprises productions from numerous countries such as Switzerland, Spain, Germany, Mexico, Italy, France, Brazil, representing an opportunity to see some of the best performances from Portugal and the world. The list of the directors behind these productions is also impressive, with such names as Christoph Marthaler, Peter Stein, Luis Miguel Cintra, Katie Mitchell or Matthias Langhoff. The festival will take place both in Almada and in Lisbon, and, aside from the performances, the event will also host debates, exhibitions, concerts, street performances and numerous other activities. Further details about the festival and the selected productions are available here.


The Cherry Orchard will be presented on 12 July, 6 pm, at the Trinidade Theatre in Lisbon, and The Spectator Sentenced to Death will be presented on 13 July (9.30 pm), 14 July (4 pm) and 15 July (9.30 pm) at the "Joaquim Benite" Municipal Theatre from Almada, Experimental Hall.


The participation of the Cluj-Napoca National Theatre at the Festival from Almada is supported by the Romanian Cultural Institute in Lisbon.

Cluj-Napoca National Theatre is honored to receive the CERTIFICATE FOR EXCELLENCE for 2015 offered by TRIPADVISOR, based on the votes and reviews of the users of the TripAdvisor website. 

TripAdvisor has been offering these Certificates for excellence for five years, worldwide, to all the institutions and places best ranked by visitors. When selecting the winners for these Certificates, TripAdvisor uses an algorithm which evaluates the quality, quantity and nature of the visitors’ reviews and opinions over a period of 12 months. In order to qualify, a potential winner must maintain a minimum rating of 4 out of 5 points, have a minimum number of reviews and be present on the TripAdvisor website for at least 12 months.

TripAdvisor (, the biggest tourism website in the world, offers its visitors the possibility to plan their trip, with advice from other travellers, as well as the possibility to make the necessary reservations, through links to other websites, at the best prices. 

Cluj-Napoca National Theatre announces the premiere of UbuSlammer!, adaptation by Gábor Tompa based on Ubu in Chains and other texts by Alfred Jarry, translation: Romulus Vulpescu, which will take place on the Main Stage, Tuesday, 9 June 2015, at 7 pm. Director: Gábor Tompa, set designer: Carmencita Brojboiu, choreography: Vava Ștefănescu, music: Ada Milea, costume assistant: Ilona Lőrincz, lights: Jenel Moldovan, sets designed at the Altax Shops SRL Bucharest. The cast comprises the actors: Marian Râlea, Anca Hanu, Dan Chiorean, Silvius Iorga, Alexandra Tarce, Cătălin Herlo, Radu Lărgeanu, Miron Maxim, Cristian Rigman, Irina Wintze, Elena Ivanca, Angelica Nicoară, Ionuț Caras, Cornel Răileanu, Cristian Grosu, Dragoș Pop, Adrian Cucu, Sânziana Tarța, Gigi Iordache. Live orchestra: Mihnea Blidariu, Zoltan Reman, Ioan Macavei.


Precursor of Surrealism, Alfred Jarry (1873-1907) wrote in ten years the six plays revolving around the main character Père Ubu: in 1891 - Ubu Roi, in 1896 - Paralipomènes dUbu, in 1899 and 1901 - Almanach illustré du Père Ubu, in 1897 - Ubu cocu, in 1900 - Ubu enchaîné [Ubu in Chains] and in 1901 - Ubu sur la colline. He created a personal and explosive humor through the language of mister Ubu and the new "science" he invented: "pataphysics". The characteristic traits of Jarry’s character are dominated by a monstrous greed for women, booze, money, power, all sought after with great cowardice and a despotism aimed primarily at the weak. 

In Gábor Tompa’s production, among other characters from Ubu in Chains, - the basis for the script -, the playwright himself appears, delivering the speech given on the occasion of the opening of Ubu Roi as well as the text written for the program at the time. Ubu’s dramatic figure contains in itself all the attributes of the theatre of cruelty, developed thirty years later by Artaud. Ubu and his Wife cause chaos and disorder and the amorphous crowd, living as paradisiac slaves, will never get the chance to exercise their freedom. Jarry’s play is overwhelmingly fresh, gaining more meaning in a paradigm of confiscated power, all under the attentive look of ever new "types" of politicians which empty all values, the result being a real debraining, as Mr. Ubu would put it. The two Ubus, killed in rage and buried at the Monstre-Martre cemetery, will come to life, re-entering the story (again and again). Mr. and Mrs. Ubu, "secluded" in jail, a place which is more safe and comfortable - as the old saying goes: "Today in power, tomorrow in jail" - will lead their army of convicts from there, all on the music created by Ada Milea which will accompany the deeds of those caught in the swirl of events. And when the victims begin to praise their oppressors, they provoke not pity, but laughter.

The opening of The Emigrants by Sławomir Mrożek, translation: Stan Velea, will take place at the "Art Club" Studio, Friday, 5 June 2015, at 7 pm. Director: Tudor Lucanu, set designer: Cristian Rusu, lights: Jenel Moldovan. With: Matei Rotaru  and Tudor Lucanu.


Sławomir Mrożek was born in 1930, in Poland and died in 2013 in Nice, France. He publishes feuilletons, humorous stories, shorter short stories, parodic novels. All his plays were written while abroad: Tango, The Tailor, The Portrait, Love in the Crimea etc. The play The Emigrants was published in 1974.


Throughout his works, the writer discusses moral problems, certain character traits, "ossified thought patterns", ridiculous and obsolete, resulting in a caricature-like and absurd sketch of the world.   

In The Emigrants, Mrożek discusses the marginalizing experience of his own exile, of the refuge for various reasons, the play becoming a study on the condition of the exiled. Roommates  AA and XX discuss, their dialogue gradually becoming a duel in which they unmask each other. Their story evolves in a crowded basement, where the thick and loud sewer pipes also serve as...seats for the spectators. Two uncomfortable chairs and an unpolished wooden table complete the poor space in which the two parts are firmly and giftedly delivered by the two protagonists - one of them being the director of the production himself.