A variant of a tale spread throughout the Balkans and beyond, Lucian Blaga's Master Manole depicts the permanent search for perfection, the search to fulfill one of man's fundamental purposes - to construct/to create.
Our performance shows an atheist-turned master-builder who experiences, in his difficult path to creation, the different beliefs of the place, the strongest and the most institutionalized of which actually finances his work. To achieve his masterwork, Manole resorts to the supreme sacrifice and kills a woman.
Blaga's text keeps the tragic narrative specificity of the legend, which turns here in a commemoration space, as well as a space of possible counter-memory interrogation. We believe the context of the 100 years from the Great Union would aptly frame a debate triggered by a „remix" of this fundamental myth. A mature society must be able to reflect upon itself.
Just like ancient Greeks went to theatre knowing in advance the subject of the play, the contemporary public comes to Master Manole with a clear order of events in his mind, but also prepared to be challenged by innovative interpretations and always obliged to take distance from the representation of the myth.
Questioning the bigotry (along with rituals and traditions seen as social constructs), the permanent construction of the country and the feminist perspective, the performance launches a concept connected to the deepest artistic anxieties. We called it THE MANOLE COMPLEX.