The text has a classic structure; yet despite the fact that it describes incredibly atrocious scenes, it has an unexpected effect. It somehow builds up kindness in the heart. It is not contemporary documentary theatre, which I am not actually very fond of, but it does make use of some of its elements.
Our bet is to succeed in building a structure capable of creating an atmosphere that suggests that what we see on stage are the souls of the dead, that the characters have emerged from the abyss. I do not think you have dealt with dead characters before. That is why we must think of Kantor. Life is best expressed through the absence of life, he claimed. There is no psychology in his theatre. The image of a dead dog is painful because it reminds us of the living animal. Only then, through contrast, through counterpoint, can we truly appreciate the living.
The first death, that of our friend and colleague Jakub Kac, is the most important. It is not by chance that the question gets repeated over and over again: "Who killed Jakub Kac?", "How were we capable of killing our own brother?" [...]
The show is constructed as a concert. In other words, my life is a performance: I go up on stage and I tell the story of, not act out, my life. All the events on stage are part of a concert in which rock songs have been replaced by appalling stories. [...]
The play is written in 14 lessons, referencing the Stations of the Cross, each character progressing through the 14 stages of the Calvary, molded on the history of the 20th century. What happened in Auschwitz has something of the sacred. The history of mankind has been irretrievably altered after that episode. Millions of innocent people were murdered there. The sin of the world can only be removed through the death of the lamb.
In the play, the people committing the murder do not realize what they are doing, or else it would be pure evil. This is what creates the effect of the text, and our production stands under the sign of "Behold the Lamb of God, behold him who takes away the sins of the world".
50 lei, 40 lei, 30 lei, 20 lei, 10 lei (depending on the seat location);
10 lei - discounts for pupils, students, pensioners.
“Aureliu Manea" Award for Best Director: Bocsárdi László for the production Our Class by Tadeusz Słobodzianek, ex aequo with Alexandru Dabija for the production Floor covering by Vladimir and Oleg Presniakov, at the Cluj-Napoca National Theatre Awards Gala, 2016.