Programme

Theatre performance “1978” is about Romania in the 70s, a trans-generational documentary fiction based on actors’ and director’s personal stories. It is a story about communist times, which grows out of a Romanian apartment, a story related to many local and global events that connect the regions of Timisoara and Nova Gorica (Slovenia) - on the border with Italy - cities that were both part of the same country once upon a time: the Austro-Hungarian empire. More then hundred years ago dozens of thousands of Hungarian soldiers fought at Isonzo front.“1978” is part of theatre dodecalogy (twelve performances) Destin(y)ation, that involve(s) theatres from several countries for the European Capital of Culture 2025 in Janežič’s home city Nova Gorica/Gorizia (Slovenia/Italy) and addresses topics of the transgenerationality, border, socio-political-ideological changes, war, etc. ”1978” was nominated by the Romanian Theatre Union for Best Theatre Performance and Best Set Design in 2023.

Once upon a time there was a small village in the heart of Africa. There lived a mother and her three sons. They were very poor. But they had something: mother's beautiful hair, ebony-black, long as to reach one end of the village and the other. Her hair saved them from all their mishaps: when they were hungry, they could use it to fish, when they were bored, they would use it to jump rope, when it rained, they would hide under it. But one day, the boys grew up and left home in order to make a living... Will mother's hair keep protecting them?Our performance talks about selfless love and looks for the answers to the question: what is the right way to love? Badu Mamma should learn how to love her children without smothering them, while the three boys need to know that leaving your home is not forgetting – and sometimes we must dare to ask for mother's help.A nonverbal performance for ages above 5.

What does it mean to be a refugee in a foreign country, where life depends on the hospitality of the hosts? On what can a man rely when he loses faith in his own culture, his own God and his own humanity? Does today's idealism preserve a germ of Humanism, or is the spiritual heritage of antiquity and the Renaissance only a memory? The actors will seek answers to these questions by exploring paths through spiritual worlds and surreal situations. In this production, based on the Aeschylus tragedy "The Suppliants", director Szabó Kristóf tells the story of a group of political asylum seekers, where refugees lose their moral support one by one.

”Michelangelo Merisi, I was born in Caravaggio, Lombardia province, 25 degrees, 29 minutes, 52 seconds north latitude and 9 degrees, 38 minutes, 35 seconds east longitude. It had no seaside, so we had to leave. You can’t stop before you get to the sea. Take everything, and never return. I don't remember my first love. It wasn’t first love after all. Love conquers all. Love does not conquer all, hell no! I had foreseen the catastrophe from the very beginning, but I couldn’t prevent it, and in fact the catastrophe struck much too early for me to even be able to recognize it. Not the plague, I don’t mean the plague. The plague was conquered by Bishop Carlo in Milano. Bishop Carlo knew just how to conquer the plague. He stripped to his skin, put on a cloak of sackcloth and marched bare-headed and barefoot with a big wooden cross on his shoulders from the gate of the Duomo to the Basilica of San Ambroggio, famous for having an ancient Roman sarcophagus beneath the pulpit. At the head of the procession there were naked monks flogging themselves.Their bodies were trailed by altar-boys. The crowd of little black and white angels of\death followed with the censer, then Bishop Carlo, and finally, at a safe distance, the great multitude, the whole of Milano. Marching, silence, the slapping of whips on naked backs. Bishops Carlo’s mud-stained feet bleeding profusely. Real blood. Real silence. When he arrived, the anguished bishop climbed up into the pulpit of the Basilica of San Ambroggio and said the plague dwells insidiously in your hearts, it emanates from there. But I will chase the plague out of your hearts and contain it in this sarcophagus so it can never get out. That was how Bishop Carlo conquered the plague. A naked bishop: a comforting spectacle. For me, at least, it's as good a proof as any for the existence of God.”

"I remember exactly the day I first heard about Cseh Tamás. I was a pupil. Ever since, I have considered him a key part of my personal development. During my master's studies, I gathered the courage to play his songs. That’s how 'Zbor adânc' (Deep Dive) came out. One guitar, one microphone, one singer – in one place, for an hour." - Jancsó Előd"Come on, Zsuzsika, I think I could sing at your theater, it would be a great show. There's the stage, above there's carnival decorations, below a restaurant table and a chair. I’ll sit on that chair and look around, and I could do anything. […] The audience will feel that I’m starting to sing in a special vocal range, and meanwhile, the country, hush-hush-hush, would be rising. I won’t start singing, of course, but the tension will keep growing and we’ll all fly together. 'Zbor adânc' (Deep Dive). That would be the title." - Csengey Dénes – Cseh Tamás: "Zbor adânc" (Deep Dive).

The fairy with the yellow hair and one brunette haired fairy heal forgotten memories, memories that fade over time, remnants of past events, so that they can be cared for and sent back to their owners. The fairies' loneliness intertwines with the love between them, and the grayness of suffering and pain is colored by the playfulness and daydreaming of the two, who dream of playing the harp, flying free, and being happy. Is it possible that their shared dream comes true? The stage adaptation of Angi Máté’s novel, a story about friendship, fairy tales, rigor, and unity, reflects themes that concern young people: the passing of carefree childhood years, changing attitudes toward parents, and the promise of independence, but also the burden of responsibility that comes with adulthood. The creators of the performance mainly invite children aged 8-12 to engage in an interactive game and collective reflection. Through this show, the 'Csiky Gergely' Hungarian State Theatre strengthens its theatre education program.

In a time of oppression and war, a governor's wife flees the rebels, leaving her child behind, while a servant risks her life to save and raise the boy. After the rebellion is crushed, and justice is served, the mother reclaims her son. To whom does he belong? Can there be dignity and kindness in a world that is falling apart? Brecht's work unfolds in an exciting and provoking story that highlights the complexity of the human soul, the moral dilemmas that arise and the incompatibility between human nature and social norms. A performance about dignity, kindness and love.

Who wouldn’t want to be rich, to earn lots of money with little effort, to wear beautiful clothes, and live in a bigger house? That’s all Jankó ever wanted, so he grabbed his walking stick and set off into the world. And because this was a world of fairy tales, he gained much more than he expected. In addition to riches, he also found the love of a real fairy. Is this the end? Is this the conclusion of the story? No, it is not over—it’s just the beginning. What comes easily goes quickly—and the fairy leaves. Only now does Jankó realize that all the wealth, beautiful clothes, and the big house are worthless without someone to share. So, he takes his walking stick and sets off once again. He no longer cares about treasures or richness, only if that beautiful fairy could be with him one more time. He would even fight the devil himself for her. (And he will.)

"I remember exactly the day I first heard about Cseh Tamás. I was a pupil. Ever since, I have considered him a key part of my personal development. During my master's studies, I gathered the courage to play his songs. That’s how 'Zbor adânc' (Deep Dive) came out. One guitar, one microphone, one singer – in one place, for an hour." - Jancsó Előd"Come on, Zsuzsika, I think I could sing at your theater, it would be a great show. There's the stage, above there's carnival decorations, below a restaurant table and a chair. I’ll sit on that chair and look around, and I could do anything. […] The audience will feel that I’m starting to sing in a special vocal range, and meanwhile, the country, hush-hush-hush, would be rising. I won’t start singing, of course, but the tension will keep growing and we’ll all fly together. 'Zbor adânc' (Deep Dive). That would be the title." - Csengey Dénes – Cseh Tamás: "Zbor adânc" (Deep Dive).

Who wouldn’t want to be rich, to earn lots of money with little effort, to wear beautiful clothes, and live in a bigger house? That’s all Jankó ever wanted, so he grabbed his walking stick and set off into the world. And because this was a world of fairy tales, he gained much more than he expected. In addition to riches, he also found the love of a real fairy. Is this the end? Is this the conclusion of the story? No, it is not over—it’s just the beginning. What comes easily goes quickly—and the fairy leaves. Only now does Jankó realize that all the wealth, beautiful clothes, and the big house are worthless without someone to share. So, he takes his walking stick and sets off once again. He no longer cares about treasures or richness, only if that beautiful fairy could be with him one more time. He would even fight the devil himself for her. (And he will.)

Who wouldn’t want to be rich, to earn lots of money with little effort, to wear beautiful clothes, and live in a bigger house? That’s all Jankó ever wanted, so he grabbed his walking stick and set off into the world. And because this was a world of fairy tales, he gained much more than he expected. In addition to riches, he also found the love of a real fairy. Is this the end? Is this the conclusion of the story? No, it is not over—it’s just the beginning. What comes easily goes quickly—and the fairy leaves. Only now does Jankó realize that all the wealth, beautiful clothes, and the big house are worthless without someone to share. So, he takes his walking stick and sets off once again. He no longer cares about treasures or richness, only if that beautiful fairy could be with him one more time. He would even fight the devil himself for her. (And he will.)

There is an old question: what would the poet with the burning soul do were he alive? He would leave his homeland. He would turn to dust. He would stand on the stairs and recite: Rise up, Hungarians! He would run in politics. He would fail, as usual. He would win the József Attila Prize. He would have the same trouble with publishing, obviously. He would be too much like this, too much like that. Petőfi would be too much.On the occasion of the 200th anniversary of the birth of Petőfi Sándor, the Timișoara Hungarian Theatre in cooperation with the Odorheiu Secuiesc Tomcsa Sándor Theatre are paying tribute with a coproduction about the most famous figure of Hungarian literature.

Once upon a time there was a small village in the heart of Africa. There lived a mother and her three sons. They were very poor. But they had something: mother's beautiful hair, ebony-black, long as to reach one end of the village and the other. Her hair saved them from all their mishaps: when they were hungry, they could use it to fish, when they were bored, they would use it to jump rope, when it rained, they would hide under it. But one day, the boys grew up and left home in order to make a living... Will mother's hair keep protecting them?Our performance talks about selfless love and looks for the answers to the question: what is the right way to love? Badu Mamma should learn how to love her children without smothering them, while the three boys need to know that leaving your home is not forgetting – and sometimes we must dare to ask for mother's help.A nonverbal performance for ages above 5.