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.

The reunification of the two Koreas is a dramatic kaleidoscope: people are as different as scattered colorful shards that will never form a whole, yet, in a strange way, they complement each other. The performance captures the fragility of human relationships, fleeting moments of intimacy, and the constant sense of estrangement through images filled with absurd humor. There are no universal truths or definitive solutions in human destinies. Just as the mosaic of a kaleidoscope is infinite, Pommerat's characters never find eternal peace. The performance unveils both despair and hope, reminding us that although our relationships are sometimes merely shining fragments, they remain the most important pieces of our lives.

"In Birds by Aristophanes, two men who are exhausted from living in endless wartime, decide to build Cloud-cuckoo-land, the first utopia in art history. 2500 years later, we are still living in an endless war, which only changes its shape and territory, we are tired, defeated and dreaming of a personal utopias. What is next? Is it still possible to create a world where everyone is equal, where there is no war, no fighting? If so, why can't we make it happen?” (Kokan Mladenović)

Little Red Riding Hood set off through the forest to visit her grandmother. By herself? Not quite. A wolf soon joined her. A real one? Very real. And what happened? Well, you know the story. How about Grandma? Her too... But the hunter, didn’t he…? He arrived, and everything ended well. And this is what’s being performed here? Absolutely! But Isn’t that a bit too scary? It’s a show where you can laugh at what frightens you! How brilliant! And what exactly is operetta? It is like Opera but for little ones. It’s called that because the story is told through song. Wow! And… Pssst! It’s starting!

Little Red Riding Hood set off through the forest to visit her grandmother. By herself? Not quite. A wolf soon joined her. A real one? Very real. And what happened? Well, you know the story. How about Grandma? Her too... But the hunter, didn’t he…? He arrived, and everything ended well. And this is what’s being performed here? Absolutely! But Isn’t that a bit too scary? It’s a show where you can laugh at what frightens you! How brilliant! And what exactly is operetta? It is like Opera but for little ones. It’s called that because the story is told through song. Wow! And… Pssst! It’s starting!

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.)

Under the direction of Attila Balázs, Mónika Tar skillfully evokes one of the most distinctive and culturally significant genres in Hungarian literature with great flair and naturalness.Whether interpreting the various versions of folk ballads that have been handed down to us, such as "Júlia szépleány" or "Kőmíves Kelemenné" or the literary ballads of Arany János, like the widely quoted "Hídavatás" or "Ágnes asszony," Tar Mónika's performance stands out.The concept of "balladic obscurity," and the genre features typical of ballads are not merely revisited but are placed in new interpretative frameworks during the performance. Simultaneously, the music composed by Balázs Márk and the animation created by Bálint Hunor construct a complex system of symbols around the figure of the performer. The performance re-creates the universe of the ballad at the level of the performed text but also by musicality and visuality.

Under the direction of Attila Balázs, Mónika Tar skillfully evokes one of the most distinctive and culturally significant genres in Hungarian literature with great flair and naturalness.Whether interpreting the various versions of folk ballads that have been handed down to us, such as "Júlia szépleány" or "Kőmíves Kelemenné" or the literary ballads of Arany János, like the widely quoted "Hídavatás" or "Ágnes asszony," Tar Mónika's performance stands out.The concept of "balladic obscurity," and the genre features typical of ballads are not merely revisited but are placed in new interpretative frameworks during the performance. Simultaneously, the music composed by Balázs Márk and the animation created by Bálint Hunor construct a complex system of symbols around the figure of the performer. The performance re-creates the universe of the ballad at the level of the performed text but also by musicality and visuality.

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.

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.

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.

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.

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.)

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.)

A man lying in the sand. Washed up by the waves. There’s no knowing where he came from, where he is heading, what he wants or what he is fleeing from. Somewhere, in a distant land, he used to be king. The Prince of Tyre. But now he is only a man who has nothing but a story. This is Pericles’ story. But not only his.

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.

A grocery store turns into a daily battlefield for its employees: promotions roll out endlessly to keep up with the supermarkets, and from the manager to the shelf stockers, everyone struggles to keep up appearances. While the goods rot, morale crumbles, and the store becomes a survival camp teetering on the edge of absurdity.The business is undoubtedly on the brink of bankruptcy, but can human dignity still be saved? Or is it on sale too? Dead Season. A biting social satire and a human tragedy—two for the price of one, now on special offer.