Theatre production – Nora, based on the text by Henrik Ibsen (RO)
🔴 Free reservation: https://bit.ly/4t9wubI
📍 Venue: Radu Stanca Hall, Faculty of Letters (31 Horea St.)
Nora, based on Henrik Ibsen’s A Doll’s House, is a condensed reinterpretation of the original text, in which classical themes of dependency and power are brought into dialogue with contemporary realities. In the context of the increasing number of femicides in Romania (as well as globally), the subject becomes even more urgent. Built as a two-person show, the performance transforms the story into a highly concentrated and intense version focused directly on the Nora–Torvald dynamic. Nora (played by Andrada Coleșa) is placed in direct conflict with all the male characters in the play, constructing her full psychological arc through these shifting dynamics, revealing latent tensions and power relations that are difficult to name, yet impossible to ignore. Cristian Uță performs, through a polyphonic approach, the three key male characters: Torvald, Krogstad, and Rank. Figures of patriarchy, hypocrisy, and masculine power are reconfigured through distinct masks, yet they ultimately represent variations of the same essence. The show functions as a fragmented dialogue (interwoven with monologues and brief interactions with the audience), following the psychological trajectory of a woman who steps out of her role as a “doll,” assuming the risk of irreversible rupture.
Cast: Andrada Coleșa Cristian Uță. Direction and scenographic concept: Andrada Coleșa, Cristian Uță. Scenography assistant: Cătălin Mocan. Choreography: Hunor Varga. Light design: Mara Sermășan. Sound design: Duncan Mckee. Technical assistance: Cristina Kubaș.
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❓ Who is ARC Theatre Company?
👉 Class of 2022–2026, Acting Programme, Romanian Line
At the beginning of our journey, our professors gave us the book Zen in the Art of Archery by Eugen Herrigel and suggested that we call ourselves ARC Theatre Company. Actors are very similar to archers, and our art has much in common with the art of archery.
What explains the enduring fascination, unchanged for decades, of the experiences described in Eugen Herrigel’s book, lived along the “Way of the Bow” (Kyudo in Japanese)? It lies in the fact that the art of archery is not limited to merely trying to hit the target. When, after many years of striving for perfection, the archer finally forgets all conscious effort, so that the release of the arrow becomes perfect and occurs spontaneously, “like snow sliding from a bamboo leaf,” then one has discovered the secret of the “artless art” of archery, of Zen thinking, and even of life itself.
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