cast:
Nora: Tompa Klára
Torvald: Bányai Kelemen Barna
Rank: Korpos András
Kristine: Lőrinczi Máthé Rozália
Krogstadt: Vass Csaba e.h.
stage design: Karina Staicova
costumes: László Ildikó
video: Réman Orsolya e.h.
tango: Luca Kinga
subtitles: Tamás István
lights: Szász Endre
sound: Korpos András
props: Németh Attila
dresser: Barabás Edit
hair and make-up: Kelemen Anna
stage hands: Latco Csongor, Nagy László, Szőcs Sándor
dressmaker: Vita Mária; Szabó: Tamás Ferenc
assistant to the director: Nagy Júlia e.h.
director: Patkó Éva

“Don’t you love me?
I love you.
Let’s immerse then.
I don’t want to.
But you have told me you love me.
I love you.
Then come…”

The Academic Workshop, run by the University of Theatrical Arts in Targu Mures and experimenting with different approaches to theatre and theatrical languages, staged Henrik Ibsen’s well-known play this time. A Doll’s House targets everyone who has ever tried to understand human relationships. During the rehearsal period, the creators were in search of the essence of relationships, marriages, friendships. How to form them? Why do they work? Why don’t they work? This play, revived after two years, is the co-operation of university teachers and their students.

“Tamás Ascher has praised the attempt of the creators to renew the theatrical language, and appreciated that the performance doesn’t follow the usual way of acting typical of Ibsen’s plays but breaks with the traditions. He has also emphasised that Éva Patkó’s direction fights against the drama: the characters smile a lot, their relationships are filled with playfulness. (…) He has pointed out Nora’s (Klára Tompa) and Mrs. Linde’s (Rozália Lőrinczi Máthé) first scene when the two friends are moisturizing their legs. That moment doesn’t only highlight the difference between their social classes but also chisels their different attitudes to their bodies.”
(A Doll’s House in Kisvárda - Népújság)

“Éva Patkó’s stage adaptation does not only make this performance different with its unique ending. The fourth wall lets the audience have an insight into the crisis of the marriage, but there is also a camera that has an important role in revealing some secrets.”
(Réka Hegyi: Two workshops – Hamlet.ro)

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