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The slaughter game

by Eugène Ionesco

Translation: Marcel Aderca

Direction, musical illustration and stage movement: Beatrice Rancea

Set Design: Vanessa Beca

Assistant Directors: Ioana Andone, Karyna Florița, Lucian Vlăsceanu

Set Design assistant: Adelina Galiceanu

Mime-gesture language consultancy: Filomela Salahoru

Cast:: Adrian Andone, Monica Ardeleanu, Gabriela Baciu, Claudiu Bleonț, Ștefan Cepoi, Anca Dinu, Corina Druc, Dragoș Măceșanu, Nicolae Poghirc, Marian Politic, Nicolae Vicol, Cătălin Vieru, Andreea Boldeanu, Mihaela Dobre, Irina Danciu, Alexandru Geicu, Simona Gricleanu, Elena Raluca Ianichi, Roxana Mutu

The cast also includes: Ioana Andone, Andreea Boldeanu, Mihaela Dobre, Karyna Florița, Alexandru Geicu, Simona Grîcleanu, Elena Raluca Ianichi, Roxana Mutu

With the extraordinary participation of Mircea Dinescu

Figure: Nicușor Alin Stan, Nicolae Guran, Nicolae Nărămzoiu, Mihai Nicolae Dumitrașcu

Duration of the show: 110 min. without break

Premiere date: 2021, October 29, 31

Show recommended for people over 16

Beatrice Rancea is an internationally renowned, acclaimed and multi-award winning artist in her career to date. A graduate of the National University of Theatre and Cinema "I. L. Caragiale" Bucharest, Faculty of Theatre (Choreography Department, 1991) and Theatre Direction Department (1996). She was ballet soloist of the Bucharest National Opera (1980-1992), General Director of the National Theatre of Constanta (2005-2007), Director of the National Opera of Iasi (2010-2011), General Manager-Director of the Romanian National Opera Iasi (2010-2016, December 2017-August 2021).
În perioada 1992-2020 a realizat regia a peste 30 de spectacole în teatre și opere din România. A creat spectacole prezentate la festivalurile internaționale de la Zsámbék – Budapesta (Ungaria), Festivalul Internațional de Teatru Gyula, Ungaria, Long Theatre Columbia, South Carolina, Statele Unite ale Americii.

"This fall I have the joy of playing in a premiere on the stage of the "Marin Sorescu" National Theater in Craiova. All that is said in "The Slaughter Game" are the ideas, thoughts, feelings of today's world in the face of the pandemic, in the face of death. From the obsession with health, to the absurdity of the situation of being closed but safe, from the pain of losing a child, girlfriend or boyfriend, to the discourse that desperately seeks a political solution to the situation, from the desperation of hunger generated by the pandemic, to the vain security given by wealth, from medical fanaticism seeking solutions in the face of death, to capitulation to the mystery and mystery of the moment. No matter how simple or complex the human mind is, living is something that slips through our fingers!”

(Claudiu Bleonț)

"In the show we find all our reactions and those of those around us, visible for a year and a half. When Marian Politic accelerates the barricade indications in the face of the plague, we have so much déjà vu, as we recognize ourselves without much enthusiasm in the reluctance of citizens to make contact, suspecting, of course, the other. Marian Politic's character, imposing the mantra "I am impenetrable", illustrates how, at the very moment of maximum delusion, of a self-sufficiency that no one detects, chance strikes.

Marius Dobrin, „Are we impenetrable? Reply!”SpectActor nr. 3/2021

"Beatrice Rancea relies on a structure of the serious game amplified by the opera bufa, follows the dramatic structure specific to the Ionesian theater, the gradation of situations, states, an acceleration of the movement, of the mechanisms, a sequence of episodes in which the tension accumulates, the discomfort insinuates itself and disappears , dissolves into the comic. (…) Limit situations and typical characters overlap at an alert pace. Episode three, the case of a hypochondriac expresses exactly the frenzy that the citizens are in, the obsession with disinfection is summed up by the line "tight walls, impenetrable heart", and Marian Politic in the role of the "great hypochondriac" is also neurotic and misanthropic and terrified in interaction with his servants , the scene is played at an accelerated pace and the effects are maximum. (…) Beatrice Rancea practices in Jocul de a măcelul an intervention direction, abandons some episodes, introduces a surprise element, the speech on television, through which Mircea Dinescu - the figure of authority announces an unknown illness that " it spread in our town". (Daniela Firescu, Dance macabre-Ionesco's farce, Ramuri magazine, no. 12/2021)

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