There is a unique type of acting on the surface (I have never before seen anything of its kind on the stage of the Hungarian Theatre of Cluj), the presence of simplicity, of that everyday type of feeling (“downplayed”, as the literature calls it), of naturalness and "a bit" of realism, free of the theatrical, which gives way for little emotional expression or embellishment. As if it was real life itself. Of course, that is not the case, since the VR glasses represent the first method of estrangement, being a sort of an aesthetic perspective upon the mundane.
The actors speak this acting language exceptionally well; I have found Miklós Bács especially surprising in the role of the doctor and father, never seeing anything remotely resembling such a portrayal in his entire career. Ferenc Sinkó, Anikó Pethő, Enikő Györgyjakab, Csaba Marosán, Éva Imre and the rarely seen Tekla Tordai – are all great. Their coexistence is implicit, effortless. Sometimes they give the impression of improvisation, although there is no way to achieve that if the film and the stage have to constantly be synchronized. It's so lifelike that one cannot possibly get tired of it.
The VR glasses bring this world very close to the audience, without changing the fixed theatrical focus (that is, they are no close-ups, no cuts, only long shots), yet it is as if we were looking through a microscope and closely studying a fantastically alive, active anthill living an intense life. Because that was what was literally happening before our very own eyes.
Andrea Tompa: A hangyák életéből/On the World of Ants, Színház.net, May 4, 2018
Date of the opening: february 17, 2018
A disintegrated, confused family, lacking the presence of a mother, where each person struggles with their own prejudices and is right in their own way. It is a miniature image of the world we live in, of our blindness, and inevitable ignorance, due to the way we perceive things differently and in a deformed way, may we be ordinary people, or philosophers. We go through life wearing invisible goggles, blinkers or colored glasses, we only see what we want and it becomes convenient for us to only notice what we have learnt to see. We are turning around and around, in a circle, repetitively, and live parallel realities in our minds. Might we perchance have the opportunity to rise above? Perhaps unconditional love is the missing piece, as perhaps the lack of the mother is also very present within this family.