33 performances – 33 pages from the recent history of the Hungarian State Theatre of Cluj

Nona Rapotan masters the technique called captatio benevolentiae and practices it naturally and discreetly. There is no trace of didacticism in her comments, a clear approach without being simplistic, punctuated by personal observations, subjective points of view that make us feel we are sharing the seat in the performance hall with her. The critic substitutes herself for the readers’ eyes and ears, opens up personal paths of reflection, guides them discreetly, in a serious tone, without being serious in reading the signs of the stage. Nona Rapotan writes as she appears: bright, discreet, feminine, open to dialogue. (Oana Cristea Grigorescu)