The Planet, Europe, Romania, the family, the couple, the individual. Normally, if we refer to the evolution of civilization, their order would be reversed. However, the individual becomes invisible in contemporary society, hence the play-on-words featured in the title, as well as the different planes presented throughout the entire production. Leta Popescu (the director) did not overlap them, choosing to clearly separate them, both in terms of spatial delimitation and the stage language used. The means remained the same, some of them remaining even in the same position; the permutation of the other elements on stage (please note that this includes the actor's body as the most important stage element) facilitates sliding from one level of in/evolution to the next. 
As a whole, the performance is a continuous demythisation and deconstruction of prejudices and stereotypes, but also a fine irony concerning the sources of inter-ethnic conflict specific to the region (as in Cluj, not necessarily Transylvania).

Nona Rapotan: Polemica modernităţii sau polifonia egoului[The Polemics of Modernity or the Polyphony of the Ego], bookhub.ro, February 6, 2019

Leta Popescu’s performance does not try to be activist or political in nature, or to take sides, however, what it does is capture reality with the detailed attention of a keen observer. Another scene that operates, however, on an emotional level is the one dedicated to the Couple. By isolating it from the rest of the scenes in terms of form and acting – with the two standing in front of one another, in silence, while a giant stone pushes her into his arms – the brief moment’s intensity is enhanced by the music... With (In)visible, Leta Popescu brings a contemporary search onto the stage, a search paired with a fresh text and an interesting theatrical language. A gamble which the Hungarian Theatre of Cluj decidedly won.

Ioana Gonţea: Drumul de la vizibil la inzivibil[The Road from Visible to Invisible], scena.ro, February 14, 2019