What does God have to do with the theatre? Do we ourselves stand a chance of meeting Him, in such a place? Theatre comes up with a simple answer to such questions: The God issue is linked with elementary human responses to eschatological experiences, including death itself.
Theatre transforms the World into an imaginary station, where paths briefly intersect. The characters left their footprints which are devoted to open up in our mind a space for self-mockery and put the present-day image into past frame, a perspective of verdicts. This process involves considerable doses of confusion, expertise and charm. Drawing on the resources of shadow, a mixture of imitative allusions and recreation, the performance can add biographical and political data relevant to the author and his times.

I must say that unusual performances are in store for romanian theatre, with a lot of signs of growth, of a development that follows rules that have not been found yet. This is an installation for thinking with a long tradition of being an exhibition where listening to a new experience, acting to provide peace and quiet are just some unending moments to oneself, a breathing space in our urban soul. There's a coming to our true life.
The focus of interest is on the way people interact with each other, which can be view like a human right.

In the romanian theatre, transformation is a freer from becoming different. It comes in different shapes and sizes; it may be smaller, or bigger; sometimes it takes place at an ambling place, it is more associative, more playful. It is playing field on which those who initiate transformation, the actors and their guests, try out different games designed to effect change. It is a comforting thought that we do not know all the things that have changed already. Presumably in some places there will have been more changes than we have been aware of, in other fewer. It is reasonable to assume that much more will change than we can imagine. Real change far surpasses our power of imagination.

Change happens not only at the level of the individual but at a collective level as well. As an individual one is caught up in these larger dimensions. When places change their faces, unusual perspectives become possible and new perceptions are offered. What is interesting about collective changes is the fact that there is no one who is capable of controlling them completely. Ambivalent, unstable and sometimes awkward moments are part of the process of transformation. Anyone can initiate something and set a transformation process in motion. Subsequently it is up to each member of the society what use they make of the impulse and how they keep it alive.
Even if we refuse to acquiesce in the transformation produced by theatre, something is transformed inside us, a large number of counter measures, from nip and tuck to life-prolonging interventions.
"Everything changes, nothing dies"