• by Molière
  • Translation: Horia Suru
  • Directed by: Horia Suru
  • Set Design: Raluca Alexandrescu
  • Music by: Cezar Antal
  • Lighting Design: Cristian Niculescu
  • Video Design: Cristian Pascariu
Premiera: 07 March 2020
Duration: 1h, no intermission

Orgon’s family is divided, after he falls under the spell of the mysterious Tartuffe, a religious fanatic who claims to be God's chosen.
In the era of fake news and post-truth, the classic Molière becomes more current than ever, attacking, with much humor, recklessness, blind faith and imposture. Director Horia Suru mathematically constructs the effects of an uninspired decision and demonstrates, using the mechanisms of the comic, how stupidity, gullibility and lack of responsibility lead to the destruction of lives.
This character from a play written 356 years ago, Tartuffe, the embodiment, the symbol of hypocrisy, is the vehicle through which Horia Suru wants to convey to the public a message so valid nowadays:
"TARTUFFE lives among us. We find him on television, in the public space, in politics, health, infrastructure, education, religion. It is easier to watch from a distance. To judge not being involved.
TARTUFFE is present in the life of each of us. Within the family, among friends, at "work" or in the small circles of daily routine. It's harder to look objective in our bubble. And even harder it is to act; it’s easier to look away.
TARTUFFE is in us. Visible or perhaps hidden in a dark corner, waiting to take advantage of any weakness, the imposter is always there. It's the hardest to look at us. To stay naked in front of the mirror, looking at ourselves with honesty. 
Our performance does not aim to expose Tartuffe or to point fingers and to punish him. This is entirely up to you."



Horia Suru nu e la prima montare cu un text aparținând acestei epoci, după cum nu cred că va fi nici ultima încercare de acest fel. În ciuda deficultăților inerente impuse de adaptarea unui text cum este Tartuffe – adaptarea a făcut-o el însuși, după o traducere (excelentă, cum altfel) realizată de Doru Mareș – regizorul reușește să inducă notele de prospețime și firesc, atât de necesare unui spectacol (foarte) bun. Dacă la spectacolul de la Teatrul Excelsior, după textul lui Rabelais (despre care am scris aici) a optat pentru nonverbal în totalitate, combinația de expresii și tehnici teatrale fiind unică și cu personalitate, la Tartuffe a preferat o montare aproape clasică, în sensul că a păstrat cadrul/rama, dar în interiorul acesteia Molière a devenit pe nesimțite contemporanul nostru. (Nona Rapotan - „Despre impostură într-o formă comprimată - Tartuffe la Teatrul de Stat Constanța”)

Nona Rapotan / Bookhub