The Father


Performance made in cooperation with

Unesco Department – International Theatre Institute

The Father

by August Strindberg

Translation by Valeriu Munteanu



start stop bwd fwd

The Father                  Virgil Ogăşanu

Laura                          Valeria Ogăşanu

The Minister               Petre Lupu

The Doctor                 Radu Amzulescu

Bertha                         Anamaria Marinca / Monica Târnăcop

The Nurse                   Doru Ana

The Grandmother       Domniţa Mărculescu-Constantiniu

Ema                            Ruxandra Medeleanu

The Musician              Ionuţ Constantin

Ama                            Iolanda Covaci

Ghosts                         Adrian Nour, Cătălin Babliuc, Alin Mihalache, Simona Ghiţă, Ioana Barbu, Oana Dicu

Directed by:               Cătălina Buzoianu

Scenography:              Salomé Letras (Portugal)

Music:                         Mircea Florian

Choreography:                       Mălina Andrei


Photos by Cosmin Ardeleanu

High-resolution photos can be found at

Date of first performance:     24th of October, 2004


I think that the text could not have received a better interpreter than Virgil Ogăşanu who really offers an extraordinary performance. (...) ”The Father” is a play of attitude in a scenography (signed by the Portuguese Salome Letras) which marks the distinct style of the stage director. The silent play of the shadows on stage and of the eight white phantoms, plus a black one through the hall, (...) creates ”cum laudae” the convulsive universe full of violence, frustrations, complexes, delirium and madness of the playwright, to whom the Swedish people offered, by public subscription, an Anti-Nobel Prize in the year of his death, 1912. A century has passed since that moment, but the relationships between Man and Woman seem to have remained unchanged...

Mircea M. Ionescu (Gardianul, 15.11.2004)

(...) What Cătălina Buzoianu does with this text (...) is pure magic. We have a code that it is not decipherable until the final reply, a bizarre atmosphere, characters at the brink of the real world and on the thinnest edge of the grotesque and a masterful construction of the play. The directress moves through the house of Strindberg as if she would have designed it. ”The Father” is sending, with the help of an extremely inspired scenography, a glowing pressure typical for the Japanese theatre, an environment in whom you become an accomplice of those on stage. The replies have the striking of the guillotine, and the characters are almost translucent like the dancers frozen in a rusted boîte-a-musique. Why must this performance be seen? Because it is not just the fruit of an inspiration, but because it is a well-crafted performance, assembled from pieces and tiny little fragments. It is pure, true, without artificial means or cheap jewelry. At this moment of the season, it is unique in Bucharest. For it has something from the flavor of the Bulandra Theatre in its finest days.

Răzvana Niţă (, 25.10.2004)

It is without doubt a true theatrical exegesis which shapes a frontier universe by the realism of the interpretation where each shade means a multitude of connotations. We underline the contribution of Mircea Florian (the music) and of Mădălina Andrei (stage movement). Before retreating into the backstage, the phantoms sing a hymn of futility. Will they return, equally menacing, in another performance – that of the real life? Maybe, in the logic of the mirror game invoked here, “that is the question”...

Valentin Dumitrescu (Dilema, 04-10.01.2005)