Current Repertory


by Marijke Schermer


by Marijke Schermer

Translation: Liliana Alexandrescu
Vlad Massaci
Andu Dumitrescu
Vlad Massaci, Andu Dumitrescu
Lighting design:
Andu Dumitrescu
Andu Dumitrescu
Technical Director:
Laurențiu Andronescu, Cristian Paraschivescu

Premiere: 18.02.2016

Last performance: 10.11.2019

Duration: 2 h / Pause: No


40 lei

20 lei (reducere pentru elevi, studenți și pensionari)

Fifteen years ago, Dora was left in a cruel manner by the man whom she had thought to be her great love. Ever since, she has retired to a deserted place, with an endless grey sky above her head and surrounded by a boundless clay marsh. Everyone who love her, husband, daughter, sister, have wilfully followed her to this melancholy exile, considering that half a Dora means more than no Dora at all. A life story, which everyone considers to be finished. Until the mourned lover decides to come back. Out of curiosity, boredom or maybe the desire to reconquer the abandoned woman. The story which seemed permanently closed needs an epilogue, a gravestone over a past which Dora must now decide whether to part with or not.

„Clay” („Klei”, 2002) is the best known text of Dutch author Marijke Schermer (born 1975 in Amsterdam), who has written over 10 plays and two novels. In 2009, Marijke Schermer was distinguished with the „Charlotte Kohler” Literature Award.

„We all, who consider love a major vector in our lives, feel the urge to mythicize the absoluteness of a relationship. And the moments of ultimate happiness, the shorter they are, the more they dilate the unhappy ones.” Irina Movilă on Clay


Translated by Simona Nichiteanu 


Photo by Florin Ghioca

Dora: Irina Movilă                      Vink: Mircea Rusu
Nele: Natalia Călin                      Titus: Claudiu Istodor
Imme: Cristina Constantinescu                     

"Irina Movilă, in the role of Dora, is impeccable, passing from one state to another, from crying to spasmodic laughter and from fury to depression, against the constant background of the latter, with the artlessness of any person in her shoes, assuming that there is such a thing, in life beyond the stage.

Unlike her and as a kind of background of her nervous states and her outbursts which could infuriate even a saint, Claudiu Istodor delivers an impressive Titus, of great simplicity and sensitivity, as one can rarely see.

Director Vlad Massaci has succeeded in creating the gloomy waiting atmosphere, since the very beginning of the show, well leading his line until the tragic ending – which I cannot disclose, because it is worthwhile seeing and discovering for yourselves".

Nicolae Prelipceanu, Teatrul azi Magazine, 5-6/2016 – Animated Clay

"The show by Vlad Massaci from the National Theatre of Bucharest (...) defines itself through the relaxed and accurate approach, through the agile dynamics of disclosures, through the unsophisticated humanity of the heroes’ presentation. The director reads the play in the key of a psychological realism of cinematographic style, using the intimacy of the Black Box Hall for the direct communication and the "spontaneous" expressiveness. The heroes express themselves, tell their story, explain their attitude, intentions, motivations, looking close into the eyes of the spectators, adjusting their performance and mimics according to this direct contact. Their suffering, disappointments, impulses and irritations have the fine tuning of daily life".

Doina Modola, Teatrul azi Magazine, 5-6/2016 - The Time of Breaking the Spell

"one of the shows I have left enchanted to have been one of the lucky "witnesses" to the trial named "Clay".

For some, the ending may be unexpected, but it inscribes in the unusual logic of the soul-sick, where the return of the former passion, now mourned, also destroys the syndrome of suffering, defending them against murder.

...A psychological show, performed in an absolutely fascinating manner by the actors of the National Theatre".

Mircea M. Ionescu, Talks - Vlad Massaci or the Refinement of Scenic Psychology 

"Exceptional characters in an exceptional context, emblematic gestures executed by strong personalities with a poignant symbolic content, heroes living their lives on the edge and causing fabulous and unpredictable endings.

Clay is a creation opening doors in the mind of the spectator, it has suspense and it touches, challenging the audience to a type of identification which does not exclude reflection and does not cancel the pleasure of the reception of an artistic act – indisputable – interesting”.

Răzvana Niță, - Life – The Time Passing By

“Clay”, through the analysis of the characters’ psychology, remains a play specific for the northern European world, but through the team of producers of the representation in Romania, it gains emotional force. It becomes an accomplished and challenging exercise of thought about intimacy".

Ileana Lucaciu, Spectator – A New Proof that We Have Gifted Actors 


Translated by Simona Nichiteanu

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