THE EQUINOX THEATRE…

 

…IS A PLACE. The Studio Hall was the main court room of the former Palace of Justice, a neoclassical building, functional between 1932 and 1934, which became the Palace of Culture in 1953. The Equinox Theatre started the rehearsals in this hall in 1980, and transformed it in 1990,  by its own means, into a theatre hall of the studio type. With its good acoustics and special intimacy, the Hall hosted lots of theatre and dance performances, concerts, recitals, lectures, conferences, movie projections – belonging to the Equinox Theatre, as well as to other artistic groups and companies from the country or abroad.

 

…IS AN ART GROUP. For more than two decades of existence, our theatre gave to a few thousands of young artists the opportunity to express. Themselves today, our theatre means a few generations of actors, dancers, directors, fine artists, musicians, people who planned ambitious creation programmes. But the domain they all refer to is theatre, and the two big projects around which the idea of Equinox came to light („The Theatre of Poetry” and „The Romanian Mythology Theatre”), individualised it on the background of the Romanian culture. Also, the way of its expression led the recognition of the Equinox Theatre as an European theatre, and this is confirmed by the words of the  men of culture in the country or abroad, who found here a place of encounter and of coming to terms with themselves.

 

        …IS ANOTHER KIND OF THEATRE. More dynamic, more visual, younger. A theatre wich has confidence in the future of the theatre, and which respects the art of the past. A theatre which approached the great Romanian and universal repertory (Shakespeare, Cehov, Caragiale, Eminescu, Hugo, Michel de Ghelderode, Gênet, William Stevenson, Dario Fo, Garcia Lorca etc.) but also brought to the scene light the last decades of the XXth century literature (Nichita Stănescu, Richard Bach, Dumitru Solomon, Edward Bond, Theodor Mazilu, Lelia Munteanu etc.). It is a theatre which lives passionately in its time, but which studies and re-creates for the scene the great myths of its people. It’s a theatre which loves its public unconditionally. It is a theatre which doesn’t want to prove anything on the contrary, it just wants to be something: a continuous present.