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4FAUST  &  the brainwashing machines

theatre & dance performance

 The Paintbrush Factory,   2011-2012

Some years before making 4FAUST, after many months spent in front of the computer screen, I finally took a long walk in nature. That walk gave me one of the strangest feelings – that the hills and the sky around were not reality, but huge images projected on the gigantic screens of an immersive digital exhibition. Touching a tree was like touching the hologram of an illusion. I was practically cut up /alienated from it all, not being able to interact, to get in touch with nature.

4FAUST started from this reductive suspension of reality to the visual dimension of a simulacrum, from this loss and dilution of the perceived world, caused by our constant visual immersion into our screens. It was a postdramatic and polyphonic political performance about selling our freedom and sense of reality for the temptation of some beautifully packed illusory promises. A journey into the world of commercial brainwashing, where humanity is ecstatically perorating about the pleasure of watching the screen while eating chips and Big Mac, about the preference for the virtual individuals instead of the real ones,  about monsters escaped from cartoons feeding themselves with human brain and data taken from neuromarketing, about the supreme fulfillment of drinking Coca-Cola and praying to God in the same time.

Technically, the idea of this performative installation was  to put at the disposal of anyone entering the stage a precise vocabulary – made of a  limited number of expression (gestures, intentions and sentences) –, that can be performed in an aleatoric order, partly at their will.  The process was similar to a vocal-gestural jeu du cadavre esquis surrealist or to the cut-ups of Brion Gysin and Beat Generation, where from bits and pieces an unthought about fresh perspective emerges. In contemporay music, a similar performative structure embracing this technique  is that of limited alleatorism of Witold Lutoslawsky.







Directed by | Adriana Chiruta

Cast | Agota Szekely, Timea Kovács, Cristina Secăreanu,

Csongor Köllő, Balázs Bodolai

Composer | Ovidiu Iloc

Visual Artist | Mihai Pataki

Set design | Adriana Chiruță, Árpád Debreczeni

Scenario and textual collage | Adriana & Felician Chiruta

Production manager | Corina Bucea


performer – spectator playfield

The Paintbrush Factory,   2011-2013

FEED(me)BACK was a minimalistic performance composed of a series of games  focused exclusively on the multiple facets of the encounter performer/spectator. It started from the fact that the actual presence of two human beings, along with their imagination and playfulness, behind the social media and behind the production, sell or consumption of goods and services, it`s an experience that we start to forget.

In the everyday rush in which we tend to constantly reduce ourselves to tasks and jobs and projects and labels, just living and breathing together in the same space for some instances, while contemplating each other, is such a rare experience that it can already be called a state of art.


Directed by | Adriana Chiruță

Cast | Andreea Gabor, Raluca Uzunov,

Marosán Csaba

Scenario, costumes, set design: Adriana Chiruță

Photo & Video: Daniel Robu

Graphic Design: Răzvan Anton

Manager: Simina Corlat

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