17/05/2026
𝗔𝗣𝗘𝗟 𝗣𝗘𝗡𝗧𝗥𝗨 𝗜𝗡𝗧𝗘𝗥𝗡𝗦𝗛𝗜𝗣 //
𝗡𝗬𝗜́𝗟𝗧 𝗙𝗘𝗟𝗛𝗜́𝗩𝗔́𝗦 //
𝗢𝗣𝗘𝗡 𝗖𝗔𝗟𝗟 𝗙𝗢𝗥 𝗜𝗡𝗧𝗘𝗥𝗡𝗦 //
Fă cunoștință cu artiștii, artistele și producțiile pe care le pregătim. Alătură-te uneia dintre echipele de producție!
________
Ismerkedjetek meg a művészekkel és produkcióikkal. Csatlakozz te is az egyik produkció csapatához!
________
Get to know the artists and the productions we are preparing. Join one of our production teams!
🔗Toate detaliile la link-urile din comentarii.
🔗Minden részlet a kommentekben található linkeken.
🔗All details in the links in the comments.
>
Julien Daillère is a writer, actor, and director, associated with the theatre company La TraverScène. After fifteen years working in France on shows designed for traditional distribution channels, and after obtaining a doctorate in theatre studies from the University of Arts in Târgu-Mureș, Romania, he turned to hybrid theatrical forms in 2018.
Conceived for non-dedicated spaces, but also adapted for equipped venues, his “cooperative solos” address powerful subjects with humor and tenderness. Throughout the performance, the audience takes control of certain stage effects (lighting, soundscapes, activation of devices, speaking). During the 2020 lockdowns, he worked with telephone audio (teleperformance, voice servers, etc.). In 2022, he launched the 𝘈𝘷𝘰𝘪𝘳 𝘓𝘪𝘦𝘶 research program with La Marge Heureuse, exploring alternative forms of live performance compatible with COVID-19 (in-person/remote). Most recently, after three years of regular artistic residencies in nursing homes, he created the show 𝘝𝘰𝘺𝘢𝘨𝘦 𝘦𝘯 𝘵𝘦𝘳𝘳𝘦 𝘥𝘦 𝘷𝘪𝘦𝘪𝘭𝘭𝘦𝘴𝘴𝘦 (𝘑𝘰𝘶𝘳𝘯𝘦𝘺 𝘵𝘰 𝘵𝘩𝘦 𝘓𝘢𝘯𝘥 𝘰𝘧 𝘖𝘭𝘥 𝘈𝘨𝘦) in 2025.
He is also working with healthcare professionals on a method for simulating neurodegenerative disorders to facilitate communication between caregivers and their affected loved ones. His work is presented in both small, alternative venues and institutional venues such as Malraux scène nationale or Scène nationale Carré Colonnes. As a performer, he dances for the Komusin company, directed by choreographer Eun Young Lee. Alongside visual artist Maria Langraf, he is also co-artistic curator of the LBO Art Centre, located in a nursing home near Chambéry.
𝘁𝗵𝗼𝘂𝗴𝗵𝘁𝘀 𝘁𝗼 𝗯𝗲𝗴𝗶𝗻 𝘄𝗶𝘁𝗵:
I want to develop a performance about the way our thoughts, values, decisions and political choices are constructed. How do societies shape consent, fear, doubt or trust? How are collective narratives produced, and how do they influence individual behavior and opinions?
This project will be developed through a collaboration with Romanian artists, creating a dialogue between Romania and France. By confronting two different historical and cultural contexts, I want to explore what makes a society more vulnerable — or more resistant — to ideological, conspiratorial or manipulative narratives.
A central focus of the research will be the influence of foreign powers on public opinion through social media, digital platforms and the internet. How do narratives circulate across borders? Why do certain discourses take root in one country and fail in another? What cultural, historical or psychological mechanisms make populations more receptive to specific beliefs?
This project builds on a previous performance I created in Romania, partly based on the myth of Miorița. Some interpretations describe this foundational Romanian tale as embodying passivity and resignation: the acceptance of violence and fate without resistance. What interested me was not whether this interpretation was “true,” but how such narratives can shape the image a people has of itself. I then reinterpreted the story by imagining that Miorița was manipulating the shepherd, convincing him that the two other shepherds wanted to kill him. The shepherd, however, understood the manipulation but pretended to believe her in order to avoid conflict and prevent violence. Acceptance then became not a weakness, but a conscious strategy to preserve peace.
At Tranzit House, I want to continue this reflection by asking: if ambiguity, restraint or strategic silence can function at an individual level, what happens at the scale of a collective? How can a group defend itself against mass manipulation? Is it still possible to build collective critical thinking when societies are fragmented into isolated informational spaces?
The performance will combine documentary research, mythology, testimonies and stage experimentation to investigate contemporary mechanisms of persuasion and influence. Rather than offering clear answers, the project aims to create a space where multiple questions coexist: Does culture protect us or condition us? Can distrust be a democratic strength, or does it become another vulnerability? How do we distinguish resistance from ideological isolation? And how can we collectively respond to systems of influence that now move invisibly through networks, screens and stories?
_________________________
Between 2026 and 2027, as part of the TRANZIȚII project, we will work on five new performances created by Urvi Vora, Ludomir Franczak, Sergiu Matiș, Julien Daillière and Alenka Marinič. Throughout the process, the productions may bring in additional guest artists and collaborators, who will be announced as the project develops.
__________________________________________________
__________________________________________________
Proiect co-finanțat de AFCN - Administrația Fondului Cultural Național. Proiectul nu reprezintă în mod necesar poziţia Administrației Fondului Cultural Național. AFCN nu este responsabilă de conținutul proiectului sau de modul în care rezultatele proiectului pot fi folosite. Acestea sunt în întregime responsabilitatea beneficiarului finanțării.
___________________________________
A projekt társfinanszírozója a Nemzeti Kulturális Alap Igazgatósága (AFCN). A projekt nem feltétlenül tükrözi az AFCN álláspontját, az AFCN semmilyen formában nem felelős a projekt tartalmáért, vagy azért a módért, ahogy a projekt eredményei hasznosulhatnak. Mindezek teljes mértékben a támogatás kedvezményezettjének felelősségét képezik.
___________________________________
Project co-financed by AFCN – Administration of the National Cultural Fund. The project does not necessarily represent the position of the Administration of the National Cultural Fund. AFCN is not responsible for the content of the project or for how the results of the project may be used. These are entirely the responsibility of the funding beneficiary
