"The Invisible Theatre is an impossible title, since theatre is a place for seeing”, said András Visky at the opening of Nelson Fitch’s photo exhibition yesterday evening in the mezzanine of the Hungarian Theatre of Cluj. He added that, nevertheless, the impossible title is justifiable, because the photos show a part of the theatre which is invisible for the audience: the setting up and the dismantling of the sets of the performances.
"The audience never meets the main characters in the photos: they are called technicians in the theatre, but I call them angels – there’s no theatre without them”, said András Visky. He added that it's worthwhile following their work through the eye of a photographer who notices the same things a spectator would notice in this process.
The scenes in the photos might seem absurd or choreographed to an outsider, but their importance arises from the fact that they represent pure theatre just as the performances do. “The photos record astonishing theatrical moments”, observed András Visky. Nelson Fitch captured the set up and tear down of the sets of four performances: Ubu the King (d. Alain Timar), Celebration (d. Robert Woodruff), Leonce and Lena (d. Gábor Tompa) and Uncle Vanya (d. Andrei Șerban).
Nelson Fitch came to Cluj to participate in the activities of the People’s School of Contemporary Art. “He approached the subject with an observant, reserved, but at the same time, gentle attitude”, commented András Visky, according to whom the exhibition teaches us to consider theatre as a whole, every aspect of it having the same significance. “Sometimes we forget that we depend on each other – but this dependency is one aspect of freedom”, he said.