Method

Critics often call the play “The Gronholm Method” a detective story. In a classic detective story, we search for the perpetrator of a crime. In “The Method,” there is no crime in the legal sense. But the viewer still has to become the investigator. And the victim here is not a physical body, but a human personality.

According to director Sergiu Chiriac, the play is a code. And it must be deciphered through the characters’ actions and reactions. We see successful, ambitious managers in expensive suits—four candidates for a top management position at a large company. But instead of a standard interview, they are offered a game. They are sent tasks in envelopes—sometimes absurd, sometimes cruel. And one after another, “evidence” of their true fears appears before us. And each new task becomes an attempt not to lose oneself.

The director separates the world of the characters from the world of the audience with a glass window. This technique transforms the theater into a laboratory where we can witness in detail the fear, the lust for power, bullying, and the characters’ sudden, almost Chekhovian sincerity in moments of despair.

Jordi Galceran: “I wanted to create a mechanism where the viewer doesn’t know who the hunter and who the victim is until the very end. That’s what a detective story is—not about finding the killer, but about finding the truth in a world where lying has become a professional requirement.”