class="">Ion Caramitru: “I dreamed of playing Prospero”

Ion Caramitru plays three parts in the current National Theatre Festival edition: a double administrative one (as president of the Theatre Union of Romania, UNITER, and as manager of the “I.L.Caragiale” National Theatre /two of the NTF Producers), an artistic one (Prospero in “The Tempest”, by William Shakespeare) and a laic one (theatre viewer, tired and in a hurry because of the two other roles in his portfolio). And, because he’s a seasoned actor, he juggles with all three, while telling the story of the NTF’s history.

An interview by Adina Scorţescu

The History of the NTF didn’t have a linear trajectory. What were, in short, its ups and downs?

In 1990, a natural agreement was decided upon by the Ministry of Culture, the Capital’s City Hall and UNITER, that together they would organise this ambitious event. The funds come from the two public institutions and from the sponsors. It is one of the reasons why the festival is different each year.

In some years, the sponsors were more plentiful and more generous, in other…almost non-existent. There have been two-three good years (during Miss Marina Constantinescu’s first mandate as festival manager), when we could invite theatre companies from abroad, in order to achieve the natural balance between the Romanian productions and the foreign ones. The festival also evolved in the way it’s organised.

If, up to a point, there were committees, juries, we ended up- quite naturally, following the example of the great festivals of the world- at the most employed method, of having a single Selection Manager.

A method nevertheless controversial, since, every year, the show selection stirs up compelling discussions.

I think it’s the most helpful method, because it allows for much easier organisation behind a person who takes credit for both the good and the bad, so to speak: both the subjectivity and the obligation to make a selection that would encompass every one of theatre’s compartments , and there’s plenty of them. Of course there have been all sorts of critiques, but they didn’t hold up. The method remains, in my opinion, the best one there is. Look at every great festival / at Avignon, Edinburgh, Belgrad .

This autumn you’ll be able to see the most interesting of last year’s theatrical productions in Bucharest. I can’t wait to see the shows of the young directors. 

I am very glad that Marina Constantinescu accepted a second mandate in such difficult times. And I also think that the festival has been very well structured. We have pretty much every quality theatrical orientation in Romania so as to concentrate the best production of last year in Bucharest.

Anything new?

The fact that the Festival will surpass its former borders slightly (Bucharest) and go to different halls, as is the case in Craiova, or at the Baneasa Shopping Mall. It seems to me to be both interesting and beneficial. Additionally, in the past 2-3 years- the guests exceeded half an audience. Now there will be two showing of the same performance, in bigger halls.

Is there a model-festival towards which you wish the NTF would aim?

Edinburgh- the festival which I’ve been part of twice ,with great success. It’s also the festival which I’ve been able to open, through UNITER, to Romanian shows.

Which are the most touching shows you can think of, from throughout the past editions of the festival?

Purcărete’s shows (“Ubu Rex”, “Titus Andronicus”) have always stirred up a certain feeling within me and- most times- very special aesthetic surprises. He continues Liviu Ciulei’s obsession , that of a theatre that surpasses realism ,going into magic and at the same time going back to an immediate reality.

Shakespearian roles

You will take part in the NTF with “The Tempest”, directed by Alexander Morfov, in which you play the part of Prospero. In the past years, you’ve had 3 Shakespearian roles- was it by accident?

Yes, it was by chance. “Edward II” was Tocilescu’s call, after we decided we’d work together on another play (I don’t name the plays I didn’t get to act in, of fear I never will).

It was a very rich show, with a completely remarkable stage design, by Dragoș Buhagiar, which held up the billboard for many years. Then came maestro Radu Penciulescu, who wanted to create a workshop for “Macbeth” and asked for me, when Alexander Morfov was asked for a second time to stage at the National Theatre, after he made an exceptional show of “The Visit of the Old Lady”, and he proposed “The Tempest”, the Elizabethan version, and asked that I play Prospero.

It’s weird that Prospero was a part I always wanted to play, but never said it.

Photo: Simion Buia