fnt.ro<\/a><\/h6><\/div><\/div>\n\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t\n\t\t\t\t\t\t![\"\"](\"https:\/\/fnt.ro\/2020\/wp-content\/uploads\/2020\/11\/Juriu.jpg\")
\n<\/div><\/div>\n\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t\n\t\t\t\t\t\t\n<\/div><\/div><\/div>The 2020 of the NTF is like no other before. It\u2019s different, just like we are different now.<\/h2>\n<\/div><\/div>\n\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div><\/div><\/div>\n\t\t\t\t\t\n\t\t\t\t\t\t5 November 2020<\/span>, \u00a0NTF press releases<\/a>, News<\/a><\/span><\/p>\n<\/div><\/div>\n\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t\n\t\t\t\t\t\tOur ways of living, our ways of looking and looking at, our ways of moving and thinking, our joys and sorrows are different<\/em>. In less than one year, the relationship with the other, the relationship with ourselves, the relationship with what is adown and above the human being- all have turned different. In the midst of these endless transformations, art, the way of creating and perceiving the artistic act cannot be anything but\u2026 different<\/em>.<\/p>\nIn the spring of this year, when we agreed to be part of the board of the current edition, we were optimistic and believed that NTF 2020 will be the same as always. With a Bucharest bathing in the sun or the rains of the end of October, with that unmistakable commotion of the theatrical celebration, with foyers in which people found each other again, hugged each other and experienced the joy of being together again, with venues overfilled with energies, emotions and… normality. NTF 30 was meant to be part of a vast program, an enthusiastic and, at the same time, honest \u201crevisiting\u201d of the past of the National Theater Festival, meant to bring in nostalgia, but also possible answers to the question: what were we and where are we now in Romanian theater?<\/p>\n
In summer 2020, we were still enthusiastic. In parallel with the Best of<\/em> selection, we chose the productions of the first part of the 2019-2020 season. We still believed that the virtual program will run along the real one, that the online space will be nothing more than an apostrophe applied to the real space. At the end of august, the month in which Chekhov’s orchards are sold, a shakespearean refrain became more and more audible and in September we knew it, we knew that “the time is out of joint”, and wanting to remain the same has become an impossibility. The festival could be nothing but different<\/em>, online, that is\u2026<\/p>\nWe decided to build a concept based almost exclusively on revisiting the history of the NTF in the last three decades. A new wave of optimism stormed us, because such a theatrical archeology seemed noble and useful to us. Not<\/em> forget<\/em>ting<\/em>, <\/em>preserving memory,<\/em> here’s something worth doing in times of the pandemic, we thought! But soon we understood that building a video- NTF was more complicated than it seemed. Especially in Romania, where filming theatre productions- otherwise than with a mobile phone, or by the goodwill of an “acquaintance- owning-a-camera” has not become a common practice yet. The tens, maybe hundreds of hours we spent searching in video archives gradually led us to selection criteria we had normally despised, like the technical quality of recording.<\/p>\nThe selection proces had to consider aesthetic and technical constraints, artistic high points and accuracy of the recording, persistence in memory and material \u00a0persistence. A diverse range of contradictory feelings came up along this furious search for our theatrical video-past: the astonishment to find how there is nothing more that unusable debris remaining of, oh, how many flagship productions, the fear that our theatrical identity in recent decades is, alas!, so fragile, but also the limitless joy of discovering a saved performance, the enthusiasm of getting on new tracks (productions filmed by Romanian Television, or preserved in theatre archives!), the agony and the extasy of a game of life and death of the art…<\/p>\n
Finally, we had to face one last challenge: “the online broadcasting rights”. The Romanian theatrical patrimony, we found on this occasion, does not belong to everyone, but only to some, who can choose to show it to us or keep it to themselves. Can anyone imagine the great art of the world being removed from the public space and\u00a0 locked away in private hides?!<\/p>\n
The current edition of the NTF involuntarily mirrors another line from Hamlet<\/em>: “with one eye merry and the other crying”; laughing and crying masks\u2026 This ancient dual principle of theater representation is no longer just a form of coexistence of comedic and tragic, but of hope and anxiety, bloom and gloom of all kinds. Restlessness<\/em> and Memory<\/em> are the polarities that define the NTF 2020. Their substance is to be found in the obligatory meditations on present and future, in the A<\/em>esthetics of the <\/em>P<\/em>andemic<\/em>, in dialogues, conferences and exhibitions.<\/p>\nThe great friend of the NTF, Professor George Banu, disguised either as ever-present, ever-inspired, Puck, or as old Firs, bringing wisdom in times of crisis, accompanied us all along this journey. The team of UNITER, with its catalysing energy, was the support that turned our efforts into reality. The national television and radio stations (TVR and Radiodifuziunea Rom\u00e2n\u0103) \u00a0stood by us, with passion and faith in the arts.<\/p>\n
We thank them all!<\/p>\n
Ludmila PATLANJOGLU<\/strong><\/p>\nMaria Z\u0102RNESCU<\/strong><\/p>\nC\u0103lin CIOBOTARI<\/strong><\/p>\nFNT 30 \/ FNT ALTFEL<\/em><\/strong><\/span><\/h3>\n(online on www.fnt.ro<\/a>, www.tnb.ro<\/a>, www.tnrs.ro<\/a>,\u00a0tvr3.tvr.ro<\/a>)<\/strong><\/p>\nNATIONAL THEATER FESTIVAL<\/strong><\/p>\n30th edition, November 22-29, 2020<\/strong><\/p>\nMemoryNTF<\/span><\/strong><\/h3>\nLES DANAIDES<\/strong>, after Aeschylus, dramatised and directed by Silviu Purc\u0103rete, set and costumes design by \u0218tefania Cenean and Liliana Cenean, co-production \u201eMarin Sorescu\u201d National Theatre Craiova, Holland Festival, Wiener Festwochen, Festival d`Avignon, Grande Halle de la Villette, TVR. Associated co-producer TOFAN Foundation for Theatre and Film.<\/p>\nTHE TEMPEST<\/strong>, after William Shakespeare, translated by Radu Nichita and Nina Cassian, directed by Alexander Morfov, set design by Nikola Toromanov, costume design by Andrada Chiriac, National Theatre Bucharest<\/p>\nHAMLET<\/strong>, by William Shakespeare, translated, adapted and directed by Vlad Mugur, set design by Helmut St\u00fcrmer, costume design by Lia Man\u0163oc, masks by Ilona J\u00e1ro Varga, co-production National Theatre Cluj-Napoca and TVR<\/p>\nA STORMY NIGHT <\/strong>by I.L. Caragiale, directed by Mihai M\u0103niu\u021biu, set design by arh. Octavian Neculai, costume design by Janine Fashion Design, co-production Odeon Theatre, SMART and PRO TV<\/p>\nRETRO BIRD HITS THE APPARTMENT BLOCK AND FALLS ON THE HOT ASPHALT<\/strong>, translated by S\u00e1ndor L\u00e1szl\u00f3, written and directed by Radu Afrim, set design by Irina Moscu, National Theatre T\u00e2rgu Mure\u0219 \u2013\u201eTompa Mikl\u00f3s\u201d Company<\/p>\nTHE WINTER\u2019S TALE <\/strong>by William Shakespeare, directed by Alexander Hausvater, set design by Lucian Lichiardopol, costume design by Stela Verebceanu, National Theatre \u201eMihai Eminescu\u201d Timi\u0219oara<\/p>\nTHREE SISTERS <\/strong>by Anton Pavlovich Chekhov, translated into Hungarian by Kosztol\u00e1nyi Dezs\u0151, directed by G\u00e1bor Tompa, set design by Andrei Both, costume design by Carmencita Brojboiu, Hungarian Theatre of Cluj<\/p>\nUNCLE VANYA<\/strong> by Anton Pavlovich Chekhov, translated by Moni Ghelerter and Radu Teculescu, directed by Yuri Kordonsky, set design by Elena Dmitrakova, co-production Bulandra Theatre Bucharest and Casa de Produc\u021bie TVR<\/p>\nUNCLE VANYA <\/strong>by Anton Pavlovich Chekhov, translated into Hungarian by Zsuzs\u00e1nna Koros-Fekete, based on the English translation by Paul Schmidt, translated into Romanian by Andrei \u015eerban and Kinga Kov\u00e1cs, directed by Andrei \u0218erban, set design by Carmencita Brojboiu, Hungarian Theatre of Cluj<\/p>\nYVONNE, PRINCESS OF BURGUNDY<\/strong> by Witold Gombrowicz, translated into Hungarian by Andr\u00e1s P\u00e1lyi, directed by L\u00e1szlo Bocs\u00e1rdi, set design by J\u00f3szef Bartha, costume design by Judit Dobre K\u00f3thay, co-production \u201eTam\u00e1si \u00c1ron\u201d Theatre, Sf\u00e2ntu-Gheorghe and TVR<\/p>\nRestlessnessNTF<\/strong><\/span><\/h3>\nSPRING AWAKENING<\/strong> by Frank Wedekind, translated by Victor Scorade\u021b, directed designed by Vlad Cristache, music and lyrics by Daniel Rocca, Mic Theatre Bucharest<\/p>\nA DOLL\u2019S HOUSE<\/strong> by Henrik Ibsen, based on the Hungarian translation by L\u00e1szl\u00f3 K\u00fanos, adapted for the stage by \u00c1gnes Kali and Botond Nagy, directed by Botond Nagy, stage space created by Carmencita Brojboiu and Andr\u00e1s Rancz, costume design by Carmencita Brojboiu, Hungarian Theatre of Cluj<\/p>\nWEST EXPRESS<\/strong> by Matei Vi\u0219niec, translated and adapted by \u00c1gota Bereczki, directed by Zakari\u00e1s Zal\u00e1n, set design by Andra B\u0103dulescu Vi\u0219niec, \u201eSzigligeti\u201d Theatre, Oradea \u2013\u00a0 \u201eSzigligeti\u201d Company<\/p>\nTELL US ABOUT RELIGION, TEACH\u2019! <\/strong>by Mihaela Michailov, set design, music, stage direction by Bobi Pricop, co-production \u201eMarin Sorescu\u201d National Theatre, Craiova and TVR<\/p>\nEXIT THE KING <\/strong>by Eug\u00e8ne Ionesco, translated by Vlad Russo and Vlad Zografi, directed by Andrei and Andreea Grosu, set design by Vladimir Turturica, National Theatre Bucharest<\/p>\nZIC ZAC<\/strong>, a performance by Andrea Gavriliu, leaning on \u0218tefan Lupu, set design by Andreea S\u0103ndulescu<\/p>\nThe art of the great ACTOR<\/strong><\/span><\/h3>\nTHE ACTOR<\/strong>, after Mircea Dinescu, with Mihai M\u0103laimare and Mircea Tiberian<\/strong>, written and directed by Mihai M\u0103laimare, co-production Masca Theatre, Bucharest and TVR<\/p>\nAMALIA TAKES A DEEP BREATH <\/strong>by Alina Nelega, with Anca Hanu<\/strong>, a performance by Tudor Lucanu, National Theatre Cluj-Napoca<\/p>\nOLD CLOWN WANTED <\/strong>by Matei Vi\u0219niec, with Mircea Andreescu, Costache Babii and Virginia Itta Marcu<\/strong>, directed by Claudiu Goga, co-production \u201eSic\u0103 Alexandrescu\u201d Theatre, Bra\u015fov and TVR<\/p>\nDIALOGUES AND PHANTASIES IN JAZZ<\/strong>, after Nichita St\u0103nescu, Dan Verona, Miron Radu Paraschivescu, Lucian Avramescu, Petre Stoica and Ana Blandiana, with Ion Caramitru and Johnny R\u0103ducanu<\/strong>, a performance by Ion Caramitru, co-production UNITER and TVR<\/p>\nSLICES<\/strong>, written and directed by Lia Bugnar, with Ofelia Popii<\/strong>, \u201eRadu Stanca\u201d National Theatre Sibiu<\/p>\nFREAK SHOW THE MOVIE<\/strong>, a film inspired din by the theatre performance FREAK SHOW<\/em>, by and with Florin Piersic<\/strong> Jr.<\/strong>, produced by SpiderFilm<\/p>\nDIARY OF A MADMAN <\/strong>by N.V. Gogol, with Marius Manole and Alexander B\u0103l\u0103nescu<\/strong>, stage version and directed by Felix Alexa, ARCUB \u2013Cultural Centre of the Bucharest Municipality<\/p>\nAT YOUR COMMAND, F\u00dcHRER!<\/strong> by Brigitte Schwaiger, with Maia Morgenstern<\/strong>, directed by Mihai M\u0103niu\u021biu, State Jewish Theate, Bucharest<\/p>\nNEPHEW<\/strong> by Adrian Lustig, with Tamara Buciuceanu-Botez <\/strong>and \u0218erban Pavlu<\/strong>, directed by Hora\u021biu M\u0103l\u0103ele, co-production \u201eTeatru Contemporan\u201d Foundation, Comedy Theatre, Bucharest and TVR<\/p>\nWELL… WHAT ARE WE TALKING ABOUT?<\/strong> by C\u0103t\u0103lin \u0218tef\u0103nescu, after the novel \u201eMorome\u021bii\u201d by Marin Preda, dramatised by C\u0103t\u0103lin \u0218tef\u0103nescu, with Marcel Iure\u0219 <\/strong>and George Mih\u0103i\u021b\u0103<\/strong>, a performance by Alexandru Dabija, ACT Theatre Bucharest<\/p>\nTHE QUEEN MOTHER <\/strong>by Manlio Santanelli, with Olga Tudorache <\/strong>and Marius Bodochi<\/strong>, adapted and directed by Gelu Colceag, co-production \u201cI.L. Caragiale\u201d National Theatre, Bucharest and TVR<\/p>\nLE SOUPER<\/strong> by Jean Claude Brisville, with Radu Beligan <\/strong>and Ion Lucian<\/strong>, directed by Florentina Enache, co-production Odeon Theatre Bucharest and TVR<\/p>\nTOUJOURS L`AMOUR<\/strong>, with Carmen Ungureanu<\/strong> and Dan Puric<\/strong>, a performance by Dan Puric, co-production \u201ePasse Partout Dan Puric\u201d Theatre Company and TVR<\/p>\nLAST NIGHT IN MADRID<\/strong>, adapted after \u201ePicasso\u2019s Women. Jacqueline\u201d by Brian McAvera, with Ala Men\u0219icov<\/strong>, directed and music selection by Vitalie Drucec, National Theatre \u201eEug\u00e8ne Ionesco\u201d, Kishinev<\/p>\nTHE HUMAN VOICE <\/strong>by Jean Cocteau, translated by Manase Radnev, with Valeria Seciu<\/strong>, adapted for television and directed by C\u0103t\u0103lina Buzoianu, produced by TVR<\/p>\nPremiere within NTF<\/strong><\/span><\/h3>\nCALIGULA<\/strong> by Albert Camus, translated by Alice Georgescu, adapted for televison by Diana Dumitru, Ovidiu Guzu and Silviu Jicman, directed by Silviu Jicman, set design by Bristena de Satmaari, music by Gabriel Basarabescu, a performance of Casa de Produc\u021bie TVR<\/p>\nThe hidden performance<\/strong><\/span><\/h3>\nCONFESSIONS ABOUT ANTIGONA \u2013 Alexandru Tocilescu<\/strong>, a documentary by Corina Magdalena Tudose<\/p>\nTHE ROAD OF THE TRILOGY\u2013 Andrei \u0218erban<\/strong>, directed by and photographed by Alexandru Doru Sp\u0103taru, produced by TVR<\/p>\nFAUST, THE PATH OF THE MOMENT\u2013<\/strong> Silviu Purc\u0103rete<\/strong>, written and directed by Lauren\u021biu Damian, produced by Editura Video (Minsitry of Culture)<\/p>\nTHE HISTORY OF A PERFORMANCE\u2013 Gigi C\u0103ciuleanu<\/strong>, directed by Andrei M\u0103g\u0103lie, produced by TVR<\/p>\nTHE MAGIC OF THEATRE AND FILM \u2013 Alexa Visarion<\/strong>, a film by Liliana Chi\u021bescu, produced by TVR<\/p>\nA CERTAIN STATE OF MIND\u2013 Alexandru Darie<\/strong>, a film by Alexandra Grigorescu-Ares, produced by TVR<\/p>\nA HAPPENING WITH JAZZ \u2013 Miriam R\u0103ducanu<\/strong>, a film- essay by Mircea Albu\u021biu<\/p>\nTHE MAGICIAN KING\u2013 \u0218tefan Iordache, <\/strong>a film by Ludmila Patlanjoglu<\/p>\nTHE DREAM\u2013 PORTRAIT LIVIU CIULEI<\/strong>, written by Lucia Hossu Longin, Nicolae Ni\u021b\u0103, directed by Lucia Hossu Longin, produced by TVR<\/p>\nInvited performances<\/strong><\/span><\/h3>\nELECTRA<\/strong> by Sophocles, translated and directed by Antoine Vitez, set and costume design by Yanis Kokkos, film directed by Hugo Santiago after the performance produced by Th\u00e9\u00e2tre National de Chaillot, video produced by INA \u00e9ditions<\/p>\nTHE CHERRY ORCHARD <\/strong>by Anton Pavlovich Chekhov, translated by Luigi Lunari and Giorgio Strehler, directed by Giorgio Strehler, set and costume design by Luciano Damiani, produced by Piccolo Teatro Milano, video recording produced by RAI<\/p>\n\u201eWords, words, words…\u201d<\/strong><\/span><\/h3>\nColloquium: \u201eFNT30.\u201d<\/strong>. Moderators Maria Z\u0103rnescu and C\u0103lin Ciobotari<\/p>\nGeorge Banu and his guests:<\/strong> Ion Caramitru<\/strong><\/p>\nGeorge Banu and his guests: Mihai M\u0103niu\u021biu<\/strong><\/p>\nGeorge Banu and his guests<\/strong>: G\u00e1bor Tompa<\/strong><\/p>\nGeorge Banu and his guests<\/strong>: Felix Alexa<\/strong><\/p>\nGeorge Banu and his guests<\/strong>: Alexandra Badea<\/strong><\/p>\nRadu Afrim in dialogue with C\u0103lin Ciobotari<\/strong><\/p>\nMatei Vi\u0219niec in dialogue with C\u0103lin Ciobotari<\/strong><\/p>\nGeorge Banu in dialogue with C\u0103lin Ciobotari<\/strong><\/p>\nThe Aesthetics of the Pandemic<\/strong><\/span><\/h3>\nColloquium: \u201eTheatre at the Limit. The Aesthetics of the Pandemic\u201d<\/strong>. Moderators Ludmila Patlanjoglu and C\u0103lin Ciobotari<\/p>\nLIVE <\/strong>by Thomas Perle, set design and stage direction by Bobi Pricop, original music Eduard Gabia, German Department of the \u201eRadu Stanca\u201d National Theatre, Sibiu<\/p>\nDEATH KNOCKS<\/strong>, performed reading LIVE, 360\u00b0, with Maia Morgenstern and Mircea Rusu, after a text by Woody Allen, a concept by Florin Ghioca, a project of the \u201cI.L. Caragiale\u201d National Theatre, Bucharest<\/p>\nPOOL (NO WATER)<\/strong> by Mark Ravenhill, a project by Radu Nica, Andu Dumitrescu and Vlaicu Golcea, Hungarian Theatre of Cluj<\/p>\nZOOM BIRTHDAY PARTY<\/strong> by Saviana St\u0103nescu, directed by Beth Milles, a production of Cherry Artspace (USA)<\/p>\nNEAR(LY) FAR<\/strong>\u2013 virtual photo exhibition.\u00a0 Author Florin Ghioca<\/p>\nFNT ON AIR <\/strong><\/span><\/h3>\n(Radio Rom\u00e2nia Cultural & Radio Rom\u00e2nia Actualit\u0103\u021bi)<\/strong>\u00a0<\/strong><\/span><\/p>\nPortrait CRISTIAN MUNTEANU \u2013 director and dramatist<\/strong><\/p>\nDOCTOR IN SPITE OF HIMSELF<\/strong> by Moli\u00e8re<\/p>\nTHUNDER ON SYCAMORE STREET <\/strong>by Reginald Rose<\/p>\nTHE GARDENS OF MURCIA<\/strong> by Josep Feliu i Codina<\/p>\nTHE OVERCOAT <\/strong>by N.V. Gogol<\/p>\n
\n<\/div>The 2020 of the NTF is like no other before. It\u2019s different, just like we are different now.<\/h2>\n<\/div><\/div>\n\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div><\/div><\/div>\n\t\t\t\t\t\n\t\t\t\t\t\t5 November 2020<\/span>, \u00a0NTF press releases<\/a>, News<\/a><\/span><\/p>\n<\/div><\/div>\n\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t\n\t\t\t\t\t\tOur ways of living, our ways of looking and looking at, our ways of moving and thinking, our joys and sorrows are different<\/em>. In less than one year, the relationship with the other, the relationship with ourselves, the relationship with what is adown and above the human being- all have turned different. In the midst of these endless transformations, art, the way of creating and perceiving the artistic act cannot be anything but\u2026 different<\/em>.<\/p>\nIn the spring of this year, when we agreed to be part of the board of the current edition, we were optimistic and believed that NTF 2020 will be the same as always. With a Bucharest bathing in the sun or the rains of the end of October, with that unmistakable commotion of the theatrical celebration, with foyers in which people found each other again, hugged each other and experienced the joy of being together again, with venues overfilled with energies, emotions and… normality. NTF 30 was meant to be part of a vast program, an enthusiastic and, at the same time, honest \u201crevisiting\u201d of the past of the National Theater Festival, meant to bring in nostalgia, but also possible answers to the question: what were we and where are we now in Romanian theater?<\/p>\n
In summer 2020, we were still enthusiastic. In parallel with the Best of<\/em> selection, we chose the productions of the first part of the 2019-2020 season. We still believed that the virtual program will run along the real one, that the online space will be nothing more than an apostrophe applied to the real space. At the end of august, the month in which Chekhov’s orchards are sold, a shakespearean refrain became more and more audible and in September we knew it, we knew that “the time is out of joint”, and wanting to remain the same has become an impossibility. The festival could be nothing but different<\/em>, online, that is\u2026<\/p>\nWe decided to build a concept based almost exclusively on revisiting the history of the NTF in the last three decades. A new wave of optimism stormed us, because such a theatrical archeology seemed noble and useful to us. Not<\/em> forget<\/em>ting<\/em>, <\/em>preserving memory,<\/em> here’s something worth doing in times of the pandemic, we thought! But soon we understood that building a video- NTF was more complicated than it seemed. Especially in Romania, where filming theatre productions- otherwise than with a mobile phone, or by the goodwill of an “acquaintance- owning-a-camera” has not become a common practice yet. The tens, maybe hundreds of hours we spent searching in video archives gradually led us to selection criteria we had normally despised, like the technical quality of recording.<\/p>\nThe selection proces had to consider aesthetic and technical constraints, artistic high points and accuracy of the recording, persistence in memory and material \u00a0persistence. A diverse range of contradictory feelings came up along this furious search for our theatrical video-past: the astonishment to find how there is nothing more that unusable debris remaining of, oh, how many flagship productions, the fear that our theatrical identity in recent decades is, alas!, so fragile, but also the limitless joy of discovering a saved performance, the enthusiasm of getting on new tracks (productions filmed by Romanian Television, or preserved in theatre archives!), the agony and the extasy of a game of life and death of the art…<\/p>\n
Finally, we had to face one last challenge: “the online broadcasting rights”. The Romanian theatrical patrimony, we found on this occasion, does not belong to everyone, but only to some, who can choose to show it to us or keep it to themselves. Can anyone imagine the great art of the world being removed from the public space and\u00a0 locked away in private hides?!<\/p>\n
The current edition of the NTF involuntarily mirrors another line from Hamlet<\/em>: “with one eye merry and the other crying”; laughing and crying masks\u2026 This ancient dual principle of theater representation is no longer just a form of coexistence of comedic and tragic, but of hope and anxiety, bloom and gloom of all kinds. Restlessness<\/em> and Memory<\/em> are the polarities that define the NTF 2020. Their substance is to be found in the obligatory meditations on present and future, in the A<\/em>esthetics of the <\/em>P<\/em>andemic<\/em>, in dialogues, conferences and exhibitions.<\/p>\nThe great friend of the NTF, Professor George Banu, disguised either as ever-present, ever-inspired, Puck, or as old Firs, bringing wisdom in times of crisis, accompanied us all along this journey. The team of UNITER, with its catalysing energy, was the support that turned our efforts into reality. The national television and radio stations (TVR and Radiodifuziunea Rom\u00e2n\u0103) \u00a0stood by us, with passion and faith in the arts.<\/p>\n
We thank them all!<\/p>\n
Ludmila PATLANJOGLU<\/strong><\/p>\nMaria Z\u0102RNESCU<\/strong><\/p>\nC\u0103lin CIOBOTARI<\/strong><\/p>\nFNT 30 \/ FNT ALTFEL<\/em><\/strong><\/span><\/h3>\n(online on www.fnt.ro<\/a>, www.tnb.ro<\/a>, www.tnrs.ro<\/a>,\u00a0tvr3.tvr.ro<\/a>)<\/strong><\/p>\nNATIONAL THEATER FESTIVAL<\/strong><\/p>\n30th edition, November 22-29, 2020<\/strong><\/p>\nMemoryNTF<\/span><\/strong><\/h3>\nLES DANAIDES<\/strong>, after Aeschylus, dramatised and directed by Silviu Purc\u0103rete, set and costumes design by \u0218tefania Cenean and Liliana Cenean, co-production \u201eMarin Sorescu\u201d National Theatre Craiova, Holland Festival, Wiener Festwochen, Festival d`Avignon, Grande Halle de la Villette, TVR. Associated co-producer TOFAN Foundation for Theatre and Film.<\/p>\nTHE TEMPEST<\/strong>, after William Shakespeare, translated by Radu Nichita and Nina Cassian, directed by Alexander Morfov, set design by Nikola Toromanov, costume design by Andrada Chiriac, National Theatre Bucharest<\/p>\nHAMLET<\/strong>, by William Shakespeare, translated, adapted and directed by Vlad Mugur, set design by Helmut St\u00fcrmer, costume design by Lia Man\u0163oc, masks by Ilona J\u00e1ro Varga, co-production National Theatre Cluj-Napoca and TVR<\/p>\nA STORMY NIGHT <\/strong>by I.L. Caragiale, directed by Mihai M\u0103niu\u021biu, set design by arh. Octavian Neculai, costume design by Janine Fashion Design, co-production Odeon Theatre, SMART and PRO TV<\/p>\nRETRO BIRD HITS THE APPARTMENT BLOCK AND FALLS ON THE HOT ASPHALT<\/strong>, translated by S\u00e1ndor L\u00e1szl\u00f3, written and directed by Radu Afrim, set design by Irina Moscu, National Theatre T\u00e2rgu Mure\u0219 \u2013\u201eTompa Mikl\u00f3s\u201d Company<\/p>\nTHE WINTER\u2019S TALE <\/strong>by William Shakespeare, directed by Alexander Hausvater, set design by Lucian Lichiardopol, costume design by Stela Verebceanu, National Theatre \u201eMihai Eminescu\u201d Timi\u0219oara<\/p>\nTHREE SISTERS <\/strong>by Anton Pavlovich Chekhov, translated into Hungarian by Kosztol\u00e1nyi Dezs\u0151, directed by G\u00e1bor Tompa, set design by Andrei Both, costume design by Carmencita Brojboiu, Hungarian Theatre of Cluj<\/p>\nUNCLE VANYA<\/strong> by Anton Pavlovich Chekhov, translated by Moni Ghelerter and Radu Teculescu, directed by Yuri Kordonsky, set design by Elena Dmitrakova, co-production Bulandra Theatre Bucharest and Casa de Produc\u021bie TVR<\/p>\nUNCLE VANYA <\/strong>by Anton Pavlovich Chekhov, translated into Hungarian by Zsuzs\u00e1nna Koros-Fekete, based on the English translation by Paul Schmidt, translated into Romanian by Andrei \u015eerban and Kinga Kov\u00e1cs, directed by Andrei \u0218erban, set design by Carmencita Brojboiu, Hungarian Theatre of Cluj<\/p>\nYVONNE, PRINCESS OF BURGUNDY<\/strong> by Witold Gombrowicz, translated into Hungarian by Andr\u00e1s P\u00e1lyi, directed by L\u00e1szlo Bocs\u00e1rdi, set design by J\u00f3szef Bartha, costume design by Judit Dobre K\u00f3thay, co-production \u201eTam\u00e1si \u00c1ron\u201d Theatre, Sf\u00e2ntu-Gheorghe and TVR<\/p>\nRestlessnessNTF<\/strong><\/span><\/h3>\nSPRING AWAKENING<\/strong> by Frank Wedekind, translated by Victor Scorade\u021b, directed designed by Vlad Cristache, music and lyrics by Daniel Rocca, Mic Theatre Bucharest<\/p>\nA DOLL\u2019S HOUSE<\/strong> by Henrik Ibsen, based on the Hungarian translation by L\u00e1szl\u00f3 K\u00fanos, adapted for the stage by \u00c1gnes Kali and Botond Nagy, directed by Botond Nagy, stage space created by Carmencita Brojboiu and Andr\u00e1s Rancz, costume design by Carmencita Brojboiu, Hungarian Theatre of Cluj<\/p>\nWEST EXPRESS<\/strong> by Matei Vi\u0219niec, translated and adapted by \u00c1gota Bereczki, directed by Zakari\u00e1s Zal\u00e1n, set design by Andra B\u0103dulescu Vi\u0219niec, \u201eSzigligeti\u201d Theatre, Oradea \u2013\u00a0 \u201eSzigligeti\u201d Company<\/p>\nTELL US ABOUT RELIGION, TEACH\u2019! <\/strong>by Mihaela Michailov, set design, music, stage direction by Bobi Pricop, co-production \u201eMarin Sorescu\u201d National Theatre, Craiova and TVR<\/p>\nEXIT THE KING <\/strong>by Eug\u00e8ne Ionesco, translated by Vlad Russo and Vlad Zografi, directed by Andrei and Andreea Grosu, set design by Vladimir Turturica, National Theatre Bucharest<\/p>\nZIC ZAC<\/strong>, a performance by Andrea Gavriliu, leaning on \u0218tefan Lupu, set design by Andreea S\u0103ndulescu<\/p>\nThe art of the great ACTOR<\/strong><\/span><\/h3>\nTHE ACTOR<\/strong>, after Mircea Dinescu, with Mihai M\u0103laimare and Mircea Tiberian<\/strong>, written and directed by Mihai M\u0103laimare, co-production Masca Theatre, Bucharest and TVR<\/p>\nAMALIA TAKES A DEEP BREATH <\/strong>by Alina Nelega, with Anca Hanu<\/strong>, a performance by Tudor Lucanu, National Theatre Cluj-Napoca<\/p>\nOLD CLOWN WANTED <\/strong>by Matei Vi\u0219niec, with Mircea Andreescu, Costache Babii and Virginia Itta Marcu<\/strong>, directed by Claudiu Goga, co-production \u201eSic\u0103 Alexandrescu\u201d Theatre, Bra\u015fov and TVR<\/p>\nDIALOGUES AND PHANTASIES IN JAZZ<\/strong>, after Nichita St\u0103nescu, Dan Verona, Miron Radu Paraschivescu, Lucian Avramescu, Petre Stoica and Ana Blandiana, with Ion Caramitru and Johnny R\u0103ducanu<\/strong>, a performance by Ion Caramitru, co-production UNITER and TVR<\/p>\nSLICES<\/strong>, written and directed by Lia Bugnar, with Ofelia Popii<\/strong>, \u201eRadu Stanca\u201d National Theatre Sibiu<\/p>\nFREAK SHOW THE MOVIE<\/strong>, a film inspired din by the theatre performance FREAK SHOW<\/em>, by and with Florin Piersic<\/strong> Jr.<\/strong>, produced by SpiderFilm<\/p>\nDIARY OF A MADMAN <\/strong>by N.V. Gogol, with Marius Manole and Alexander B\u0103l\u0103nescu<\/strong>, stage version and directed by Felix Alexa, ARCUB \u2013Cultural Centre of the Bucharest Municipality<\/p>\nAT YOUR COMMAND, F\u00dcHRER!<\/strong> by Brigitte Schwaiger, with Maia Morgenstern<\/strong>, directed by Mihai M\u0103niu\u021biu, State Jewish Theate, Bucharest<\/p>\nNEPHEW<\/strong> by Adrian Lustig, with Tamara Buciuceanu-Botez <\/strong>and \u0218erban Pavlu<\/strong>, directed by Hora\u021biu M\u0103l\u0103ele, co-production \u201eTeatru Contemporan\u201d Foundation, Comedy Theatre, Bucharest and TVR<\/p>\nWELL… WHAT ARE WE TALKING ABOUT?<\/strong> by C\u0103t\u0103lin \u0218tef\u0103nescu, after the novel \u201eMorome\u021bii\u201d by Marin Preda, dramatised by C\u0103t\u0103lin \u0218tef\u0103nescu, with Marcel Iure\u0219 <\/strong>and George Mih\u0103i\u021b\u0103<\/strong>, a performance by Alexandru Dabija, ACT Theatre Bucharest<\/p>\nTHE QUEEN MOTHER <\/strong>by Manlio Santanelli, with Olga Tudorache <\/strong>and Marius Bodochi<\/strong>, adapted and directed by Gelu Colceag, co-production \u201cI.L. Caragiale\u201d National Theatre, Bucharest and TVR<\/p>\nLE SOUPER<\/strong> by Jean Claude Brisville, with Radu Beligan <\/strong>and Ion Lucian<\/strong>, directed by Florentina Enache, co-production Odeon Theatre Bucharest and TVR<\/p>\nTOUJOURS L`AMOUR<\/strong>, with Carmen Ungureanu<\/strong> and Dan Puric<\/strong>, a performance by Dan Puric, co-production \u201ePasse Partout Dan Puric\u201d Theatre Company and TVR<\/p>\nLAST NIGHT IN MADRID<\/strong>, adapted after \u201ePicasso\u2019s Women. Jacqueline\u201d by Brian McAvera, with Ala Men\u0219icov<\/strong>, directed and music selection by Vitalie Drucec, National Theatre \u201eEug\u00e8ne Ionesco\u201d, Kishinev<\/p>\nTHE HUMAN VOICE <\/strong>by Jean Cocteau, translated by Manase Radnev, with Valeria Seciu<\/strong>, adapted for television and directed by C\u0103t\u0103lina Buzoianu, produced by TVR<\/p>\nPremiere within NTF<\/strong><\/span><\/h3>\nCALIGULA<\/strong> by Albert Camus, translated by Alice Georgescu, adapted for televison by Diana Dumitru, Ovidiu Guzu and Silviu Jicman, directed by Silviu Jicman, set design by Bristena de Satmaari, music by Gabriel Basarabescu, a performance of Casa de Produc\u021bie TVR<\/p>\nThe hidden performance<\/strong><\/span><\/h3>\nCONFESSIONS ABOUT ANTIGONA \u2013 Alexandru Tocilescu<\/strong>, a documentary by Corina Magdalena Tudose<\/p>\nTHE ROAD OF THE TRILOGY\u2013 Andrei \u0218erban<\/strong>, directed by and photographed by Alexandru Doru Sp\u0103taru, produced by TVR<\/p>\nFAUST, THE PATH OF THE MOMENT\u2013<\/strong> Silviu Purc\u0103rete<\/strong>, written and directed by Lauren\u021biu Damian, produced by Editura Video (Minsitry of Culture)<\/p>\nTHE HISTORY OF A PERFORMANCE\u2013 Gigi C\u0103ciuleanu<\/strong>, directed by Andrei M\u0103g\u0103lie, produced by TVR<\/p>\nTHE MAGIC OF THEATRE AND FILM \u2013 Alexa Visarion<\/strong>, a film by Liliana Chi\u021bescu, produced by TVR<\/p>\nA CERTAIN STATE OF MIND\u2013 Alexandru Darie<\/strong>, a film by Alexandra Grigorescu-Ares, produced by TVR<\/p>\nA HAPPENING WITH JAZZ \u2013 Miriam R\u0103ducanu<\/strong>, a film- essay by Mircea Albu\u021biu<\/p>\nTHE MAGICIAN KING\u2013 \u0218tefan Iordache, <\/strong>a film by Ludmila Patlanjoglu<\/p>\nTHE DREAM\u2013 PORTRAIT LIVIU CIULEI<\/strong>, written by Lucia Hossu Longin, Nicolae Ni\u021b\u0103, directed by Lucia Hossu Longin, produced by TVR<\/p>\nInvited performances<\/strong><\/span><\/h3>\nELECTRA<\/strong> by Sophocles, translated and directed by Antoine Vitez, set and costume design by Yanis Kokkos, film directed by Hugo Santiago after the performance produced by Th\u00e9\u00e2tre National de Chaillot, video produced by INA \u00e9ditions<\/p>\nTHE CHERRY ORCHARD <\/strong>by Anton Pavlovich Chekhov, translated by Luigi Lunari and Giorgio Strehler, directed by Giorgio Strehler, set and costume design by Luciano Damiani, produced by Piccolo Teatro Milano, video recording produced by RAI<\/p>\n\u201eWords, words, words…\u201d<\/strong><\/span><\/h3>\nColloquium: \u201eFNT30.\u201d<\/strong>. Moderators Maria Z\u0103rnescu and C\u0103lin Ciobotari<\/p>\nGeorge Banu and his guests:<\/strong> Ion Caramitru<\/strong><\/p>\nGeorge Banu and his guests: Mihai M\u0103niu\u021biu<\/strong><\/p>\nGeorge Banu and his guests<\/strong>: G\u00e1bor Tompa<\/strong><\/p>\nGeorge Banu and his guests<\/strong>: Felix Alexa<\/strong><\/p>\nGeorge Banu and his guests<\/strong>: Alexandra Badea<\/strong><\/p>\nRadu Afrim in dialogue with C\u0103lin Ciobotari<\/strong><\/p>\nMatei Vi\u0219niec in dialogue with C\u0103lin Ciobotari<\/strong><\/p>\nGeorge Banu in dialogue with C\u0103lin Ciobotari<\/strong><\/p>\nThe Aesthetics of the Pandemic<\/strong><\/span><\/h3>\nColloquium: \u201eTheatre at the Limit. The Aesthetics of the Pandemic\u201d<\/strong>. Moderators Ludmila Patlanjoglu and C\u0103lin Ciobotari<\/p>\nLIVE <\/strong>by Thomas Perle, set design and stage direction by Bobi Pricop, original music Eduard Gabia, German Department of the \u201eRadu Stanca\u201d National Theatre, Sibiu<\/p>\nDEATH KNOCKS<\/strong>, performed reading LIVE, 360\u00b0, with Maia Morgenstern and Mircea Rusu, after a text by Woody Allen, a concept by Florin Ghioca, a project of the \u201cI.L. Caragiale\u201d National Theatre, Bucharest<\/p>\nPOOL (NO WATER)<\/strong> by Mark Ravenhill, a project by Radu Nica, Andu Dumitrescu and Vlaicu Golcea, Hungarian Theatre of Cluj<\/p>\nZOOM BIRTHDAY PARTY<\/strong> by Saviana St\u0103nescu, directed by Beth Milles, a production of Cherry Artspace (USA)<\/p>\nNEAR(LY) FAR<\/strong>\u2013 virtual photo exhibition.\u00a0 Author Florin Ghioca<\/p>\nFNT ON AIR <\/strong><\/span><\/h3>\n(Radio Rom\u00e2nia Cultural & Radio Rom\u00e2nia Actualit\u0103\u021bi)<\/strong>\u00a0<\/strong><\/span><\/p>\nPortrait CRISTIAN MUNTEANU \u2013 director and dramatist<\/strong><\/p>\nDOCTOR IN SPITE OF HIMSELF<\/strong> by Moli\u00e8re<\/p>\nTHUNDER ON SYCAMORE STREET <\/strong>by Reginald Rose<\/p>\nTHE GARDENS OF MURCIA<\/strong> by Josep Feliu i Codina<\/p>\nTHE OVERCOAT <\/strong>by N.V. Gogol<\/p>\n
5 November 2020<\/span>, \u00a0NTF press releases<\/a>, News<\/a><\/span><\/p>\n<\/div> Our ways of living, our ways of looking and looking at, our ways of moving and thinking, our joys and sorrows are different<\/em>. In less than one year, the relationship with the other, the relationship with ourselves, the relationship with what is adown and above the human being- all have turned different. In the midst of these endless transformations, art, the way of creating and perceiving the artistic act cannot be anything but\u2026 different<\/em>.<\/p>\n In the spring of this year, when we agreed to be part of the board of the current edition, we were optimistic and believed that NTF 2020 will be the same as always. With a Bucharest bathing in the sun or the rains of the end of October, with that unmistakable commotion of the theatrical celebration, with foyers in which people found each other again, hugged each other and experienced the joy of being together again, with venues overfilled with energies, emotions and… normality. NTF 30 was meant to be part of a vast program, an enthusiastic and, at the same time, honest \u201crevisiting\u201d of the past of the National Theater Festival, meant to bring in nostalgia, but also possible answers to the question: what were we and where are we now in Romanian theater?<\/p>\n In summer 2020, we were still enthusiastic. In parallel with the Best of<\/em> selection, we chose the productions of the first part of the 2019-2020 season. We still believed that the virtual program will run along the real one, that the online space will be nothing more than an apostrophe applied to the real space. At the end of august, the month in which Chekhov’s orchards are sold, a shakespearean refrain became more and more audible and in September we knew it, we knew that “the time is out of joint”, and wanting to remain the same has become an impossibility. The festival could be nothing but different<\/em>, online, that is\u2026<\/p>\n We decided to build a concept based almost exclusively on revisiting the history of the NTF in the last three decades. A new wave of optimism stormed us, because such a theatrical archeology seemed noble and useful to us. Not<\/em> forget<\/em>ting<\/em>, <\/em>preserving memory,<\/em> here’s something worth doing in times of the pandemic, we thought! But soon we understood that building a video- NTF was more complicated than it seemed. Especially in Romania, where filming theatre productions- otherwise than with a mobile phone, or by the goodwill of an “acquaintance- owning-a-camera” has not become a common practice yet. The tens, maybe hundreds of hours we spent searching in video archives gradually led us to selection criteria we had normally despised, like the technical quality of recording.<\/p>\n The selection proces had to consider aesthetic and technical constraints, artistic high points and accuracy of the recording, persistence in memory and material \u00a0persistence. A diverse range of contradictory feelings came up along this furious search for our theatrical video-past: the astonishment to find how there is nothing more that unusable debris remaining of, oh, how many flagship productions, the fear that our theatrical identity in recent decades is, alas!, so fragile, but also the limitless joy of discovering a saved performance, the enthusiasm of getting on new tracks (productions filmed by Romanian Television, or preserved in theatre archives!), the agony and the extasy of a game of life and death of the art…<\/p>\n Finally, we had to face one last challenge: “the online broadcasting rights”. The Romanian theatrical patrimony, we found on this occasion, does not belong to everyone, but only to some, who can choose to show it to us or keep it to themselves. Can anyone imagine the great art of the world being removed from the public space and\u00a0 locked away in private hides?!<\/p>\n The current edition of the NTF involuntarily mirrors another line from Hamlet<\/em>: “with one eye merry and the other crying”; laughing and crying masks\u2026 This ancient dual principle of theater representation is no longer just a form of coexistence of comedic and tragic, but of hope and anxiety, bloom and gloom of all kinds. Restlessness<\/em> and Memory<\/em> are the polarities that define the NTF 2020. Their substance is to be found in the obligatory meditations on present and future, in the A<\/em>esthetics of the <\/em>P<\/em>andemic<\/em>, in dialogues, conferences and exhibitions.<\/p>\n The great friend of the NTF, Professor George Banu, disguised either as ever-present, ever-inspired, Puck, or as old Firs, bringing wisdom in times of crisis, accompanied us all along this journey. The team of UNITER, with its catalysing energy, was the support that turned our efforts into reality. The national television and radio stations (TVR and Radiodifuziunea Rom\u00e2n\u0103) \u00a0stood by us, with passion and faith in the arts.<\/p>\n We thank them all!<\/p>\n Ludmila PATLANJOGLU<\/strong><\/p>\n Maria Z\u0102RNESCU<\/strong><\/p>\n C\u0103lin CIOBOTARI<\/strong><\/p>\n (online on www.fnt.ro<\/a>, www.tnb.ro<\/a>, www.tnrs.ro<\/a>,\u00a0tvr3.tvr.ro<\/a>)<\/strong><\/p>\n NATIONAL THEATER FESTIVAL<\/strong><\/p>\n 30th edition, November 22-29, 2020<\/strong><\/p>\n LES DANAIDES<\/strong>, after Aeschylus, dramatised and directed by Silviu Purc\u0103rete, set and costumes design by \u0218tefania Cenean and Liliana Cenean, co-production \u201eMarin Sorescu\u201d National Theatre Craiova, Holland Festival, Wiener Festwochen, Festival d`Avignon, Grande Halle de la Villette, TVR. Associated co-producer TOFAN Foundation for Theatre and Film.<\/p>\n THE TEMPEST<\/strong>, after William Shakespeare, translated by Radu Nichita and Nina Cassian, directed by Alexander Morfov, set design by Nikola Toromanov, costume design by Andrada Chiriac, National Theatre Bucharest<\/p>\n HAMLET<\/strong>, by William Shakespeare, translated, adapted and directed by Vlad Mugur, set design by Helmut St\u00fcrmer, costume design by Lia Man\u0163oc, masks by Ilona J\u00e1ro Varga, co-production National Theatre Cluj-Napoca and TVR<\/p>\n A STORMY NIGHT <\/strong>by I.L. Caragiale, directed by Mihai M\u0103niu\u021biu, set design by arh. Octavian Neculai, costume design by Janine Fashion Design, co-production Odeon Theatre, SMART and PRO TV<\/p>\n RETRO BIRD HITS THE APPARTMENT BLOCK AND FALLS ON THE HOT ASPHALT<\/strong>, translated by S\u00e1ndor L\u00e1szl\u00f3, written and directed by Radu Afrim, set design by Irina Moscu, National Theatre T\u00e2rgu Mure\u0219 \u2013\u201eTompa Mikl\u00f3s\u201d Company<\/p>\n THE WINTER\u2019S TALE <\/strong>by William Shakespeare, directed by Alexander Hausvater, set design by Lucian Lichiardopol, costume design by Stela Verebceanu, National Theatre \u201eMihai Eminescu\u201d Timi\u0219oara<\/p>\n THREE SISTERS <\/strong>by Anton Pavlovich Chekhov, translated into Hungarian by Kosztol\u00e1nyi Dezs\u0151, directed by G\u00e1bor Tompa, set design by Andrei Both, costume design by Carmencita Brojboiu, Hungarian Theatre of Cluj<\/p>\n UNCLE VANYA<\/strong> by Anton Pavlovich Chekhov, translated by Moni Ghelerter and Radu Teculescu, directed by Yuri Kordonsky, set design by Elena Dmitrakova, co-production Bulandra Theatre Bucharest and Casa de Produc\u021bie TVR<\/p>\n UNCLE VANYA <\/strong>by Anton Pavlovich Chekhov, translated into Hungarian by Zsuzs\u00e1nna Koros-Fekete, based on the English translation by Paul Schmidt, translated into Romanian by Andrei \u015eerban and Kinga Kov\u00e1cs, directed by Andrei \u0218erban, set design by Carmencita Brojboiu, Hungarian Theatre of Cluj<\/p>\n YVONNE, PRINCESS OF BURGUNDY<\/strong> by Witold Gombrowicz, translated into Hungarian by Andr\u00e1s P\u00e1lyi, directed by L\u00e1szlo Bocs\u00e1rdi, set design by J\u00f3szef Bartha, costume design by Judit Dobre K\u00f3thay, co-production \u201eTam\u00e1si \u00c1ron\u201d Theatre, Sf\u00e2ntu-Gheorghe and TVR<\/p>\n SPRING AWAKENING<\/strong> by Frank Wedekind, translated by Victor Scorade\u021b, directed designed by Vlad Cristache, music and lyrics by Daniel Rocca, Mic Theatre Bucharest<\/p>\n A DOLL\u2019S HOUSE<\/strong> by Henrik Ibsen, based on the Hungarian translation by L\u00e1szl\u00f3 K\u00fanos, adapted for the stage by \u00c1gnes Kali and Botond Nagy, directed by Botond Nagy, stage space created by Carmencita Brojboiu and Andr\u00e1s Rancz, costume design by Carmencita Brojboiu, Hungarian Theatre of Cluj<\/p>\n WEST EXPRESS<\/strong> by Matei Vi\u0219niec, translated and adapted by \u00c1gota Bereczki, directed by Zakari\u00e1s Zal\u00e1n, set design by Andra B\u0103dulescu Vi\u0219niec, \u201eSzigligeti\u201d Theatre, Oradea \u2013\u00a0 \u201eSzigligeti\u201d Company<\/p>\n TELL US ABOUT RELIGION, TEACH\u2019! <\/strong>by Mihaela Michailov, set design, music, stage direction by Bobi Pricop, co-production \u201eMarin Sorescu\u201d National Theatre, Craiova and TVR<\/p>\n EXIT THE KING <\/strong>by Eug\u00e8ne Ionesco, translated by Vlad Russo and Vlad Zografi, directed by Andrei and Andreea Grosu, set design by Vladimir Turturica, National Theatre Bucharest<\/p>\n ZIC ZAC<\/strong>, a performance by Andrea Gavriliu, leaning on \u0218tefan Lupu, set design by Andreea S\u0103ndulescu<\/p>\n THE ACTOR<\/strong>, after Mircea Dinescu, with Mihai M\u0103laimare and Mircea Tiberian<\/strong>, written and directed by Mihai M\u0103laimare, co-production Masca Theatre, Bucharest and TVR<\/p>\n AMALIA TAKES A DEEP BREATH <\/strong>by Alina Nelega, with Anca Hanu<\/strong>, a performance by Tudor Lucanu, National Theatre Cluj-Napoca<\/p>\n OLD CLOWN WANTED <\/strong>by Matei Vi\u0219niec, with Mircea Andreescu, Costache Babii and Virginia Itta Marcu<\/strong>, directed by Claudiu Goga, co-production \u201eSic\u0103 Alexandrescu\u201d Theatre, Bra\u015fov and TVR<\/p>\n DIALOGUES AND PHANTASIES IN JAZZ<\/strong>, after Nichita St\u0103nescu, Dan Verona, Miron Radu Paraschivescu, Lucian Avramescu, Petre Stoica and Ana Blandiana, with Ion Caramitru and Johnny R\u0103ducanu<\/strong>, a performance by Ion Caramitru, co-production UNITER and TVR<\/p>\n SLICES<\/strong>, written and directed by Lia Bugnar, with Ofelia Popii<\/strong>, \u201eRadu Stanca\u201d National Theatre Sibiu<\/p>\n FREAK SHOW THE MOVIE<\/strong>, a film inspired din by the theatre performance FREAK SHOW<\/em>, by and with Florin Piersic<\/strong> Jr.<\/strong>, produced by SpiderFilm<\/p>\n DIARY OF A MADMAN <\/strong>by N.V. Gogol, with Marius Manole and Alexander B\u0103l\u0103nescu<\/strong>, stage version and directed by Felix Alexa, ARCUB \u2013Cultural Centre of the Bucharest Municipality<\/p>\n AT YOUR COMMAND, F\u00dcHRER!<\/strong> by Brigitte Schwaiger, with Maia Morgenstern<\/strong>, directed by Mihai M\u0103niu\u021biu, State Jewish Theate, Bucharest<\/p>\n NEPHEW<\/strong> by Adrian Lustig, with Tamara Buciuceanu-Botez <\/strong>and \u0218erban Pavlu<\/strong>, directed by Hora\u021biu M\u0103l\u0103ele, co-production \u201eTeatru Contemporan\u201d Foundation, Comedy Theatre, Bucharest and TVR<\/p>\n WELL… WHAT ARE WE TALKING ABOUT?<\/strong> by C\u0103t\u0103lin \u0218tef\u0103nescu, after the novel \u201eMorome\u021bii\u201d by Marin Preda, dramatised by C\u0103t\u0103lin \u0218tef\u0103nescu, with Marcel Iure\u0219 <\/strong>and George Mih\u0103i\u021b\u0103<\/strong>, a performance by Alexandru Dabija, ACT Theatre Bucharest<\/p>\n THE QUEEN MOTHER <\/strong>by Manlio Santanelli, with Olga Tudorache <\/strong>and Marius Bodochi<\/strong>, adapted and directed by Gelu Colceag, co-production \u201cI.L. Caragiale\u201d National Theatre, Bucharest and TVR<\/p>\n LE SOUPER<\/strong> by Jean Claude Brisville, with Radu Beligan <\/strong>and Ion Lucian<\/strong>, directed by Florentina Enache, co-production Odeon Theatre Bucharest and TVR<\/p>\n TOUJOURS L`AMOUR<\/strong>, with Carmen Ungureanu<\/strong> and Dan Puric<\/strong>, a performance by Dan Puric, co-production \u201ePasse Partout Dan Puric\u201d Theatre Company and TVR<\/p>\n LAST NIGHT IN MADRID<\/strong>, adapted after \u201ePicasso\u2019s Women. Jacqueline\u201d by Brian McAvera, with Ala Men\u0219icov<\/strong>, directed and music selection by Vitalie Drucec, National Theatre \u201eEug\u00e8ne Ionesco\u201d, Kishinev<\/p>\n THE HUMAN VOICE <\/strong>by Jean Cocteau, translated by Manase Radnev, with Valeria Seciu<\/strong>, adapted for television and directed by C\u0103t\u0103lina Buzoianu, produced by TVR<\/p>\n CALIGULA<\/strong> by Albert Camus, translated by Alice Georgescu, adapted for televison by Diana Dumitru, Ovidiu Guzu and Silviu Jicman, directed by Silviu Jicman, set design by Bristena de Satmaari, music by Gabriel Basarabescu, a performance of Casa de Produc\u021bie TVR<\/p>\n CONFESSIONS ABOUT ANTIGONA \u2013 Alexandru Tocilescu<\/strong>, a documentary by Corina Magdalena Tudose<\/p>\n THE ROAD OF THE TRILOGY\u2013 Andrei \u0218erban<\/strong>, directed by and photographed by Alexandru Doru Sp\u0103taru, produced by TVR<\/p>\n FAUST, THE PATH OF THE MOMENT\u2013<\/strong> Silviu Purc\u0103rete<\/strong>, written and directed by Lauren\u021biu Damian, produced by Editura Video (Minsitry of Culture)<\/p>\n THE HISTORY OF A PERFORMANCE\u2013 Gigi C\u0103ciuleanu<\/strong>, directed by Andrei M\u0103g\u0103lie, produced by TVR<\/p>\n THE MAGIC OF THEATRE AND FILM \u2013 Alexa Visarion<\/strong>, a film by Liliana Chi\u021bescu, produced by TVR<\/p>\n A CERTAIN STATE OF MIND\u2013 Alexandru Darie<\/strong>, a film by Alexandra Grigorescu-Ares, produced by TVR<\/p>\n A HAPPENING WITH JAZZ \u2013 Miriam R\u0103ducanu<\/strong>, a film- essay by Mircea Albu\u021biu<\/p>\n THE MAGICIAN KING\u2013 \u0218tefan Iordache, <\/strong>a film by Ludmila Patlanjoglu<\/p>\n THE DREAM\u2013 PORTRAIT LIVIU CIULEI<\/strong>, written by Lucia Hossu Longin, Nicolae Ni\u021b\u0103, directed by Lucia Hossu Longin, produced by TVR<\/p>\n ELECTRA<\/strong> by Sophocles, translated and directed by Antoine Vitez, set and costume design by Yanis Kokkos, film directed by Hugo Santiago after the performance produced by Th\u00e9\u00e2tre National de Chaillot, video produced by INA \u00e9ditions<\/p>\n THE CHERRY ORCHARD <\/strong>by Anton Pavlovich Chekhov, translated by Luigi Lunari and Giorgio Strehler, directed by Giorgio Strehler, set and costume design by Luciano Damiani, produced by Piccolo Teatro Milano, video recording produced by RAI<\/p>\n Colloquium: \u201eFNT30.\u201d<\/strong>. Moderators Maria Z\u0103rnescu and C\u0103lin Ciobotari<\/p>\n George Banu and his guests:<\/strong> Ion Caramitru<\/strong><\/p>\n George Banu and his guests: Mihai M\u0103niu\u021biu<\/strong><\/p>\n George Banu and his guests<\/strong>: G\u00e1bor Tompa<\/strong><\/p>\n George Banu and his guests<\/strong>: Felix Alexa<\/strong><\/p>\n George Banu and his guests<\/strong>: Alexandra Badea<\/strong><\/p>\n Radu Afrim in dialogue with C\u0103lin Ciobotari<\/strong><\/p>\n Matei Vi\u0219niec in dialogue with C\u0103lin Ciobotari<\/strong><\/p>\n George Banu in dialogue with C\u0103lin Ciobotari<\/strong><\/p>\n Colloquium: \u201eTheatre at the Limit. The Aesthetics of the Pandemic\u201d<\/strong>. Moderators Ludmila Patlanjoglu and C\u0103lin Ciobotari<\/p>\n LIVE <\/strong>by Thomas Perle, set design and stage direction by Bobi Pricop, original music Eduard Gabia, German Department of the \u201eRadu Stanca\u201d National Theatre, Sibiu<\/p>\n DEATH KNOCKS<\/strong>, performed reading LIVE, 360\u00b0, with Maia Morgenstern and Mircea Rusu, after a text by Woody Allen, a concept by Florin Ghioca, a project of the \u201cI.L. Caragiale\u201d National Theatre, Bucharest<\/p>\n POOL (NO WATER)<\/strong> by Mark Ravenhill, a project by Radu Nica, Andu Dumitrescu and Vlaicu Golcea, Hungarian Theatre of Cluj<\/p>\n ZOOM BIRTHDAY PARTY<\/strong> by Saviana St\u0103nescu, directed by Beth Milles, a production of Cherry Artspace (USA)<\/p>\n NEAR(LY) FAR<\/strong>\u2013 virtual photo exhibition.\u00a0 Author Florin Ghioca<\/p>\n (Radio Rom\u00e2nia Cultural & Radio Rom\u00e2nia Actualit\u0103\u021bi)<\/strong>\u00a0<\/strong><\/span><\/p>\n Portrait CRISTIAN MUNTEANU \u2013 director and dramatist<\/strong><\/p>\n DOCTOR IN SPITE OF HIMSELF<\/strong> by Moli\u00e8re<\/p>\n THUNDER ON SYCAMORE STREET <\/strong>by Reginald Rose<\/p>\n THE GARDENS OF MURCIA<\/strong> by Josep Feliu i Codina<\/p>\n THE OVERCOAT <\/strong>by N.V. Gogol<\/p>\nFNT 30 \/ FNT ALTFEL<\/em><\/strong><\/span><\/h3>\n
MemoryNTF<\/span><\/strong><\/h3>\n
RestlessnessNTF<\/strong><\/span><\/h3>\n
The art of the great ACTOR<\/strong><\/span><\/h3>\n
Premiere within NTF<\/strong><\/span><\/h3>\n
The hidden performance<\/strong><\/span><\/h3>\n
Invited performances<\/strong><\/span><\/h3>\n
\u201eWords, words, words…\u201d<\/strong><\/span><\/h3>\n
The Aesthetics of the Pandemic<\/strong><\/span><\/h3>\n
FNT ON AIR <\/strong><\/span><\/h3>\n