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\/2021\/wp-content\/uploads\/2021\/09\/fnt31.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 31st edition of the Romanian National Theatre Festival will take place between November 6-14 2021, online, <\/strong>due to the restrictions imposed by the pandemic.<\/h2>\nCritics\u00a0Oana Cristea Grigorescu<\/strong>,\u00a0Cristina Rusiecki<\/strong>\u00a0and\u00a0Claudiu Groza<\/strong>, selectors and artistic directors of the current edition have announced the performances that will be presented at NTF 2021.<\/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 October 2021<\/span>\u00a0 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\tThis year\u2019s concept, \u201eCreation. Recreation. Re-creation\u201d<\/em><\/strong>,<\/em>\u00a0subsumes the sections of the NTF program.<\/p>\n38 \u00a0theatre performances selected from all over the country will be accompanied by visual instalations, foreign productions and sidebar events.\u00a0\u00a0<\/strong><\/p>\nHere are the motivations of the selectors, the criteria and their choices, given the \u00a0the atypical situation in which the Romanian theatrical activity has been carried out in recent times: \u00a0\u00a0<\/strong><\/p>\nOana Cristea Grigorescu:<\/strong><\/p>\n\u201eSeeing the productions of the pandemic season 2020\/21, as unpredictable and frustrating it has been for artists and audiences alike, we tried to decipher in the performances we saw new ways of functioning for the theatre, of adaptative and supple reformation of the creative work, capable to resist the restrictions imposed by the pandemic waves. We dreamed of a live edition of the NTF, we hoped the summer freedom will persist beyond the month of September, but we complied to the new restrictions, and we restrained the festival to its online version, convinced of the importance of the existence and continuity of the Festival. We flexed our imagination, in order to devise another type of national festival, delocalised all over the country, making the virtual and the geographic dimensions meet, wherever the theatres will be allowed to schedule public presentations of their productions during the festival. We invite the theatres selected for the NTF to program their shows and perform under the NTF logo<\/strong>. This way, the online format of the festival will have a physical extension in the theatres where audiences are allowed to participate and, thus, the national attribute of the festival will become a geographic reality.<\/em><\/p>\nAccording to the festival regulations, we only selected performances that premiered during the unexpectedly productive 2020 \u2013 2021 season. Maybe this high number of premieres can be explained also through the fact that some of them have been postponed from premiering during March to July of 2020. We have been evaluating not only the great productivity, but also the stylistic diversity of the theatrical solutions that proved interest in exploring and integrating new media, in reforming the concepts of theatre\u00a0 making, according to the context. We hope NTF will offer an image of the creative solutions, will identify the dominant themes of the performances and the most flexible and imaginative aesthetics. <\/em><\/p>\nThe concept of the festival \u2013\u00a0<\/em>\u201eCreation. Recreation. Re-creation\u201d<\/em><\/strong>\u00a0\u2013 tries to concentrate the artists\u2019 answers to the new conditions for creation in a single syntagm.<\/em><\/p>\nThe interest for the areas of intersection of the arts have generated two interdisciplinary sections: Performative Installations and Visual Installations as a sign of the extension of the theatrical experiment towards the borders of the other arts. Last, but not at all least, the NTF will pay homage to artist and President of UNITER, Ion Caramitru, from whom we recently and unexpectedly parted. In a certain way, the 2021 edition of the festival tries to balance the losses of the elapsed year and the vital energies of continuity and regeneration.<\/em><\/p>\nThis year\u2019s selection is not to be explored in search for grand masterpieces, but in search of interhuman communication and introspection. NTF 2021 is not supposed to bring artistic revelations other then those of the vitality and the reconfiguration of theatre in its new means of production and new ways of representation. NTF 2021 aims at being a celebration of finding each other in proximity of the theatre stage, but also an edition that tries to heal for the losses suffered along these years, with a glance towards the times to come.\u201d<\/em>\u00a0\u00a0<\/strong><\/p>\nCristina Rusiecki:<\/strong><\/p>\n\u201eIf there is one good news to identify in this time of the pandemic, it\u2019s a reference to an emerging climate, one that impels us to expect other forms of expression, more fluid more adequate to the conditions, with the online luring around each and every corner. Most of the selected performances for this edition of the National Theatre Festival are works of creators under the age of fourty. Their stagings abolish the dogma in force, maybe replacing it with new ones. A sign that the sacred monsters are turning Romanian theatre over into good hands. And hope that the route to future grand creations is clear. Some of the performances presented within this edition already offer a glimpse into this future. Opting for new, interdisciplinary\u00a0 types of language, moulded over the new conditions, as well as over the recent evolution of the means, lead us to the idea of this new section, dedicated to installations. It was surprising to us to see how substantial the proportion of classical reinvented texts has grown. I can\u2019t remember any other edition to bring such an impressive number of reinvented classical texts. Texts that were leading to a certain interpretation key, be it absurd, sentimental, overdrawn, have generated, in the past season, new, fresh views.<\/em><\/p>\nWe all wish to return to live performances, to the exchange of energies between stage and auditorium. \u00a0<\/strong>Tired of camera angles, making projection sometimes hard to separate from what takes place live on stage, we wish to be allowed to immerse ourselves again into the three-dimensional space imagined by set designers, these days maybe the most deprived among the theatre creators. This is why the 2021 edition of the NTF is hosting a special program titled Next to Stage<\/strong>, bringing together set designers to discuss the solutions they were forced to find under the circumstances the pandemic brought. This program aims to set up a dialogue between those who are now acquiring the skills of the profession and established set-designers, big names on the Romanian and international theatre scene: Carmencita Brojboiu, Helmut St\u00fcrmer, Drago\u0219 Buhagiar.<\/em>\u201d<\/p>\n\u00a0\u00a0<\/strong><\/p>\nClaudiu Groza<\/strong>:<\/p>\n\u201eWe have chosen this umbrella term of \u2013\u00a0Creation. Recreation. Re-creation<\/strong>\u2013 because we think it represents best the situation of Romanian theatre today. Despite the pandemic, financial, political hindrances of the recently elapsed years, Romanian theatre produces remarkable effervescence and diversity. It\u2019s true, it might often be regarded as a desperate survival of artists and theatre companies, but the results are considerable. <\/em><\/p>\nCreation <\/em><\/strong>covers the area of original productions that carry on the diverse artistic, aesthetic, ideological formulae, with a special stress (in fact a full subprogram) on the creative work of woman directors- an unprecedented artistic assault of the Romanian scene.<\/em><\/p>\nRecreation\u00a0<\/em><\/strong>is trying to capture a portrait of the world in parodical, comical traits, even with dark humour, still not in an easy tonality, but rather as a smiling reaction to the bizarre times we are living in.<\/em><\/p>\nRe-creation <\/em><\/strong>renders the online, interactive, filmlike, ingenious, highly theatrical solutions found by the artists in their attempts to overcome the pandemic blockade without betraying neither their calling, nor their audiences. <\/em><\/p>\nWe thought it would be very important to mark the many re-compositions of great classical texts, in new directorial or dramaturgical readings:\u00a0Classic. Recreated.<\/strong><\/em><\/p>\nWe have a few invited performances, by masters of Romanian theatre directing and we have succeeded, although not very easily, to outline an international program.<\/em>\u00a0\u00a0<\/strong><\/p>\nWe did not wish to have an exclusively online edition of the National Theatre Festival. We would have preferred to meet, to exchange opinions, to share projects, hugs and jokes. But now we can only hope that the disadvantage will become an advantage and that many spectators from all corners of Romania- and maybe even outside of the country- will be able to see the shows.\u201d<\/em><\/p>\nWe hereby present the SELECTION OF THE PERFORMANCES within the 31st National Theatre Festival.<\/em><\/strong>\u00a0\u00a0<\/strong><\/p>\n\u00a0\u00a0<\/strong><\/p>\nCreation<\/u><\/strong><\/p>\n\n- \u201eAutobahn\u201d<\/strong>\u00a0by Neil LaBute, directed by Andreea and Andrei Grosu, DOP and editing Alexandru Condurache, set design by Vladimir Turturica, \u201cRadu Stanca\u201d National Theatre, Sibiu<\/li>\n
- \u201eThe Iranian Conference\u201d<\/strong> by Ivan Vyrypaev, directed by Bobi Pricop, set design by \u00a0Oana Micu, \u201cRadu Stanca\u201d National Theatre, Sibiu<\/li>\n
- \u201eThe Effect\u201d<\/strong>\u00a0by Lucy Prebble, directed by Vlad B\u0103lan, set design by Miruna Croitoru, unteatru<\/li>\n
- \u201eHeart and Other Flesh Matters\u201d<\/strong> by Dan Coman, directed by, video and sound universe by Radu Afrim, set design by Irina Moscu, \u201cMarin Sorescu\u201d National Theatre Craiova<\/li>\n
- \u201eKatzelmacher. If It Wouldn\u2019t Be about Love\u201d<\/strong> by Rainer Werner Fassbinder, directed by Eugen Jebeleanu, set and costume design by Velica Panduru, German State Theatre Timi\u0219oara<\/li>\n
- \u201eGreen Felled\u201d<\/strong> by Alexandra Felseghi, directed by Adina Laz\u0103r, set design by Andreea Tecla, Asocia\u021bia Pro Teatru, Zal\u0103u<\/li>\n<\/ol>\n
\u00a0\u00a0<\/strong>Creation. Feminine<\/strong><\/span><\/p>\n\n- \u201e98% Correct Choice\u201d <\/strong>by Andreea T\u0103nase, directed by Elena Morar, costumes and set design assistance by\u00a0 Ileana Zirra, set design Diana Miro\u0219u, Theatre of Youth Piatra Neam\u021b<\/li>\n
- \u201eCassandra\u201d<\/strong> by Norah Sadava and Amy Nostbakken (\u201eMouthpiece\u201d), directed by Leta Popescu, set design by Tudor Prodan, Apollo 111 Theatre Bucharest<\/li>\n
- \u201eLet\u2019s Talk about Life!\u201d<\/strong> by Ana Sorina Corneanu, directed by Zsuzs\u00e1nna Kov\u00e1cs, set design Gabi Albu, \u201cI.L. Caragiale\u201d National Theatre of Bucharest<\/li>\n
- \u201eTiadora\u201d<\/strong>, after Maria Manolescu Bor\u0219a, directed by Sorin Militaru, set design Hora\u021biu Mihaiu, \u201cBacovia\u201d Municipal Theatre Bac\u0103u<\/li>\n
- \u201eAll the Things Alois Took from Me\u201d <\/strong>by Cosmin St\u0103nil\u0103, set design Adrian Balc\u0103u, Reactor \u2013 A Place for Creative Experiments Cluj-Napoca<\/li>\n
- \u201eThree Tall Women\u201d<\/strong> by Edward Albee, directed by Diana P\u0103curar, set design \u00a0by Oana Cernea, Queen Mary Theatre Oradea<\/li>\n<\/ol>\n
Creation. Dance\u00a0<\/strong><\/span><\/p>\n\n- \u201ePam param\u201d<\/strong>, choreography by Andrea Gavriliu, M Studio, Sf\u00e2ntu-Gheorghe<\/li>\n
- \u201ePappa mia!\u201d<\/strong>, text and choreography by Feh\u00e9r Ferenc, M Studio, Sf\u00e2ntu-Gheorghe<\/li>\n<\/ol>\n
Recreation<\/u><\/strong><\/p>\n\n- \u201eApr\u00e8s Ski \u2013 Quiet Up Here!\u201d<\/strong> by Klaus Eckel, concept by Niko Becker, German State Theatre Timi\u0219oara<\/li>\n
- \u201eChiritza in Quarantine\u201d<\/strong>, after Matei Millo, dramatic script by Ada Milea, Anca Hanu, Cosmin St\u0103nil\u0103, directed by Ada Milea, Andrea Gavriliu, concert- performance by Ada Milea, National Theatre Cluj-Napoca<\/li>\n
- \u201e This Lime Tree Bower\u201d<\/strong> by Conor McPherson, directed and designed by Cristi Juncu, National Theatre T\u00e2rgu-Mure\u0219 \u2013 \u201cLiviu Rebreanu\u201d Company<\/li>\n
- \u201e<\/strong>Baba Rum<\/strong>\u201d<\/strong> by Thanasis Papathanasiou and Mihalis Reppas, directed by Radu Nichifor, set design by Daniel Divrician, Queen Mary Theatre Oradea<\/li>\n
- \u201dTom and Jerry 2.0\u201d<\/strong>, adapted after \u201eJerry and Tom\u201d by Rick Cleveland, directed by Florin Piersic jr., set design Tudor Prodan, \u201cRadu Stanca\u201d National Theatre, Sibiu<\/li>\n
- \u201e Mine District Trilogy. Flowers\u201d\u00a0<\/strong>(episode 1) by Csaba Sz\u00e9kely, directed by Horia Suru, set design by Raluca Alexandrescu, Teatrul Dramaturgilor Rom\u00e2ni, Bucharest<\/li>\n
- \u201e Mine District Trilogy. Water\u201d\u00a0<\/strong>(episode 3) by Csaba Sz\u00e9kely, directed by Horia Suru, set design Raluca by Alexandrescu, Teatrul Dramaturgilor Rom\u00e2ni, Bucharest<\/li>\n<\/ol>\n
\u00a0\u00a0<\/strong>Re-creation<\/u><\/strong><\/p>\n\n- \u201eDekaroom\u201d<\/strong>, colective creation, directed by Andrei Dinu and Raul Hotca\u0219, set design Mihai V\u0103lu, Municipal Theatre Baia Mare<\/li>\n
- \u201eTrapped\u201d<\/strong> by Maria Manolescu Bor\u0219a, directed by Leta Popescu, set design Gabi Albu, Replika Centre for Educational Theatre, Bucharest<\/li>\n
- \u201eSHORTS\u201d<\/strong>, after Samuel Beckett, directed by Zal\u00e1n Zakari\u00e1s, \u201eTomcsa S\u00e1ndor\u201d Theatre, Odorheiu Secuiesc<\/li>\n
- \u201eV.I.P. \u2013 Very Isolated Person<\/strong>\u201d, freely adapted after \u201eThe Seagull\u201d by A.P. Cehov, conceived and directed by Paula Lynn Breuer and Olga T\u00f6r\u00f6k, German State Theatre Timi\u0219oara<\/li>\n
- \u201eOne Flew Over the Cuckoo\u2019s Nest<\/strong>\u201d, after Ken Kesey, directed and designed by Eugen Gyemant, \u201eAndrei Mure\u0219anu\u201d Theatre Sf\u00e2ntu Gheorghe \/ VR theatre<\/li>\n<\/ol>\n
\u00a0\u00a0<\/strong>Classical. Recreated<\/u><\/strong><\/p>\n\n- \u201eThe Bacchae\u201d<\/strong>\u00a0(no mask), after Euripides, rewritten by Maria Manolescu, directed by Drago\u0219 Alexandru Mu\u0219oiu, costume design by Cristina Milea, set design R\u0103zvan Chendrean, North Theatre Satu Mare<\/li>\n
- \u201eThe Bald Soprano\u201d<\/strong> by Eug\u00e8ne Ionesco, directed by Alex Bogdan, set design by Tudor Prodan, \u201eMatei Vi\u0219niec\u201d Theatre Suceava<\/li>\n
- \u201eTwo Gentlemen from Verona\u201d <\/strong>by William Shakespeare, directed by Alexandru M\u00e2zg\u0103reanu, set design by Andreea S\u0103ndulescu, costume design Alexandra M\u00e2zg\u0103reanu, State Theatre Constan\u021ba<\/li>\n
- \u201eA Lost Letter\u201d <\/strong>by I.L. Caragiale, directed by \u0218tefan Iord\u0103nescu, costume design Chic by Vali Cioban, set design by Doru P\u0103curar, \u201eIoan Slavici\u201d Classical Theatre Arad<\/li>\n
- \u201eRomeo and Juliet\u201d<\/strong>, after William Shakespeare, directed by Vidny\u00e1nszky Attila jr., set design Csaba Cs\u00edki, costume design by Zsuzs\u00e1nna Kiss, Hungarian State Theatre Cluj<\/li>\n
- \u201eThe Star with No Name\u201d<\/strong> by Mihail Sebastian, directed by Cristian Ban, set design Cristina Milea, \u201eMaria Filotti\u201d Theatre Br\u0103ila<\/li>\n
- \u201eThe Widow of Mr. Karny\u00f3 and the Two Rascals\u201d <\/strong>by Csokonai Vit\u00e9z Mih\u00e1ly, directed by Tapaszt\u00f3 Ern\u0151, set design by Szvatek P\u00e9ter, costume design by Vars\u00e1nyi Anna, \u201eAradi Kamarasz\u00ednh\u00e1z\u201d Theatre Company and \u201ePincesz\u00ednh\u00e1z\u201d Company Szeged (Hungary)<\/li>\n
- \u201eVilla Dolorosa\u201d<\/strong> by Rebekka Kricheldorf, directed by Theodor-Cristian Popescu, set design Irina Moscu, National Theatre T\u00e2rgu Mure\u0219 \u2013 \u201cLiviu Rebreanu\u201d Company<\/li>\n<\/ol>\n
\u00a0\u00a0<\/strong><\/p>\nGuests of the RNTF<\/strong><\/span><\/p>\n\n- \u201eCarnival Stuff\u201d<\/strong> by I.L. Caragiale, directed by Alexandru Dabija, set design by Raluca Alexandrescu, costume design Liliana Cenean, \u201cI.L. Caragiale\u201d National Theatre of Bucharest<\/li>\n
- \u201eThe City with Poor Grils\u201d<\/strong>, after Radu Tudoran, written, directed and sound universe by Radu Afrim, set design Cosmin Florea, National Theatre \u201eVasile Alecsandri\u201d Ia\u0219i<\/li>\n
- \u201e <\/em><\/strong>Rhinoc\u00e9ros<\/em><\/strong><\/a>\u201d<\/strong> by Eug\u00e8ne Ionesco, directed by G\u00e1bor Tompa, set design by Helmut St\u00fcrmer, costume design by Carmencita Brojboiu, \u201eMihai Eminescu\u201d National Theatre Timi\u0219oara<\/li>\n
- \u201eThe Tragedy of Man<\/strong>\u201d by Mad\u00e1ch Imre, directed by Silviu Purc\u0103rete, set design Drago\u0219 Buhagiar, \u201eCsiky Gergely\u201d Hungarian State Theatre Timi\u0219oara<\/li>\n<\/ol>\n
\u00a0Performative Installations<\/strong><\/span><\/p>\n\n- \u201eHektomeron Day\u201d<\/strong>, concept and project coordination by Vlad Dr\u0103gulescu, \u201cMarin Sorescu\u201d National Theatre Craiova<\/li>\n
- \u201eInterior-Light\u201d<\/strong>, texts by Oana Hodade, Ioana Hogman, Oana Mardare, Mihai P\u0103curar, Doru Talo\u0219, Adonis Tan\u021ba, conceived and directed by Mihai P\u0103curar, Reactor- A Place for Creative Experiments Cluj-Napoca<\/li>\n
- \u201eGreen Moon\u201d<\/strong>, poetry by Federico Garc\u00ed<\/em><\/strong>a Lorca, Odeon Theatre, Bucharest<\/li>\n
- \u201eHorizon\u201d<\/strong>, texts by George Gordon Byron, John M. Hull and Liviu Oros, a performance by Victor Ol\u0103hu\u021b, \u201cRadu Stanca\u201d National Theatre Sibiu<\/li>\n<\/ol>\n
Visual installations<\/u><\/strong><\/p>\nAR(t)EST II<\/strong>. An installation made of objects, photographs, video and audio material that brings together interventions by 60 people from the cultural sector \u2013 snapshots from the lockdown, a project initiated by actress Vero Nica and visual artist Andu Dumitrescu. A production of VAR Cultural Association, April-June 2020<\/p>\nFamous Houses. Doina Cornea, guided tour (video adaptation).<\/strong> Concept by Andreea Iacob, produced by Create.Act.Enjoy, Cluj-Napoca<\/p>\nThe Multimedia Dictionary of Romanian Theatre \u2013 Update<\/strong>. An archive website, a multimedia portal about the history of the Romanian theatre movement. Producer: Romanian Association for Performing Arts (ARPAS),\u00a0in partnership with Babe\u0219-Bolyai University in Cluj and the University of Arts in T\u00e2rgu Mure\u0219. With the support of Goethe Institute Bucharest. Co-financed by\u00a0AFCN.<\/p>\nHarag Gy\u00f6rgy Exhibition<\/strong>. A touring exhibition on the occasion of the 100th<\/sup> anniversary of the famed director Harag Gy\u00f6rgy\u021bs birthday. Organiser: Liszt Institute \u2013The Hungarian Cultural Centre Bucharest, together with the Hungarian Academy of Arts<\/p>\nFluid Memory.<\/strong> An interactive video installation that explores the moment when the individual become deprived of the social dynamic. Created by Andrei Cozlac in collaboration with artist Silviu Apostol.<\/p>\nSolaris.<\/strong> Concept by\u00a0Ilinca Stihi. Production:\u00a0Vlad Ioachimescu. Producers: The Romanian Radio Broadcasting Company and The Polish Institute Bucharest, in partnership with The National Museum of Art of Romania. Event organized for Stanis\u0142aw Lem\u2019s 100th birthday anniversary<\/p>\nForeign performances<\/u><\/strong><\/p>\nAntigone<\/strong> by Sophocles, translation by Friedrich H\u00f6lderlin, directed by Friederike Heller. Set design and costumes: Sabine Kohlstedt, a production of Schaub\u00fchne Berlin (Germany)<\/p>\n
\n<\/div>The 31st edition of the Romanian National Theatre Festival will take place between November 6-14 2021, online, <\/strong>due to the restrictions imposed by the pandemic.<\/h2>\nCritics\u00a0Oana Cristea Grigorescu<\/strong>,\u00a0Cristina Rusiecki<\/strong>\u00a0and\u00a0Claudiu Groza<\/strong>, selectors and artistic directors of the current edition have announced the performances that will be presented at NTF 2021.<\/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 October 2021<\/span>\u00a0 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\tThis year\u2019s concept, \u201eCreation. Recreation. Re-creation\u201d<\/em><\/strong>,<\/em>\u00a0subsumes the sections of the NTF program.<\/p>\n38 \u00a0theatre performances selected from all over the country will be accompanied by visual instalations, foreign productions and sidebar events.\u00a0\u00a0<\/strong><\/p>\nHere are the motivations of the selectors, the criteria and their choices, given the \u00a0the atypical situation in which the Romanian theatrical activity has been carried out in recent times: \u00a0\u00a0<\/strong><\/p>\nOana Cristea Grigorescu:<\/strong><\/p>\n\u201eSeeing the productions of the pandemic season 2020\/21, as unpredictable and frustrating it has been for artists and audiences alike, we tried to decipher in the performances we saw new ways of functioning for the theatre, of adaptative and supple reformation of the creative work, capable to resist the restrictions imposed by the pandemic waves. We dreamed of a live edition of the NTF, we hoped the summer freedom will persist beyond the month of September, but we complied to the new restrictions, and we restrained the festival to its online version, convinced of the importance of the existence and continuity of the Festival. We flexed our imagination, in order to devise another type of national festival, delocalised all over the country, making the virtual and the geographic dimensions meet, wherever the theatres will be allowed to schedule public presentations of their productions during the festival. We invite the theatres selected for the NTF to program their shows and perform under the NTF logo<\/strong>. This way, the online format of the festival will have a physical extension in the theatres where audiences are allowed to participate and, thus, the national attribute of the festival will become a geographic reality.<\/em><\/p>\nAccording to the festival regulations, we only selected performances that premiered during the unexpectedly productive 2020 \u2013 2021 season. Maybe this high number of premieres can be explained also through the fact that some of them have been postponed from premiering during March to July of 2020. We have been evaluating not only the great productivity, but also the stylistic diversity of the theatrical solutions that proved interest in exploring and integrating new media, in reforming the concepts of theatre\u00a0 making, according to the context. We hope NTF will offer an image of the creative solutions, will identify the dominant themes of the performances and the most flexible and imaginative aesthetics. <\/em><\/p>\nThe concept of the festival \u2013\u00a0<\/em>\u201eCreation. Recreation. Re-creation\u201d<\/em><\/strong>\u00a0\u2013 tries to concentrate the artists\u2019 answers to the new conditions for creation in a single syntagm.<\/em><\/p>\nThe interest for the areas of intersection of the arts have generated two interdisciplinary sections: Performative Installations and Visual Installations as a sign of the extension of the theatrical experiment towards the borders of the other arts. Last, but not at all least, the NTF will pay homage to artist and President of UNITER, Ion Caramitru, from whom we recently and unexpectedly parted. In a certain way, the 2021 edition of the festival tries to balance the losses of the elapsed year and the vital energies of continuity and regeneration.<\/em><\/p>\nThis year\u2019s selection is not to be explored in search for grand masterpieces, but in search of interhuman communication and introspection. NTF 2021 is not supposed to bring artistic revelations other then those of the vitality and the reconfiguration of theatre in its new means of production and new ways of representation. NTF 2021 aims at being a celebration of finding each other in proximity of the theatre stage, but also an edition that tries to heal for the losses suffered along these years, with a glance towards the times to come.\u201d<\/em>\u00a0\u00a0<\/strong><\/p>\nCristina Rusiecki:<\/strong><\/p>\n\u201eIf there is one good news to identify in this time of the pandemic, it\u2019s a reference to an emerging climate, one that impels us to expect other forms of expression, more fluid more adequate to the conditions, with the online luring around each and every corner. Most of the selected performances for this edition of the National Theatre Festival are works of creators under the age of fourty. Their stagings abolish the dogma in force, maybe replacing it with new ones. A sign that the sacred monsters are turning Romanian theatre over into good hands. And hope that the route to future grand creations is clear. Some of the performances presented within this edition already offer a glimpse into this future. Opting for new, interdisciplinary\u00a0 types of language, moulded over the new conditions, as well as over the recent evolution of the means, lead us to the idea of this new section, dedicated to installations. It was surprising to us to see how substantial the proportion of classical reinvented texts has grown. I can\u2019t remember any other edition to bring such an impressive number of reinvented classical texts. Texts that were leading to a certain interpretation key, be it absurd, sentimental, overdrawn, have generated, in the past season, new, fresh views.<\/em><\/p>\nWe all wish to return to live performances, to the exchange of energies between stage and auditorium. \u00a0<\/strong>Tired of camera angles, making projection sometimes hard to separate from what takes place live on stage, we wish to be allowed to immerse ourselves again into the three-dimensional space imagined by set designers, these days maybe the most deprived among the theatre creators. This is why the 2021 edition of the NTF is hosting a special program titled Next to Stage<\/strong>, bringing together set designers to discuss the solutions they were forced to find under the circumstances the pandemic brought. This program aims to set up a dialogue between those who are now acquiring the skills of the profession and established set-designers, big names on the Romanian and international theatre scene: Carmencita Brojboiu, Helmut St\u00fcrmer, Drago\u0219 Buhagiar.<\/em>\u201d<\/p>\n\u00a0\u00a0<\/strong><\/p>\nClaudiu Groza<\/strong>:<\/p>\n\u201eWe have chosen this umbrella term of \u2013\u00a0Creation. Recreation. Re-creation<\/strong>\u2013 because we think it represents best the situation of Romanian theatre today. Despite the pandemic, financial, political hindrances of the recently elapsed years, Romanian theatre produces remarkable effervescence and diversity. It\u2019s true, it might often be regarded as a desperate survival of artists and theatre companies, but the results are considerable. <\/em><\/p>\nCreation <\/em><\/strong>covers the area of original productions that carry on the diverse artistic, aesthetic, ideological formulae, with a special stress (in fact a full subprogram) on the creative work of woman directors- an unprecedented artistic assault of the Romanian scene.<\/em><\/p>\nRecreation\u00a0<\/em><\/strong>is trying to capture a portrait of the world in parodical, comical traits, even with dark humour, still not in an easy tonality, but rather as a smiling reaction to the bizarre times we are living in.<\/em><\/p>\nRe-creation <\/em><\/strong>renders the online, interactive, filmlike, ingenious, highly theatrical solutions found by the artists in their attempts to overcome the pandemic blockade without betraying neither their calling, nor their audiences. <\/em><\/p>\nWe thought it would be very important to mark the many re-compositions of great classical texts, in new directorial or dramaturgical readings:\u00a0Classic. Recreated.<\/strong><\/em><\/p>\nWe have a few invited performances, by masters of Romanian theatre directing and we have succeeded, although not very easily, to outline an international program.<\/em>\u00a0\u00a0<\/strong><\/p>\nWe did not wish to have an exclusively online edition of the National Theatre Festival. We would have preferred to meet, to exchange opinions, to share projects, hugs and jokes. But now we can only hope that the disadvantage will become an advantage and that many spectators from all corners of Romania- and maybe even outside of the country- will be able to see the shows.\u201d<\/em><\/p>\nWe hereby present the SELECTION OF THE PERFORMANCES within the 31st National Theatre Festival.<\/em><\/strong>\u00a0\u00a0<\/strong><\/p>\n\u00a0\u00a0<\/strong><\/p>\nCreation<\/u><\/strong><\/p>\n\n- \u201eAutobahn\u201d<\/strong>\u00a0by Neil LaBute, directed by Andreea and Andrei Grosu, DOP and editing Alexandru Condurache, set design by Vladimir Turturica, \u201cRadu Stanca\u201d National Theatre, Sibiu<\/li>\n
- \u201eThe Iranian Conference\u201d<\/strong> by Ivan Vyrypaev, directed by Bobi Pricop, set design by \u00a0Oana Micu, \u201cRadu Stanca\u201d National Theatre, Sibiu<\/li>\n
- \u201eThe Effect\u201d<\/strong>\u00a0by Lucy Prebble, directed by Vlad B\u0103lan, set design by Miruna Croitoru, unteatru<\/li>\n
- \u201eHeart and Other Flesh Matters\u201d<\/strong> by Dan Coman, directed by, video and sound universe by Radu Afrim, set design by Irina Moscu, \u201cMarin Sorescu\u201d National Theatre Craiova<\/li>\n
- \u201eKatzelmacher. If It Wouldn\u2019t Be about Love\u201d<\/strong> by Rainer Werner Fassbinder, directed by Eugen Jebeleanu, set and costume design by Velica Panduru, German State Theatre Timi\u0219oara<\/li>\n
- \u201eGreen Felled\u201d<\/strong> by Alexandra Felseghi, directed by Adina Laz\u0103r, set design by Andreea Tecla, Asocia\u021bia Pro Teatru, Zal\u0103u<\/li>\n<\/ol>\n
\u00a0\u00a0<\/strong>Creation. Feminine<\/strong><\/span><\/p>\n\n- \u201e98% Correct Choice\u201d <\/strong>by Andreea T\u0103nase, directed by Elena Morar, costumes and set design assistance by\u00a0 Ileana Zirra, set design Diana Miro\u0219u, Theatre of Youth Piatra Neam\u021b<\/li>\n
- \u201eCassandra\u201d<\/strong> by Norah Sadava and Amy Nostbakken (\u201eMouthpiece\u201d), directed by Leta Popescu, set design by Tudor Prodan, Apollo 111 Theatre Bucharest<\/li>\n
- \u201eLet\u2019s Talk about Life!\u201d<\/strong> by Ana Sorina Corneanu, directed by Zsuzs\u00e1nna Kov\u00e1cs, set design Gabi Albu, \u201cI.L. Caragiale\u201d National Theatre of Bucharest<\/li>\n
- \u201eTiadora\u201d<\/strong>, after Maria Manolescu Bor\u0219a, directed by Sorin Militaru, set design Hora\u021biu Mihaiu, \u201cBacovia\u201d Municipal Theatre Bac\u0103u<\/li>\n
- \u201eAll the Things Alois Took from Me\u201d <\/strong>by Cosmin St\u0103nil\u0103, set design Adrian Balc\u0103u, Reactor \u2013 A Place for Creative Experiments Cluj-Napoca<\/li>\n
- \u201eThree Tall Women\u201d<\/strong> by Edward Albee, directed by Diana P\u0103curar, set design \u00a0by Oana Cernea, Queen Mary Theatre Oradea<\/li>\n<\/ol>\n
Creation. Dance\u00a0<\/strong><\/span><\/p>\n\n- \u201ePam param\u201d<\/strong>, choreography by Andrea Gavriliu, M Studio, Sf\u00e2ntu-Gheorghe<\/li>\n
- \u201ePappa mia!\u201d<\/strong>, text and choreography by Feh\u00e9r Ferenc, M Studio, Sf\u00e2ntu-Gheorghe<\/li>\n<\/ol>\n
Recreation<\/u><\/strong><\/p>\n\n- \u201eApr\u00e8s Ski \u2013 Quiet Up Here!\u201d<\/strong> by Klaus Eckel, concept by Niko Becker, German State Theatre Timi\u0219oara<\/li>\n
- \u201eChiritza in Quarantine\u201d<\/strong>, after Matei Millo, dramatic script by Ada Milea, Anca Hanu, Cosmin St\u0103nil\u0103, directed by Ada Milea, Andrea Gavriliu, concert- performance by Ada Milea, National Theatre Cluj-Napoca<\/li>\n
- \u201e This Lime Tree Bower\u201d<\/strong> by Conor McPherson, directed and designed by Cristi Juncu, National Theatre T\u00e2rgu-Mure\u0219 \u2013 \u201cLiviu Rebreanu\u201d Company<\/li>\n
- \u201e<\/strong>Baba Rum<\/strong>\u201d<\/strong> by Thanasis Papathanasiou and Mihalis Reppas, directed by Radu Nichifor, set design by Daniel Divrician, Queen Mary Theatre Oradea<\/li>\n
- \u201dTom and Jerry 2.0\u201d<\/strong>, adapted after \u201eJerry and Tom\u201d by Rick Cleveland, directed by Florin Piersic jr., set design Tudor Prodan, \u201cRadu Stanca\u201d National Theatre, Sibiu<\/li>\n
- \u201e Mine District Trilogy. Flowers\u201d\u00a0<\/strong>(episode 1) by Csaba Sz\u00e9kely, directed by Horia Suru, set design by Raluca Alexandrescu, Teatrul Dramaturgilor Rom\u00e2ni, Bucharest<\/li>\n
- \u201e Mine District Trilogy. Water\u201d\u00a0<\/strong>(episode 3) by Csaba Sz\u00e9kely, directed by Horia Suru, set design Raluca by Alexandrescu, Teatrul Dramaturgilor Rom\u00e2ni, Bucharest<\/li>\n<\/ol>\n
\u00a0\u00a0<\/strong>Re-creation<\/u><\/strong><\/p>\n\n- \u201eDekaroom\u201d<\/strong>, colective creation, directed by Andrei Dinu and Raul Hotca\u0219, set design Mihai V\u0103lu, Municipal Theatre Baia Mare<\/li>\n
- \u201eTrapped\u201d<\/strong> by Maria Manolescu Bor\u0219a, directed by Leta Popescu, set design Gabi Albu, Replika Centre for Educational Theatre, Bucharest<\/li>\n
- \u201eSHORTS\u201d<\/strong>, after Samuel Beckett, directed by Zal\u00e1n Zakari\u00e1s, \u201eTomcsa S\u00e1ndor\u201d Theatre, Odorheiu Secuiesc<\/li>\n
- \u201eV.I.P. \u2013 Very Isolated Person<\/strong>\u201d, freely adapted after \u201eThe Seagull\u201d by A.P. Cehov, conceived and directed by Paula Lynn Breuer and Olga T\u00f6r\u00f6k, German State Theatre Timi\u0219oara<\/li>\n
- \u201eOne Flew Over the Cuckoo\u2019s Nest<\/strong>\u201d, after Ken Kesey, directed and designed by Eugen Gyemant, \u201eAndrei Mure\u0219anu\u201d Theatre Sf\u00e2ntu Gheorghe \/ VR theatre<\/li>\n<\/ol>\n
\u00a0\u00a0<\/strong>Classical. Recreated<\/u><\/strong><\/p>\n\n- \u201eThe Bacchae\u201d<\/strong>\u00a0(no mask), after Euripides, rewritten by Maria Manolescu, directed by Drago\u0219 Alexandru Mu\u0219oiu, costume design by Cristina Milea, set design R\u0103zvan Chendrean, North Theatre Satu Mare<\/li>\n
- \u201eThe Bald Soprano\u201d<\/strong> by Eug\u00e8ne Ionesco, directed by Alex Bogdan, set design by Tudor Prodan, \u201eMatei Vi\u0219niec\u201d Theatre Suceava<\/li>\n
- \u201eTwo Gentlemen from Verona\u201d <\/strong>by William Shakespeare, directed by Alexandru M\u00e2zg\u0103reanu, set design by Andreea S\u0103ndulescu, costume design Alexandra M\u00e2zg\u0103reanu, State Theatre Constan\u021ba<\/li>\n
- \u201eA Lost Letter\u201d <\/strong>by I.L. Caragiale, directed by \u0218tefan Iord\u0103nescu, costume design Chic by Vali Cioban, set design by Doru P\u0103curar, \u201eIoan Slavici\u201d Classical Theatre Arad<\/li>\n
- \u201eRomeo and Juliet\u201d<\/strong>, after William Shakespeare, directed by Vidny\u00e1nszky Attila jr., set design Csaba Cs\u00edki, costume design by Zsuzs\u00e1nna Kiss, Hungarian State Theatre Cluj<\/li>\n
- \u201eThe Star with No Name\u201d<\/strong> by Mihail Sebastian, directed by Cristian Ban, set design Cristina Milea, \u201eMaria Filotti\u201d Theatre Br\u0103ila<\/li>\n
- \u201eThe Widow of Mr. Karny\u00f3 and the Two Rascals\u201d <\/strong>by Csokonai Vit\u00e9z Mih\u00e1ly, directed by Tapaszt\u00f3 Ern\u0151, set design by Szvatek P\u00e9ter, costume design by Vars\u00e1nyi Anna, \u201eAradi Kamarasz\u00ednh\u00e1z\u201d Theatre Company and \u201ePincesz\u00ednh\u00e1z\u201d Company Szeged (Hungary)<\/li>\n
- \u201eVilla Dolorosa\u201d<\/strong> by Rebekka Kricheldorf, directed by Theodor-Cristian Popescu, set design Irina Moscu, National Theatre T\u00e2rgu Mure\u0219 \u2013 \u201cLiviu Rebreanu\u201d Company<\/li>\n<\/ol>\n
\u00a0\u00a0<\/strong><\/p>\nGuests of the RNTF<\/strong><\/span><\/p>\n\n- \u201eCarnival Stuff\u201d<\/strong> by I.L. Caragiale, directed by Alexandru Dabija, set design by Raluca Alexandrescu, costume design Liliana Cenean, \u201cI.L. Caragiale\u201d National Theatre of Bucharest<\/li>\n
- \u201eThe City with Poor Grils\u201d<\/strong>, after Radu Tudoran, written, directed and sound universe by Radu Afrim, set design Cosmin Florea, National Theatre \u201eVasile Alecsandri\u201d Ia\u0219i<\/li>\n
- \u201e <\/em><\/strong>Rhinoc\u00e9ros<\/em><\/strong><\/a>\u201d<\/strong> by Eug\u00e8ne Ionesco, directed by G\u00e1bor Tompa, set design by Helmut St\u00fcrmer, costume design by Carmencita Brojboiu, \u201eMihai Eminescu\u201d National Theatre Timi\u0219oara<\/li>\n
- \u201eThe Tragedy of Man<\/strong>\u201d by Mad\u00e1ch Imre, directed by Silviu Purc\u0103rete, set design Drago\u0219 Buhagiar, \u201eCsiky Gergely\u201d Hungarian State Theatre Timi\u0219oara<\/li>\n<\/ol>\n
\u00a0Performative Installations<\/strong><\/span><\/p>\n\n- \u201eHektomeron Day\u201d<\/strong>, concept and project coordination by Vlad Dr\u0103gulescu, \u201cMarin Sorescu\u201d National Theatre Craiova<\/li>\n
- \u201eInterior-Light\u201d<\/strong>, texts by Oana Hodade, Ioana Hogman, Oana Mardare, Mihai P\u0103curar, Doru Talo\u0219, Adonis Tan\u021ba, conceived and directed by Mihai P\u0103curar, Reactor- A Place for Creative Experiments Cluj-Napoca<\/li>\n
- \u201eGreen Moon\u201d<\/strong>, poetry by Federico Garc\u00ed<\/em><\/strong>a Lorca, Odeon Theatre, Bucharest<\/li>\n
- \u201eHorizon\u201d<\/strong>, texts by George Gordon Byron, John M. Hull and Liviu Oros, a performance by Victor Ol\u0103hu\u021b, \u201cRadu Stanca\u201d National Theatre Sibiu<\/li>\n<\/ol>\n
Visual installations<\/u><\/strong><\/p>\nAR(t)EST II<\/strong>. An installation made of objects, photographs, video and audio material that brings together interventions by 60 people from the cultural sector \u2013 snapshots from the lockdown, a project initiated by actress Vero Nica and visual artist Andu Dumitrescu. A production of VAR Cultural Association, April-June 2020<\/p>\nFamous Houses. Doina Cornea, guided tour (video adaptation).<\/strong> Concept by Andreea Iacob, produced by Create.Act.Enjoy, Cluj-Napoca<\/p>\nThe Multimedia Dictionary of Romanian Theatre \u2013 Update<\/strong>. An archive website, a multimedia portal about the history of the Romanian theatre movement. Producer: Romanian Association for Performing Arts (ARPAS),\u00a0in partnership with Babe\u0219-Bolyai University in Cluj and the University of Arts in T\u00e2rgu Mure\u0219. With the support of Goethe Institute Bucharest. Co-financed by\u00a0AFCN.<\/p>\nHarag Gy\u00f6rgy Exhibition<\/strong>. A touring exhibition on the occasion of the 100th<\/sup> anniversary of the famed director Harag Gy\u00f6rgy\u021bs birthday. Organiser: Liszt Institute \u2013The Hungarian Cultural Centre Bucharest, together with the Hungarian Academy of Arts<\/p>\nFluid Memory.<\/strong> An interactive video installation that explores the moment when the individual become deprived of the social dynamic. Created by Andrei Cozlac in collaboration with artist Silviu Apostol.<\/p>\nSolaris.<\/strong> Concept by\u00a0Ilinca Stihi. Production:\u00a0Vlad Ioachimescu. Producers: The Romanian Radio Broadcasting Company and The Polish Institute Bucharest, in partnership with The National Museum of Art of Romania. Event organized for Stanis\u0142aw Lem\u2019s 100th birthday anniversary<\/p>\nForeign performances<\/u><\/strong><\/p>\nAntigone<\/strong> by Sophocles, translation by Friedrich H\u00f6lderlin, directed by Friederike Heller. Set design and costumes: Sabine Kohlstedt, a production of Schaub\u00fchne Berlin (Germany)<\/p>\n
5 October 2021<\/span>\u00a0 News<\/a><\/span><\/p>\n<\/div> This year\u2019s concept, \u201eCreation. Recreation. Re-creation\u201d<\/em><\/strong>,<\/em>\u00a0subsumes the sections of the NTF program.<\/p>\n 38 \u00a0theatre performances selected from all over the country will be accompanied by visual instalations, foreign productions and sidebar events.\u00a0\u00a0<\/strong><\/p>\n Here are the motivations of the selectors, the criteria and their choices, given the \u00a0the atypical situation in which the Romanian theatrical activity has been carried out in recent times: \u00a0\u00a0<\/strong><\/p>\n Oana Cristea Grigorescu:<\/strong><\/p>\n \u201eSeeing the productions of the pandemic season 2020\/21, as unpredictable and frustrating it has been for artists and audiences alike, we tried to decipher in the performances we saw new ways of functioning for the theatre, of adaptative and supple reformation of the creative work, capable to resist the restrictions imposed by the pandemic waves. We dreamed of a live edition of the NTF, we hoped the summer freedom will persist beyond the month of September, but we complied to the new restrictions, and we restrained the festival to its online version, convinced of the importance of the existence and continuity of the Festival. We flexed our imagination, in order to devise another type of national festival, delocalised all over the country, making the virtual and the geographic dimensions meet, wherever the theatres will be allowed to schedule public presentations of their productions during the festival. We invite the theatres selected for the NTF to program their shows and perform under the NTF logo<\/strong>. This way, the online format of the festival will have a physical extension in the theatres where audiences are allowed to participate and, thus, the national attribute of the festival will become a geographic reality.<\/em><\/p>\n According to the festival regulations, we only selected performances that premiered during the unexpectedly productive 2020 \u2013 2021 season. Maybe this high number of premieres can be explained also through the fact that some of them have been postponed from premiering during March to July of 2020. We have been evaluating not only the great productivity, but also the stylistic diversity of the theatrical solutions that proved interest in exploring and integrating new media, in reforming the concepts of theatre\u00a0 making, according to the context. We hope NTF will offer an image of the creative solutions, will identify the dominant themes of the performances and the most flexible and imaginative aesthetics. <\/em><\/p>\n The concept of the festival \u2013\u00a0<\/em>\u201eCreation. Recreation. Re-creation\u201d<\/em><\/strong>\u00a0\u2013 tries to concentrate the artists\u2019 answers to the new conditions for creation in a single syntagm.<\/em><\/p>\n The interest for the areas of intersection of the arts have generated two interdisciplinary sections: Performative Installations and Visual Installations as a sign of the extension of the theatrical experiment towards the borders of the other arts. Last, but not at all least, the NTF will pay homage to artist and President of UNITER, Ion Caramitru, from whom we recently and unexpectedly parted. In a certain way, the 2021 edition of the festival tries to balance the losses of the elapsed year and the vital energies of continuity and regeneration.<\/em><\/p>\n This year\u2019s selection is not to be explored in search for grand masterpieces, but in search of interhuman communication and introspection. NTF 2021 is not supposed to bring artistic revelations other then those of the vitality and the reconfiguration of theatre in its new means of production and new ways of representation. NTF 2021 aims at being a celebration of finding each other in proximity of the theatre stage, but also an edition that tries to heal for the losses suffered along these years, with a glance towards the times to come.\u201d<\/em>\u00a0\u00a0<\/strong><\/p>\n Cristina Rusiecki:<\/strong><\/p>\n \u201eIf there is one good news to identify in this time of the pandemic, it\u2019s a reference to an emerging climate, one that impels us to expect other forms of expression, more fluid more adequate to the conditions, with the online luring around each and every corner. Most of the selected performances for this edition of the National Theatre Festival are works of creators under the age of fourty. Their stagings abolish the dogma in force, maybe replacing it with new ones. A sign that the sacred monsters are turning Romanian theatre over into good hands. And hope that the route to future grand creations is clear. Some of the performances presented within this edition already offer a glimpse into this future. Opting for new, interdisciplinary\u00a0 types of language, moulded over the new conditions, as well as over the recent evolution of the means, lead us to the idea of this new section, dedicated to installations. It was surprising to us to see how substantial the proportion of classical reinvented texts has grown. I can\u2019t remember any other edition to bring such an impressive number of reinvented classical texts. Texts that were leading to a certain interpretation key, be it absurd, sentimental, overdrawn, have generated, in the past season, new, fresh views.<\/em><\/p>\n We all wish to return to live performances, to the exchange of energies between stage and auditorium. \u00a0<\/strong>Tired of camera angles, making projection sometimes hard to separate from what takes place live on stage, we wish to be allowed to immerse ourselves again into the three-dimensional space imagined by set designers, these days maybe the most deprived among the theatre creators. This is why the 2021 edition of the NTF is hosting a special program titled Next to Stage<\/strong>, bringing together set designers to discuss the solutions they were forced to find under the circumstances the pandemic brought. This program aims to set up a dialogue between those who are now acquiring the skills of the profession and established set-designers, big names on the Romanian and international theatre scene: Carmencita Brojboiu, Helmut St\u00fcrmer, Drago\u0219 Buhagiar.<\/em>\u201d<\/p>\n \u00a0\u00a0<\/strong><\/p>\n Claudiu Groza<\/strong>:<\/p>\n \u201eWe have chosen this umbrella term of \u2013\u00a0Creation. Recreation. Re-creation<\/strong>\u2013 because we think it represents best the situation of Romanian theatre today. Despite the pandemic, financial, political hindrances of the recently elapsed years, Romanian theatre produces remarkable effervescence and diversity. It\u2019s true, it might often be regarded as a desperate survival of artists and theatre companies, but the results are considerable. <\/em><\/p>\n Creation <\/em><\/strong>covers the area of original productions that carry on the diverse artistic, aesthetic, ideological formulae, with a special stress (in fact a full subprogram) on the creative work of woman directors- an unprecedented artistic assault of the Romanian scene.<\/em><\/p>\n Recreation\u00a0<\/em><\/strong>is trying to capture a portrait of the world in parodical, comical traits, even with dark humour, still not in an easy tonality, but rather as a smiling reaction to the bizarre times we are living in.<\/em><\/p>\n Re-creation <\/em><\/strong>renders the online, interactive, filmlike, ingenious, highly theatrical solutions found by the artists in their attempts to overcome the pandemic blockade without betraying neither their calling, nor their audiences. <\/em><\/p>\n We thought it would be very important to mark the many re-compositions of great classical texts, in new directorial or dramaturgical readings:\u00a0Classic. Recreated.<\/strong><\/em><\/p>\n We have a few invited performances, by masters of Romanian theatre directing and we have succeeded, although not very easily, to outline an international program.<\/em>\u00a0\u00a0<\/strong><\/p>\n We did not wish to have an exclusively online edition of the National Theatre Festival. We would have preferred to meet, to exchange opinions, to share projects, hugs and jokes. But now we can only hope that the disadvantage will become an advantage and that many spectators from all corners of Romania- and maybe even outside of the country- will be able to see the shows.\u201d<\/em><\/p>\n We hereby present the SELECTION OF THE PERFORMANCES within the 31st National Theatre Festival.<\/em><\/strong>\u00a0\u00a0<\/strong><\/p>\n \u00a0\u00a0<\/strong><\/p>\n Creation<\/u><\/strong><\/p>\n \u00a0\u00a0<\/strong>Creation. Feminine<\/strong><\/span><\/p>\n Creation. Dance\u00a0<\/strong><\/span><\/p>\n Recreation<\/u><\/strong><\/p>\n \u00a0\u00a0<\/strong>Re-creation<\/u><\/strong><\/p>\n \u00a0\u00a0<\/strong>Classical. Recreated<\/u><\/strong><\/p>\n \u00a0\u00a0<\/strong><\/p>\n Guests of the RNTF<\/strong><\/span><\/p>\n \u00a0Performative Installations<\/strong><\/span><\/p>\n Visual installations<\/u><\/strong><\/p>\n AR(t)EST II<\/strong>. An installation made of objects, photographs, video and audio material that brings together interventions by 60 people from the cultural sector \u2013 snapshots from the lockdown, a project initiated by actress Vero Nica and visual artist Andu Dumitrescu. A production of VAR Cultural Association, April-June 2020<\/p>\n Famous Houses. Doina Cornea, guided tour (video adaptation).<\/strong> Concept by Andreea Iacob, produced by Create.Act.Enjoy, Cluj-Napoca<\/p>\n The Multimedia Dictionary of Romanian Theatre \u2013 Update<\/strong>. An archive website, a multimedia portal about the history of the Romanian theatre movement. Producer: Romanian Association for Performing Arts (ARPAS),\u00a0in partnership with Babe\u0219-Bolyai University in Cluj and the University of Arts in T\u00e2rgu Mure\u0219. With the support of Goethe Institute Bucharest. Co-financed by\u00a0AFCN.<\/p>\n Harag Gy\u00f6rgy Exhibition<\/strong>. A touring exhibition on the occasion of the 100th<\/sup> anniversary of the famed director Harag Gy\u00f6rgy\u021bs birthday. Organiser: Liszt Institute \u2013The Hungarian Cultural Centre Bucharest, together with the Hungarian Academy of Arts<\/p>\n Fluid Memory.<\/strong> An interactive video installation that explores the moment when the individual become deprived of the social dynamic. Created by Andrei Cozlac in collaboration with artist Silviu Apostol.<\/p>\n Solaris.<\/strong> Concept by\u00a0Ilinca Stihi. Production:\u00a0Vlad Ioachimescu. Producers: The Romanian Radio Broadcasting Company and The Polish Institute Bucharest, in partnership with The National Museum of Art of Romania. Event organized for Stanis\u0142aw Lem\u2019s 100th birthday anniversary<\/p>\n Foreign performances<\/u><\/strong><\/p>\n Antigone<\/strong> by Sophocles, translation by Friedrich H\u00f6lderlin, directed by Friederike Heller. Set design and costumes: Sabine Kohlstedt, a production of Schaub\u00fchne Berlin (Germany)<\/p>\n\n
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