Produced by Reactor de crea\u021bie \u0219i experiment, Cluj- Napoca<\/strong><\/p>\n

\u00a0 \u00a0<\/em><\/strong><\/p>\n

\u00a0 \u00a0<\/em><\/strong><\/p>\n

Acroba\u021bii\/ The Acrobats \u2013 Seven Days in the Life of Some Rural Teachers<\/em><\/strong><\/p>\n

To the eyes of director David Schwartz, an artist with a constant interest in researching the political stakes assumed by documentary theatre, education is a theme of layered systemic reflection. In Acrobats, he uses an approache from the perspective of rural teachers. Education, like a ball of fragile threads, as a thin rope on which teachers constantly balance between precariousness and survival, between disinterest and wishful thinking, is explored theatrically with playful inventiveness and analytical acuity. Acrobats is the chronicle of an educational present torn by infinite paradoxes.<\/p>\n

\u00a0 \u00a0<\/em><\/strong><\/p>\n

Agnes, aleasa lui Dumnezeu<\/em>\/ Agnes of God<\/em><\/strong><\/p>\n

Featuring a very talented double cast, the show presents the loss of innocence and the confrontation with the tragedy of life’s realities, wrapped in a fake detective story. The strength of the acting confronts scientific reasoning and salvation brought about by Christian love. The tragedy of the main character resonates with the threat of obtuse faith, a theme very poignant in today’s (Romanian) world, a world that has lived through a phase of denial of the pandemic, prone to ideas contradicting scientifically based theories.<\/p>\n

\u00a0 \u00a0<\/em><\/strong><\/p>\n

Apocalipsa gospodinelor\/ <\/em>Housewives\u2019\u2019 Apocalypse<\/em><\/strong><\/p>\n

In the collective vision of the creative team, Housewives\u2019 Apocalypse<\/em> is a liberating live concert, concentrating stories of multiple forms of systemic violence against women, inspired by the personal stories of the actresses. A performative manifesto with an explicitly radical message, Housewives\u2019 Apocalypse<\/em> has the choral quality of a statement of combat, combining acute emotional states and an assumed revolt against the perpetuation of abuse, having kept generations of women in gruesome silence, walled inside coercive myths.<\/p>\n

\u00a0 \u00a0<\/em><\/strong><\/p>\n

B\u0103g\u0103u<\/em><\/strong><\/p>\n

Using a theatrical melange of frustrated realism and expressive stylization, director Cristina Giurgea casts the light onto the universe of a cult novel of the 2000s, B\u0103g\u0103u<\/em>, written by Ioana Bradea. Constructed as a collection of short scenes alternating with concentrated monologues, B\u0103g\u0103u<\/em> is like a video clip of the beginning of the millennium, featuring the most contradictory elements of the dynamics of those times: addictions to erotic lines, families in search of an uncertain balance, precariousness, the illusion of redeeming love stories, without any sort of security beaming at the line of the horizon. B\u0103g\u0103u<\/em> thus becomes a theatrical X-ray investigation of the times that left their mark on post-World War II transformations.<\/p>\n

\u00a0 \u00a0<\/em><\/strong><\/p>\n

B\u0103ie\u021bii de zinc\/ Boys in Zinc<\/em><\/strong><\/p>\n

Boys in Zinc<\/em> is a courtroom-show attributing the position of the jury to the audience. Seven actresses sitting at a table, throughout the trial and publicly testify to the tragedy of losing their sons\/husbands during the war in Afghanistan (1979-1989). While the sharing their life stories speaking their intensely emotional monologues, a symbolic political trial unfolds, an accusation of the civilians against the Soviet regime. The very austere performance, the total simplicity of the directorial treatment, the seven exceptional actresses question the aggressive nature of the state and the inhuman treatment of its citizens. In keeping with Russia’s current aggression in Ukraine, the theme of the performance is painfully recognizable and clearly states the anti-war conviction of Russian director Yuri Kordonsky.<\/p>\n

\u00a0 \u00a0<\/em><\/strong><\/p>\n

Cameristele\/ The Chambermaids<\/em><\/strong><\/p>\n

Director Hunor Horv\u00e1th proposes an original, extremely courageous, radical view on Jean Genet’s text. With firy live music rhythming the confrontations between reality, appearance and projection, into a redeeming imaginary, The Chambermaids<\/em> turns out to be a performance about the exploitation and submission of the vulnerable ones, about constraint and transformative revolt, about the fluidity of identities that melt and get to be reborn from their own combustion, about the possibility of destabilizing pre-established social roles.<\/p>\n

\u00a0 \u00a0<\/em><\/strong><\/p>\n

C\u00e2nd ploaia se va opri\/ <\/em>When the Rain Stops Falling<\/em><\/strong><\/p>\n

A world eroded by the disasters of global warming becomes the canvas of the backdrop against which the performance weaves its transgenerational stories together, a series of stories in which the departed and the remaining carry their memories on, responding to each other in an order that defies temporal boundaries, composing a dense narrative featuring explosive poeticism. When the Rain Stops Falling<\/em> is about sons waiting to find their fathers somewhere, someday, and about mothers decisively breaking away from overwhelming grief. Director Radu Iacoban succeeds in valuing those intersections of numerous layers, an atmosphere allowing emotional states to build up gradually, to flare up and then to fall down without any sort of a safety net.<\/p>\n

\u00a0 \u00a0<\/em><\/strong><\/p>\n

Delfini\/ Dolphins<\/em><\/strong><\/p>\n

Dolphins<\/em> questions the story of a family living on the edge. On the edge of the socially acceptable, on the edge of the tolerable. \u00a0Dolphins<\/em> uses an empathic theatrical language, without turning pathetic, not even for one second. Adina Laz\u0103r finds the perfect balance between filtering intense emotions and lucidly gaining a distance towards the existential drama, letting us sensibly witness the life of a child in search of words so hard to utter. In Dolphins<\/em> we step into an aquarium of neurodivergence and navigate among powerful emotional states.<\/p>\n

\u00a0 \u00a0<\/em><\/strong><\/p>\n

E adev\u0103rat, e adev\u0103rat, e adev\u0103rat!<\/em> \/ It\u2019s True, i<\/em>t\u2019s True, it\u2019s True!\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0<\/em><\/strong><\/p>\n

The show is a re-enactment of a real court trial, reconstructed via documents saved along many centuries. The biography of female painter Artemisa Gentileschi serves as a feminist manifesto against rape and abuse, justified as they were, for centuries, by patriarchy. The direction focuses on building tension along the stating of the reasons, while the all-female cast supports the contemporary view of the story. With an audience sitting extremely close, filmlike facial expressions amplify the effect of the audience’s direct involvement in the unfolding of the trial.<\/p>\n

\u00a0 \u00a0<\/em><\/strong><\/p>\n

Exil\/ Exile<\/em><\/strong><\/p>\n

In Exile<\/em>, Alexandra Badea walks the path of disturbing political events in the present of a group of people seeking an emotional reconciliation with the past. Exploring the extremely sensitive theme of belonging and theatrically constructing intertwining layers of time, Exile<\/em> is a performance-interrogation on the confrontations between macro-history and personal histories, as they become fragile by inherited silences, by ruptures with visible wounds, by departures and returns to places that still ache, by the memories of women who carry their traumas and search of healing words.<\/p>\n

\u00a0 \u00a0<\/em><\/strong><\/p>\n

Exod\/ Expulsion<\/em><\/strong><\/p>\n

The overwhelming relativity of that thing called home, the theme of migration, the national and individual traumas generated by the act and feeling of leaving<\/em>, self-colonization, the problem of the stranger<\/em>, the loneliness, despair and survival in another culture, all these are lines of socio-theatrical study opened by director Oskaras Kor\u0161unovas and playwright Marius Iva\u0161kevi\u010dius, both from Lithuania, at the National theatre “Mihai Eminescu” Timi\u0219oara. Expulsion<\/em> is a wide-ranging project, overwhelming in its violent-poetical realism, in its multitude of layers of meaning and in its ambition to reconstruct the terrible discomfort of a state of mind. With intense performances from actors and musicians, Kor\u0161unovas holds his disturbing topic wide open in front of our eyes: expulsion is not only a separation from a geographical place, but also from oneself…<\/p>\n

\u00a0 \u00a0<\/em><\/strong><\/p>\n

Hedwig and the Angry Inch<\/em><\/strong><\/p>\n

Continuing his constant research in musical theatre, R\u0103zvan Mazilu constructs a world balancing on the borderline between sordidness and kitsch, a world in which the marginalized, the people living on the outskirts of history, build their spaces of artistic expression, impossible to fit into fixed limits. Hedwig and the Angry Inch<\/em> has the poetic and political vibrancy of a transfiguring search for the self, in the name of the freedom to shatter any barriers, anything that seems impossible to face and to confront. The show is the glam & queer story of the transformation of a 16-year-old teenager from East Berlin into a star. A star for whom existence has one single meaning: his quest for love.<\/p>\n

\u00a0<\/em> \u00a0 \u00a0<\/strong><\/em><\/p>\n

Ierbar<\/em> \/ Herbarium<\/em><\/strong><\/p>\n

Could language (still) create worlds? Could words (still) generate realities? Could poetry (still) save something or someone? These are some of the questions raised by this very fertile theatrical partnership between director Radu Afrim and poet Simona Popescu. Stage direction itself turns into poetry, just as poetry, through its power to organize the unseen, is symbolically invited to take over the functions of the stage direction. Beyond the linguistic explorations, the Afrimian Herbarium<\/em> addresses the unsettling, ever more urgent theme of the alienation of the human being, it\u2019s loss of the connection to nature and the irreversibility of that process. Powerful in sound, visually complex, Herbarium addresses us directly, telling us, in various forms what we have been and what we have become.<\/p>\n

\u00a0 \u00a0<\/em><\/strong><\/p>\n

La Academie<\/em><\/strong><\/p>\n

Andrei M\u0103jeri’s performance at the theatre in Boto\u0219ani, based on Alexandra Felseghi’s writing, explores the Romanian countryside in a sensitive, ironical and empathetic way, explicitly aspiring to a type of “popular theatre” (in fact, similar to the “raw theatre” theorized by Peter Brook). The project follows the structural mutations undergone by one of the most ambiguous social categories, that of the peasant, in a quasi-methodological way, taking up Caragiale\u2019s \u201eweap and laugh\u201d formula. The research is being done not only in relation to the present, but also to eternity, as the director develops his unpredictable, ironically metaphysical tonalities. One more reason speaking up for this performance is the clearly detectable evolution of an artistic team and their necessary come back within the \u00e2 national theatrical limelight.<\/p>\n

\u00a0 \u00a0<\/strong><\/em><\/p>\n

La Ronde<\/em><\/strong><\/p>\n

La Ronde<\/em> is a laboratory of emotions in constant evolution, a cabaret of erotic urges and of often uncontrollable emotions, with relationships evolving into a constellation of expectations, fantasies, frustrations, failures, reencounters, ways of escaping from normative constraints. Yann Verburgh’s text, an inventive rewriting of Arthur Schnitzler’s Hands Around<\/em>, presents director Eugen Jebeleanu the space that lets him imagine the relationships between the intimate, the social and the political. La Ronde<\/em> deepens both the need to belong and the liberating dream of defying exclusive belongings and of loving beyond the imposed or accepted limits.<\/p>\n

\u00a0 \u00a0<\/em><\/strong><\/p>\n

Livada<\/em>\/ The Orchard<\/em><\/strong><\/p>\n

Director Slava Sambri\u0219’s The Orchard<\/em> stands out for its refinement of the construction, for the elegance of some of the solutions employed, for the quality and richness of the work with the actors, for the surprising and provocative resizing of some characters. The Chekhovian text is moulded in the form of a laboratory in which the director and his collaborators study not only Chekhov\u2019s writing, but rather the human being of our times, not that orchard, but a multitude of other<\/em> orchards on the verge of being wasted forever. Ranevskaya, Lopahin, Trofimov and all the others thus become delicate and problematic mirrors of the human beings living in the 21^{st<\/sup> century. Last but not least, the Orchard <\/em>brings a memorable rendition of the character of Firs by actor Emil Co\u0219eru.<\/p>\n}

\u00a0 \u00a0<\/em><\/strong><\/p>\n

Lysistrata, dragostea mea\/ Lysistrata, mon amour<\/em><\/strong><\/p>\n

In Lysistrata, mon amour,<\/em> Matei Vi\u0219niec initiates an exchange of ideas with Aristophanes, not without polemic overtones. The playwright takes up the central character and his theme (the plea against war and the “sexual strike” of women) as he investigates the consequences of a utopian, still very tempting scenario. Good quality humour is interwoven with serious reflections on questions such as: What is the use of war? Is peace a guarantee of happiness or just a stage during the transition to \u00a0yet another conflict? Is there a real evolution from the people of 2,500 years ago, or has humanity essentially remained unchanged?<\/p>\n

\u00a0 \u00a0<\/em><\/strong><\/p>\n

Magyarosaurus<\/em> Dacus<\/em><\/strong><\/p>\n

Continuing her long research in the direction of dramatizing significant historical events, Gianina C\u0103rbunariu\u2019s Magyarosaurus Dacus<\/em> brings baron Nopcsa Ferenc to the foreground and constructs a performance in which his identity becomes an alloy of contradictory perspectives, paradoxes, and questions. In the footsteps of a controversial personality, the director links interpretations of the past with deciphering the immediate present, structuring multiple derivations of one and the same destiny.<\/p>\n

\u00a0 \u00a0<\/em><\/strong><\/p>\n

Mansdorf<\/em><\/strong><\/p>\n

Mansdorf <\/em>is a performance-research, a retrieval of the history of Jewish theatre after the key moment of 1945, focusing on the story of the IKUF theatre group, setting out to produce Yiddish-language performances. The performance becomes a framework for a debate on the themes and forms of expression addressed in Yiddish-language theatre at that time, in direct relation to a traumatic history, while connecting the past \u2013 i.e. the discussions about financial problems, the topics presented in the performances, the relationship with the audience \u2013 to a present in which we recognize many traces of the evoked years.<\/p>\n

\u00a0 \u00a0<\/em><\/strong><\/h4>\n

Mass<\/strong><\/em><\/p>\n

Starting at Fran Kranz’s highly disturbing text, Mass,<\/em> Andrei and Andreea Grosu reveal a very subtle theatrical analysis of guilt. Together with four important Romanian actors and actresses (Ofelia Popii, Marius Turdeanu, Mihaela Trofimov and Richard Bovnoczki), the two directors step onto a problematic territory where, just like inside a kaleidoscope, pros and cons, strategies and self-illusions, accusations and positions, victims and executioners constantly change their polarities. An apparently simple question, “Who is the guilty one?”, reveals, through theatre, its profound metaphysical, social, psychological, cultural, existential meanings.<\/p>\n

\u00a0 \u00a0<\/em><\/strong><\/p>\n

Nelini\u0219te \/ Disquiet<\/em><\/strong><\/p>\n

The performence revolves around the character of the writer played with multiple nuances by Dorina Laz\u0103r. Director Bobi Pricop leaves room for dialectical twists of the credibility of creation in the face of the facts of life, from which the disquiet disturbing the conscience of the characters erupts. The relatively static quality of the performance creates the backdrop for the confrontation of consciences in this veritable theatre of ideas. Disquiet<\/em> is an unfolding of the fusion between fictions and contradictory realities, of all those things that cannot be fully said and of what is just invented, in order to make it all bearable, after all.<\/p>\n

\u00a0 \u00a0<\/em><\/strong><\/p>\n

Nunt\u0103 \u00een Oa\u0219<\/em> \/ Wedding in Oa\u0219<\/em><\/strong><\/p>\n

Wedding in Oa\u0219<\/em> proposes an anthropological study of the transformation of the rural world in the Romanian region of Oa\u0219, considered a place where traditions are preserved unaltered. Director Cristian Ban brings us a comedy with satirical accents and a cast that excels in female parts played by virtuosos. Roxana F\u00e2na\u021b\u0103 and Ioana Chereji are delicious in their roles of emancipated villagers, offering an image of the rural world and its irreversible transformation in the face of mercantile values.<\/p>\n

\u00a0 \u00a0<\/em><\/strong><\/p>\n

Oglinda neagr\u0103 \/ The Black Mirror<\/strong><\/em><\/p>\n

Ionu\u021b Caras, an actor having reached a stage of high professional refinement, offers us a glimpse inside the delicate and profound mechanisms of the construction of a part. Inside the shadowy laboratory, man and character negotiate their territories, borrow their contours, and interrogate each other’s levels of reality. Caras’ immersion in Pirandello is not only a theatrical exercise, but also an existential one, designed to provide new horizons for reflection on the complicated relationships between the individual and society. From inside the character, the actor looks at himself, playing out his double destiny on stage and raising the stakes of the art of acting to a totally new level.<\/p>\n

\u00a0 \u00a0<\/em><\/strong><\/p>\n

Oxig\u00e9n\/ Oxygen<\/strong><\/em><\/p>\n

In P\u00e1lffy Tibor’s reading, Ivan Vyrypaev’s play is not simply a text for the stage, it rather turns into a dialogue partner, leading a relationship with the characters in the cast. This seemingly paradoxical situation is relevant to the very stakes of the staging at the T\u00e1masi \u00c1ron theatre, that of retracing Treplev\u2019s metaphor of the search for new forms, appropriate for the present time. The result is a composition of an elaborate quality of sound and image, delightfully fluid in its form, with surprising reliefs, provoking dreamlike pulsations, but also cold, frontal meditations on the real. Atypical, strange and difficult to define, Oxygen<\/em> could in fact be an echo coming from the future of performance art.<\/p>\n

\u00a0 \u00a0<\/em><\/strong><\/p>\n

Scorpia ne\u00eembl\u00e2nzit\u0103 \/ The Untamed Shrew<\/em><\/strong><\/p>\n

The Untamed Shrew<\/em>, rewritten by Maria Manolescu Bor\u0219a and director Leta Popescu for the National theatre Cluj, polemically reinterprets the Shakespearean text from a feminist perspective. The performance deconstructs the relationship between the characters, swinging between affirming and denying of the patriarchal tradition of the female-male power relationship inside society and inside the couple. Consistent with her yearlong directorial project, Leta Popescu associates her laboratory of contemporary retrieval of popular theatre forms with producing dramatic texts nurtured by the themes of the present.<\/p>\n

\u00a0 \u00a0<\/strong><\/em><\/p>\n

Seaside Stories<\/em><\/strong><\/p>\n

Radu Afrim undertakes a vast affective-theatrical investigation on the fragile human relief, featuring the sea, the coast, the holidays, considered as landmarks for an intimate landscape of wandering and finding oneself. At the dramaturgical level, the director’s proposal, a collage of poetic-narrative structures, based on contributions from the well-known Romanian writers, opens up the theme in a pluri-perspectival way, locating it at the same time in an autochthonous, familiar and nostalgia generating mental space. Seaside Stories<\/em> also reveals a diverse and strong group of actors, their genuine creative sensibilities. Collaboration with Radu Afrim might lead to a revival on the long-term of this theatre troupe.<\/p>\n

\u00a0 \u00a0<\/em><\/strong><\/p>\n

Tinerii barbari<\/em> \/ Young Barbarians<\/em><\/strong><\/p>\n

Young Barbarians<\/em> at the Hungarian State theatre, Cluj, directed by the young Hungarian director Attila Vindy\u00e1nszky Jr., proposes an intense and sharp response to the ideea of nationalism as a state ideology. The performance is a polemic squabble against the ideologization of the Hungarian culture in authoritarian regimes. The fragmentary biography of the friendship between B\u00e9la Bart\u00f3k and Zolt\u00e1n Kod\u00e1ly during their musical folklore gathering campaigns dismantles the concept of national cultural identity. The iconoclastic character of B\u00e9la Bart\u00f3k, a mixture of physical debility and self-sacrificing effervescence, reveals the gap between the nationalist confiscation of music\/culture and its vital purity.<\/p>\n

\u00a0 \u00a0<\/strong><\/em><\/p>\n

TSCHICK. De ce am furat <\/em>ma\u0219ina\/ TSCHIK. Why We Took the Car<\/em><\/strong><\/p>\n

The show has the freshness of adolescence and the flavour of the discovery of the world. The young director Irisz Kovacs invites us to see an initiatory adventure in the adult world through the eyes of the two characters, two adolescents. Inspired by the aesthetics of comic strips, so familiar to young people, the set design is all about suggestion, whereas the acting leaves room to the imagination of the spectator, whom they take along on a journey to a never to be reached, imaginary Wallachia. Tschick…<\/em> is a show about friendship and about growing up, but above all about the value and limits of freedom.<\/p>\n

\u00a0 \u00a0<\/em><\/strong><\/p>\n

Visul\/ The Dream<\/em><\/strong><\/p>\n

Conceived as a musical, The Dream<\/em> becomes a kind of laboratory for dissecting the relationships between teachers\/professors and male\/female students, exposing dramatic situations with a critical attitude, with irony and poignancy of analysis. On the fine edge between internalization, normalization and precise identification of abuse, The Dream<\/em> deepens the power relations in the academic environment and thus becomes a performance, a reflection on how learning spaces can produce trauma.<\/p>\n

\u00a0 \u00a0<\/strong><\/em><\/p>\n

\u00a0 \u00a0<\/em><\/strong><\/p>\n

FOREIGN PROGRAM<\/em><\/strong><\/p>\n

\u00a0 \u00a0<\/strong><\/em><\/p>\n

Catarina and the Beauty of Killing Fascists<\/em><\/strong><\/p>\n

Written and directed by Tiago Rodrigues, with the artistic collaboration of Magda Bizarro<\/p>\n

Set design by F. Ribeiro<\/p>\n

Lighting design by Nuno Meira
\nCostume design by Jos\u00e9 Ant\u00f3nio Tenente
\nSound design and original music by Pedro Costa
\nMaster of choir, vocal arrangements Jo\u00e3o Henriques
\nChoreography by Sofia Dias, V\u00edtor Roriz<\/p>\n

Produced by the National theatre D. Maria II (Lisbona), Portugal<\/strong><\/p>\n

Coproduced with\u00a0Wiener Festwochen, Emilia Romagna Teatro Fondazione (Modena), Th\u00e9\u00e2tre de la Cit\u00e9 \u2013 CDN Toulouse Occitanie & Th\u00e9\u00e2tre Garonne Sc\u00e8ne europ\u00e9enne Toulouse,\u00a0\u00a0Festival d\u2019Automne \u00e0 Paris & Th\u00e9\u00e2tre des Bouffes du Nord, Teatro di Roma \u2013 Teatro Nazionale,\u00a0\u00a0Com\u00e9die de Caen, Th\u00e9\u00e2tre de Li\u00e8ge, Maison de la Culture d\u2019Amiens, BIT Teatergarasjen (Bergen), Le Trident \u2013 Sc\u00e8ne nationale de Cherbourg-en-Cotentin, Teatre Lliure (Barcelona), Centro Cultural Vila Flor (Guimar\u00e3es), O Espa\u00e7o do Tempo (Montemor-o-Novo).<\/p>\n

\u00a0 \u00a0<\/em><\/strong><\/p>\n

Oh, My Sweet Land, Syria<\/strong> <\/em><\/p>\n

Concept by Corinne Jaber<\/p>\n

Produced by Young Vic theatre, Th\u00e9\u00e2tre de Vidy<\/em><\/strong><\/p>\n

\u00a0 \u00a0<\/strong><\/em><\/p>\n

Pieces of a Woman<\/em><\/strong><\/p>\n

Text and dramaturgy by Kata W\u00e9ber<\/p>\n

Directed by Korn\u00e9l Mundrucz\u00f3, with the artistic collaboration of Soma Boronkay
\nSet and costume design by Monika Pormale
\nMusic by Asher Goldschmidt
\nLighting design by Paulina G\u00f3ral<\/p>\n

Produced by TR Warszawa, Poland \u00a0<\/strong><\/p>\n

\u00a0 \u00a0<\/em><\/strong><\/p>\n

Truth\u2019s a Dog Must to Kennel<\/em><\/strong><\/p>\n

Written, directed and performed by Tim Crouch, with the artistic collaboration of Brian Ferguson and Adura Onashile<\/p>\n

Music by Pippa Murphy
\nLighting design by Laura Hawkins
\nProduced by The Royal Lyceum theatre, Edinburgh, Great Britain<\/p>\n

\u00a0 \u00a0<\/em><\/strong><\/p>\n

\u00a0 \u00a0<\/em><\/strong><\/p>\n

PROGRAMS AND EVENTS<\/strong><\/p>\n

\u00a0 \u00a0<\/em><\/strong><\/p>\n

RNTF EDUCATIONAL<\/em><\/strong><\/p>\n

Initiated in 2022, the RNTF Educational<\/em> module continues in 2023, focusing on two components: theatre workshops dedicated to special schools and high schools for children and teenagers with different types of impairments (Special Technological High School “Regina Elisabeta” in Bucharest – educational institution for students with visual impairment; Special Vocational School for the Hearing Impaired “Saint Mary”) and theatre performances and performances brought to schools and high schools in Bucharest, addressing children and teenagers aged 6 to 18.<\/p>\n

\u00a0 \u00a0<\/em><\/strong><\/p>\n

M\u00e2ine nu ne mai sperie (a\u0219a tare)\/ Tomorrow Doesn\u2019t Scare Us so Much (Any More) (15+)<\/strong><\/em><\/p>\n

By and with: Ada Cioc\u00e2rlan, D\u0103ri T\u0103m\u0103sl\u0103caru, Denisa Mois\u0103, Elena Bogdan, Eli Deliu, Iulian Stoian, Paul Timofte<\/p>\n

A performance devised during a series of residences within the program \u201eCEVA peren. Interven\u021bie cultural\u0103 continu\u0103 \u00een mic urban\u201d.<\/p>\n

Directed by Petro Ionescu<\/p>\n

Dramaturgy by \u0218tefan Mako<\/p>\n

Set design by Flavia Stroe<\/p>\n

Choreography by Filip Stoica<\/p>\n

Music by Oana Maria Zaharia & \u0218tefan Botezatu (POETRIP)<\/p>\n

Artistic consultant Irina Slate<\/p>\n

Produced by Platforma cultural\u0103 Frilens\u0103r<\/strong><\/p>\n

Organised by Centrul educa\u021bional de arte performative CEVA, T\u00e2rgu Neam\u021b<\/p>\n

\u00a0 \u00a0<\/em><\/strong><\/p>\n

Muzican\u021bii din Bremen\/ The Town Musicians of Bremen (6+)<\/strong><\/em><\/p>\n

Adapted after the Grimm Brothers,<\/p>\n

Directed and adapted by Adam Boboc<\/p>\n

Set design and sculptures by Ana Catrin\u021ba\u0219u<\/p>\n

Music by Adam Boboc, Florin Andrea.<\/p>\n

Produced by \u201ePrichindel\u201d theatre, Alba Iulia<\/strong><\/p>\n

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N-am v\u0103zut nimic\/ I Haven\u2019t Seen Anything (15 +)<\/strong><\/em><\/p>\n

By Andreea T\u0103nase<\/p>\n

Directed by Mara Oprea<\/p>\n

Set design by Gabi Albu<\/p>\n

Produced by Arte dell’Anima theatre, Bucharest<\/strong><\/p>\n

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O lume de la zero\/ A World Starting at Zero<\/em> (<\/em>6+)<\/em><\/strong><\/p>\n

A performance by Beatrice Iordan<\/em><\/p>\n

Directed and designed by Beatrice Iordan.<\/p>\n

Costumes by Viaceslav Vutcariov<\/p>\n

Music composed by Florin Iordan.<\/p>\n

Produced by \u201eIon Creang\u0103\u201d theatre, Bucharest<\/strong><\/p>\n

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Pove\u0219tile Rom\u00e2niei<\/em> \u2013 Constantin Br\u00e2ncu\u0219i\/ Romania\u2019s Stories\u2013 Constantin Br\u00e2ncu\u0219i (<\/em>12+)<\/em><\/strong><\/p>\n

Written by Ema Stere<\/p>\n

Directed by Attila Vizauer<\/p>\n

Produced by \u021a\u0103nd\u0103ric\u0103 theatre, Bucharest<\/strong><\/p>\n

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Profil: +\/- om mare (Cea mai frumoas\u0103 parte a vie\u021bii tale, gen’)\/ Profile: +\/- adult (Like the Best Time of Your Life) (15+)<\/strong><\/em><\/p>\n

Written by Ioana Toloarg\u0103<\/p>\n

Directed by Luana Hagiu<\/p>\n

A performance devised within the program #oradedirigentie<\/p>\n

Produced by Excelsior theatre, Bucharest<\/strong><\/p>\n

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Punctul Nemo\/ Point Nemo <\/em>(<\/em>15 +)<\/strong><\/p>\n

A production by Alexandra Caras, Selma Drago\u0219, Catinca Dr\u0103g\u0103nescu, Oana Hodade, Mihai P\u0103curar, Adonis Tan\u021ba.
\nDramaturgy by Selma Drago\u0219 and Catinca Dr\u0103g\u0103nescu<\/p>\n

Co-producers: Reactor de crea\u021bie \u0219i experiment (Cluj), Centrul Cultural Clujean (Cluj), Pogon (Zagreb), L\u2019arboreto – Teatro Dimora (Mondaino)<\/strong><\/p>\n

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Stai jos sau cazi\/ Sit Down or Fall (12 years +)<\/strong><\/p>\n

Written by Bogdan Munteanu<\/p>\n

Directed by Cristi Avram<\/p>\n

Produced by \u201eLuceaf\u0103rul\u201d theatre for Children and Youth, Ia\u0219i<\/strong><\/p>\n

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Vulnerabil\/ Vulnerable (15 years +)<\/strong><\/em><\/p>\n

Written by Alice Monica Marinescu and Vera Ion<\/p>\n

Set design by Irina G\u00e2diu\u021b\u0103<\/p>\n

Sound by Teodora Retegan<\/p>\n

Produced by Asocia\u021bia OV05, Bucharest<\/strong><\/p>\n

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Play readings<\/strong> <\/em><\/p>\n

The reading performances are an opportunity to first discover plays by European (including Romanian authors), texts built around themes and topics of the acute realities.<\/p>\n

While last year the reading performances were directed by Bobi Pricop, this year the readings of the chosen texts will be directed by emerging directors: Anda Dr\u0103gan, Tania Dr\u0103ghici, Mihai Gligan, Luiza Mih\u0103ilescu, Larisa Popa, Monica Stoica.<\/p>\n

Each performance-reading will be followed by talks with the audience, with the participation of the creative team, as well as an expert on the topic constituting the central theme of the performance.<\/p>\n

In the framework of this module, the RNTF hosts a competition dedicated to new Romanian playwriting. The selected authors (deadline for submitting the texts: August 10) will be offered the opportunity to work for a month with established playwrights – Bogdan Georgescu, Petro Ionescu, Elise Wilk, in order to develop their work. RNTF thus becomes a platform creating visibility for new theatre text.<\/p>\n

The RNTF’s Play Reading<\/em> module is coordinated by director Bobi Pricop.<\/p>\n

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Laboratory Capsules Inside Romanian theatre Faculties<\/strong> <\/em><\/p>\n

Spaces for laboratory and research par excellence, spaces for testing little-explored work formulas, spaces for expanding the specific sensibility of the experiment, the theatre Faculties all about the country will provide an opportunity for encounters between established artists, graduates and students. For two days, an authority in the field of performing arts in Romania and a graduate of the faculty will lead an applied laboratory, using a specific methodology. The laboratory capsules will turn into mini-centres for research and exploration, offering students the opportunity to approach new models of performance pedagogy.<\/p>\n

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RNTF Debates<\/em><\/strong><\/p>\n

The National theatre Festival will host, just like all its previous editions, a series of debates on topics of great interest in the performing arts in Romania. The debates offer a framework for analysis and reflection on important topics for specialists in the field and for audiences. Work ethics in performance institutions; redefining dramaturgy and reconfiguring the position of the playwright in the theatre of today; what and how we document in theatre are some of the topics to be tackled during the debates.<\/p>\n

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Focus on the National Dance Centre Bucharest<\/em><\/strong><\/p>\n

Since the very creation of this institution, the National Dance Centre has sought to systematically develop its research and performance education programmes, developing an artistic strategy focused not only on production, but also on the fragility of the laboratory and the experiment. The RNTF will present various research projects structured by the centre, along the years.<\/p>\n

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Focus on Spaces of Research and Performative Laboratory: Teatrelli, Areal- Space for Choreographic Development, Linotip – Independent Choreographic Centre, SAC (Malmaison), ArtHub.<\/em><\/strong><\/p>\n

Development of the vision of some of the spaces dedicated to laboratory and artistic research, spaces that test new formulas of creation and production, spaces that boost the artistic environment and diversify forms of expression: RNTF 2023 proposes a discussion with the curators of these spaces, focusing on the question of the stakes of artistic research and laboratory in a context dominated by production imperatives.<\/p>\n

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theatre Book Marathon<\/em><\/strong><\/p>\n

For the 2022 edition, the RNTF curatorial team proposed a new format for theatre book launches, which will be continued in 2023. Over several days, the books will be launched at the C\u0103rture\u0219ti bookshop, each presentation taking up a 30-minute slot of the launch marathon.<\/p>\n

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Exhibitions<\/em><\/strong><\/p>\n

RNTF 2023 will host a series of exhibitions dedicated to personalities and moments that have left and are still leaving their imprint onto the performing arts in Romania.<\/p>\n

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FITS at RNTF<\/em><\/strong><\/p>\n

The National theatre Festival will cast the light on the Sibiu International theatre Festival, a festival at its 30^{th<\/sup> edition. In this respect, the presentation of Games, Words, Crickets\u2026, <\/em>directed by Silviu Purc\u0103rete, produced by the National theatre “Radu Stanca” Sibiu, will be a symbolic recognition of the major role that FITS played and plays in Romanian culture. Hopefully such inter-festival communication forms will gradually turn into a tradition of the RNTF.<\/p>\n<\/div>}

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<\/div>\n\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div><\/div><\/div><\/p>\n","protected":false},"excerpt":{"rendered":"

Motivation of the curators of the 33rd Romanian National Theater Festival. The curatorial team of the RNTF 2023 (Mihaela Michailov, Oana Cristea Grigorescu and C\u0103lin Ciobotari), after viewing more than 150 performances produced by state-funded as well as in independent theatres that premiered in the 2022-2023 theatrical year, opted for a series of productions they found corresponded to the theme of this year\u2019s edition: RNTF, the Laboratories of the Sensitive.<\/p>\n","protected":false},"author":9,"featured_media":64050,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":[],"categories":[11210,755],"tags":[],"acf":[],"_links":{"self":[{"href":"https:\/\/fnt.ro\/2023\/en\/wp-json\/wp\/v2\/posts\/64109\/"}],"collection":[{"href":"https:\/\/fnt.ro\/2023\/en\/wp-json\/wp\/v2\/posts\/"}],"about":[{"href":"https:\/\/fnt.ro\/2023\/en\/wp-json\/wp\/v2\/types\/post\/"}],"author":[{"embeddable":true,"href":"https:\/\/fnt.ro\/2023\/en\/wp-json\/wp\/v2\/users\/9\/"}],"replies":[{"embeddable":true,"href":"https:\/\/fnt.ro\/2023\/en\/wp-json\/wp\/v2\/comments\/?post=64109"}],"version-history":[{"count":4,"href":"https:\/\/fnt.ro\/2023\/en\/wp-json\/wp\/v2\/posts\/64109\/revisions\/"}],"predecessor-version":[{"id":64143,"href":"https:\/\/fnt.ro\/2023\/en\/wp-json\/wp\/v2\/posts\/64109\/revisions\/64143\/"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/fnt.ro\/2023\/en\/wp-json\/wp\/v2\/media\/64050\/"}],"wp:attachment":[{"href":"https:\/\/fnt.ro\/2023\/en\/wp-json\/wp\/v2\/media\/?parent=64109"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/fnt.ro\/2023\/en\/wp-json\/wp\/v2\/categories\/?post=64109"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/fnt.ro\/2023\/en\/wp-json\/wp\/v2\/tags\/?post=64109"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}