class="">34th Romanian National Theatre Festival. Motivation, structure and selection

Constructed under the umbrella DRAMATURGIES OF THE POSSIBLE, the 34th edition of the National Theatre Festival (October 18 – 27, 2024) continues the shift of emphasis from the idea of selection to the idea of curatorship. Therefore, the performances that will be presented this fall in Bucharest do not constitute a simple showcase of the 2023-2024 Romanian theatre season, they do rather represent the options resulting from the curatorial criteria below:

• Dramaturgy as a decisive element of performance

The concept of the current edition, focused on the formula dramaturgies of the possible, produced the major criteria in relating to the performances considered. We tried to follow the way in which the spectacular construction privileges and values a solid dramaturgical background, in a fertile and coherent way, integrating and emphasizing it inside a unified aesthetic. We were receptive to the provocative dramaturgical formulas, relevant either by theme or by means of construction and we tried to mirror in our options the diversity of dramaturgy, this essential layer of a performance.

We were interested in highlighting a variety of dramaturgical formulas and contents, their relationships to acute current themes, reconfigurations of canonical texts, explored from atypical perspectives. We believe that, at present, Romanian dramaturgical voices get more and more diverse, that the roles of authors in creative teams deserve to be analysed and programmatically supported, and that the frameworks offering visibility to Romanian playwriting constantly increase in numbers. The audiences of the Romanian National Theatre Festival will thus have consistent experiences both in the wake of an innovative paradigm, as well as in the observation of the familiar relationship with the classical text or of the traditional, but still valid, questionings of the relationship dramaturgy-contemporary literature (this relationship being explored more in depth in recent Romanian theatre).

• The capacity of performance to structure a carefully defined aesthetic

Beyond the interest in various dramaturgies, elaborated by authors who, through very personal writings, already developed distinct voices inside the theatrical space, voice very much anchored in reflections on immediate realities, we have tried to highlight, through our choices, those well-coagulated aesthetics, which become forms of consolidation of the personality of the performance, of its uniqueness, of the quality of an artistic construct bearing a visually, sensory, conceptual recognizable signature.

• The principle of representativeness

Although the Romanian theatrical landscape is not yet prone to a structural balancing, neither by gender, nor by age, we have sought to compensate for the “on premises” situation with a greater attention to the most honest representativeness possible. We have promoted the vibrant creative vitality and refined the mature energies of those creators who have reached the fulfilment of their careers. We have also sought to strike an acceptable balance of male and female creators.

We do insist on this principle in the hope that, once realized and applied systematically, it will work naturally – in the near future.

• The geographies of creation

An overview of the performances to be presented in FNT 2024 shows that the number of shows produced by theatres in Bucharest does not exceed one third of the total number. We considered this ratio to be reasonable and sufficient to eliminate the suspicion of “curatorial centrism”, functioning by the formula of the centre vs. “B-category cities”. At the same time, we did stick to the criterion of regional representation, trying to emphasize the geographic-theatrical diversities.

• RNTF as observation and encouragement of creative potential in relation to diverse dramaturgies

Whether it has been about theatres with a very good general trajectory in recent years, or about creators who have proven qualities that had a great consistency in time, we considered it was worth supporting responsibility, seriousness, discernment, empathy regarding the cultural needs of the community or to important topics that need to be discussed in the public space. In our opinion, attention is to be cast upon the creative potential, both at institutional, individual and collective levels, whenever possible.

• The creative teams and their collective voice in the valorisation of current dramaturgies

We considered the democratization of the creative processes in the last decade of Romanian theatre to be sufficiently mature to allow us to observe performances in which the voice of the team is strong and well-articulated. We are hereby referring, on the one hand, to functional teams of directors and authors, and, on the other hand, to functionally strong teams that become dominant collective elements in the reception of the performance. The few examples of good practices in this respect are apt, we believe, to practically inspire and legitimize the ancient definition of theatre as a collective art.

• The openness to interdisciplinarity

Speaking about dramaturgies of the possible, we think of the performances/ creators and creators who open and maintain a dialog with the idea of interdisciplinarity, whether we are talking about the relationship of theatre with visual arts, film, dance, music or, in general, technology. This at a time when, for decades in a row, we have been talking about “theatre with cut bridges”, as Mihail Sebastian named it, a self-isolated theatre, cut away from the mutations taking place in other artistic fields and to the transformations of society in general.

• The fourth curator: the audience

While doing the curatorial activity, we have constantly projected ourselves into the perspective of the spectator, trying to identify their interests, expectations and demands, not only in terms of comedy vs. drama, but also referring to elements of depth such as: attachment to a theme, appetite for a certain type of aesthetics, sensitivity for a certain creator, availability for a certain type of dramaturgy, possibilities to encounter newer, less developed types of performance. Still unclear, still ambiguous, still not yet methodically approached, the dynamics of the Romanian theatre audiences deserve to be carefully analysed, especially in the context of the current dramaturgical structures and their multiple challenges. The conclusions of such analyses may considerably influence the future course of Romanian theatre.

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Beyond the choice of performances, we were concerned to propose an extended curatorial concept, centred on the dramaturgies of the possible, which would become visibly articulated on other intersecting levels as well.

We also continue our module of performances and workshops dedicated to young audiences initiated during RNTF 2022. This time the focus will be on performances hosted in theatres and workshops held in kindergartens, schools, high schools and universities.

We are also continuing the module of performative readings, hoping to succeed in creating value for diverse dramaturgical formulas, suited for the transformations of today’s world. There will be performative readings of texts from Germany, Portugal and Romania, to be directed by young directors, under the guidance of Bobi Pricop. On the last day of the module, we invite the audience to the Romanian Dramaturgy Marathon, a presentation by 15 male and female authors, a mix of already known, and debutants.

For the first time, the Romanian National Theatre Festival will function as a space of visibility for several independent spaces and associative structures that, in recent years, have placed an important emphasis on or have offered diverse frameworks of propagation to contemporary dramatic writing. We intend to emphasize the essential contribution of these spaces to the development of present dramaturgies.

In order to complete the curatorial concept of the dramaturgies of the possible, we invited two multidisciplinary artists – Mădălina Dan and Irisz Kovacs, who will work during the festival along with their chosen creative teams, consisting of authors, sound- and video designers and produce artistic formats with a maximal duration of 30 minutes, based on scripts created in direct relation with sound-, visual-, corporeal spaces.

This year, the Romanian National Theatre Festival will partner with the National Dance Center Bucharest, in realising a series of events dedicated to dancer and choreographer Miriam Răducanu, at her one hundredth anniversary, on October 17th.

SELECTION OF PERFORMANCES FROM ROMANIA

10 LUCRURI PE CARE LE-AM PIERDUT LA FESTIVALUL MAMAIA/

10 THINGS WE HAVE LOST AT THE MAMAIA FESTIVAL

Text by: Gabriel Sandu; Directed by:  Elena Morar & Gabriel Sandu; Set, video and lighting design: Miruna Croitoru; Sound design and musical adaptation: Alexandru Neș; Choreography: Stela Cocârlea; Musical training: Inga Postolache; Constanța State Theatre

A DOUĂSPREZECEA NOAPTE SAU CUM DORIȚI/

THE TWELFTH NIGHT OR WHAT YOU WILL

Text by: William Shakespeare; Adapted by Botond Nagy, based on the translations by Mihnea Gheorghiu and Violeta Popa & George Volceanov; Directed by:  Botond Nagy; Set-design: Andreea Săndulescu; Original music and sound design: Claudiu Urse; Choreography: Andrea Gavriliu; Lighting & video design: Cristian Niculescu; Dramaturgy: Ştefana Pop-Curşeu; AD: Diana Mihalașcu; Teatrul Național „Lucian Blaga”, Cluj-Napoca

A DOUĂSPREZECEA NOAPTE/ THE TWELFTH NIGHT

Text by: William Shakespeare; Directed by: Andrei Șerban; Associate director: Daniela Dima; Set design: Carmencita Brojboiu; Lighting design: Cristian Niculescu; Sound design: Alex Popa; Choreographic moments: Mihaela Velicu; Teatrul de Stat Constanța 

ANATOMIA UNEI SINUCIDERI/ ANATOMY OF A SUICIDE

Text by: Alice Birch; Translated by: Alina Ioana Vasiliu; Directed and adapted by: Diana Mititelu; Set-design: Budianu Alexandra; Music by: Mihai Dobre; Teatrul „Andrei Mureșanu”, Sfântu-Gheorghe 

ANOMALIA/ THE ANOMALY

Text and dramaturgy: Joanna Kowalska; Concept, music, choreography, stage direction: Natasza Sołtanowicz; Set and costumes: Marianna Syska; Musical arrangements, sound design: Grzegorz Bieńko; Translated by: Iulia Gheorghiță; Teatrul Național „Marin Sorescu”, Craiova 

ANTOLOGIA DISPARIȚIEI/ ANTHOLOGY OF DISAPPEARANCE

Text, stage direction, sound universe, videos: Radu Afrim (after contemporary prose by female writers Ștefania Mihalache, Anca Vieru, Lorina Bălteanu, Ruxandra Burcescu, Lavinica Mitu, Simona Popescu); Set-design: Cosmin Florea; Choreography: Alice Veliche; Musical arrangement and training: Diana Roman; AD: Anamaria Rusu; Video-projections, videos, mapping: Mihai Nistor; Light-design: Cristian Niculescu; Teatrul Național „Vasile Alecsandri”, Iași

CARACATIȚA/ THE OCTOPUS

Dramaturgy: Mara Căruțașu and Catinca Drăgănescu; Concept and stage direction: Catinca Drăgănescu; Music and sound design: Andrei Dinescu and Andrei Raicu; Set-design: Ruxandra Preda; Choreography: Florin Fieroiu; Oversize masks: Laura Duică and Cătălina Rudeanu; Lighting design: Andrei Ignat; Video proiection: Raluca Vasilescu; Teatrul Masca, Bucharest

DINCOLO DE TANDREȚE/ BEYOND TENDERNESS

Text by: Alexander Zeldin; Directed by: Sânziana Stoican; Set-design: Valentin Vârlan; Teatrul Nottara, Bucharest

DOUĂ ORE CU PAUZĂ/ TWO HOURS WITH A BREAK

Written and directed by: Gianina Cărbunariu; Set-design: Adrian Ganea; Lighting design: Cristian Niculescu; Original music: Oscar Engvari; Movement director: Ioana Marchidan; Teatrul Excelsior, Bucharest 

EX

Text by: Marius von Mayenburg; Translated by: Elise Wilk; Directed and designed by:  Theodor-Cristian Popescu; Costumes: Sabina Reus; Teatrul Mic, Bucharest 

FALSA SERVITOARE/ THE FALSE SERVANT

Text by: Pierre de Marivaux; Translated by: Adrian Nicolae; Directed by: Alexandru Mâzgăreanu; Set-design: Andreea Săndulescu; Teatrul „Maria Filotti”, Brăila 

HAMLET

Text by: William Shakespeare; Directed and adapted for the stage by: Declan Donnellan; Set-design: Nick Ormerod; Music: Tibor Cári; Stage fights & fencing: Antonie Mihail; Teatrul Național „Marin Sorescu”, Craiova

HEDDA GABLER

Text by: Henrik Ibsen; Directed by: Thomas Ostermeier; Associate director: Christoph Schletz; Set design:  Jan Pappelbaum; Translated by: Ozana Oancea; Costumes: Ruxandra Bușneag; Music: Malte Beckenbach; Video: Sébastien Dupouey; Lighting design: Erich Schneider, Carsten Sande; Teatrul Național „I.L. Caragiale”, Bucharest 

LA CÂȚIVA OAMENI DISTANȚĂ DE TINE/ A FEW PEOPLE AWAY FROM YOU

Text by: Dan Coman; Stage direction and sound universe: Radu Afrim; Set-design: Sabina and Bianca Veșteman; Choreography: Flavia Giurgiu; Lighting concept: George Jipa; Teatrul Național „I.L.Caragiale”, Bucharest 

LUMÂNĂRILE DREPTĂȚII/ CANDLES OF TRUTH

Text by: Csaba Székely; Directed by: Aba Sebestyén; Music: Tibor Cári; Set design:  Beáta Sós; Costumes: Rebeka Hatházi; Teatrul Național Târgu-Mureș – Compania „Tompa Miklós” 

MARIA STUART

Text by: Friedrich Schiller; Directed by: Diego de Brea; Dramaturgy: Kata Gyarmati; Costumes: Gyopár Bocskai; Teatrul Maghiar de Stat Cluj 

MOBILĂ ȘI DURERE/ FURNITURE AND PAIN

Text by: Teodor Mazilu; Directed by: Cristian Ban; Set-design: Irina Chirilă; Teatrul „Andrei Mureșanu”, Sfântu-Gheorghe 

NEÎNȚELEGEREA/ THE MISUNDERSTANDING
Text by: Albert Camus; Directed by: Bobi Pricop; Set design:  Oana Micu; Costumes: Oana Micu and Lucian Rusu; Sound Design: Eduard Gabia; Light Design: Costi Baciu; Teatrul Național „Radu Stanca”, Sibiu 

OEDIP

Text by: Robert Icke; Directed by: Andrei Şerban; Associate director: Daniela Dima; Set-design: Carmencita Brojboiu; Video projection: Radu Daniel; Lighting design: Cristi Niculescu; Teatrul Bulandra, Bucharest 

PĂRINȚI/ PARENTS

Text by: Diana Bădica and Cristian Ban (after the homonimous novel by Diana Bădica); Directed by: Cristian Ban; Set-design: Andreea Săndulescu; Lighting design: Vlad Lăzărescu; Teatrul Metropolis, Bucharest 

PESCĂRUȘUL/ THE SEAGULL

Text by: A.P. Cehov; Translated by: Bogdan Budeș; A performance by: Christian Benedetti; Teatrul Tineretului, Piatra Neamț 

PIETONUL AERULUI/ A STROLL IN THE AIR

Text by: Eugène Ionesco; Translated by: Vlad Russo and Vlad Zografi; Directed by: Gábor Tompa; Set design: Adrian Damian; Costumes: Luiza Enescu; Original music: Vasile Șirli; Movement director: Ferenc Sinkó; Video design: Radu Daniel; Assistant to set and costumes designer: Dariana Pau; Sax: Patricia Marchiș; Teatrul Național „Lucian Blaga”, Cluj-Napoca

PERICLES

Text by: William Shakespeare; Dramaturgy: Dálnoky Réka; Directed by: Philip Parr; Set and costumes: Brian D. Hanlon; Choreography: Anca Stoica; Music: Tibor Carí; Teatrul Maghiar de Stat „Csiky Gergely” Timișoara 

RABBIT HOLE

Text by: David Lindsay-Abaire; Directed by: Vlad Cristache; Set-design: Andreea Tecla; Teatrul „Regina Maria”, Oradea 

REVIZORUL/ THE GOVERNMENT INSPECTOR

Text by: Nikolai Gogol; Directed and adapted by: Alexandru Dabija; Set-design: Ioana Pashca; Teatrul Mic, Bucharest 

SIDY THAL

Text by: Thomas Perle & Clemens Bechtel; Directed by: Clemens Bechtel; Set and costumes design: Șteff Chelaru, Ioana Groza; Music: Dan Simion; Research: Maria Irimia; Dramaturgy consultant: Dan Druță; Teatrul German de Stat Timișoara and Teatrul Evreiesc de Stat, Bucharest 

TEOREMA/ THEOREM

Text by: Pier Paolo Pasolini; Dramatised and adapted by: Yann Verburgh; Directed by: Eugen Jebeleanu; Set-design: Velica Panduru; Music: Remi Billardon; Lighting design: Cristian Niculescu; Teatrul Național „Radu Stanca”, Sibiu 

TRAP

Written and directed by Bogdan Georgescu; Set-design: Irina Gâdiuță; Asociația O2G 

VICTIMELE DATORIEI/ VICTIMS OF DUTY

Text by: Eugène Ionesco; Translated by: Vlad Zografi and Vlad Russo; Directed by: Radu Iacoban; Set-design by: Tudor Prodan; Teatrul Național „Mihai Eminescu”, Timișoara

WOYZECK

Text by: Georg Büchner; Directed by: Hunor Horváth & Edith Buttingsrud Pedersen; Choreography: Edith Buttingsrud Pedersen; Set-design: Előd Golicza; Costumes: Zsofia Gabor; Video Design: Dan Basu; Light Design: Michael Bischoff; Musical illustration: Hunor Horváth; Additional music: Mihai Dobre; Reinterpreting and keyboard: Tamás Kolozsi; Master of the choir: Melinda Martha Samson; Musical training: Vlad Robaș; Teatrul Național „Radu Stanca”, Secția Germană, Sibiu

ZEIȚE DE CATEGORIA B/ CATEGORY B GODDESSES

Text by: Alexandra Felseghi; After an idea and directed by Andrei Măjeri; Sound experience: Adrian Piciorea; Costumes: selection from the collections by Lucian Broscățean; Make-up Artist: Mara Rădulescu; Main producer: creart / Teatrelli; Co-producers: Teatrul Național „Lucian Blaga” Cluj-Napoca, Teatrul „Regina Maria” Oradea, Teatrul „Mihai Eminescu” Botoșani

PERFORMANCES INVITED FROM ABROAD

DANCE ME!

Ideea and concept: She She Pop (variable cast); By/with: Sebastian Bark, Dan Belasco Rogers, Santiago Blaum, Johanna Freiburg, Fanni Halmburger, Lisa Lucassen, Mieke Matzke, Ilia Papatheodorou, Tatiana Saphir, Claudia Splitt, Berit Stumpf, Hiyam Biary, Eren M. Güvercin, Jan Nwattu, Şimal Nil Şahin, Nikolas Stäudte, Béla Arnaud Weimar-Dittmar, Zelal Yesilyurt, Sindi Zeneli; Artistic consultants: Laia Ribera Cañénguez, Rodrigo Zorzanelli Cavalcanti; Set design:  Jan Brokof, Costumes: Lea Søvsø, Light Design: Andreas Harder, Michael Lentner; Choreography consultant: Jill Emerson; Sound: Xavier Perrone; Produced by She She Pop; Co-produced by: HAU Hebbel am Ufer Berlin, Kampnagel Hamburg, Künstler innenhaus Mousonturm, FFT Düsseldorf, HELLERAU – Europäisches Zentrum der Künste 

LIPPY

Script: Bush Moukarzel; Directed by: Ben Kidd and Bush Moukarzel, Set design:  Andrew Clancy; Costumes: Grace O’Hara; Light: Stephen Dodd; Sound and music: Adam Welsh; Produced by Dead Centre, Ireland, UK 

MÉMÉ

Concept, text and performer: Sarah Vanhee; Objects and set design: Toztli Abril de Dios; Sound: Ibelisse Guardia Ferragutti; Consulting: Christine De Smedt; Light design: Babette Poncelet; Co-produced by: Kunstenfestivaldesarts (Brussels), Kaaitheater (Brussels), Wiener Festwochen (Vienna), HAU Hebbel am Ufer (Berlin), De Grote Post (Oostende), Théâtre de la Bastille (Paris), Festival d’Automne à Paris 

POVEȘTILE BUNICILOR ȘOPTITE FIICELOR DE MAMELE LOR/ STORIES OF GRANDMOTHERS WHISPERED BY MOTHERS TO THEIR DAUGHTERS

Written and directed by: Gianina Cărbunariu; Set and costumes: Anna Maria Karczmarska, Mikołaj Małek; Music: Charles Nepelski; Choreography: Katarzyna Sikora; Dramaturgy: Anna Mazurek; Light: Rafał Paradowski; Teatr Współczesny in Szczecin 

SEZONUL ROMÂNO-POLONEZ/ ROMANIAN-POLISH SEASON

ULTIMELE ZILE ALE ELENEI ȘI ALE LUI NICOLAE CEAUȘESCU/ THE LAST DAYS OF ELENA AND NICOLAE CEAUȘESCU

Text and dramaturgy: Julia Holewińska; Directed by: Wojciech Faruga; Set, costumes and lights: Wojciech Faruga; Music: Radosław Duda; Musical training: Natalia Kawałek; Choreography: Bartłomiej Gąsior, Produced by: Teatr Polski Bydgoszcz, Poland

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SILVIU PURCĂRETE – 50 de ani de creație/ SILVIU PURCĂRETE- 50 Years in Theatre

The Romanian Theatre Union (UNITER) and RNTF celebrate Silviu Purcărete’s 50 years of work for theatre, 50 years of nationally and internationally recognized artistic activity. His most recent stagings, an adaptation A VENOMOUS TRAGEDY after “Women Beware Women” by Thomas Middleton – a production of the National Theater “Vasile Alecsandri” Iași and THE BITTER LEXICON by Sebastian-Vlad Popa and Laur Cavachi, adapted after “Youth without Age and Life without Death”, by Petre Ispirescu – a production of the Odeon Theatre, Bucharest will be presented during the festival. The director’s prodigious activity will also be highlighted through an exhibition and several book presentations.

MODULES THAT COMPLEMENT THE SELECTION, DEEPENING THE CONCEPT OF DRAMATURGIES OF THE POSSIBLE.

1. NRTF Educational

More than 1000 children and teenagers participated in RNTF performances and workshops in schools and high schools in Bucharest over the past two years.

The 2024 edition brings young people to the theatres of Bucharest, to performances that focus on sensitive issues of their age, as well as on literary works they have to study during their school years. Each matinee performance in the educational FNT will be presented in collaboration with a Bucharest kindergarten, school, high school or university, and will be followed by a discussion with the young audiences and a condensed workshop on the following day, organised at the respective kindergarten/school/high school/university.

Amintiri din copilărie/ Childhood memories, after Ion Creangă, Directed by: Dan Tudor; Produced by Teatrul Ion Creangă, Bucharest

Bujor, Text by: Doru Vătavului; Directed by: Leta Popescu; Produced by Teatrul Dramatic „Fani Tardini”, Galați

Caliban și vrăjitoarea/ Caliban and the Witch, written and directed by: Mihaela Drăgan; Produced by Giuvlipen and Teatrul „Marin Sorescu”, Craiova (presented in collaboration the Master’s Program on Equality of Chances in Romanian and European Contexts Contexts)

Cu avionul printre stele/ By Plane, Among the Stars, Written and directed by: Beatrice Iordan; Produced by Teatrul Luceafărul, Iași

Frumoasa and bestia/ Beauty and the Beast, Adapted by: Andrei Dosa, Directed by: Bobi Pricop; Produced by Teatrul de Animație Țăndărică, Bucharest

Harta lui Elian/ Elian’s Map, Concept and text by: Angela Ioan and Nicoleta Lefter; Directed by: Nicoleta Lefter; Produced by Teatrul GONG, Sibiu (presented in collaboration with a school in Bucharest and the Master’s Program on Inclusive Psychopedagogy, within the Bucharest Faculty of Psychology and Educational Sciences).

Matilda, after Roald Dahl; Produced by The Comic Opera for Children, Bucharest

(R)Evoluție. Ghid de supraviețuire în secolul XXI/ (R)Evolution. A Guide for Survival in the 21^st Century

Text by: Yael Ronen and Dimitrij Schaad; Directed by: Radu Nica; Produced by Teatrul Excelsior, Bucharest (in partnership with the Ethics Applied in Society, Business and Organizations Master’s Program, Philosophy Faculty)

Sentimentul fragil al speranței/ The Fragile Feeling of Hope, after texts written by adolescents in the magazine Gen.revistă: Marina Cebanu, Elena Zah, Patricia Cîrtog, Octavia Bortișcă, Olivia Bunescu, Denisa Harbuz, Mădălina Aldescu; Directed by: Carmen Lidia Vidu; Produced by Teatrul Odeon Bucharest

Zaharașka și Zăpada Uitată/ Zaharashka and the Forgotten Snow, a performance by Ana Crăciun Lambru and Lavinia Pop Coman; Produced by Teatrul de Artă, Bucharest

2. Focus: 12 Independent/Private Spaces that substantially contributed to the development of programs and projects to support new drama. The spaces have distinguished themselves by a constant interest in contemporary writing for theatre and exploratory dramaturgical approaches. Each of these venues will present during the festival a performance/project from the recently concluded season, based on a contemporary text.

Teatrul ACT, Bucharest

Teatrul Apropo, Bucharest

Teatrul Apollo 111, Bucharest

Unteatru, Bucharest

Casa Kerim, Bucharest

POINT, Bucharest

Centrul de Teatru Educațional Replika, Bucharest

Reactor de creație and experiment, Cluj

Teatrul Basca, Timișoara

Teatrul Auăleu, Timișoara

BIS Teatru, Sibiu

Teatrul 74, Târgu-Mureș

3. Performantive readings at the Romanian National Theatre Festival – three international contemporary texts in three successive evenings and a one-evening event featuring three short texts chosen and mentored a part of the RNTF playwriting competition. The foreign texts – Supernormales by Esther F. Carrodeguas, God Simulation by Emre AKAL and Sadness and Joy in the Life of Giraffes by Tiago Rodrigues, as well as the Romanian texts – will be directed by Alex Ianăși, Mara Oprea, Mihai Gligan and George Zamfir. Each performative reading will be followed by a discussion with the team and an expert on the central topic of the text.

The Romanian Dramaturgy Marathon also belongs to this module.

4. Dramaturgies of the possible in multidisciplinary teams

The aim of this module is to create two multidisciplinary teams (coordinated by Irisz Kovacs and Mădălina Dan), working during the festival and developing a spectacular concept centred on a hybrid, fluid type of dramaturgy: a performative, non-linear dramaturgy, focused on a sonorous, visual, multi-sensorial, non-verbal narrative.

Each team will be accompanied by a number of creative assistants – students of the Faculties and Departments of Theatre of Romanian Universities.

SIDEBAR EVENTS

The Republic of Moldova at the RNTF

UNITER and RNTF support the cultural collaboration and creative exchange of artistic initiatives between Romania and the Republic of Moldova. The performance of August Strindberg’s Miss July, directed by Luminița Țîcu, Produced by Teatrul Național “Mihai Eminescu” Chișinău will be presented in Bucharest during the festival. 

GRIVIȚA 53 – a new creative space

UNITER and RNTF support the construction of a new theatrical space in Bucharest – GRIVIȚA 53. Nora by Henrik Ibsen, directed by Chris Simion-Mercurian, a co-production of the National Theatre “I.L. Caragiale” in Bucharest and the Cultural Association “Grivița 53” will be a special guest performance of the festival. All revenues from ticket sales will go to GRIVIȚA 53. 

MINA – a space for multidisciplinary research and creation

UNITER and the RNTF are encouraging private, multidisciplinary artistic spaces to explore the intersections between different media. The immersive dance performance In/Between, choreographed by Filip Stoica, directed by Bobi Pricop, and produced by MINA – Museum of Immersive New Art, will be presented as part of the Romanian National Theatre Festival.

Winner of the Best Director Award at the UNITER Gala at the RNTF

UNITER invites the Metropolis Theatre’s production of CINE L-A UCIS PE TATA/ WHO KILLED MY FATHER? to the Romanian National Theatre Festival. Director Andrei Măjeri was offered the “Lucian Pintilie” Award for best direction at the 2024 UNITER Awards Gala. The performance will be presented outside the official selection, given the artistic contribution of one of the curators. 

RNTF Debates

The current edition will host a series of debates that will focus on innovative dramaturgical approaches, on how the analysis of local dramaturgy is reflected in the pages of specialized magazines, on directorial research in relation to local playwrighting, etc. 

Book launch marathon

The Romanian National Theatre Festival organises presentation and launches of books published between September 2023 and September 2024. The marathon is organised in partnership with Cărturești Bookshops.

Performing Austria & Romania, a dialogue of the performing arts from the two countries

Co-productions, performances, interdisciplinary artistic formulas conceived and realized together by Austrian and Romanian artists and their European colleagues will be presented within this module – Union Place (text by Elise Wilk, directed by Alexandru Weinberger-Bara, co-production Schauspielhaus Salzburg, National Theatre of Timișoara, Escher Theater in Luxembourg), Holy Hydra @ Timisoara (multimedia performance by the Holy Hydra collective, in collaboration with artists from Romania), Only Violins Remain (exhibition of the Museum of Contemporary History of Austria, with a multimedia intervention by Ioana Mischie).

Cári Tibor Performance Concert

The 34^th edition of the National Theatre Festival will open on October 18^th with a performance-concert conceived by the musician Cári Tibor. 

Bucharest Scenography Biennale

Continuing the successful tradition of events organized in partnership with the Romanian Center OISTAT, RNTF 34 creates a new landmark in the cultural landscape: the Bucharest Scenography Biennale. This initiative aims to revitalize and capitalize as much as possible on the history of the Bucharest Scenography Triennale, an event that ran for 9 editions, between 1967 and 1992. 2024 will mean restart for this important exhibition of sketches, models, objects, costumes and real sets, in a new format with an important international component. The Biennale will comprise exhibitions, as well as multiple workshops, conferences and meetings. All these aim at creating an international platform for intercultural dialogue, encouraging continuous development and facilitating mobility and international collaboration between the different professions in the field of the performing arts.