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\/2024\/wp-content\/uploads\/2024\/07\/fnt34.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 curatorial team of the National Theatre Festival – Mihaela Michailov, C\u0103lin Ciobotari and Ionu\u021b Sociu, have considered over 250 performances from Romania, the Republic of Moldova, Austria, Belgium, Switzerland, France, Germany, Ireland, Poland, Portugal, Serbia. The curators hereby present the motivation of their choices, the structure and components of the upcoming edition of the Romanian National Theatre Festival.<\/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\t30 July 2024<\/span>\u00a0 NTF PRESS RELEASES<\/a>, News<\/a><\/span><\/p>\n<\/div><\/div>\n\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t\n\t\t\t\t\t\tConstructed under the umbrella DRAMATURGIES OF THE POSSIBLE<\/strong>, the 34th edition of the National Theatre Festival (October 18 \u2013 27, 2024) continues the shift of emphasis from the idea of selection<\/em> to the idea of curatorship<\/em>. 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:<\/p>\n\n- Dramaturgy as a decisive element of performance<\/em><\/strong><\/li>\n<\/ul>\n
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. <\/em><\/p>\nWe 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).<\/em><\/p>\n\n- The capacity of performance to structure a carefully defined aesthetic<\/em><\/strong><\/li>\n<\/ul>\n
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. <\/em><\/p>\n\n- The principle of representativeness<\/strong><\/em><\/li>\n<\/ul>\n
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. <\/em><\/p>\nWe do insist on this principle in the hope that, once realized and applied systematically, it will work naturally \u2013 in the near future.<\/em><\/p>\n\n- The geographies of creation<\/em><\/strong><\/li>\n<\/ul>\n
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\u201d. At the same time, we did stick to the criterion of regional representation, trying to emphasize the geographic-theatrical diversities.<\/em><\/p>\n\n- RNTF as observation and encouragement of creative potential in relation to diverse dramaturgies<\/em><\/strong><\/li>\n<\/ul>\n
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.<\/em><\/p>\n\n- The creative teams and their collective voice in the valorisation of current dramaturgies<\/em><\/strong><\/li>\n<\/ul>\n
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.<\/em><\/p>\n\n- The openness to interdisciplinarity<\/em><\/strong><\/li>\n<\/ul>\n
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.<\/p>\n
\n- The fourth curator: the audience<\/em><\/strong><\/li>\n<\/ul>\n
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.<\/p>\n
\u2666\u2666\u2666<\/p>\n
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.<\/p>\n
We also continue our module of performances and workshops dedicated to young audiences <\/strong>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.<\/p>\nWe are also continuing the module of performative readings,<\/strong> 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<\/strong>, a presentation by 15 male and female authors, a mix of already known, and debutants.<\/p>\nFor the first time, the Romanian National Theatre Festival will function as a space of visibility for several independent spaces and associative structures<\/strong> 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.<\/p>\nIn order to complete the curatorial concept of the dramaturgies of the possible, we invited two multidisciplinary artists – M\u0103d\u0103lina Dan and Irisz Kovacs, who will work during the festival along with their chosen creative teams,<\/strong> 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.<\/p>\nThis 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 R\u0103ducanu<\/strong>, at her one hundredth anniversary, on October 17th.<\/p>\n\u00a0\u00a0<\/strong><\/p>\nSELECTION OF PERFORMANCES FROM ROMANIA<\/em><\/strong><\/p>\n\u00a0\u00a0<\/strong><\/p>\n10 LUCRURI PE CARE LE-AM PIERDUT LA FESTIVALUL MAMAIA\/<\/strong><\/p>\n10 THINGS WE HAVE LOST AT THE MAMAIA FESTIVAL<\/strong><\/p>\nText by: Gabriel Sandu; Directed by: \u00a0Elena Morar & Gabriel Sandu; Set, video and lighting design: Miruna Croitoru; Sound design and musical adaptation: Alexandru Ne\u0219; Choreography: Stela Coc\u00e2rlea; Musical training: Inga Postolache; Constan\u021ba State Theatre<\/p>\n
A DOU\u0102SPREZECEA NOAPTE SAU CUM DORI\u021aI\/ <\/strong><\/p>\nTHE TWELFTH NIGHT OR WHAT YOU WILL<\/strong><\/p>\nText by: William Shakespeare; Adapted by Botond Nagy, based on the translations by Mihnea Gheorghiu and Violeta Popa & George Volceanov; Directed by:\u00a0 Botond Nagy; Set-design: Andreea S\u0103ndulescu; Original music and sound design: Claudiu Urse; Choreography: Andrea Gavriliu; Lighting & video design: Cristian Niculescu; Dramaturgy: \u015etefana Pop-Cur\u015feu; AD: Diana Mihala\u0219cu; Teatrul Na\u021bional \u201eLucian Blaga\u201d, Cluj-Napoca<\/p>\n
A DOU\u0102SPREZECEA NOAPTE\/ THE TWELFTH NIGHT<\/strong><\/p>\nText by: William Shakespeare; Directed by: Andrei \u0218erban; Associate director: Daniela Dima; Set design: Carmencita Brojboiu; Lighting design: Cristian Niculescu; Sound design: Alex Popa; Choreographic moments: Mihaela Velicu; Teatrul de Stat Constan\u021ba\u00a0<\/strong><\/p>\nANATOMIA UNEI SINUCIDERI\/ ANATOMY OF A SUICIDE<\/strong><\/p>\nText by: Alice Birch; Translated by: Alina Ioana Vasiliu; Directed and adapted by: Diana Mititelu; Set-design: Budianu Alexandra; Music by: Mihai Dobre; Teatrul \u201eAndrei Mure\u0219anu\u201d, Sf\u00e2ntu-Gheorghe\u00a0<\/strong><\/p>\nANOMALIA\/ THE ANOMALY<\/strong><\/p>\nText and dramaturgy: Joanna Kowalska; Concept, music, choreography, stage direction: Natasza So\u0142tanowicz; Set and costumes: Marianna Syska; Musical arrangements, sound design: Grzegorz Bie\u0144ko; Translated by: Iulia Gheorghi\u021b\u0103; Teatrul Na\u021bional \u201eMarin Sorescu\u201d, Craiova\u00a0<\/strong><\/p>\nANTOLOGIA DISPARI\u021aIEI\/ ANTHOLOGY OF DISAPPEARANCE<\/strong><\/p>\nText, stage direction, sound universe, videos: Radu Afrim (after contemporary prose by female writers \u0218tefania Mihalache, Anca Vieru, Lorina B\u0103lteanu, 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 Na\u021bional \u201eVasile Alecsandri\u201d, Ia\u0219i<\/p>\n
CARACATI\u021aA\/ THE OCTOPUS<\/strong><\/p>\nDramaturgy: Mara C\u0103ru\u021ba\u0219u and Catinca Dr\u0103g\u0103nescu; Concept and stage direction: Catinca Dr\u0103g\u0103nescu; Music and sound design: Andrei Dinescu and Andrei Raicu; Set-design: Ruxandra Preda; Choreography: Florin Fieroiu; Oversize masks: Laura Duic\u0103 and C\u0103t\u0103lina Rudeanu; Lighting design: Andrei Ignat; Video proiection: Raluca Vasilescu; Teatrul Masca, Bucharest<\/p>\n
DINCOLO DE TANDRE\u021aE\/ BEYOND TENDERNESS<\/strong><\/p>\nText by: Alexander Zeldin; Directed by: S\u00e2nziana Stoican; Set-design: Valentin V\u00e2rlan; Teatrul Nottara, Bucharest<\/p>\n
DOU\u0102 ORE CU PAUZ\u0102\/ TWO HOURS WITH A BREAK<\/strong><\/p>\nWritten and directed by: Gianina C\u0103rbunariu; Set-design: Adrian Ganea; Lighting design: Cristian Niculescu; Original music: Oscar Engvari; Movement director: Ioana Marchidan; Teatrul Excelsior, Bucharest\u00a0<\/strong><\/p>\nEX<\/strong><\/p>\nText by: Marius von Mayenburg; Translated by: Elise Wilk; Directed and designed by: \u00a0Theodor-Cristian Popescu; Costumes: Sabina Reus; Teatrul Mic, Bucharest\u00a0<\/strong><\/p>\nFALSA SERVITOARE\/ THE FALSE SERVANT<\/strong><\/p>\nText by: Pierre de Marivaux; Translated by: Adrian Nicolae; Directed by: Alexandru M\u00e2zg\u0103reanu; Set-design: Andreea S\u0103ndulescu; Teatrul \u201eMaria Filotti\u201d, Br\u0103ila\u00a0<\/strong><\/p>\nHAMLET<\/strong><\/p>\nText by: William Shakespeare; Directed and adapted for the stage by: Declan Donnellan; Set-design: Nick Ormerod; Music: Tibor C\u00e1ri; Stage fights & fencing: Antonie Mihail; Teatrul Na\u021bional \u201eMarin Sorescu\u201d, Craiova<\/p>\n
HEDDA GABLER<\/strong><\/p>\nText by: Henrik Ibsen; Directed by: Thomas Ostermeier; Associate director: Christoph Schletz; Set design: \u00a0Jan Pappelbaum; Translated by: Ozana Oancea; Costumes: Ruxandra Bu\u0219neag; Music: Malte Beckenbach; Video: S\u00e9bastien Dupouey; Lighting design: Erich Schneider, Carsten Sande; Teatrul Na\u021bional \u201eI.L. Caragiale\u201d, Bucharest\u00a0<\/strong><\/p>\nLA C\u00c2\u021aIVA OAMENI DISTAN\u021a\u0102 DE TINE\/ A FEW PEOPLE AWAY FROM YOU<\/strong><\/p>\nText by: Dan Coman; Stage direction and sound universe: Radu Afrim; Set-design: Sabina and Bianca Ve\u0219teman; Choreography: Flavia Giurgiu; Lighting concept: George Jipa; Teatrul Na\u021bional \u201eI.L.Caragiale\u201d, Bucharest\u00a0<\/strong><\/p>\nLUM\u00c2N\u0102RILE DREPT\u0102\u021aII\/ CANDLES OF TRUTH<\/strong><\/p>\nText by: Csaba Sz\u00e9kely; Directed by: Aba Sebesty\u00e9n; Music: Tibor C\u00e1ri; Set design: \u00a0Be\u00e1ta S\u00f3s; Costumes: Rebeka Hath\u00e1zi; Teatrul Na\u021bional T\u00e2rgu-Mure\u0219 \u2013 Compania \u201eTompa Mikl\u00f3s\u201d\u00a0<\/strong><\/p>\nMARIA STUART<\/strong><\/p>\nText by: Friedrich Schiller; Directed by: Diego de Brea; Dramaturgy: Kata Gyarmati; Costumes: Gyop\u00e1r Bocskai; Teatrul Maghiar de Stat Cluj\u00a0<\/strong><\/p>\nMOBIL\u0102 \u0218I DURERE\/ FURNITURE AND PAIN<\/strong><\/p>\nText by: Teodor Mazilu; Directed by: Cristian Ban; Set-design: Irina Chiril\u0103; Teatrul \u201eAndrei Mure\u0219anu\u201d, Sf\u00e2ntu-Gheorghe\u00a0<\/strong><\/p>\nNE\u00ceN\u021aELEGEREA\/ THE MISUNDERSTANDING
\n<\/strong>Text by: Albert Camus; Directed by: Bobi Pricop; Set design: \u00a0Oana Micu; Costumes: Oana Micu and Lucian Rusu; Sound Design: Eduard Gabia; Light Design: Costi Baciu; Teatrul Na\u021bional \u201eRadu Stanca\u201d, Sibiu\u00a0<\/strong><\/p>\nOEDIP<\/strong><\/p>\nText by: Robert Icke; Directed by: Andrei \u015eerban; Associate director: Daniela Dima; <\/strong>Set-design: Carmencita Brojboiu; Video projection: Radu Daniel; Lighting design: Cristi Niculescu; Teatrul Bulandra, Bucharest\u00a0<\/strong><\/p>\nP\u0102RIN\u021aI\/ PARENTS<\/strong><\/p>\nText by: Diana B\u0103dica and Cristian Ban (after the homonimous novel by Diana B\u0103dica); Directed by: Cristian Ban; Set-design: Andreea S\u0103ndulescu; Lighting design: Vlad L\u0103z\u0103rescu; Teatrul Metropolis, Bucharest\u00a0<\/strong><\/p>\nPESC\u0102RU\u0218UL\/ THE SEAGULL<\/strong><\/p>\nText by: A.P. Cehov; Translated by: Bogdan Bude\u0219; A performance by: Christian Benedetti; Teatrul Tineretului, Piatra Neam\u021b\u00a0<\/strong><\/p>\nPIETONUL AERULUI\/ A STROLL IN THE AIR<\/strong><\/p>\nText by: Eug\u00e8ne Ionesco; Translated by: Vlad Russo and Vlad Zografi; Directed by: G\u00e1bor Tompa; Set design: Adrian Damian; Costumes: Luiza Enescu; Original music: Vasile \u0218irli; Movement director: Ferenc Sink\u00f3; Video design: Radu Daniel; Assistant to set and costumes designer: Dariana Pau; Sax: Patricia Marchi\u0219; Teatrul Na\u021bional \u201eLucian Blaga\u201d, Cluj-Napoca<\/p>\n
PERICLES<\/strong><\/p>\nText by: William Shakespeare; Dramaturgy: D\u00e1lnoky R\u00e9ka; Directed by: Philip Parr; Set and costumes: Brian D. Hanlon; Choreography: Anca Stoica; Music: Tibor Car\u00ed; Teatrul Maghiar de Stat \u201eCsiky Gergely\u201d Timi\u0219oara\u00a0<\/strong><\/p>\nRABBIT HOLE<\/strong><\/p>\nText by: David Lindsay-Abaire; Directed by: Vlad Cristache; Set-design: Andreea Tecla; Teatrul \u201eRegina Maria\u201d, Oradea\u00a0<\/strong><\/p>\nREVIZORUL\/ THE GOVERNMENT INSPECTOR<\/strong><\/p>\nText by: Nikolai Gogol; Directed and adapted by: Alexandru Dabija; Set-design: Ioana Pashca; Teatrul Mic, Bucharest\u00a0<\/strong><\/p>\nSIDY THAL<\/strong><\/p>\nText by: Thomas Perle & Clemens Bechtel; Directed by: Clemens Bechtel; Set and costumes design: \u0218teff Chelaru, Ioana Groza; Music: Dan Simion; Research: Maria Irimia; Dramaturgy consultant: Dan Dru\u021b\u0103; Teatrul German de Stat Timi\u0219oara and Teatrul Evreiesc de Stat, Bucharest\u00a0<\/strong><\/p>\nTEOREMA\/ THEOREM<\/strong><\/p>\nText 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 Na\u021bional \u201eRadu Stanca\u201d, Sibiu\u00a0<\/strong><\/p>\nTRAP<\/strong><\/p>\nWritten and directed by Bogdan Georgescu; Set-design: Irina G\u00e2diu\u021b\u0103; Asocia\u021bia O2G\u00a0<\/strong><\/p>\nVICTIMELE DATORIEI\/ VICTIMS OF DUTY<\/strong><\/p>\nText by: Eug\u00e8ne Ionesco; Translated by: Vlad Zografi and Vlad Russo; Directed by: Radu Iacoban; Set-design by: Tudor Prodan; Teatrul Na\u021bional \u201eMihai Eminescu\u201d, Timi\u0219oara<\/p>\n
WOYZECK<\/strong><\/p>\nText by: Georg B\u00fcchner; Directed by: Hunor Horv\u00e1th & Edith Buttingsrud Pedersen; Choreography: Edith Buttingsrud Pedersen; Set-design: El\u0151d Golicza; Costumes: Zsofia Gabor; Video Design: Dan Basu; Light Design: Michael Bischoff; Musical illustration: Hunor Horv\u00e1th; Additional music: Mihai Dobre; Reinterpreting and keyboard: Tam\u00e1s Kolozsi; Master of the choir: Melinda Martha Samson; Musical training: Vlad Roba\u0219; Teatrul Na\u021bional \u201eRadu Stanca\u201d, Sec\u021bia German\u0103, Sibiu<\/p>\n
ZEI\u021aE DE CATEGORIA B\/ CATEGORY B GODDESSES<\/strong><\/p>\nText by: Alexandra Felseghi; After an idea and directed by Andrei M\u0103jeri; Sound experience: Adrian Piciorea; Costumes: selection from the collections by Lucian Brosc\u0103\u021bean; Make-up Artist: Mara R\u0103dulescu; Main producer: creart \/ Teatrelli; Co-producers: Teatrul Na\u021bional \u201eLucian Blaga\u201d Cluj-Napoca, Teatrul \u201eRegina Maria\u201d Oradea, Teatrul \u201eMihai Eminescu\u201d Boto\u0219ani<\/p>\n
\u00a0\u00a0<\/strong><\/h2>\nPERFORMANCES INVITED FROM ABROAD<\/strong><\/p>\nDANCE ME!<\/strong><\/p>\nIdeea 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. Gu\u0308vercin, Jan Nwattu, \u015eimal Nil \u015eahin, Nikolas St\u00e4udte, B\u00e9la Arnaud Weimar-Dittmar, Zelal Yesilyurt, Sindi Zeneli; Artistic consultants: Laia Ribera Ca\u00f1\u00e9nguez, Rodrigo Zorzanelli Cavalcanti; Set design: \u00a0Jan Brokof, Costumes: Lea S\u00f8vs\u00f8, 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, Ku\u0308nstler innenhaus Mousonturm, FFT Du\u0308sseldorf, HELLERAU \u2013 Europ\u00e4isches Zentrum der Ku\u0308nste\u00a0<\/strong><\/p>\nLIPPY <\/strong><\/p>\nScript: Bush Moukarzel; Directed by: Ben Kidd and Bush Moukarzel, Set design: \u00a0Andrew Clancy; Costumes: Grace O’Hara; Light: Stephen Dodd; Sound and music: Adam Welsh; Produced by Dead Centre, Ireland, UK\u00a0<\/strong><\/p>\nM\u00c9M\u00c9<\/strong><\/p>\nConcept, 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), Th\u00e9\u00e2tre de la Bastille (Paris), Festival d\u2019Automne \u00e0 Paris\u00a0<\/strong><\/p>\nPOVE\u0218TILE BUNICILOR \u0218OPTITE FIICELOR DE MAMELE LOR\/ STORIES OF GRANDMOTHERS WHISPERED BY MOTHERS TO THEIR DAUGHTERS<\/strong><\/p>\nWritten and directed by: Gianina C\u0103rbunariu; Set and costumes: Anna Maria Karczmarska, Miko\u0142aj Ma\u0142ek; Music: Charles Nepelski; Choreography: Katarzyna Sikora; Dramaturgy: Anna Mazurek; Light: Rafa\u0142 Paradowski; Teatr Wsp\u00f3\u0142czesny\u00a0in Szczecin\u00a0<\/strong><\/p>\nSEZONUL ROM\u00c2NO-POLONEZ\/ ROMANIAN-POLISH SEASON<\/em><\/strong><\/p>\nULTIMELE ZILE ALE ELENEI \u0218I ALE LUI NICOLAE CEAU\u0218ESCU\/ THE LAST DAYS OF ELENA AND NICOLAE CEAU\u0218ESCU<\/strong><\/p>\nText and dramaturgy: Julia Holewi\u0144ska; Directed by: Wojciech Faruga; Set, costumes and lights: Wojciech Faruga; Music: Rados\u0142aw Duda; Musical training: Natalia Kawa\u0142ek; Choreography: Bart\u0142omiej G\u0105sior, Produced by: Teatr Polski Bydgoszcz, Poland<\/p>\n
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SILVIU PURC\u0102RETE \u2013 50 de ani de crea\u021bie\/ SILVIU PURC\u0102RETE- 50 Years in Theatre<\/strong><\/p>\nThe Romanian Theatre Union (UNITER) and RNTF celebrate Silviu Purc\u0103rete’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<\/strong> after \u201cWomen Beware Women\u201d by Thomas Middleton – a production of the National Theater “Vasile Alecsandri” Ia\u0219i and THE<\/strong> BITTER LEXICON<\/strong> 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.<\/p>\n\u00a0\u00a0<\/strong><\/p>\nMODULES<\/strong> THAT COMPLEMENT THE SELECTION, DEEPENING THE CONCEPT OF<\/strong> DRAMATURGIES OF THE POSSIBLE.<\/em><\/strong><\/p>\n\u00a0 \u00a0<\/em><\/strong>\u00a0 \u00a0<\/em><\/p>\n\n
\n<\/div>The curatorial team of the National Theatre Festival – Mihaela Michailov, C\u0103lin Ciobotari and Ionu\u021b Sociu, have considered over 250 performances from Romania, the Republic of Moldova, Austria, Belgium, Switzerland, France, Germany, Ireland, Poland, Portugal, Serbia. The curators hereby present the motivation of their choices, the structure and components of the upcoming edition of the Romanian National Theatre Festival.<\/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\t30 July 2024<\/span>\u00a0 NTF PRESS RELEASES<\/a>, News<\/a><\/span><\/p>\n<\/div><\/div>\n\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t\n\t\t\t\t\t\tConstructed under the umbrella DRAMATURGIES OF THE POSSIBLE<\/strong>, the 34th edition of the National Theatre Festival (October 18 \u2013 27, 2024) continues the shift of emphasis from the idea of selection<\/em> to the idea of curatorship<\/em>. 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:<\/p>\n\n- Dramaturgy as a decisive element of performance<\/em><\/strong><\/li>\n<\/ul>\n
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. <\/em><\/p>\nWe 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).<\/em><\/p>\n\n- The capacity of performance to structure a carefully defined aesthetic<\/em><\/strong><\/li>\n<\/ul>\n
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. <\/em><\/p>\n\n- The principle of representativeness<\/strong><\/em><\/li>\n<\/ul>\n
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. <\/em><\/p>\nWe do insist on this principle in the hope that, once realized and applied systematically, it will work naturally \u2013 in the near future.<\/em><\/p>\n\n- The geographies of creation<\/em><\/strong><\/li>\n<\/ul>\n
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\u201d. At the same time, we did stick to the criterion of regional representation, trying to emphasize the geographic-theatrical diversities.<\/em><\/p>\n\n- RNTF as observation and encouragement of creative potential in relation to diverse dramaturgies<\/em><\/strong><\/li>\n<\/ul>\n
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.<\/em><\/p>\n\n- The creative teams and their collective voice in the valorisation of current dramaturgies<\/em><\/strong><\/li>\n<\/ul>\n
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.<\/em><\/p>\n\n- The openness to interdisciplinarity<\/em><\/strong><\/li>\n<\/ul>\n
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.<\/p>\n
\n- The fourth curator: the audience<\/em><\/strong><\/li>\n<\/ul>\n
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.<\/p>\n
\u2666\u2666\u2666<\/p>\n
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.<\/p>\n
We also continue our module of performances and workshops dedicated to young audiences <\/strong>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.<\/p>\nWe are also continuing the module of performative readings,<\/strong> 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<\/strong>, a presentation by 15 male and female authors, a mix of already known, and debutants.<\/p>\nFor the first time, the Romanian National Theatre Festival will function as a space of visibility for several independent spaces and associative structures<\/strong> 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.<\/p>\nIn order to complete the curatorial concept of the dramaturgies of the possible, we invited two multidisciplinary artists – M\u0103d\u0103lina Dan and Irisz Kovacs, who will work during the festival along with their chosen creative teams,<\/strong> 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.<\/p>\nThis 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 R\u0103ducanu<\/strong>, at her one hundredth anniversary, on October 17th.<\/p>\n\u00a0\u00a0<\/strong><\/p>\nSELECTION OF PERFORMANCES FROM ROMANIA<\/em><\/strong><\/p>\n\u00a0\u00a0<\/strong><\/p>\n10 LUCRURI PE CARE LE-AM PIERDUT LA FESTIVALUL MAMAIA\/<\/strong><\/p>\n10 THINGS WE HAVE LOST AT THE MAMAIA FESTIVAL<\/strong><\/p>\nText by: Gabriel Sandu; Directed by: \u00a0Elena Morar & Gabriel Sandu; Set, video and lighting design: Miruna Croitoru; Sound design and musical adaptation: Alexandru Ne\u0219; Choreography: Stela Coc\u00e2rlea; Musical training: Inga Postolache; Constan\u021ba State Theatre<\/p>\n
A DOU\u0102SPREZECEA NOAPTE SAU CUM DORI\u021aI\/ <\/strong><\/p>\nTHE TWELFTH NIGHT OR WHAT YOU WILL<\/strong><\/p>\nText by: William Shakespeare; Adapted by Botond Nagy, based on the translations by Mihnea Gheorghiu and Violeta Popa & George Volceanov; Directed by:\u00a0 Botond Nagy; Set-design: Andreea S\u0103ndulescu; Original music and sound design: Claudiu Urse; Choreography: Andrea Gavriliu; Lighting & video design: Cristian Niculescu; Dramaturgy: \u015etefana Pop-Cur\u015feu; AD: Diana Mihala\u0219cu; Teatrul Na\u021bional \u201eLucian Blaga\u201d, Cluj-Napoca<\/p>\n
A DOU\u0102SPREZECEA NOAPTE\/ THE TWELFTH NIGHT<\/strong><\/p>\nText by: William Shakespeare; Directed by: Andrei \u0218erban; Associate director: Daniela Dima; Set design: Carmencita Brojboiu; Lighting design: Cristian Niculescu; Sound design: Alex Popa; Choreographic moments: Mihaela Velicu; Teatrul de Stat Constan\u021ba\u00a0<\/strong><\/p>\nANATOMIA UNEI SINUCIDERI\/ ANATOMY OF A SUICIDE<\/strong><\/p>\nText by: Alice Birch; Translated by: Alina Ioana Vasiliu; Directed and adapted by: Diana Mititelu; Set-design: Budianu Alexandra; Music by: Mihai Dobre; Teatrul \u201eAndrei Mure\u0219anu\u201d, Sf\u00e2ntu-Gheorghe\u00a0<\/strong><\/p>\nANOMALIA\/ THE ANOMALY<\/strong><\/p>\nText and dramaturgy: Joanna Kowalska; Concept, music, choreography, stage direction: Natasza So\u0142tanowicz; Set and costumes: Marianna Syska; Musical arrangements, sound design: Grzegorz Bie\u0144ko; Translated by: Iulia Gheorghi\u021b\u0103; Teatrul Na\u021bional \u201eMarin Sorescu\u201d, Craiova\u00a0<\/strong><\/p>\nANTOLOGIA DISPARI\u021aIEI\/ ANTHOLOGY OF DISAPPEARANCE<\/strong><\/p>\nText, stage direction, sound universe, videos: Radu Afrim (after contemporary prose by female writers \u0218tefania Mihalache, Anca Vieru, Lorina B\u0103lteanu, 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 Na\u021bional \u201eVasile Alecsandri\u201d, Ia\u0219i<\/p>\n
CARACATI\u021aA\/ THE OCTOPUS<\/strong><\/p>\nDramaturgy: Mara C\u0103ru\u021ba\u0219u and Catinca Dr\u0103g\u0103nescu; Concept and stage direction: Catinca Dr\u0103g\u0103nescu; Music and sound design: Andrei Dinescu and Andrei Raicu; Set-design: Ruxandra Preda; Choreography: Florin Fieroiu; Oversize masks: Laura Duic\u0103 and C\u0103t\u0103lina Rudeanu; Lighting design: Andrei Ignat; Video proiection: Raluca Vasilescu; Teatrul Masca, Bucharest<\/p>\n
DINCOLO DE TANDRE\u021aE\/ BEYOND TENDERNESS<\/strong><\/p>\nText by: Alexander Zeldin; Directed by: S\u00e2nziana Stoican; Set-design: Valentin V\u00e2rlan; Teatrul Nottara, Bucharest<\/p>\n
DOU\u0102 ORE CU PAUZ\u0102\/ TWO HOURS WITH A BREAK<\/strong><\/p>\nWritten and directed by: Gianina C\u0103rbunariu; Set-design: Adrian Ganea; Lighting design: Cristian Niculescu; Original music: Oscar Engvari; Movement director: Ioana Marchidan; Teatrul Excelsior, Bucharest\u00a0<\/strong><\/p>\nEX<\/strong><\/p>\nText by: Marius von Mayenburg; Translated by: Elise Wilk; Directed and designed by: \u00a0Theodor-Cristian Popescu; Costumes: Sabina Reus; Teatrul Mic, Bucharest\u00a0<\/strong><\/p>\nFALSA SERVITOARE\/ THE FALSE SERVANT<\/strong><\/p>\nText by: Pierre de Marivaux; Translated by: Adrian Nicolae; Directed by: Alexandru M\u00e2zg\u0103reanu; Set-design: Andreea S\u0103ndulescu; Teatrul \u201eMaria Filotti\u201d, Br\u0103ila\u00a0<\/strong><\/p>\nHAMLET<\/strong><\/p>\nText by: William Shakespeare; Directed and adapted for the stage by: Declan Donnellan; Set-design: Nick Ormerod; Music: Tibor C\u00e1ri; Stage fights & fencing: Antonie Mihail; Teatrul Na\u021bional \u201eMarin Sorescu\u201d, Craiova<\/p>\n
HEDDA GABLER<\/strong><\/p>\nText by: Henrik Ibsen; Directed by: Thomas Ostermeier; Associate director: Christoph Schletz; Set design: \u00a0Jan Pappelbaum; Translated by: Ozana Oancea; Costumes: Ruxandra Bu\u0219neag; Music: Malte Beckenbach; Video: S\u00e9bastien Dupouey; Lighting design: Erich Schneider, Carsten Sande; Teatrul Na\u021bional \u201eI.L. Caragiale\u201d, Bucharest\u00a0<\/strong><\/p>\nLA C\u00c2\u021aIVA OAMENI DISTAN\u021a\u0102 DE TINE\/ A FEW PEOPLE AWAY FROM YOU<\/strong><\/p>\nText by: Dan Coman; Stage direction and sound universe: Radu Afrim; Set-design: Sabina and Bianca Ve\u0219teman; Choreography: Flavia Giurgiu; Lighting concept: George Jipa; Teatrul Na\u021bional \u201eI.L.Caragiale\u201d, Bucharest\u00a0<\/strong><\/p>\nLUM\u00c2N\u0102RILE DREPT\u0102\u021aII\/ CANDLES OF TRUTH<\/strong><\/p>\nText by: Csaba Sz\u00e9kely; Directed by: Aba Sebesty\u00e9n; Music: Tibor C\u00e1ri; Set design: \u00a0Be\u00e1ta S\u00f3s; Costumes: Rebeka Hath\u00e1zi; Teatrul Na\u021bional T\u00e2rgu-Mure\u0219 \u2013 Compania \u201eTompa Mikl\u00f3s\u201d\u00a0<\/strong><\/p>\nMARIA STUART<\/strong><\/p>\nText by: Friedrich Schiller; Directed by: Diego de Brea; Dramaturgy: Kata Gyarmati; Costumes: Gyop\u00e1r Bocskai; Teatrul Maghiar de Stat Cluj\u00a0<\/strong><\/p>\nMOBIL\u0102 \u0218I DURERE\/ FURNITURE AND PAIN<\/strong><\/p>\nText by: Teodor Mazilu; Directed by: Cristian Ban; Set-design: Irina Chiril\u0103; Teatrul \u201eAndrei Mure\u0219anu\u201d, Sf\u00e2ntu-Gheorghe\u00a0<\/strong><\/p>\nNE\u00ceN\u021aELEGEREA\/ THE MISUNDERSTANDING
\n<\/strong>Text by: Albert Camus; Directed by: Bobi Pricop; Set design: \u00a0Oana Micu; Costumes: Oana Micu and Lucian Rusu; Sound Design: Eduard Gabia; Light Design: Costi Baciu; Teatrul Na\u021bional \u201eRadu Stanca\u201d, Sibiu\u00a0<\/strong><\/p>\nOEDIP<\/strong><\/p>\nText by: Robert Icke; Directed by: Andrei \u015eerban; Associate director: Daniela Dima; <\/strong>Set-design: Carmencita Brojboiu; Video projection: Radu Daniel; Lighting design: Cristi Niculescu; Teatrul Bulandra, Bucharest\u00a0<\/strong><\/p>\nP\u0102RIN\u021aI\/ PARENTS<\/strong><\/p>\nText by: Diana B\u0103dica and Cristian Ban (after the homonimous novel by Diana B\u0103dica); Directed by: Cristian Ban; Set-design: Andreea S\u0103ndulescu; Lighting design: Vlad L\u0103z\u0103rescu; Teatrul Metropolis, Bucharest\u00a0<\/strong><\/p>\nPESC\u0102RU\u0218UL\/ THE SEAGULL<\/strong><\/p>\nText by: A.P. Cehov; Translated by: Bogdan Bude\u0219; A performance by: Christian Benedetti; Teatrul Tineretului, Piatra Neam\u021b\u00a0<\/strong><\/p>\nPIETONUL AERULUI\/ A STROLL IN THE AIR<\/strong><\/p>\nText by: Eug\u00e8ne Ionesco; Translated by: Vlad Russo and Vlad Zografi; Directed by: G\u00e1bor Tompa; Set design: Adrian Damian; Costumes: Luiza Enescu; Original music: Vasile \u0218irli; Movement director: Ferenc Sink\u00f3; Video design: Radu Daniel; Assistant to set and costumes designer: Dariana Pau; Sax: Patricia Marchi\u0219; Teatrul Na\u021bional \u201eLucian Blaga\u201d, Cluj-Napoca<\/p>\n
PERICLES<\/strong><\/p>\nText by: William Shakespeare; Dramaturgy: D\u00e1lnoky R\u00e9ka; Directed by: Philip Parr; Set and costumes: Brian D. Hanlon; Choreography: Anca Stoica; Music: Tibor Car\u00ed; Teatrul Maghiar de Stat \u201eCsiky Gergely\u201d Timi\u0219oara\u00a0<\/strong><\/p>\nRABBIT HOLE<\/strong><\/p>\nText by: David Lindsay-Abaire; Directed by: Vlad Cristache; Set-design: Andreea Tecla; Teatrul \u201eRegina Maria\u201d, Oradea\u00a0<\/strong><\/p>\nREVIZORUL\/ THE GOVERNMENT INSPECTOR<\/strong><\/p>\nText by: Nikolai Gogol; Directed and adapted by: Alexandru Dabija; Set-design: Ioana Pashca; Teatrul Mic, Bucharest\u00a0<\/strong><\/p>\nSIDY THAL<\/strong><\/p>\nText by: Thomas Perle & Clemens Bechtel; Directed by: Clemens Bechtel; Set and costumes design: \u0218teff Chelaru, Ioana Groza; Music: Dan Simion; Research: Maria Irimia; Dramaturgy consultant: Dan Dru\u021b\u0103; Teatrul German de Stat Timi\u0219oara and Teatrul Evreiesc de Stat, Bucharest\u00a0<\/strong><\/p>\nTEOREMA\/ THEOREM<\/strong><\/p>\nText 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 Na\u021bional \u201eRadu Stanca\u201d, Sibiu\u00a0<\/strong><\/p>\nTRAP<\/strong><\/p>\nWritten and directed by Bogdan Georgescu; Set-design: Irina G\u00e2diu\u021b\u0103; Asocia\u021bia O2G\u00a0<\/strong><\/p>\nVICTIMELE DATORIEI\/ VICTIMS OF DUTY<\/strong><\/p>\nText by: Eug\u00e8ne Ionesco; Translated by: Vlad Zografi and Vlad Russo; Directed by: Radu Iacoban; Set-design by: Tudor Prodan; Teatrul Na\u021bional \u201eMihai Eminescu\u201d, Timi\u0219oara<\/p>\n
WOYZECK<\/strong><\/p>\nText by: Georg B\u00fcchner; Directed by: Hunor Horv\u00e1th & Edith Buttingsrud Pedersen; Choreography: Edith Buttingsrud Pedersen; Set-design: El\u0151d Golicza; Costumes: Zsofia Gabor; Video Design: Dan Basu; Light Design: Michael Bischoff; Musical illustration: Hunor Horv\u00e1th; Additional music: Mihai Dobre; Reinterpreting and keyboard: Tam\u00e1s Kolozsi; Master of the choir: Melinda Martha Samson; Musical training: Vlad Roba\u0219; Teatrul Na\u021bional \u201eRadu Stanca\u201d, Sec\u021bia German\u0103, Sibiu<\/p>\n
ZEI\u021aE DE CATEGORIA B\/ CATEGORY B GODDESSES<\/strong><\/p>\nText by: Alexandra Felseghi; After an idea and directed by Andrei M\u0103jeri; Sound experience: Adrian Piciorea; Costumes: selection from the collections by Lucian Brosc\u0103\u021bean; Make-up Artist: Mara R\u0103dulescu; Main producer: creart \/ Teatrelli; Co-producers: Teatrul Na\u021bional \u201eLucian Blaga\u201d Cluj-Napoca, Teatrul \u201eRegina Maria\u201d Oradea, Teatrul \u201eMihai Eminescu\u201d Boto\u0219ani<\/p>\n
\u00a0\u00a0<\/strong><\/h2>\nPERFORMANCES INVITED FROM ABROAD<\/strong><\/p>\nDANCE ME!<\/strong><\/p>\nIdeea 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. Gu\u0308vercin, Jan Nwattu, \u015eimal Nil \u015eahin, Nikolas St\u00e4udte, B\u00e9la Arnaud Weimar-Dittmar, Zelal Yesilyurt, Sindi Zeneli; Artistic consultants: Laia Ribera Ca\u00f1\u00e9nguez, Rodrigo Zorzanelli Cavalcanti; Set design: \u00a0Jan Brokof, Costumes: Lea S\u00f8vs\u00f8, 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, Ku\u0308nstler innenhaus Mousonturm, FFT Du\u0308sseldorf, HELLERAU \u2013 Europ\u00e4isches Zentrum der Ku\u0308nste\u00a0<\/strong><\/p>\nLIPPY <\/strong><\/p>\nScript: Bush Moukarzel; Directed by: Ben Kidd and Bush Moukarzel, Set design: \u00a0Andrew Clancy; Costumes: Grace O’Hara; Light: Stephen Dodd; Sound and music: Adam Welsh; Produced by Dead Centre, Ireland, UK\u00a0<\/strong><\/p>\nM\u00c9M\u00c9<\/strong><\/p>\nConcept, 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), Th\u00e9\u00e2tre de la Bastille (Paris), Festival d\u2019Automne \u00e0 Paris\u00a0<\/strong><\/p>\nPOVE\u0218TILE BUNICILOR \u0218OPTITE FIICELOR DE MAMELE LOR\/ STORIES OF GRANDMOTHERS WHISPERED BY MOTHERS TO THEIR DAUGHTERS<\/strong><\/p>\nWritten and directed by: Gianina C\u0103rbunariu; Set and costumes: Anna Maria Karczmarska, Miko\u0142aj Ma\u0142ek; Music: Charles Nepelski; Choreography: Katarzyna Sikora; Dramaturgy: Anna Mazurek; Light: Rafa\u0142 Paradowski; Teatr Wsp\u00f3\u0142czesny\u00a0in Szczecin\u00a0<\/strong><\/p>\nSEZONUL ROM\u00c2NO-POLONEZ\/ ROMANIAN-POLISH SEASON<\/em><\/strong><\/p>\nULTIMELE ZILE ALE ELENEI \u0218I ALE LUI NICOLAE CEAU\u0218ESCU\/ THE LAST DAYS OF ELENA AND NICOLAE CEAU\u0218ESCU<\/strong><\/p>\nText and dramaturgy: Julia Holewi\u0144ska; Directed by: Wojciech Faruga; Set, costumes and lights: Wojciech Faruga; Music: Rados\u0142aw Duda; Musical training: Natalia Kawa\u0142ek; Choreography: Bart\u0142omiej G\u0105sior, Produced by: Teatr Polski Bydgoszcz, Poland<\/p>\n
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SILVIU PURC\u0102RETE \u2013 50 de ani de crea\u021bie\/ SILVIU PURC\u0102RETE- 50 Years in Theatre<\/strong><\/p>\nThe Romanian Theatre Union (UNITER) and RNTF celebrate Silviu Purc\u0103rete’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<\/strong> after \u201cWomen Beware Women\u201d by Thomas Middleton – a production of the National Theater “Vasile Alecsandri” Ia\u0219i and THE<\/strong> BITTER LEXICON<\/strong> 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.<\/p>\n\u00a0\u00a0<\/strong><\/p>\nMODULES<\/strong> THAT COMPLEMENT THE SELECTION, DEEPENING THE CONCEPT OF<\/strong> DRAMATURGIES OF THE POSSIBLE.<\/em><\/strong><\/p>\n\u00a0 \u00a0<\/em><\/strong>\u00a0 \u00a0<\/em><\/p>\n\n
30 July 2024<\/span>\u00a0 NTF PRESS RELEASES<\/a>, News<\/a><\/span><\/p>\n<\/div> Constructed under the umbrella DRAMATURGIES OF THE POSSIBLE<\/strong>, the 34th edition of the National Theatre Festival (October 18 \u2013 27, 2024) continues the shift of emphasis from the idea of selection<\/em> to the idea of curatorship<\/em>. 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:<\/p>\n 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. <\/em><\/p>\n 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).<\/em><\/p>\n 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. <\/em><\/p>\n 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. <\/em><\/p>\n We do insist on this principle in the hope that, once realized and applied systematically, it will work naturally \u2013 in the near future.<\/em><\/p>\n 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\u201d. At the same time, we did stick to the criterion of regional representation, trying to emphasize the geographic-theatrical diversities.<\/em><\/p>\n 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.<\/em><\/p>\n 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.<\/em><\/p>\n 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.<\/p>\n 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.<\/p>\n \u2666\u2666\u2666<\/p>\n 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.<\/p>\n We also continue our module of performances and workshops dedicated to young audiences <\/strong>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.<\/p>\n We are also continuing the module of performative readings,<\/strong> 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<\/strong>, a presentation by 15 male and female authors, a mix of already known, and debutants.<\/p>\n For the first time, the Romanian National Theatre Festival will function as a space of visibility for several independent spaces and associative structures<\/strong> 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.<\/p>\n In order to complete the curatorial concept of the dramaturgies of the possible, we invited two multidisciplinary artists – M\u0103d\u0103lina Dan and Irisz Kovacs, who will work during the festival along with their chosen creative teams,<\/strong> 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.<\/p>\n 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 R\u0103ducanu<\/strong>, at her one hundredth anniversary, on October 17th.<\/p>\n \u00a0\u00a0<\/strong><\/p>\n SELECTION OF PERFORMANCES FROM ROMANIA<\/em><\/strong><\/p>\n \u00a0\u00a0<\/strong><\/p>\n 10 LUCRURI PE CARE LE-AM PIERDUT LA FESTIVALUL MAMAIA\/<\/strong><\/p>\n 10 THINGS WE HAVE LOST AT THE MAMAIA FESTIVAL<\/strong><\/p>\n Text by: Gabriel Sandu; Directed by: \u00a0Elena Morar & Gabriel Sandu; Set, video and lighting design: Miruna Croitoru; Sound design and musical adaptation: Alexandru Ne\u0219; Choreography: Stela Coc\u00e2rlea; Musical training: Inga Postolache; Constan\u021ba State Theatre<\/p>\n A DOU\u0102SPREZECEA NOAPTE SAU CUM DORI\u021aI\/ <\/strong><\/p>\n THE TWELFTH NIGHT OR WHAT YOU WILL<\/strong><\/p>\n Text by: William Shakespeare; Adapted by Botond Nagy, based on the translations by Mihnea Gheorghiu and Violeta Popa & George Volceanov; Directed by:\u00a0 Botond Nagy; Set-design: Andreea S\u0103ndulescu; Original music and sound design: Claudiu Urse; Choreography: Andrea Gavriliu; Lighting & video design: Cristian Niculescu; Dramaturgy: \u015etefana Pop-Cur\u015feu; AD: Diana Mihala\u0219cu; Teatrul Na\u021bional \u201eLucian Blaga\u201d, Cluj-Napoca<\/p>\n A DOU\u0102SPREZECEA NOAPTE\/ THE TWELFTH NIGHT<\/strong><\/p>\n Text by: William Shakespeare; Directed by: Andrei \u0218erban; Associate director: Daniela Dima; Set design: Carmencita Brojboiu; Lighting design: Cristian Niculescu; Sound design: Alex Popa; Choreographic moments: Mihaela Velicu; Teatrul de Stat Constan\u021ba\u00a0<\/strong><\/p>\n ANATOMIA UNEI SINUCIDERI\/ ANATOMY OF A SUICIDE<\/strong><\/p>\n Text by: Alice Birch; Translated by: Alina Ioana Vasiliu; Directed and adapted by: Diana Mititelu; Set-design: Budianu Alexandra; Music by: Mihai Dobre; Teatrul \u201eAndrei Mure\u0219anu\u201d, Sf\u00e2ntu-Gheorghe\u00a0<\/strong><\/p>\n ANOMALIA\/ THE ANOMALY<\/strong><\/p>\n Text and dramaturgy: Joanna Kowalska; Concept, music, choreography, stage direction: Natasza So\u0142tanowicz; Set and costumes: Marianna Syska; Musical arrangements, sound design: Grzegorz Bie\u0144ko; Translated by: Iulia Gheorghi\u021b\u0103; Teatrul Na\u021bional \u201eMarin Sorescu\u201d, Craiova\u00a0<\/strong><\/p>\n ANTOLOGIA DISPARI\u021aIEI\/ ANTHOLOGY OF DISAPPEARANCE<\/strong><\/p>\n Text, stage direction, sound universe, videos: Radu Afrim (after contemporary prose by female writers \u0218tefania Mihalache, Anca Vieru, Lorina B\u0103lteanu, 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 Na\u021bional \u201eVasile Alecsandri\u201d, Ia\u0219i<\/p>\n CARACATI\u021aA\/ THE OCTOPUS<\/strong><\/p>\n Dramaturgy: Mara C\u0103ru\u021ba\u0219u and Catinca Dr\u0103g\u0103nescu; Concept and stage direction: Catinca Dr\u0103g\u0103nescu; Music and sound design: Andrei Dinescu and Andrei Raicu; Set-design: Ruxandra Preda; Choreography: Florin Fieroiu; Oversize masks: Laura Duic\u0103 and C\u0103t\u0103lina Rudeanu; Lighting design: Andrei Ignat; Video proiection: Raluca Vasilescu; Teatrul Masca, Bucharest<\/p>\n DINCOLO DE TANDRE\u021aE\/ BEYOND TENDERNESS<\/strong><\/p>\n Text by: Alexander Zeldin; Directed by: S\u00e2nziana Stoican; Set-design: Valentin V\u00e2rlan; Teatrul Nottara, Bucharest<\/p>\n DOU\u0102 ORE CU PAUZ\u0102\/ TWO HOURS WITH A BREAK<\/strong><\/p>\n Written and directed by: Gianina C\u0103rbunariu; Set-design: Adrian Ganea; Lighting design: Cristian Niculescu; Original music: Oscar Engvari; Movement director: Ioana Marchidan; Teatrul Excelsior, Bucharest\u00a0<\/strong><\/p>\n EX<\/strong><\/p>\n Text by: Marius von Mayenburg; Translated by: Elise Wilk; Directed and designed by: \u00a0Theodor-Cristian Popescu; Costumes: Sabina Reus; Teatrul Mic, Bucharest\u00a0<\/strong><\/p>\n FALSA SERVITOARE\/ THE FALSE SERVANT<\/strong><\/p>\n Text by: Pierre de Marivaux; Translated by: Adrian Nicolae; Directed by: Alexandru M\u00e2zg\u0103reanu; Set-design: Andreea S\u0103ndulescu; Teatrul \u201eMaria Filotti\u201d, Br\u0103ila\u00a0<\/strong><\/p>\n HAMLET<\/strong><\/p>\n Text by: William Shakespeare; Directed and adapted for the stage by: Declan Donnellan; Set-design: Nick Ormerod; Music: Tibor C\u00e1ri; Stage fights & fencing: Antonie Mihail; Teatrul Na\u021bional \u201eMarin Sorescu\u201d, Craiova<\/p>\n HEDDA GABLER<\/strong><\/p>\n Text by: Henrik Ibsen; Directed by: Thomas Ostermeier; Associate director: Christoph Schletz; Set design: \u00a0Jan Pappelbaum; Translated by: Ozana Oancea; Costumes: Ruxandra Bu\u0219neag; Music: Malte Beckenbach; Video: S\u00e9bastien Dupouey; Lighting design: Erich Schneider, Carsten Sande; Teatrul Na\u021bional \u201eI.L. Caragiale\u201d, Bucharest\u00a0<\/strong><\/p>\n LA C\u00c2\u021aIVA OAMENI DISTAN\u021a\u0102 DE TINE\/ A FEW PEOPLE AWAY FROM YOU<\/strong><\/p>\n Text by: Dan Coman; Stage direction and sound universe: Radu Afrim; Set-design: Sabina and Bianca Ve\u0219teman; Choreography: Flavia Giurgiu; Lighting concept: George Jipa; Teatrul Na\u021bional \u201eI.L.Caragiale\u201d, Bucharest\u00a0<\/strong><\/p>\n LUM\u00c2N\u0102RILE DREPT\u0102\u021aII\/ CANDLES OF TRUTH<\/strong><\/p>\n Text by: Csaba Sz\u00e9kely; Directed by: Aba Sebesty\u00e9n; Music: Tibor C\u00e1ri; Set design: \u00a0Be\u00e1ta S\u00f3s; Costumes: Rebeka Hath\u00e1zi; Teatrul Na\u021bional T\u00e2rgu-Mure\u0219 \u2013 Compania \u201eTompa Mikl\u00f3s\u201d\u00a0<\/strong><\/p>\n MARIA STUART<\/strong><\/p>\n Text by: Friedrich Schiller; Directed by: Diego de Brea; Dramaturgy: Kata Gyarmati; Costumes: Gyop\u00e1r Bocskai; Teatrul Maghiar de Stat Cluj\u00a0<\/strong><\/p>\n MOBIL\u0102 \u0218I DURERE\/ FURNITURE AND PAIN<\/strong><\/p>\n Text by: Teodor Mazilu; Directed by: Cristian Ban; Set-design: Irina Chiril\u0103; Teatrul \u201eAndrei Mure\u0219anu\u201d, Sf\u00e2ntu-Gheorghe\u00a0<\/strong><\/p>\n NE\u00ceN\u021aELEGEREA\/ THE MISUNDERSTANDING OEDIP<\/strong><\/p>\n Text by: Robert Icke; Directed by: Andrei \u015eerban; Associate director: Daniela Dima; <\/strong>Set-design: Carmencita Brojboiu; Video projection: Radu Daniel; Lighting design: Cristi Niculescu; Teatrul Bulandra, Bucharest\u00a0<\/strong><\/p>\n P\u0102RIN\u021aI\/ PARENTS<\/strong><\/p>\n Text by: Diana B\u0103dica and Cristian Ban (after the homonimous novel by Diana B\u0103dica); Directed by: Cristian Ban; Set-design: Andreea S\u0103ndulescu; Lighting design: Vlad L\u0103z\u0103rescu; Teatrul Metropolis, Bucharest\u00a0<\/strong><\/p>\n PESC\u0102RU\u0218UL\/ THE SEAGULL<\/strong><\/p>\n Text by: A.P. Cehov; Translated by: Bogdan Bude\u0219; A performance by: Christian Benedetti; Teatrul Tineretului, Piatra Neam\u021b\u00a0<\/strong><\/p>\n PIETONUL AERULUI\/ A STROLL IN THE AIR<\/strong><\/p>\n Text by: Eug\u00e8ne Ionesco; Translated by: Vlad Russo and Vlad Zografi; Directed by: G\u00e1bor Tompa; Set design: Adrian Damian; Costumes: Luiza Enescu; Original music: Vasile \u0218irli; Movement director: Ferenc Sink\u00f3; Video design: Radu Daniel; Assistant to set and costumes designer: Dariana Pau; Sax: Patricia Marchi\u0219; Teatrul Na\u021bional \u201eLucian Blaga\u201d, Cluj-Napoca<\/p>\n PERICLES<\/strong><\/p>\n Text by: William Shakespeare; Dramaturgy: D\u00e1lnoky R\u00e9ka; Directed by: Philip Parr; Set and costumes: Brian D. Hanlon; Choreography: Anca Stoica; Music: Tibor Car\u00ed; Teatrul Maghiar de Stat \u201eCsiky Gergely\u201d Timi\u0219oara\u00a0<\/strong><\/p>\n RABBIT HOLE<\/strong><\/p>\n Text by: David Lindsay-Abaire; Directed by: Vlad Cristache; Set-design: Andreea Tecla; Teatrul \u201eRegina Maria\u201d, Oradea\u00a0<\/strong><\/p>\n REVIZORUL\/ THE GOVERNMENT INSPECTOR<\/strong><\/p>\n Text by: Nikolai Gogol; Directed and adapted by: Alexandru Dabija; Set-design: Ioana Pashca; Teatrul Mic, Bucharest\u00a0<\/strong><\/p>\n SIDY THAL<\/strong><\/p>\n Text by: Thomas Perle & Clemens Bechtel; Directed by: Clemens Bechtel; Set and costumes design: \u0218teff Chelaru, Ioana Groza; Music: Dan Simion; Research: Maria Irimia; Dramaturgy consultant: Dan Dru\u021b\u0103; Teatrul German de Stat Timi\u0219oara and Teatrul Evreiesc de Stat, Bucharest\u00a0<\/strong><\/p>\n TEOREMA\/ THEOREM<\/strong><\/p>\n 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 Na\u021bional \u201eRadu Stanca\u201d, Sibiu\u00a0<\/strong><\/p>\n TRAP<\/strong><\/p>\n Written and directed by Bogdan Georgescu; Set-design: Irina G\u00e2diu\u021b\u0103; Asocia\u021bia O2G\u00a0<\/strong><\/p>\n VICTIMELE DATORIEI\/ VICTIMS OF DUTY<\/strong><\/p>\n Text by: Eug\u00e8ne Ionesco; Translated by: Vlad Zografi and Vlad Russo; Directed by: Radu Iacoban; Set-design by: Tudor Prodan; Teatrul Na\u021bional \u201eMihai Eminescu\u201d, Timi\u0219oara<\/p>\n WOYZECK<\/strong><\/p>\n Text by: Georg B\u00fcchner; Directed by: Hunor Horv\u00e1th & Edith Buttingsrud Pedersen; Choreography: Edith Buttingsrud Pedersen; Set-design: El\u0151d Golicza; Costumes: Zsofia Gabor; Video Design: Dan Basu; Light Design: Michael Bischoff; Musical illustration: Hunor Horv\u00e1th; Additional music: Mihai Dobre; Reinterpreting and keyboard: Tam\u00e1s Kolozsi; Master of the choir: Melinda Martha Samson; Musical training: Vlad Roba\u0219; Teatrul Na\u021bional \u201eRadu Stanca\u201d, Sec\u021bia German\u0103, Sibiu<\/p>\n ZEI\u021aE DE CATEGORIA B\/ CATEGORY B GODDESSES<\/strong><\/p>\n Text by: Alexandra Felseghi; After an idea and directed by Andrei M\u0103jeri; Sound experience: Adrian Piciorea; Costumes: selection from the collections by Lucian Brosc\u0103\u021bean; Make-up Artist: Mara R\u0103dulescu; Main producer: creart \/ Teatrelli; Co-producers: Teatrul Na\u021bional \u201eLucian Blaga\u201d Cluj-Napoca, Teatrul \u201eRegina Maria\u201d Oradea, Teatrul \u201eMihai Eminescu\u201d Boto\u0219ani<\/p>\n PERFORMANCES INVITED FROM ABROAD<\/strong><\/p>\n DANCE ME!<\/strong><\/p>\n 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. Gu\u0308vercin, Jan Nwattu, \u015eimal Nil \u015eahin, Nikolas St\u00e4udte, B\u00e9la Arnaud Weimar-Dittmar, Zelal Yesilyurt, Sindi Zeneli; Artistic consultants: Laia Ribera Ca\u00f1\u00e9nguez, Rodrigo Zorzanelli Cavalcanti; Set design: \u00a0Jan Brokof, Costumes: Lea S\u00f8vs\u00f8, 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, Ku\u0308nstler innenhaus Mousonturm, FFT Du\u0308sseldorf, HELLERAU \u2013 Europ\u00e4isches Zentrum der Ku\u0308nste\u00a0<\/strong><\/p>\n LIPPY <\/strong><\/p>\n Script: Bush Moukarzel; Directed by: Ben Kidd and Bush Moukarzel, Set design: \u00a0Andrew Clancy; Costumes: Grace O’Hara; Light: Stephen Dodd; Sound and music: Adam Welsh; Produced by Dead Centre, Ireland, UK\u00a0<\/strong><\/p>\n M\u00c9M\u00c9<\/strong><\/p>\n 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), Th\u00e9\u00e2tre de la Bastille (Paris), Festival d\u2019Automne \u00e0 Paris\u00a0<\/strong><\/p>\n POVE\u0218TILE BUNICILOR \u0218OPTITE FIICELOR DE MAMELE LOR\/ STORIES OF GRANDMOTHERS WHISPERED BY MOTHERS TO THEIR DAUGHTERS<\/strong><\/p>\n Written and directed by: Gianina C\u0103rbunariu; Set and costumes: Anna Maria Karczmarska, Miko\u0142aj Ma\u0142ek; Music: Charles Nepelski; Choreography: Katarzyna Sikora; Dramaturgy: Anna Mazurek; Light: Rafa\u0142 Paradowski; Teatr Wsp\u00f3\u0142czesny\u00a0in Szczecin\u00a0<\/strong><\/p>\n SEZONUL ROM\u00c2NO-POLONEZ\/ ROMANIAN-POLISH SEASON<\/em><\/strong><\/p>\n ULTIMELE ZILE ALE ELENEI \u0218I ALE LUI NICOLAE CEAU\u0218ESCU\/ THE LAST DAYS OF ELENA AND NICOLAE CEAU\u0218ESCU<\/strong><\/p>\n Text and dramaturgy: Julia Holewi\u0144ska; Directed by: Wojciech Faruga; Set, costumes and lights: Wojciech Faruga; Music: Rados\u0142aw Duda; Musical training: Natalia Kawa\u0142ek; Choreography: Bart\u0142omiej G\u0105sior, Produced by: Teatr Polski Bydgoszcz, Poland<\/p>\n —————————————————————————————————————-<\/p>\n SILVIU PURC\u0102RETE \u2013 50 de ani de crea\u021bie\/ SILVIU PURC\u0102RETE- 50 Years in Theatre<\/strong><\/p>\n The Romanian Theatre Union (UNITER) and RNTF celebrate Silviu Purc\u0103rete’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<\/strong> after \u201cWomen Beware Women\u201d by Thomas Middleton – a production of the National Theater “Vasile Alecsandri” Ia\u0219i and THE<\/strong> BITTER LEXICON<\/strong> 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.<\/p>\n \u00a0\u00a0<\/strong><\/p>\n MODULES<\/strong> THAT COMPLEMENT THE SELECTION, DEEPENING THE CONCEPT OF<\/strong> DRAMATURGIES OF THE POSSIBLE.<\/em><\/strong><\/p>\n \u00a0 \u00a0<\/em><\/strong>\u00a0 \u00a0<\/em><\/p>\n\n
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\n<\/strong>Text by: Albert Camus; Directed by: Bobi Pricop; Set design: \u00a0Oana Micu; Costumes: Oana Micu and Lucian Rusu; Sound Design: Eduard Gabia; Light Design: Costi Baciu; Teatrul Na\u021bional \u201eRadu Stanca\u201d, Sibiu\u00a0<\/strong><\/p>\n\u00a0\u00a0<\/strong><\/h2>\n
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