Co-producers: The City Hall of Bucharest through ARCUB \u2013 the Cultural Center of Bucharest, and the Romanian Television Society. Partners: The Romanian Cultural Institute, the \u201cI.L. Caragiale\u201d National Theatre of Bucharest, and ITI \u2013 the Romanian Centre of the International Theatre Institute.
\nTraditional media partner: Radio Romania.<\/p>\n

The curatorial team of the National Theatre Festival, composed of\u00a0Raluca C\u00eerciumaru<\/strong>\u00a0(theatre critic),\u00a0Alina Ep\u00eengeac<\/strong>\u00a0(theatre critic), and\u00a0Ionu\u021b Sociu<\/strong>\u00a0(playwright and cultural journalist), presents the motivation, structure, and components of this year\u2019s edition. For the first time, the RNTF includes an associated artist: director\u00a0Radu Afrim<\/strong>.<\/p>\n

The selection process included the viewing and analysis of more than 200 productions that premiered in the 2024\u20132025 theatre season, seen live in venues across the country or via recordings.<\/p>\n

In recent years, the National Theatre Festival has emphasized a modular structure and a horizontal unfolding of interconnected layers. The presence of director Radu Afrim as associated artist complements this ongoing initiative to integrate a steady flow of new directions into the concept, enriching and creatively extending the modular framework. Without taking part in the actual selection of performances, the associated artist has the freedom to design and develop a module of his own, reflecting his artistic intentions and sensibilities.<\/p>\n

The 35th edition of the National Theatre Festival (17\u201326 October 2025) is built around a call to action:\u00a0FNT 2025. Te prive\u0219te!<\/em><\/strong>\u00a0The festival thus continues the shift in emphasis from merely\u00a0presenting a selection<\/em>\u00a0to engaging in\u00a0curatorship<\/em>, a practice already established in the years before. Accordingly, the performances presented this year at FNT do not simply form a general panorama of the 2024\u20132025 season, but rather represent deliberate choices born out of an consistent dialogue within the curatorial team \u2014 a process guided by professional, aesthetic, and meta-theatrical criteria, all subsumed to an inclusive work process, relevant to the realities of today\u2019s theatrical phenomenon.<\/p>\n

Te prive\u0219te!<\/em><\/strong>\u00a0is a call to solidarity and civic responsibility in a moment of crisis (a pressure point for society, in its entirety), and a confirmation of the aesthetic-dialogical flow between artist and spectator. The theme acknowledges the organic artistic impulse to explore the stage as a platform from which urgent contemporary issues can be adressed, while equally relying on aesthetic coherence and consistency, and on the self-reflexive attitudes that accompany the creative process. Moreover, it seeks to recognize the active presence and essential role of the audience within the theatrical ecosystem.<\/p>\n

We chose not to translate the motto Te prive\u0219te! AS IT\u00a0<\/em><\/strong>carries a wide spectrum of meanings in this context and encompasses multiple dimensions: the reflexivity of the gaze that mirrors reality through the artistic act, the taking on of resposibility and conscious engagement, the act of looking as an active bridge between stage and audience, the interdependent relationship of past\u2013present\u2013future with emphasis on the tradition\u2013innovation binomial.\u00a0Te prive\u0219te!<\/strong>\u00a0means equally: it concers you! and it looks at you\/ it beholds you!\u00a0 and even \u2013 in a poetic, archaic romanian \u2013 look at yourself\/ behold thyself!<\/em><\/p>\n

The objective gaze, with artistic value as its focal point, thus becomes dynamic and deliberate. The 35th edition of the National Theatre Festival takes the form of a prism that metaphorically breaks the stage lights into rays of meanings and urgent questionings: Who chooses? How do we change? What remains? The (im)possible worlds encountered in the selected productions share a unified temporal perspective: a continuous present that calls for contemporary revisitations and recontextualizations of historical events, symbolic characters, cult plays, recurring themes, and canonical authors. When seen from the socio-cultural perspective of a time of exponentially intensifying change, utopias turn into dystopias before our very eyes, and the pedestals of the statues crumble irreverently, but, \u00a0perhaps, necessarily.<\/p>\n

This looking into the eyes, this courageous gaze becomes a gesture of solidarity around culture under the siege of indifference and powerlessness. We have been here for a long time, and we are here to stay \u2014 not only to tell stories post-factum, but also to lay the foundations of a reality for which each of us is responsible, now. Therefore, it concerns us all. And each of us individually.<\/p>\n

Beyond the selection of productions, our focus was on shaping an extended curatorial concept that brings coherence to the entire structure of the festival. This includes:
\n\u25cf the continuation of the\u00a0RNTF Educational<\/strong>\u00a0module, curated by playwright Mihaela Michailov;
\n\u25cf the launch of a module dedicated to associated artist Radu Afrim;
\n\u25cf a range of additional events: staged readings, debates, colloquia, installations, exhibitions, book launches, radio theatre performances, etc.<\/p>\n

In the cases of productions or institutions in which one of the curators is involved artistically, consultatively, or administratively, the evaluation and selection process is undertaken by the non-involved members of the curatorial team.<\/p>\n

.<\/p>\n

Air<\/strong>, adapted after\u00a0Airswimming<\/em>, by Charlotte Jones, with documentary texts by Roxana Piticari and Liliana Oprea, directed by Leta Popescu, set design by Bogdan Sp\u0103taru, choreography by Mihai Mihalcea, video collage by Irina Caraul\u0103 (Alaska), lighting design by Vlad L\u0103z\u0103rescu, sound design by Andrei Raicu, Teatrul Metropolis Bucure\u0219ti<\/p>\n

Alaska<\/strong>\u00a0by Elise Wilk, translated by M\u00e1ria Albert, directed by Aba Sebesty\u00e9n, set design by Be\u00e1ta S\u00f3s, costumes by Judit Dobre-K\u00f3thay, choreography by T\u00fcnde Bacz\u00f3, music by Tibor C\u00e1ri, co-production Teatrul Na\u021bional T\u00e2rgu-Mure\u0219 \u2013 Compania \u201eTompa Mikl\u00f3s\u201d and Yorick Studio<\/p>\n

We Bombed in New Haven<\/strong>\u00a0by Joseph Heller, translated by Ramona Tripa, directed by L\u00e1szl\u00f3 Bocs\u00e1rdi, set design by J\u00f3zsef Bartha, costumes by Anna-Aletta Lokodi, music by Magor Bocs\u00e1rdi, choreography by No\u00e9mi Bezs\u00e1n, Teatrul Na\u021bional Cluj-Napoca<\/p>\n

Canine<\/strong>, dramaturgy and stage adaptation by Diana Nechit, Andrei C. \u0218erban, directed by Botond Nagy, set design by Raul Cioab\u0103, costumes by Ioana Ungureanu, music and sound design by Claudiu Urse, lighting design by Cristian Niculescu, Teatrul Na\u021bional T\u00e2rgu-Mure\u0219 \u2013 Compania \u201eLiviu Rebreanu\u201d<\/p>\n

Don Quixote<\/strong>\u00a0by James Fenton, after the novel by Miguel de Cervantes, translated by George State, directed by Alexandru Dabija, costumes by Maria Miu, Teatrul ACT Bucure\u0219ti<\/p>\n

It\u2019s Only the End of the World<\/strong>\u00a0by Jean-Luc Lagarce, directed by Eugen Jebeleanu, set design by Oana Micu, original music and video by Ovidiu Zimcea, lighting design by Cristian Niculescu, choreography by Malena Silberschmidt, Teatrul Na\u021bional \u201eRadu Stanca\u201d Sibiu \u2013 Sec\u021bia German\u0103<\/p>\n

Animal Farm<\/strong>, stage adaptation by Andrei Hu\u021buleac after George Orwell\u2019s novellla, directed by Andrei Hu\u021buleac, set design Maria Nicola, choreography \u0218tefan Lupu, sound design Marin Grigore, songs Oana Pu\u0219catu, lighting design Lucian Moga, Teatrul Mic, Bucure\u0219ti<\/p>\n

The Tempest<\/strong>\u00a0by William Shakespeare, Romanian translation \u00c1d\u00e1m N\u00e1dasdy, dramaturgy Anna Veress, directed by Viktor Bod\u00f3, music Klaus von Heydenander, set design Hanna Er\u0151s, costumes Bori Zatyk\u00f3, lighting design S\u00e1ndor Baumgartner, Teatrul \u201eTam\u00e1si \u00c1ron\u201d Sf\u00e2ntu Gheorghe<\/p>\n

Good Bye, Lenin!<\/strong>\u00a0by Wolfgang Becker and Bernd Lichtenberg, translation Elise Wilk, directed by Eugen Jebeleanu, stage adaptation Bernd Lichtenberg, set design Velica Panduru, costumes Carmen Sec\u0103reanu, lighting design Cristi Niculescu, video design Iustin \u0218urp\u0103nelu, Teatrul Metropolis Bucure\u0219ti<\/p>\n

At Dawn, the Light Is Harsher<\/strong>\u00a0by Mihaela Michailov, directed by Radu Apostol, set and production Gabi Albu, movement Florin Fieroiu, music Sebastian Androne-Nakanishi, lighting design Radu Apostol, video Elena G\u0103geanu, research team Mihai Burcea, Adina Marincea, Mihaela Michailov, translation from French Mirella Patureau, translation from Yiddish Andrei Munteanu, Centrul de Teatru Educa\u021bional Replika Bucure\u0219ti<\/p>\n

Incendies<\/strong>\u00a0by Wajdi Mouawad, translated by Zeno Fodor, directed by Alexandru M\u00e2zg\u0103reanu, set design Andreea S\u0103ndulescu, costumes Alexandra Boerescu, original music Alexandru Suciu, lighting design Daniel Klinger, Teatrul de Stat Constan\u021ba<\/p>\n

Jonah<\/strong>\u00a0by Marin Sorescu, directed by Silviu Purc\u0103rete, literary translation from Romanian into Japanese by Mayo Nishiike and Florin Grancea, dramaturgy Durian Sukegawa, original music Vasile \u0218irli, set and lighting design Drago\u0219 Buhagiar, co-production Teatrul Na\u021bional \u201eRadu Stanca\u201d Sibiu and Tokyo Metropolitan Theatre, Japan<\/p>\n

Janovics<\/strong>, inspired by the life of Jen\u0151 Janovics, based on a text by Mikl\u00f3s Vecsei H. and Nikolett N\u00e9meth, and improvisations by the creative team, dramaturgy Nikolett N\u00e9meth, directed by Attila Vidny\u00e1nszky jr., set design Csaba Cs\u00edki, costumes Zsuzsanna Cs. Kiss, music D\u00e1vid Mester, choreography Istv\u00e1n Berecz, Teatrul Maghiar de Stat Cluj-Napoca<\/p>\n

A Romanian Diary #HereWeDreamOfChange<\/strong>, script and direction Carmen Lidia Vidu, visuals Mara Oglakci, styling Olivia Stoica \/ Pinkbull Vintage, Teatrul Masca Bucure\u0219ti<\/p>\n

The Lesson<\/strong>\u00a0by Eug\u00e8ne Ionesco, translation Vlad Russo and Vlad Zografi, directed by Bobi Pricop, set design Oana Micu, music and stage movement Eduard Gabia, Teatrul Na\u021bional \u201eMarin Sorescu\u201d Craiova<\/p>\n

Lina<\/strong>\u00a0by Alexandra Felseghi, directed by Adina Laz\u0103r, set design Bianca Ve\u0219teman, Sabina Ve\u0219teman, sound design Adrian Piciorea, Teatrul \u201eAndrei Mure\u0219anu\u201d Sf\u00e2ntu-Gheorghe<\/p>\n

Long Day\u2019s Journey into Night<\/strong>, a stage adaptation by Roman Doljanski after Eugene O\u2019Neill, translation Raluca R\u0103dulescu, directed by Timofei Kuliabin, set design Oleg Golovko, music Timofei Pastukhov, lighting design Ilia Pa\u0219nin, Teatrul Na\u021bional \u201eRadu Stanca\u201d Sibiu<\/p>\n

Pride and Prejudice<\/strong>\u00a0*<\/em><\/strong>\u00a0(<\/strong>*<\/em><\/strong>\u00a0sort of)<\/strong>, by Isobel McArthur, based on the novel \u201cPride and Prejudice\u201d by Jane Austen, directed by Alexandru M\u00e2zg\u0103reanu, lighting design by Alexandru M\u00e2zg\u0103reanu, set design by Andreea S\u0103ndulescu, costumes by Alexandra Boerescu, original music and musical arrangement by Alexandru Suciu, musical preparation by Maria Alexievici, stage movement by Mariana Gavriciuc, Teatrul Excelsior Bucure\u0219ti<\/p>\n

Mary Stuart<\/strong>, adaptation by Robert Icke after Friedrich Schiller, translated by Irina Velcescu, directed by Andrei \u015eerban, associate director Daniela Dima, stage version by Daniela Dima, set design by Helmut St\u00fcrmer, costumes by Corina Gr\u0103mo\u015fteanu, music by Alexei \u021aurcan, video design by Andrei Cozlac, lighting design by Cristian Niculescu, Teatrul Na\u021bional \u201eI.L. Caragiale\u201d din Bucure\u0219ti<\/p>\n

Messiah<\/strong>, by Martin Sherman, translated into Romanian by Lorena Luchian, Alexandru Panait, and Andrei M\u0103jeri, directed by Andrei M\u0103jeri, scenography by Irina Chiril\u0103, stage movement by Daniel Dragomir, lighting design by Andrei Ignat and Andrei M\u0103jeri, musical preparation by Antonela Barnat, Teatrul Evreiesc de Stat Bucure\u0219ti<\/p>\n

Death at the Revue Theatre<\/strong>, directed, conceptualized and written by Gabriel Sandu, choreography by Andrea Gavriliu, set design, video graphics, lighting design by Miruna Croitoru, costumes by Miruna Croitoru and the Fashion Department of UNArte, props by Ana Udreanu and Sanda Mitache, dramaturgy by Teodora Savu, video editing by Cristina Popa, music and sound ambiance by Andrei Dinescu and Viorel Andrinoiu, Teatrul \u201eStela Popescu\u201d Bucure\u0219ti<\/p>\n

Nijinski. Agony and Ecstasy<\/strong>, choreographed and conceptualized by R\u0103zvan Mazilu, lighting design by Arcadie Rusu, scenography, costumes, and video projections by Yasmin Asan, music by Alexandru Suciu, Teatrul ODEON Bucure\u0219ti<\/p>\n

Blood Wedding<\/strong>, by Federico Garc\u00eda Lorca, directed by Hunor Horvath, film direction by Adrian Sitaru, scenography by El\u00f6d Golicza, costumes by Zsofia Gabor, choreography by \u00c1rp\u00e1d K\u00f6nczei, original music by Andrei Dinescu, lighting design by Cristian Niculescu, video design by Dan Basu, Teatrul Na\u021bional \u201eRadu Stanca\u201d Sibiu \u2013 Sec\u021bia German\u0103<\/p>\n

The Treasure City<\/strong>, dramaturgy by Petro Ionescu, directed by David Schwartz, scenography by Mihai P\u0103curar, choreography by Dominik M. Iabloncic, music and sound design by Mara Solomon, sound design and lighting design by C\u0103t\u0103lin Filip and Alex Maftei, Reactor de crea\u021bie \u0219i experiment Cluj<\/p>\n

The Passions of the Beautiful Sex in the Golden Age (as we see them on TV)<\/strong>, original text and dramaturgy by Selma Drago\u0219, artistic direction and dramaturgy by Elena Morar, set and lighting design by Ileana Zirra, costumes and video design by Miruna Croitoru, choreography by Teodora Velescu, music and lyrics by Cristina Juncu, Teatrul Nottara Bucure\u0219ti<\/p>\n

Prophet Ilya<\/strong>, by Tadeusz S\u0142obodzianek, translated by Luiza S\u0103vescu and Passionaria Stoicescu, directed by Botond Nagy, scenography by Irina Moscu, dramaturgy by Diana Nechit, original music and sound design by Claudiu Urse, lighting design and video design by Cristian Niculescu, Teatrul Na\u021bional \u201eI.L. Caragiale\u201d din Bucure\u0219ti<\/p>\n

The Wandering<\/strong>, by Doru Vatavului, directed by Irisz Kovacs, scenography by Ol\u00e1h R\u00e9ka, music by Alexandra Chira and Adrian Piciorea, ProTeatru Zal\u0103u<\/p>\n

The Reenactment<\/strong>, by Catinca Dr\u0103g\u0103nescu, concept by Catinca Dr\u0103g\u0103nescu and Ciprian F\u0103c\u0103eru, directed by Catinca Dr\u0103g\u0103nescu, physical scenography, VR\/AR & lighting design by Ciprian F\u0103c\u0103eru, costumes and scenography consultancy by Lia Dogaru, VR\/AR software development: Augmented Space Agency (Dan F\u0103c\u0103eru and Sabin Serban), original music composition and sound design by Cristian Vieriu (interior 8), Teatrul Na\u021bional \u201eMarin Sorescu\u201d Craiova<\/p>\n

The Queen of the Night<\/strong>, text and direction by Leta Popescu, scenography by Bogdan Sp\u0103taru, stage movement by Elena Anghel, music by Csaba Boros, lyrics by Oana Mogo\u0219, Teatrul Dramatic \u201eFani Tardini\u201d Gala\u021bi<\/p>\n

Lungs<\/strong>, by Duncan Macmillan, translated by Mircea Sorin Rusu, directed by Cristian Ban, scenography by Irina Chiril\u0103, lighting design by Alex Dancu, Teatrul Clasic \u201eIoan Slavici\u201d Arad<\/p>\n

Richard III<\/strong>, by William Shakespeare, adaptation after Vecsei H. Mikl\u00f3s, dramaturgy by Bessenyei Ged\u0151 Istv\u00e1n, directed by Istv\u00e1n Albu, set and costumes by Erika M\u00e1rton, choreography by Franciska Szab\u00f3, Teatrul de Nord Satu Mare \u2013 Trupa \u201eHarag Gy\u00f6rgy\u201d<\/p>\n

Three Sisters<\/strong>
\nBy A.P. Chekhov, translated by Raluca R\u0103dulescu, directed by Theodor Cristian Popescu, scenographic concept by Velica Panduru, costumes by Sabina Reus, music and sound design by Andrei Raicu, lighting & sound design by Cristian Niculescu, stage movement by Flavia Giurgiu, Teatrul Tineretului Piatra Neam\u021b<\/p>\n

An Enemy of the People<\/strong>, by Henrik Ibsen, adaptation by Thomas Ostermeier and Florian Borchmeyer, translation and direction by Radu Iacoban, scenography by Tudor Prodan, sound design by Aida \u0160o\u0161i\u0107, lighting design by Lucian Moga, Teatrul \u201eRegina Maria\u201d Oradea \u2013 \u201eTrupa Iosif Vulcan\u201d<\/p>\n

An Angel Comes to Babylon<\/strong>, by Friedrich D\u00fcrrenmatt, translated by \u00c1rp\u00e1d F\u00e1y, dramaturgy by R\u00e9ka D\u00e1lnoky, directed by L\u00e1szl\u00f3 Bocs\u00e1rdi, set by J\u00f3zsef Bartha, costumes by Sz\u0151ke Izs\u00e1k, video by Andr\u00e1s Rancz, lighting design by Tam\u00e1s B\u00e1nyai, music by L\u00e1szl\u00f3 Bakk-D\u00e1vid, choreography by Attila Bord\u00e1s, Teatrul \u201eTam\u00e1si \u00c1ron\u201d Sf\u00e2ntu Gheorghe<\/p>\n

Focus: RADU AFRIM<\/strong><\/p>\n

House among the Flats<\/strong>, text, direction, and sound universe by Radu Afrim, translated by L\u00e1szl\u00f3 S\u00e1ndor, set by Anna Kup\u00e1s, costumes by Orsolya Moldov\u00e1n, choreography by Blanche Macaveiu, video design by Samu Trucza, sound design by Vince Ol\u00e1h, lighting design by Radu Afrim and Istv\u00e1n \u00c1d\u00e1m, Teatrul Na\u021bional T\u00e2rgu-Mure\u0219 \u2013 Compania \u201eTompa Mikl\u00f3s\u201d<\/p>\n

Teatro L\u00facido at the Edge Of Infinity,\u00a0<\/strong>written and directed by Radu Afrim, after the texts\u00a0Visiting a Man\u2019s House in His Wife\u2019s Absence<\/em>\u00a0by Adriana Bittel,\u00a0The Dostoevsky Variable<\/em>\u00a0by Bogdan R\u0103ileanu, and\u00a0Tits<\/em>\u00a0by Doina Ru\u0219ti, scenography by Irina Moscu, choreography by Flavia Giurgiu, lighting design by Cristian Niculescu, Teatrul de Stat Constan\u021ba<\/p>\n

Day of Joy<\/strong>, by Arne Lygre, direction, sound universe, and lighting design by Radu Afrim, scenography by Anna Kup\u00e1s, choreography by Alice Veliche, Teatrul Na\u021bional \u201eVasile Alecsandri\u201d Ia\u0219i<\/p>\n

Invited Shows at RRNTF 35<\/strong><\/p>\n

The Glass Garden<\/strong>, after Tatiana \u021a\u00eebuleac, dramatization by Mariana Onceanu, directed by Petru Had\u00e2rc\u0103, scenography by Adrian Suruceanu, costume painting by Stela Verebceanu, original music and sound universe by Valentin Stri\u0219cov, stage movement by Oleg Mardari, video projection by Radu Zaporojan, Teatrul Na\u021bional \u201eMihai Eminescu\u201d Chi\u0219in\u0103u, Republica Moldova<\/p>\n

The Viscount<\/strong>, by Eug\u00e8ne Ionesco, direction and set design by Slava Sambri\u0219, Teatrul Republican \u201eLuceaf\u0103rul\u201d, Chi\u0219in\u0103u, Republica Moldova<\/p>\n<\/div>