The National Theatre Festival<\/strong> is a strategic cultural project funded by the Ministry of Culture.<\/p>\n

Co-producers:<\/strong> Bucharest City Hall<\/strong> (through ARCUB \u2013 Bucharest Cultural Centre), <\/strong>\u00a0the Romanian Television Society<\/strong>.<\/strong><\/p>\n

Partners:<\/strong> The “I.L. Caragiale” National Theatre of Bucharest<\/strong>; the Romanian Centre of the International Theatre Institute (ITI)<\/strong>.<\/strong><\/p>\n

Traditional media partner:<\/strong> Radio Romania<\/strong>.<\/strong><\/p>\n

Theatre critics Raluca C\u00eerciumaru, Alina Ep\u00eengeac and Sebastian-vlad Popa, the curatorial team of the 36^{th<\/sup> edition of the Romanian National Theatre Festival, hereby present their statement and selection for this year’s edition.<\/p>\n}

[\u2026]perfectly human. FNT36<\/strong><\/p>\n

The 2026 edition of the National Theatre Festival finds us in the midst of a profound paradigm shift in our understanding of the meaning of being human. We are living through a moment in which we are recalibrating and renegotiating our roles in relation to ourselves, to one another, to society as a political, economic, social and cultural mechanism, and\u2013for the first time\u2013to technology as a quasi-conscious partner. Reality is becoming a space for questions that, until recently, would have seemed improbable, each giving rise to countless others. A vivid and often polemical dialogue is emerging between nature\u2013ever more anthropomorphized\u2013and technology \u2013 its features becoming increasingly familiar and recognizably human\u2013 both on stage and beyond it.<\/p>\n

Theatre has always stood at the intersection of multilayered reality, filtered through creative sensibilities, and believable fiction. Through the selection presented for FNT36, the curatorial team places at the heart of this edition humanity’s most vulnerable characteristic: (im)perfection as both the defining quality and the inherent flaw of the enduring human spirit.<\/p>\n

We have witnessed a theatre season marked by unpredictability, constraints imposed by forces beyond artistic intent, and both individual and systemic uncertainty. Against this backdrop, the selection process itself had to adapt to a reality shaped by the same inherent imperfection. In many cases, viewing video recordings of candidate productions required a particular mode of professional assessment capable of compensating, as far as possible, for the absence of the live theatrical experience. Economic constraints made presence at a certain number of the theatre season’s premieres impossible, and thus generated a series of the challenges that determined us to question the increasingly rigid limits within which our profession now operates. Freedom is a profoundly human attribute, and the ways in which we understand and negotiate it is part of that same ambivalence that the theme of (im)perfection implies.<\/p>\n

How important is it for a work of art to get close to perfection, and how important is it for it to preserve its humanity? The questions we seek to explore through the productions selected for the 36^{th<\/sup> edition of the festival arise directly from the experience of this theatre season. The outlines of professional authority and creative freedom, on the one hand, and consumer culture, emerging technologies and economic constraints, on the other, are naturally fading out, giving rise to a cultural climate that is vibrant, dynamic, more attentive to the values it promotes and, perhaps, more responsive than ever before. Does space- time for a patiently crafted perfection still exist, despite the fact tha careful attention to detail is being frenetically displaced by an artificially generated demand for novelty? The array of questions we hope to generate through this year’s theme and program remains intentionally perfectly open.<\/p>\n}

The diversity of themes, aesthetics and creative approaches brought together in the selection below is united by a single constant: professional excellence, filtered through the consensual perception of the three curators. Both the program and this curatorial statement reflect the meeting point of three distinct perspectives on the 2025\u20132026 Romanian theatre season. Striving for equilibrium has been one of our guiding principles, and the various forms of representation have been carefully calibrated to maintain counterbalance. Out of more than 150 productions viewed, we selected 36, an imperfect number (yet perfect, like every number), still carrying the symbolistic of the humanity that characterized the selection process we went through during the four months in which we acted as the curatorial team of FNT36.<\/p>\n

Raluca C\u00eerciumaru<\/strong>
\nAlina Ep\u00eengeac<\/strong>
\nSebastian-vlad Popa<\/strong><\/p>\n

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

SELECTION OF PRODUCTIONS \/ NATIONAL THEATRE FESTIVAL (FNT)<\/strong><\/p>\n

16\u201325 October 2026<\/p>\n

9 SHAMES<\/strong> and Other Scandalous Tableaux from Romania’s Recent History<\/strong>, by Cosmin St\u0103nil\u0103, Sa\u0219a Ceban, Ionu\u021b Caras and Diana Buluga; directed by Ionu\u021b Caras; video design by Andrei Cozlac and Radu Mar\u021bin; music by Magor Bocs\u00e1rdi; costume consultant Mirela Grindean; Teatrul Na\u021bional \u201eLucian Blaga\u201d Cluj-Napoca<\/p>\n

Twelfth Night<\/strong>, by William Shakespeare; translated by Mihnea Gheorghiu; stage version by Adrian Nicolae; directed by Andrei Hu\u021buleac; set design by Maria Nicola; lighting design by Lucian Moga; stage movement by Elena Anghel; Teatrul Dramatic \u201eFani Tardini\u201d Gala\u021bi<\/p>\n

Ar\u0103deanca<\/strong>, by Elise Wilk; directed by Cristian Ban; set design by Irina Chiril\u0103; video projection by Dan Varga; music by Paul Tonca; lighting design by Alex Dancu; Teatrul Clasic \u201eIoan Slavici\u201d Arad<\/p>\n

The Bald Soprano<\/strong>, by Eug\u00e8ne Ionesco; translated by Vlad Russo and Vlad Zografi; directed by Mihai M\u0103niu\u021biu; set design by Adrian Damian; costume design by Luiza Enescu; music by Mihai Dobre; Teatrul Na\u021bional \u201eMihai Eminescu\u201d din Timi\u0219oara<\/p>\n

The Comedy of Errors<\/strong>, by William Shakespeare; translated by George Volceanov; directed by S\u00e2nziana Stoican; set design by Valentin V\u00e2rlan; Teatrul \u201eNottara\u201d Bucure\u0219ti<\/p>\n

De Profundis<\/strong>, after Oscar Wilde; directed and choreographed by R\u0103zvan Mazilu; costumes and original soundtrack by R\u0103zvan Mazilu; set design by Oana Micu; lighting design by Costi Baciu; Teatrul \u201eStela Popescu\u201d, Bucure\u0219ti<\/p>\n

The T\u00f3t Family<\/strong>, by Istv\u00e1n \u00d6rk\u00e9ny; dramaturgy by Enik\u0151 Orb\u00e1n; directed by Hunor Horv\u00e1th; set design by El\u0151d Golicza; costume design by Andreea S\u0103ndulescu; choreography by Matilde J. Ciria and T\u00fcnde Bacz\u00f3; music by Tibor C\u00e1ri and Tam\u00e1s Kolozsi; stage movement by Endre Melles and Julcsi \u00c1d\u00e1m; lighting design by Nichita Teodorescu; video design and projection mapping by Dan Basu and Ilinca Popescu; film direction by Laura Brum\u0103; soundscapes by DJ K-Lu; sound design by Zsolt Kup\u00e1n; Teatrul Maghiar de Stat \u201eCsiky Gergely\u201d Timi\u0219oara<\/p>\n

Woman \u2013 Battlefield<\/strong>, by Matei Vi\u0219niec; dramaturgy by Diana Nechit; directed by Botond Nagy; set design by Raul Cioab\u0103; costume design by Ioana Ungureanu; lighting design by Cristian Niculescu; sound design by Claudiu Urse; choreography by Alice Veliche; Teatrul Na\u021bional \u201eVasile Alecsandri\u201d Ia\u0219i<\/p>\n

Funny Games<\/strong>, after the film by Michael Haneke; directed by Botond Nagy; stage adaptation and original texts by Diana Nechit and Andrei C. \u0218erban; set design by Theodor Cristian Niculae; original music and sound design by Claudiu Urse; lighting design by Ruxandra Ilie and Botond Nagy; Teatrul Grivi\u021ba 53<\/p>\n

My Beloved Enemy<\/strong>, written and directed by Gianina C\u0103rbunariu; set design by Adrian Ganea; music by Oscar Ungv\u00e1ri; Teatrul Na\u021bional \u201eMarin Sorescu\u201d Craiova<\/p>\n

Ivanov<\/strong>, by Anton Chekhov; translated and adapted by Raluca R\u0103dulescu; artistic direction and cinematography by Eugen Jebeleanu; set design by Velica Panduru; music by R\u00e9mi Billardon; lighting design by Sabina Reus; video artist Ovidiu Zimcea; Teatrul Na\u021bional \u201eMarin Sorescu\u201d Craiova<\/p>\n

Lirda<\/strong>, written and directed by Leta Popescu; set design by Bogdan Sp\u0103taru; music by Csaba Boros; Teatrul de Comedie Bucure\u0219ti<\/p>\n

The Cherry Orchard<\/strong>, by Anton Chekhov; translated and adapted by Raluca R\u0103dulescu; directed by Andrei M\u0103jeri; musical direction by Andrei M\u0103jeri; set design by Oana Micu; choreography by Andrea Gavriliu; sound design by Claudiu Urse; lighting design by Sabina Reus; Teatrul de Stat Constan\u021ba<\/p>\n

Any Other Candidates?<\/strong>, a concert performance after I.L. Caragiale; concept, adaptation and music by Ada Milea; songs by Ada Milea and Anca Hanu; set design by Maria Constantin; choreography by Florin Fieroiu; sound design by Victor Pamfilov; lighting design by Daniel Tiuntiuc; Teatrul Na\u021bional \u201eI.L. Caragiale\u201d din Bucure\u0219ti. A project of the \u201eIon Sava\u201d Centre for Theatre Research and Creation.<\/p>\n

Mein Kampf<\/strong>, by George Tabori; translated by M\u00e1rk Cristopher Demeter; directed by Marcel B\u00e9lai; set design by Zsuzsi Sz\u0151ke; costume design by Kata Mih\u00e1ly; music by L\u00e1szl\u00f3 Bakk-D\u00e1vid; Teatrul \u201eAndrei Mure\u0219anu\u201d Sf\u00e2ntu Gheorghe and Teatrul Masca, Bucure\u0219ti<\/p>\n

The Metamorphosis<\/strong>, by Franz Kafka; collective translation; adapted and directed by Yuri Kordonsky; set design by Oana Micu; lighting design by Cristian \u0218imon and Victor P\u00e2slari; sound design by Andrei Dobo\u0219; Teatrul Excelsior Bucure\u0219ti<\/p>\n

We Apologise for the Inconvenience Caused<\/strong>, written and directed by Radu Iacoban; set design by Tudor Prodan; original music by Aida \u0160o\u0161i\u0107; Teatrul Mic Bucure\u0219ti<\/p>\n

The Extraordinary Story of Abul Hossein of Yemen and His Flight into the Desert (after One Thousand and One Nights<\/em>)<\/strong>, directed by Silviu Purc\u0103rete; set design by Drago\u0219 Buhagiar; original music by Vasile \u0218irli; Teatrul Na\u021bional \u201eRadu Stanca\u201d Sibiu<\/p>\n

Nora<\/strong>, by Sivan Ben Yishai; translated by Ciprian Marinescu; directed by Bobi Pricop; set design by Raul Cioab\u0103; musical direction by Eduard Gabia; choreography and movement direction by Filip Stoica; Teatrul Na\u021bional T\u00e2rgu Mure\u0219 \u2013 Compania \u201eLiviu Rebreanu\u201d<\/p>\n

Men and Gods<\/strong>, written, directed and musically illustrated by Andrei M\u0103jeri; translated by M\u00e1ria Albert; set design by Adrian Balc\u0103u; choreography by Andrea Gavriliu; music consultant Katalin Incze G.; sound design by Adrian Piciorea; video design by Andrei Cozlac; lighting design by Samu Trucza; Teatrul Na\u021bional T\u00e2rgu Mure\u0219 \u2013 Compania \u201eTompa Mikl\u00f3s\u201d<\/p>\n

A Lost Letter<\/strong>, by I.L. Caragiale; directed by Alexandru Dabija; costume design by Maria Miu; Teatrul ACT Bucure\u0219ti<\/p>\n

Zero Hour<\/strong>, written and directed by Iulia Grigoriu; set design by Andrei Dinu; game design by Levent Cr\u0103cea; sound design by Adrian Piciorea; lighting design by Andrei Ignat; creart \/ Teatrelli, Bucure\u0219ti<\/p>\n

Orlando<\/strong>, by Sarah Ruhl, after Virginia Woolf; directed by Florin Caracala; set design by Ana Iena\u0219cu; choreography by George Ple\u0219ca; stage dramaturgy by Daria Ancu\u021ba; lighting design by Lucian Prasti; video design by Silviu Luda; Teatrul de Stat Constan\u021ba<\/p>\n

The Uprising<\/strong>, adapted by Alexa B\u0103canu after the novel by Liviu Rebreanu; directed by Drago\u0219 Alexandru Mu\u0219oiu; music by Csaba Boros (Act I), Danaga (Act II) and Radu Dogaru (Who Could I Have Been<\/em>); musical coaching by Renata Burc\u0103; vocal coaching by Adonis Tan\u021ba; set design by Mihai P\u0103curar; choreography by Sergiu Di\u021b\u0103; diagram illustrations by Lucia M\u0103rneanu; sound and lighting \/ video projections and surtitles by C\u0103t\u0103lin Filip and Alex Maftei \/ C\u0103lin Dene\u0219; sound engineering by Radu Boanc\u0103; Reactor de crea\u021bie \u0219i experiment Cluj-Napoca<\/p>\n

Rave by Ravel<\/strong>, concept, choreography and musical direction by Andrea Gavriliu; lighting design by Andrei Ignat; Teatrul Masca Bucure\u0219ti<\/p>\n

King Lear<\/strong>, by William Shakespeare; translated by George Volceanov; stage adaptation and direction by Silviu Purc\u0103rete; set design by Drago\u0219 Buhagiar; original music by Vasile \u0218irli; Teatrul Na\u021bional \u201eMarin Sorescu\u201d Craiova<\/p>\n

Exit the King<\/strong>, by Eug\u00e8ne Ionesco; Hungarian translation by Gy\u00f6rgy Gera; directed by G\u00e1bor Tompa; set design by Andr\u00e1s Both; costume design by Ang\u00e9la Balogh; music by Csaba Boros; movement direction by Ferenc Sink\u00f3; lighting design by Romeo Groza; puppet sculptor Ilona Varga-J\u00e1r\u00f3; Teatrul Maghiar de Stat Cluj<\/p>\n

Rhinoceros<\/strong>, by Eug\u00e8ne Ionesco; translated by Dezs\u0151 M\u00e9sz\u00f6ly; dramaturgy by R\u00e9ka D\u00e1lnoky and L\u00e1szl\u00f3 Bocs\u00e1rdi; set design by J\u00f3zsef Bartha; costume design by Zsuzsi Sz\u0151ke; music by Magor Bocs\u00e1rdi; lighting design by Tam\u00e1s B\u00e1nyai; choreography by Zsuzsanna Vass; Figura St\u00fadi\u00f3 Gheorgheni and Teatrul \u201eTam\u00e1si \u00c1ron\u201d Sf\u00e2ntu Gheorghe<\/p>\n

Rostopasca<\/strong>, by Alex Tocilescu; directed by Monica Stoica; set design by Alina Pen\u021bac; original music by Adrian Piciorea, Robert G\u0103geat\u0103, David Lunc\u0103, Damian Gerard and Robert Anton; choreography by Tamara G\u0103geatu; lighting design by Dani Buglea; Asocia\u021bia Hearth \/ Casa Kerim, Bucure\u0219ti<\/p>\n

Sun, Love and Darkness<\/strong>, original script by Ionu\u021b Sociu and Alexandru M\u00e2zg\u0103reanu, after Journal. 1935\u20131944<\/em> and Holiday Game<\/em> by Mihail Sebastian; directed by Alexandru M\u00e2zg\u0103reanu; musical direction and lighting design by Alexandru M\u00e2zg\u0103reanu; set design by Alexandra Boerescu; Teatrul Tineretului Piatra Neam\u021b<\/p>\n

Sopro \u2013 Whispers from the Shadows<\/strong>, by Tiago Rodrigues; translated by R\u00e9ka D\u00e1lnoky and Szabolcs Kir\u00e1ly; dramaturgy by R\u00e9ka D\u00e1lnoky; script by L\u00e1szl\u00f3 Bocs\u00e1rdi and R\u00e9ka D\u00e1lnoky; directed by L\u00e1szl\u00f3 Bocs\u00e1rdi; set design by J\u00f3zsef Bartha; costume design by Zsuzsi Sz\u0151ke; choreography by Franciska Szab\u00f3; lighting design by Tam\u00e1s B\u00e1nyai; masks by Szil\u00e1rd Szab\u00f3 J\u00e1nos; video projections by Alfonz Geng; sound by Istv\u00e1n Geszti; Teatrul de Nord Satu Mare \u2013 Trupa \u201eHarag Gy\u00f6rgy\u201d<\/p>\n

Supernormals<\/strong>, by Esther F. Carrodeguas; dramaturgy by Alex Gorghe; directed by Mara Oprea; set design by Gabi Albu; sound design by Adrian Piciorea; lighting design by Nichita Teodorescu; creart \/ Teatrelli, Bucure\u0219ti, in partnership with Instituto Cervantes Bucharest and the National Disability Council of Romania<\/p>\n

Timon of Athens<\/strong>, adapted by Anamaria Feraru and David Schwartz after William Shakespeare and Thomas Middleton; translated by Vlad A. Arghir; directed by David Schwartz; set design by Andrei Dinu; music by Paul-Ovidiu Cosovanu; choreography by Paula Dunker; lighting design consultant Milena Muranyi; Platforma de Teatru Politic Bucure\u0219ti, in partnership with Centrul de Teatru Educa\u021bional Replika and Galeria 26<\/p>\n

Sadness and Joy in the Life of Giraffes<\/strong>, by Tiago Rodrigues; directed by Edda Coza and Dan Coza; set design by Andreea Tecla; costume design by Maria \u0218tef\u0103nescu; choreography by Mariana Gavriciuc; music and sound design by Adrian Piciorea; lighting design by Tony Macpela; puppet design by Ana Cr\u0103ciun Lambru and The Puppet Masters; Asocia\u021bia Tangent, Teatrul Mic Bucure\u0219ti and Teatrul \u201eAlexie Mateevici\u201d Chi\u0219in\u0103u<\/p>\n

Vanya<\/strong>, by Simon Stephens; translated by Silvia N\u0103stasie; adapted, directed, performed and with sound design by Sorin Miron; set design by Ariana Miron-Presan; lighting design by Lucian Moga; POINT Bucure\u0219ti<\/p>\n

Flight from the Nest<\/strong>, by Pavel Dan; dramatized and directed by Radu Afrim, sound universe by Radu Afrim; set design by Irina Moscu; lighting design by Samu Trucza; video design by Andrei Botnaru; Teatrul Na\u021bional T\u00e2rgu Mure\u0219 \u2013 Compania \u201eLiviu Rebreanu\u201d<\/p>\n<\/div>