october 21 - 30

th
NATIONAL
THEATRE
FESTIVAL
THE 26 EDITION
1990
BUCHAREST
2016
www.fnt.ro
OCTOBER 21st - 30th
under the High Patronage of the President of Romania, Mr. Klaus JOHANNIS
Artistic director: Marina CONSTANTINESCU
Producer: UNITER, ARCUB & I.L. Caragiale National Theatre – Bucharest
Financed by: the Ministry of Culture & the City Hall Bucharest
Partener: RCI (Romanian Cultural Institute)
Performances
National selection
page
3 - 42
40 Performances (in alphabetical order by title)
International selection 43 - 46
4 Performances (ordered after the performing dates)
Last but not least
47
All is Well with Us (No Matter How Hard We Tried)
”I.L.Caragiale” National Theatre, Bucharest
www.tnb.ro
by Dorota Masłowska
Translated by Sabra Daici
Directed by: Radu Afrim
Set design: Irina Moscu
Assistant set design: Iulia Gherghescu
Live music: Cezar Antal
Sound design: Călin Țopa
Sound universe: Radu Afrim
Light design: Roxana Docan
Video artist: Dimitris Palade
Technical director: Costică Lupșa
Cast: Dorina Chiriac, Marius Manole, Liliana Ghiță, Natalia Călin, Istvan Teglas,
Cezar Antal, Florentina Ţilea
©Dorota Maslowska, 2009-2015/ALSA.
I am not a fan of political theatre, as I have always made social theatre without
adhering to any party of directors with left-side pains or right-wing pangs. All is Well
with Us is a deeply human play, containing the mixed thoughts of a girl faced with
an “already solved” crossword on political issues. A crossword from a magazine
found in the dumpster of history. There you can also find pain in kefir jars, bulk
laughter, and organic emotion in 2 litre plastic bottles. And some paper planes from
the Second World War. A warm thank you to the team for the unique moments
during rehearsals. Radu Afrim
Everything in the play written by Dorota Masłowska is deceptive, and Radu Afrim
pushes the hallucination even further, in a kind of post-apocalyptic space, in which
naturalness receives surrealist-absurd-kitsch-structuralism connotations. A puzzling
stylistic cocktail and yet, paradoxically, quite easy to understand (digest). Gabriela
Hurezean
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105
Florin Ghioca
27.10.2015
An Enemy of the People
”Vasile Alecsandri” National Theatre, Iaşi
en.teatrulnationaliasi.ro
by Arthur Miller after Henrik Ibsen's play
Translated by & adaptation: Claudiu Goga
Directed by: Claudiu Goga
Set design & video: Andu Dumitrescu
Costume design: Lia Dogaru
Cast: Constantin Puşcaşu, Teodor Corban, Petronela Grigorescu, Adi Carauleanu, Cosmin Maxim
Doru Aftanasiu, Andreea Boboc, Dumitru Năstruşnicu, Ionuţ Cornilă, Puşa Darie, Flavius Hotăranu
Gabriel Anton, Emil Coşeru, Cosmin Panaite, Dumitru Florescu, Sorin Cimbru, Lucian Valacu,
Nicolae Ionescu, Delu Lucaci, Gelu Zaharia, Radu Homiceanu, Adrian Marele
I believed this play could be alive for us because its central theme is, in my opinion, the
central theme of our social life today. Simply, it is the question of whether the democratic
guarantees protecting political minorities ought to be set aside in time of crisis. More
personally, it is the question of whether one’s vision of the truth ought to be a source of guilt
at a time when the mass of men condemn it as a dangerous and devilish lie. It is an enduring
theme – in fact possibly the most enduring of all Ibsen’s themes – because there never was,
nor will there ever be, an organized society able to countenance calmly the individual who
insists that he is right while the vast majority is absolutely wrong.
The play is the story of a scientist who discovers an evil and, innocently believing that he has
done a service to humanity, expects that he will at least be thanked. However, the town has a
vested interest in the perpetuation of that evil, and his “truth”, when confronted with that
interest, must be made to conform. The scientist cannot charge the truth for any reason
disconnected with the evil. He clings to the truth and suffers the social consequences. At rock
bottom, then, the play is concerned with the inviolability of objective truth. Or, put more
dynamically, that those who attempt to warp the truth for ulterior purposes must inevitably
become warped and corrupted themselves. This theme is valid today, just as it will always be,
but some of the examples given by Ibsen to prove it may no longer be. Arthur Miller – The
writer on writing
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INTERNET
21.04.2016
At Your Command, Führer!
”Aureliu Manea” Theatre, Turda
www.teatrulaureliumaneaturda.ro
Performance of a shocking actuality, fascinating and terrifying..
by Brigitte Schwaiger
Translated by Dan Stoica
Directed by: Mihai Măniuțiu
Set design: Adrian Damian
Costume design: Claudia Castrase
Choreography: Andrea Gavriliu
Music: Șerban Ursachi
Light design: Lucian Moga.
Cast: Maia Morgenstern, Alexandra Dușa, Valentin Oncu, Raluca Radu, Ștefania Misăilă
And the students: Nadina Cîmpianu, Bogdan Ujeniuc, Cătălin Mocan, Sânziana Pintean,
Mihaela Ceaicovschi, Monica Pop, Alexandra Cheroiu, Claudia Moroșanu, Cătălina Bogza, Vlad Marin,
Corinias Caraba, Iuliana Danciu, Andreea Jurj, Ion Gijulete, Bogdan Sălceanu, George Olar, Theodor Gabăr,
Andrei Han, Alex Macavei, Raluca Munteanu (Professor Miriam Cuibus / The Theatre & Television
University Babes-Bolyai in Cluj)
This play is about the psychological mechanisms that make the criminal ideologies of
our history possible. Hypnotized by Fuehrer and Nazi ideology, the main character
enlists herself as a volunteer supervisor in a Nazi extermination camp. Her fanaticism
is indestructible, despite the atrocities she witnesses. She was an orphan adopted by
an Austrian family; her prayer book is “Mein Kampf”, that she reads every evening,
while anxiously awaiting the proof of her aryan origin…. Victim of an invented
propaganda, she personifies a nation seduced by a monster. Daciana Derda
It is an uninterrupted, coherentmeditation on living as what we might call “a Hitler
groupie”. An unreconstructed, yet oddly appealing Nazi, troubled and yet merrily
unaware of the depth of the evil to which she has devoted her life.
‘
70
INTERNET
16.04.2016
The Bach Files
„Bulandra“ Theatre, Bucharest
www.bulandra.ro
Directoed by: Alexandru Darie
Light design: Alexandru Darie
Music: Adrian Enescu (after musical themes by J.S.Bach)
Set design: Octavian Neculai Assistant set designer: Vladimir Iuganu
Choreography: Arcadie Rusu
Costume design: Adelina Ivan, Adina Buzatu
Comic strip design : Ana-Maria Crişan, Ioana Ţurcanu, Octavian Neculai
Make up Design: Ana Cristian, Octavian Neculai
Animation: Anna Florea Live animation: Radu Pop
Marionettes: Adela Bonat
Hair Style: Ligiana Mandea
Make-up: Diana Ionescu and Valentina Sandovici
Lights: Florin Manu
Technical managern: Alina Manu
Cast: Adrian Ciobanu, Antoaneta Cojocaru, Raphaela Lei, Alin State, Cristiana Ioniţă, Raluca Nicolae,
Georgiana Dobre, Daniela Tocari, Andreea Şovan, Gabriel Sandu, Bogdan Iacob, Vlad Troncea, Ionuţ
(Braian) Bârjoveanu. Puppet players: Elena Dumitrescu, Elena Muşat, Cristina Ţane, Marius Bugi
... The familiar themes of Bach, music of heart-breaking modernity, as well as other surprising
subthemes brought to light by the complicated musical scores performed live by the Zoli Toth
Quartet... A music at times sad, at timesfull of life and exploding of joy... music for a "theatrical movie "
about dramatic life stories, a link between Bach’s historical period of time and the virulence of modern
times! The Bach Files is about searching withina metropolis, as a melting pot of times and possibilities,
it’s about a female descendant of the great composer, a lost soul.
Like a thriller with SciFi accents, The Bach Files is a disturbing story about love, beauty, about the
struggle between good and evil, about the quest for one’s self. A live movie, in which the actors,
converted into black and whitefigures, are melting and overlapping, living and telling their stories inside
or against the background of the cartoon, within the kinetics of a huge comic strip, created by Octavian
Neculai. A 2D film production created with 3D live theatre elements, lead exclusively by the music.
Adapted after Alexandru Darie
‘
75
Radu Sandovici
25.09.2015
NOT RECOMMENDED UNDER 14
The Blind Spot
”Toma Caragiu” Theatre, Ploieşti
www.teatruploiesti.ro
by Yannis Mavritsakis
Translated by Elena Lazar
Directed by: Radu Afrim
Assistant director: Eusebiu Tudoroiu
Set design: Adrian Damian,
Costume design: Claudia Castrase
Sound universe: Radu Afrim
Cast: Ada Simionica, Ioan Coman, Clara Flores, Cristian Popa, Bogdan Farcas,
Mihaela Popa, Karl Baker, Ionut Visan, Andrei Ciopec, Gabriela Sandu, Eusebiu Tudoroiu,
Razvan Baltaretu, Ionut Manea, & the dog Freyja
Niki, the main character, is deeply troubled by her husband's death. Niki means "victory"
in Greek. She cannot find the strength to continue her life, to work, but her vital needs
persist. An enormous contradiction arises in her own life: to continue to live despite the
perspective of death, of uncertainty, of absence.
Niki finds herself somewhere in the middle of the world, oscillating between present and
past, here and there, the visible and the invisible, winners and losers.
She will try to get into another world, the world of the miracle and decide to pass through
death, in order to reach love,..
!
‘
105
INTERNET
28.02.2016
La Bottega del Caffé
(The Coffee House)
”Vasile Alecsandri” National Theatre, Iaşi
en.teatrulnationaliasi.ro
by Carlo Goldoni
Directed by: Silviu Purcărete
Assistant director: Radu Ghilaş
Set design: Dragoş Buhagiar
Choreography assistant: Vladimir Iuganu, Iuliana Gherghescu
Music: Vasile Şirli
Video: Andrei Cozlac
Musical training: Diana Roman
Cast: Teodor Corban, Călin Chirilă, Ionuţ Cornilă, Constantin Puşcaşu, Petronela Grigorescu,
Andreea Boboc, Haruna Condurache, Constantin Avădanei, Horia Veriveş, Daniel Busuioc, Petru
Ciubotaru, Puşa Darie, Gelu Zaharia, Livia Iorga, Oana Sandu, Diana Roman, Andreea Spătaru, Radu
Homiceanu, Cosmin Panaite, Grigore Andrei Sava, Adrian Marele, Lucian Valacu
The Coffee House is of course a public place where we drink coffee... Goldoni's cafe is,
however, the life centre of Venice, the meeting place for observation, gossip, the place
where his characters and their comic issues come and go.
The action takes place during the Carnival. The protagonists are sketched with plenty
of smoothness on the different levels of the various social classes they belong to - from
the honest caffeine addict Ridolfo to the cunning casino owner Pandolfo, from the
slanderer Don Marzio to the impoverished nobleman Flaminio, from the unhappy,
gambling addict, Eugenio, to his humble wife Vittoria, from Placida, pursuing without
interruption her husband, to Lisaura, the ballerina caught in her masked duplication.
The Coffee House bundles up their stories and becomes witness of their destinies and
their vices and virtues. Be they large or small.
‘
110
INTERNET
30.05.2016
Brooklyn Boy
State Jewish Theatre, Bucharest
www.teatrul-evreiesc.com.ro
after Donald Margulies
Translated by Bogdan Budeș
Directed by: Cristi Juncu
Set design: Vladimir Turturica
Musical illustration: Cristi Juncu
Cast: Tudor Istodor, Andrei Finți, Marius Călugărița, Raluca Aprodu, Mihaela Velicu, Natalie
Ester, Cezar Grumăzescu
A writer finally becomes successful with his autobiographical novel, but exactly when
his career seems to be on the run… his marriage, his friends and his father’s health
collapse.
Brooklyn Boy presents the career of writer Eric Weiss, whose autobiographical novel
becomes a bestseller, while his personal life is compromised. His wife leaves him, his
sick father is hospitalized, and his best friend thinks he was betrayed. A funny and
touching look at family, friends and success.
An intelligent, challenging play that touches the intimate feeling of everyone, showing
the knowledge of the American playwright in decipheringthe psychology of
relationships.
‘
140
Coro Morico Nox June 2016
Carousel
„Bulandra“ Theatre, Bucharest
www.bulandra.ro
after the play LILIOM by Ferenc Molnar and the movie with the same title by Fritz Lang
Adaptation Andrei Şerban & Daniela Dima
Directed by: Andrei Şerban
Assistant director: Cristina Bilciu, Second assitant: Răzvana Cernat
Dramatist & associated director: Daniela Dima
Set design & Graphics: architect Octavian Neculai, Assistant: Vladimir Iuganu
Costume design: Lia Manţoc, Assistant: Nicoleta Cârnu
Musical accompaniment, composed & performed by Raul Kusak
Light design: Alexandru Darie şi Andrei Şerban
Choreography: Arcadie Rusu
Magic effects: Marius Drăguş
Cast: Vlad Ivanov, Alexandra Fasola, Ana Ularu, Rodica Lazar, Maria Obretin, Cătălin Babliuc, Ana
Covalciuc, Silvana Negruţiu, Radu Iacoban, Mirela Gorea, Adela Bengescu, Şerban Gomoi, Andrada
Corlat, Simona Pop
Carousel is a tender and tragic tribute brought to the harlequin hiding behind each actor and,
not least, behind each spectator. Either we talk about the pagliacci-actor, the one whose art
perishes and revives perpetually at the crossroad between ridicule and sublime, or about the
women who, whatever their nature or social degree, let themselves be transformed into
pagliacci through total surrender to love and desire, or about failed destinies of some absolute
wander. Through all these pagliacci, this staging is celebrating the alternative as reality and
the illusion as an opportunity to purify. Beatrice Lăpădat
The characters are truly in between heaven and earth, pushed by circumstances to find the
vital strength to live according to their own idea of respect and human dignity, whiletheir
sense of humour helps them always when confronted with sadness, despair and negativity.
The The transcendence of these human beings marginalized due social, economic or cultural
reasons is remarkable. Even if these characters are pushed to the periphery of society, where
there is no education, no social protection and where any accomplishment does not seem
possible, true and pure romance might happen; this expresses the author's belief that human
miracle is always possible. Teatral.ro
‘
180
Mihaela Marin
17.10.2015
Common People
”Radu Stanca” National Theatre, Sibiu
‘
90
Adi Bulboacă
25.01.2016
www.tnrs.ro
A performance by Gianina Cărbunariu
Set design & video: Mihai Păcurar
Music: Bobo Burlăcianu
Video documentation: Veioza Arte - Tania Cucoreanu & Andrei Ioniță
Cast: Florin Coşuleţ, Mariana Mihu, Ioan Paraschiv, Ofelia Popii, Dana Taloș, Marius Turdeanu
Project produced within the framework of Be SpectACTive co-financed by Creative Europe.
Partners: Capotrave/Kilowatt Festival Sansepolcro (IT), Bakelit Multi Art Center Budapest (HU), B51 Ljubljana (SL), Domino- Perforacije Festival- Zagreb (HR), London International Festival of
Theatre (UK), Tanec Praha (CZ), York Citizens Theatre Royal (UK).
Most of the whistle-blowers do not even know what a whistle-blower is before they become
one. They are just good employees who care about their work.They act in service of the public
interest. They report injustice, corruption and abuse in a system. No matter the background
(age, education, nationality and field of work) there is always a clear pattern to a
whistleblowing case. Instead of being rewarded after blowing the whistle, they find themselves
in an absurd situation: bullied by their employers, made to look like criminals, isolated by
their co-workers, fighting against a legislation that actually does not protect them, unable to
inforce another one. Under this huge pressure, they loose careers, jobs, health, homes and,in
some cases, even families. Nevertheless, they never give up because they know that they take
the right moral decision in a limited situation, in which they are pushed to make a choice.
Whistle-blowers have always existed, but the technological changes of the last decade have
given new possibilities of going public (internet, media) and played a huge role in exposing
such cases to a large audience. The project reunites eight cases of whistle-blowers from Italy,
England and Romania, European countries with various contexts and legislation on
whistleblowing. Gianina Cărbunariu
Special thanks to the whistle-blowers: Ornella Piredda, Ciro Rinaldi, Sharmila Chowdhury, Eileen Chubb, Ian Foxley, Alin Goga, Claudiu Țutulan, Liviu CostacheS
The Credit
Godot Cafe-Theatre, Bucharest
www.godotcafeteatru.ro
by Jordi Galcerán
Translated ba Luminiţa Voina-Răuţ
Directed by: Mihai Constantin
Set design: Maria Dore
Cast: Răzvan Vasilescu, Șerban Pavlu
What is your reaction in case that your bank refuses an applied credit?
The Credit, or the game of nonsense, is the story based on running gags, serving a
simple storyline to lead us inevitably to a comic situation. Quick and clever dialogues,
helped by the actors’ mimic, cause immediate audience laughter. If the chosen theme
(banks, credit, or financial system) makes us thing we are watching a biting comedy,
that underlines systemic complaints, we are wrong. This comedy contains no criticism
and no literary global thickness worth mentioning. The aim to generate a non-stop
hilarity level is fulfilled thanks the great job of the two actors and the director who
forced them to a comical exhaustion.
Jordi Galceran Ferrer was born in Barcelona in 1964. He started to write theatrical
plays in 1988. He is a Catalan playwright, screenwriter and translator, internationally
well known for his play THE GRÖNHOLM METHOD (2003). The Credit was first
published in 2014.
NOT RECOMMENDED UNDER 16
!
‘
80
INTERNET
08.06.2016
The Curious Incident of the Dog in the NightTime
”I.L.Caragiale” National Theatre, Bucharest
www.tnb.ro
after Mark Haddon
Translated by Andrei Marinescu
Directed by: Bobi Pricop
Adapted by: Simon Stephens
Set design: Adrian Damian
Costume design: Liliana Cenean
Music: Alexei Turcan
Video: Dan Adrian Ionescu, Mizdan
Light design: Andrei Florea
Technical director: Silviu Negulete, Paul Tănase
Cast: Ciprian Nicula, Emilian Oprea, Ana Ciontea, Rodica Ionescu, Carmen Ungureanu
Courtesy of Warner Bros. Entertainment
Christopher does not dream. He measures, calculates, analyses, estimates, observes and
perceives life through the non-poetic filters of logic. He is a special teenager, aged 15,
suffering from Asperger syndrome, defining himself as a „mathematician with some kind
of behavioral difficulties”. A child detective likeSherlock Holmes, knowing that the
mystery of the killing the dog Wellington with a garden fork is a case that only his little
grey matter can clear up.
Thus commences the adventure of the boy who cannot lie, among the communication
artifices used by the adults around him, among preconceptions and metaphor-lies.
Throughout this adventure, he discovers not only what happened to Wellington, but also
he finds out about strange events in the lives of his parents, neighbours, as well as of
other victims, and about their wounds of the past.
The performance, directed by Bobi Pricop, oscillating with lucid sensibility between
comedy and drama, runs at a speed that differs from that of daily life: a bewildering
speed of a captive mind, in a reality bogged down within its own limits.
NOT RECOMMENDED UNDER 16
!
‘
100
Adi Bulboaca 06.02.2016
Dancer in the Dark
”Sică Alexandrescu” Theatre, Braşov
www.teatrulsicaalexandrescu.ro
by Patrick Ellsworth
Translated by Vlad Massaci
Directed by: Vlad Massaci
Set design & Video production: Andu Dumitrescu
Choreography: Andrea Gavriliu
Cast: Mădălina Ciotea, Bianca Zurovski, Marius Cordoş, Maria Gârbovan/Simona Pop,
Gabriel Costea, Mirela Borş, Claudiu Mihail, Vlad Pavel, Relu Siriţeanu,
& the child Vlad Ţigănuş
Selma, the main character, mother, widow, Czech-born immigrant, is working in a
factory in the US. She is a fan of Hollywood musicals. But Selma has a dramatic secret:
she loses her eye sight and her son, Gene, will have the same fate if she will be unable to
save enough money to pay for his surgery. Saving the eyesight of her son is Selma’s
unique purpose in life, as dance is her unique happiness. But life just wants it
differently. Deeply unfair! The neighbour accuses Selma of stealing his savings and from
this moment on the drama of Selma’s life intensifies, ending tragically...
Dancer in the Dark is a story told with intelligence, emotion and without melodramatic
exaggerations.
Dancer in the Dark was filmed in 2000 by the famous filmmaker Lars von Trier, being
awarded at many festivals. Ovidiu Vranceanu
‘
120
INTERNET
07.11.2015
The Disappeared Year. 1989
Teatrul Mic, Bucharest
www.teatrulmic.ro
by Peca Ştefan
Directed by: Ana Mărgineanu
Set design: Anda Pop
Choreography: Andreea Duţă
Video design: Cinty Ionescu
Cast: Gheorghe Visu, Maria Ploae, Mihaela Rădescu, Ilinca Manolache, Isabela Neamţu,
Viorel Cojanu, Cuzin Toma/Virgil Aioanei
The Disappeareed Year. 1989 starts from the idea that the Revolution in December
1989, through its extraordinary impact, overshadowed all the other 11 months of the
year, nearly wiping them off from memory. The year 1989 means the Revolution. The
two creators, Peca Stefan and Ana Mărgineanu, tried to restore the short history of the
prior 11 months, with all the traumas and their stories, bringing backthe active
memory of deep buried life details. The result is quite an accurate map of planet
Romania in 1989. To some of us, our youth, toothers, our teenager years, childhood,
orpure fiction. For those born after 1989, that year and that eraare just "interesting
history" whereas for the rest, there are wounds that start to bleed. One performance,
multiple functions: research, interrogation, history refund, story… Monica Andronescu,
Yorick.ro
You will cry, you will laugh, you will remember and you will think. Above all, you will do
this: you will think. They will ask you questions. You will ask yourself questions.
Moreover, you will want to answer. Because you will feel that you have things to say. Do
you find it hard to follow? Not at all. There are glimpses of life. There are shreds of a
kaleidoscope. There are people who have lived, according to their ability and their
comprehension, those times. It's a reality show made in 1989. … Do not miss it,
otherwise, you lose, comrade! Luivuitonu' și xenonu'
‘‘
110
110
INTERNET
INTERNET
19.12.2015
Dec.the
19th, 2015
The Effect of Gamma Rays on
Man-in-the-Moon Marigolds
Metropolis Theatre, Bucharest
www.teatrulmetropolis.ro
by Paul Zindel
Translated by Iulia NECARĂ
Directed by: Mariana Cămărăşan
Set design: Vladimir TURTURICA
Light design: Ștefan VASILESCU
Cast: Oana Pelea, Alexandrina Halic, Cristina Casian, Florina Gleznea
The Effect of Gamma Rays on Man-in-the-Moon Marigolds refers to the unexpected fragility
of strong people, to the horizons, closed like pulled shutters, or to the souls enchained by
fear. It is a story about multicolour dreams splitting the darkness, about the seeds that
sprout, the buds that crack, the life that is born, the rebellion that hides such an
enormous need of affection. showbizreport.ro
What we see on stage aren’t three clinical cases, but three human beings. Maybe the world
has changed, maybe what meant to be hospitalized in the 60s became, half a century after,
the norm of our daily life. Or maybe it's just the individual, the team or the family ego who
have created this performance, wrestling with an excellent text, subduing it and placing it
convincingly on an ascending trajectory. Mihai Brezeanu
‘
120
Alex Galmeanu 12.02.2016
Endgame
National Theatre, Târgu-Mureş – ”Tompa Miklós” Company
www.nemzetiszinhaz.ro
after Samuel Becket
Translated by Emil Cluj Grandpierre
Directed by: Gabor Tompa
Dramaturgy: Andras VISKY
Assistant director: High Botond
Costume design: Dobra Kóthay Judit
Technical director: George Vajda
Prompter: Ajutor Elizabeth
Cast: Biro, Zsolt László Bartha, Biluska Anna Maria, Lajos Makra
A room without furniture in a grey light. (...) To the left two trash cans, an old blanket covering
them. Between them sits Hamm, in a wheelchair ,also covered with an oldblanket. Clove sits
motionless, staring at Hamm, (...) Clove goes towards him, pulls off the blanket, foldes it
carefully and thoughtfully takes it under his arm. Hamm is apparently asleep.
Dressed in a robe with a felt cap, that falls over his face, covered with a handkerchief soiled
with blood, with a whistle hanging at his neck and a worn out blanket over his knees, his feet
in a pair of wool socks. Clov looks at Hamm. He laughs briefly. Goes to the door, stops, and
returns back towards the public...
Clov (lost gaze and extinguished voice): "End, it’s finished, the end approaches, it might be the
end." (Pause)
Start!
Endgame, written by Samuel Beckett in 1956, speaks about the last tormented and
tormenting moments of human existence, endlessly prolonged...
‘
90
Rab Zoltan
13.05.2016
Floor Covering
„Lucian Blaga” National Theatre, Cluj-Napoca
www.teatrulnationalcluj.ro
by Vladimir and Oleg Presniakov
Translated by Mașa Dinescu
Directed by: Alexandru Dabija
Set & costume design: Adriana Grand
Music: Ada Milea
Light design: Jenel Moldovan
Technical director: Ioan Negrea, Arhidiade Mureşan
Lights: Mădălina Mânzat
Sound: Marius Rusu
Prompter: Ana Maria Moldovan
Cast: Cătălin Herlo, Radu Lărgeanu, Ionuţ Caras, Cristian Grosu, Matei Rotaru, Patricia Brad,
Adrian Cucu, Anca Hanu, Cristian Rigman, Sânziana Tarţa, Diana Buluga, Alexandra Tarce,
Sorin Leoveanu, Ecaterina Pop-Curșeu, Robert Nagy
Two persons rent an apartment in a poor neighbourhood and decide to restore it. Under the
floor, covered with linoleum, they find a corpse left which they necessarily have to get rid of,
while the owner of the apartment turns out to be the dead man's son… A delirious odyssey
begins…
The brothers Vladimir and Oleg Presnyakov are novelists, playwrights, scriptwriters, directors
,the most staged Russian playwrights, after Chekov. They became world-famous due to their
play “Terrorism”, staged all over the world. Their dialogues seem to be taken directly from the
street, as they in fact examine, with sorrow and laughter, everyday life in Russia. The play
“Floor Covering” was published in 2005 in a collection entitled “The Best”.
"It's a simple, direct, true theatre". The key is in the way we handle the dead body. At this
point, the play abandons realism and becomes something else. Who is the dead body you
removed from under the floor covering? What do we do with a dead body? These are some of
the questions I invite you to answer". Alexandru Dabija
‘
120
INTERNET
08.05.2016
The Fuchsiad
German State Theatre, Timişoara
www.teatrulgerman.ro
based on Urmuz
Translated by Oskar Pastior
Theatre installation imagined by Helmut Stürmer, assisted by Silviu Purcărete
Assistant director: Dana Borteanu
Dramaturgy: Andrea Reisz
Original Music: Vasile Șirli
Choreography: Florin Fieroiu
Co-repetition: Valentina Peetz, Roxana Ardeleanu
Set & Light design: Helmut Stürmer, Set Assistant: Zsolt Fehérvári
Costume design: Corina Grămoșteanu, Costumes assistant: Ioana Popescu
Masks: Ilona Varga-Járó
Make-up: Lucia Preda, Ramona Dinescu
Technical direction: Costinel Stănescu
Video: Andu Dumitrescu
Prompter: Vali Velimirovici
Cast: Rareş Hontzu, Silvia Török, Isa Berger, Enikő Blénessy, B. Emília Borbély, Eva Danciu,
Andreea Elena Giurgiu, Richard Hladik, Ioana Iacob, Etelka Magyari, Emese Simó, Ruxandra Stanciu,
Mónika Tar, Oana Vidoni, Anne-Marie Waldeck, Andreea Elena Giurgiu, Richard Hladik, Mónika Tar,
Daniela Török, Dana Borteanu, Horia Săvescu, Harald Weisz, Olga Török, Franz Kattesch, Boris Gaza,
Ida Jarcsek-Gaza, Konstantin Keidel, Aljoscha Cobeţ, Tatiana Sessler-Toami
The Fuchsiad, a “heroic-erotic and musical poem”, as the author himself described it,
shows the odyssey of Mr. Fuchs, starting with his birth: “Fuchs, when was born, chose
to come out through one of his grandmother’s ears, his mother having no musical ear”.
Fuchs has musical talent, so he becomes a piano virtuoso. One night he travels with his
piano and gets to a dark area where, for three hours, he performs “various exercises of
legato, staccato” dedicated to the Vestals of Pleasure. Venus hears the music, feels
drawn to Fuchs and invites him for a night in Olympus.
‘
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Helmut Stürmer 18.09.2015
The Girl from the Rainbow
Godot Café-Theatre, Bucharest
www.godotcafeteatru.ro
Director & text: Lia Bugnar
with Ilona Brezoianu
This is the story is about a woman "of easy morals" who offers sex services on
the seat number 13 inside of “Rainbow Cinema”... The charm of the story is
in details ... primarily in the "how", not in the „what". … and in the hands of
the young actress Ilona Brezoianu and her performance: a kind of simplicity
totally free of a easy melodramatic taste.
She enters through the audience seats, coming from somewhere at the back
of the hall, asking for a penny. ... Nothing betrays her; she is a little beggar,
with childish gestures, she spends most of her time on the street. Squeezing
herself through the audience, she also defines the distance between her world
and their world. In this weak and fragile being, with large eyes, we discover
the entire sadness of the world, as well as something of Chaplin's childhood
and Piaf’s adolescence...
Once on stage she begins to tell her story and her story is a beautiful pretext
to talk about our world in which, for most of us, one penny means nothing,
whereas for some of us, one penny means everything.
Her private universe consists of a cardboard box and some "tools" meant to
lure the masculine customers: a pair of high heels, too big for her feet, a
brown dress-when wearing it, she looks like a girl dressed in mother’s gown.
She sings and,in order to forget, she gets a little drunk. What follows is a
story for grown children… Monica Andronescu
‘
80
Alin Leanca
Adriana Gioada
05.04.2016
In a Dream
“Mihai Eminescu” National Theatre, Timişoara
www.tntimisoara.com
Script by Varga Mátyás
Translated by Iudith Reinhardt
Directed by: Pál Frenak
Choreography: Pál Frenak
Choreography assistant: Erika Vasas & Atilla Gergely
Set & costume design: Pál Frenak
Video: Atilla Hajas
Music: Atilla Gergely & Levi Norman
Light design: János Marton
Cast: Laura Avarvari, Cătălin Ursu, Mara Opriș, Colin Buzoianu, Alina Ilea, Daniela Bostan,
Luminița Tulgara, Călin Stanciu Jr., Raul Lăzărescu, Ionuț Iova
A dream inside of a dream inside of a dream inside of a dream… A performance at the
crossroads between theatre, dance and film.
In a Dream is a rebound road-movie, a number of stories articulated around a car. One
car that functions as an island in the unknown, like a point that fixes time and space in
their constant motion.
In a Dream erases all the boundaries between reality and fiction, between tangible and
imaginary. Movement becomes story, history, creates concepts and builds spaces. In this
virtual trip through the seventh art, the accident of a physical object, the car, entails
much more subtle other accidents… the ones of collective/personal memory.
‘
60
INTERNET
02.12.2015
Julius Caesar
Hungarian State Theatre, Cluj
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140
István Biró
www.huntheater.ro
after William Shakespeare
Directed by: Silviu Purcărete
Assistant director: István Albu
Dramaturgy: András Visky
Dramaturgy assistant: Réka Biró
Set & costume design: Dragoș Buhagiar
Original music: Vasile Șirli
Music assistant: Zoltán Horváth
Video images: Cristian Pascariu
Technical director: Pál Böjthe, Zsolt Györffy
Cast: Zsolt Bogdán, Miklós Bács, Gábor Viola, Szabolcs Balla, Emőke Kató, Enikő Györgyjakab,
Csilla Albert, Balázs Bodolai, Áron Dimény, Loránd Váta, Melinda Kántor, Loránd Farkas,
Alpár Fogarasi, Sándor Keresztes, Róbert Laczkó Vass, Ervin Szűcs, János Platz
It is said that, besides the unusual phenomena and things that seemed to predict
Caesars’ assassination, a soothsayer warned him to beware of great danger in the day of
March that Romans called IDES. Disregarding the advice, Caesar went to salute the
senate on that day. Down the road he met the soothsayer and told him in a haughty
tone: “The Ides of March are come", to which the seer replied "Aye, Caesar; but not
gone." "IDEs of March has come." The answer came in a quiet tone „Yes. Have come, but
did not pass." Plutarch: Parallel Lives
Julius Caesar is perhaps Shakespeare’s most cruel political drama overwhelming us not
only because of its perfect clear-sightedness, but because of its surprising
contemporaneity. Brutus and his companions, Republican senators, plot in the name of
the common good against Caesar. However the assassination of the dictatorial leader,
does not establish order but unleash hell: civil war broke out, and Rome was devastated
by the spirit of destruction. Do we find ourselves on the same road, from the Arab Spring
to global chaos?” András Visky
Poster: Zsolt Ercsei
09.10.2015
Kafka.
5 Dreams
Odeon Theatre, Bucharest
www.teatrul-odeon.ro
Theatrical scenario after Franz Kafka
(The Process, Metamorphosis, A Report To An Academy, The Verdict & The Penal Colony)
Translated by Gellu Naum and Mihai Isbășescu
Director, dramaturgy, set design, sound track: Dragoș Galgoțiu
Costume design: Lia Manţoc
Choreography: Răzvan Mazilu
Cast: Ionel Mihăilescu, Radu Amzulescu, Valentin Popescu, Laurențiu Lazăr,
Mihai Smarandache, Anca Dumitra, Gabriel Pintilei, Ruxandra Maniu, Sabrina Iașchevici,
Silvian Vâlcu, Relu Poalelungi, Anda Saltelechi, Anca Florescu, Simona Dabija, Dan Benga,
Dan Cristian Nicolae, Dumitru Neagu, Gheorghe Neagu, Adrian Vasile, Cristian Vasile
The abyss within us seems dark as the depths of a lake... There, in the private abyss of
the human being, sleep and dream questions that trouble us, that we sometimes forget,
questions that come across us. Maybe that is why there is a strong seduction in Kafka's
stories, they awake familiar new impressions in us, , which get animated, like the big
dreams of humanity, those we all dream, those that seem to reveal and, at the same
time, conceal something essential, disturbing…
Like all great spiritual experiences, Kafka's stories are like glimpses in the mirror of a
human being; however, the view slides deep beyond the picture, following the bizarre
game of shadows that compose the image, looking for the matrix behind the fume of the
frame...
Through Kafka we infer answers to the unanswered questions, but once attained, once
seen, the meaning seems to dissipate, to disappear like those terrible morning dreams
in which we have the impression that something that seems unattainable has been
revealed to us. Nevertheless, the impression of the touch remains, it is intense,
disturbing. That is how I feel I Kafka. Dragos Galgoţiu
‘
135
INTERNET
20.05.2016
Little Prince
German State Theatre, Timişoara
www.teatrulgerman.ro
after Antoine de Saint-Exupéry
Directed by: Peter Kerek
Assistant director: Isolde Cobeţ
Dramaturgy: Patricia Pandek
Set & costume design: Iuliana Vîlsan
Assistant choreography: Radu Popovici
Multimedia: KOTKI visuals
Music: Vivi Stoleriu
Technical manager: Constantin Ene
Make-up: Ramona Dinescu
Prompter: Vali Velimirovici
Cast: Richard Hladik, Rareş Hontzu, Olga Török, Silvia Török, Enikő Blénessy, Ioana Iacob, Oana
Vidoni, Anne-Marie Waldeck, Isa Berger, Boris Gaza, Daniela Török, Isolde Cobeţ, Tatiana SesslerToami, Dana Borteanu, Radu Brănici, Aljoscha Cobeţ, Konstantin Keidel, Radu Vulpe, Horia
Săvescu, Franz Kattesch, Vladimir Socolovici
Little Prince is the well-known story for children of all ages, about the prince, coming
from a faraway planet, who asks people apparently simple questions. But these are
questions that concern all of us and that lead us towards the revelation of a unique
truth: they remind us to look at everything with our hearts, to look for the hidden
essence of things in life, to question habits and assume responsibility for what we love.
Peter Kerek brings this story to life through an imaginative staging and moving images,
almost without words, while not altering the profound poetic character of the mentioned
events. A performance for children and for adults, who have not forgotten what it feels
like to be a child.
‘
70
INTERNET
31.01.2016
Lungs
LUNI Theatre @ Green Hours, Bucharest
greenhours.ro
by Duncan Macmillan
Translated by Denisa Nicolae și Liviu Romanescu
Directed by: Nicolae Constantin Tănase
Cast: Denisa Nicolae, Liviu Romanescu
A VANNER Collective production, în colaboration with Teatrul LUNI (Monday Theatre).
VANNER Collective is company based on international independent artists that
"raises studio theatre in the superlative. Publication Broadway Baby, UK
LUNI Theatre @ Green Hours is the 1st Independent Theatre in Romania still operating since 1997.
Lungs is an excellent Irish text that speaks with sincerity and a lot of humour about a
love story that sounds like this: in a period globally marked of anxiety, terrorism,
unstable weather conditions and uncertain political times, a young couple wants a child.
If they think too much, they will never do it. However, if they hurry, it may be a disaster.
I could fly to New York and back, every day, for seven years and I would still not leave a
carbon footprint just as big as when I would have a child weighing 0000 tonnes of CO2,
as heavy as the Eiffel Tower. As if I would give birth the Eiffel Tower.
Who will survive - the planet or the relationship?
‘
90
INTERNET
11.04.2016
Marbles
„Bulandra“ Theatre, Bucharest
www.bulandra.ro
by Ioseph Brodski
Translated by Maşa Dinescu
Directed by: Yuri Kordonsky
Assistant director: Taisia Orjehovsch
Set & costume design: Nina Brumuşilă
Light design: Lucian Moga
Cast: Victor Rebengiuc, Marian Râlea
The bet that the director Yuri Kordonsky makes with the Romanian audience has as stake
the access to another type of "spectacular" - the show of thinking, of shirk, of arguments,
the charm of paradoxes, the logical deconstruction and the magic of rationales. The real
and true fulfilment – as only form of freedom - is a sober, curious and questioning mind,
the imagination that breaks boundaries and make the impossible possible. Marbles is a
fascinating wandering through the inexhaustible labyrinth of the spirit. The song of the
canary– the echo of a peaceful sea. The flood - likeRome - is eternal. Razvan Nita
An exceptional show that in no way addressed a superficial audience in search of easy
theatre. Marbles is a performance, both poetic and philosophical, of great artistic,
intellectual and conceptual amplitude. A performance displaying sophisticatedtheatrical
culture. Happy and proud be the theatre that has it in his repertory! Mircea Morariu
Simplicity and complexity , two ephemeral human beings mutually looking for the
meaning, a meaning which asks itself: it's better to be simple or not, it's better to be
complex or not… and if someone finds an answer, it will mean that the "marbles" have
been crushed. Dragos N. Savu
‘
90
INTERNET
11.09.2015
The Meteor
“Mihai Eminescu” National Theatre, Timişoara
www.tntimisoara.com
by Friedrich Dürrenmatt
Translated by by Aurel Buteanu
Directed by: Mihai Măniuțiu
Dramaturgy: Anca Măniuțiu
Choreography: Vava Ștefănescu
Set design: Adrian Damian
Music: Ada Milea
Sound design: Sebastian Hamburger
Light design: Lucian Moga
Cast: Marian Râlea, Cristina König, Ion Rizea, Florin Ruicu, Claudia Ieremia, Alecu Reus,
Cătălin Ursu, Mirela Puia, Călin Stanciu Jr., Benone Viziteu, Robert Copoț, Costel
Tovatnițchi, Dana Borteanu, Sorina Savii, Bogdan Cotârță, Raul Lăzărescu, Ștefan Roman
The play is a metaphor for Dürrenmatt’s view that the world is “something monstrous, a
riddle of misfortunes which must be accepted but before which one must not
capitulate.” It deals irreverently with two theological premises: Christian resurrection
and salvation by grace. Its central character, Wolfgang Schwitter, is an intense, wild
figure, an aging writer, winner of the Nobel Prize. Savagely disgusted with life, he rages
across the stage like an exhausted Hemingway, longing for death, unable to die or to
stay dead, while the characters about him, who want to stay alive, keep dying.
Drunken, lecherous, mean, he displays the range of venality possible for a human being
that no longer fears any consequences, his rage deepening the longer he is denied the
liberation of death. The Meteor violates conventional dramaturgy. In so doing it finds a
form congruent with its theme. In so doing it finds a form congruent with its theme. It
has no plot. It is not an action, but an event, a happening, designed to reflect the
monstrously paradoxical nature of life which, in Dürrenmatt’s eyes, is brutal, blind,
brief and accidental. Violet Ketels – Journal of Modern Literature
‘
60
INTERNET
27.09.2015
Mine Water
ACT Theatre, Bucharest & Scena9
NOT RECOMMENDED UNDER 16
‘
90
www.teatrulact.ro
by Csaba Székely
Translated by Sándor László
Special thanks Alexandru Dabija.
Project coordination: Oana Stoica
Set design: Vladimir Iuganu
Music: Bobo Burlăcianu
Cast: Ioan Coman, Alexandru Potocean, Virginia Mirea, Alin Florea, Irina Antonie
Producer: ACT Theatre & Scena9 supported by Uniter,
Sponsor: BRD Groupe Societe Generale
The dramatist began writing this trilogy in 2010, a time when theatre ignored the Romanian
village, as a possible subject for debate. In a time when the pride to be a farmer or a miner,
induced comradely under the communist regime, vanished as did jobs, leaving behind
impoverished people, sunken in their own despair, increasingly inveterate of their misery, their
hearts tanned by alcohol and suffering, Csaba Szekely inferred the theatrical potential of the
countryside and had the lucidity to dig under the moral pus of the post-communist Romanian
village.
The Hungarian village of Transylvania the Mines’ Trilogy is the exponent of any rural community in
Romania, no matter of whatlanguage or religion.
The world of Mine Water is a world where the mine is closed, where love can go far, but the
universe ends at the next village, where drinks are poisonous and poetry has no rhyme. It is a
world where tragedy is on the agenda and each attempt to evade it or even to find a meaning in
this darkness may cause a new disaster. And yet it’s worth trying.
Approaching distinct themes - the high rate of suicide among the Hungarian population (Mine
Flowers), the Romanian-Hungarian conflict and the “timber mafia” of the local authorities (Mine
darkness), the hypocrisy of the church as an institution (Mine water) - the Mines’ Trilogy scans the
human degradation, in the limit situation of scarce material survival as well as the dissolution,
due to poverty, of the rural community. Csaba Székely
Poster: Paul Mureşan
ADI BULBOACĂ
BOGDAN BOBOCESCU
MIHAI NAE
!
08.02.2016
Mon Cabaret Noir
Teatrelli – creart
(Creation, Art and Tradition Centre of Bucharest)
www.creart.ro
NOT RECOMMENDED UNDER 16
‘
90
CABARET
creart.ro
Concept, director, choreography, costumes: Răzvan Mazilu
Assistant director & choreography: Silvia Călin
Set design & objects: Romana Topescu & Dragoș Trăistaru
Sound design: Mihai Dobre, Gabriel Baruta
Texts: Dan Mihu, Salvador Dali, Edith Piaf, Joe Jenčík
Make-up: Dora Codita
Light design: Alin Popa
Musical training: Ana Cebotari
Cast: Ilona Brezoianu, Anca Florescu, Alina Petrică, Ana Bianca Popescu Și Răzvan Mazilu
Ladies and gentlemen! Welcome in our time machine. Leave mobile telephones, social
networks and other applications without which, apparently, we cannot live anymore, at
the door. But most important, leave your prejudices, political correctness and false
decency outside. Welcome into in a place of supreme voluptuousness: the Berliner Cabaret
of the crazy 20s.
You suppose that the German spirit is uncapable of fun. You are wrong! Escaped out of
the horrors of World War I, the Germans led the French “folie” beyond any imaginable
limits. Hyperinflation, famine, nationalism? Berliners have found the perfect recipe to
resist the imperfect “interbelic” world. Eroticism, nightlife, total sexual freedom, drugs,
alcohol. Nothing was too bizarre, nothing was forbidden and everything was permitted for
experimentation. Life was brief and hadto be intense.
And because all these had to have a name, appeared Anita Berber (1899-1928): dancer,
model for erotic photographs, actress in silent movies, indisputable star of the Berlin
nightlife, depraved Guru of a culture of ultimate freedom, untouchable model for her
much more obedient fans like Marlene Dietrich or Greta Garbo.
Ladies and gentlemen, welcome to… Mon Cabaret Noir! Dan Mihu
!
Poster: Romana Țopescu & Dragoș Trăistaru
30.09.2015
Obsessions
– Come, See, don’t Tell a Soul!
ARCUB – Cultural Centre of Bucharest
www.arcub.ro
by Claudiu Sfirschi-Lăudat after texts by Margarita Karapanou
Directed by: Yannis Paraskevopoulos
Assistant director: Claudiu Sfirschi-Lăudat
Set & costume design : Lia Dogaru
Cast: Cerasela Iosifescu
Producer: ARCUB, Cultural Centre of the city of Bucharest
Sponsors: AQUA Carpatica & the Wine-growing domains of Sâmburești
She has a mother with personality. Perhaps with too much personality. She
also has a dog that she takes care like of a child. Together, they follow a
rigorous program, which she scrupulously respects. She lives every emotion at
maximum intensity. She struggles with depression and doesn’t give in to it. She
has a lot of humour, sometimes a little too cynical, but it helps her to go
further.
She writes a novel. She speaks about her illness like about a lover who keeps
her too tight in his arms, suffocating her with his excessivepassion. She is
sensual, intelligent and spiritual. She goes out to flirt, toshoppi, in a park. She
often goes to the clinic. She writes. Writes with passion. She asks herself about
the meaning of life, about the purpose of the endured sufferings, about God.
She is Lora… a terribly attractive character, both sensitive and strong, childish
and distant.
‘
75
INTERNET
13.03.2016
L´Om DAdA
“I.L.Caragiale” National Theatre, Bucharest
www.tnb.ro
by Gigi Căciuleanu
Translation Ion Pop
Choreography: Gigi Căciuleanu
Assistant choreography: Lelia Marcu
Light design: Cristian Simon
Sound: Dorel Sidorof, Liviu Stoica
Lighting: Ionuț Vlașcu
Technical manager: Adrian Ionescu
Cast: Gigi Căciuleanu, Lari Georgescu
Producers: Center for Research and Theatrical Creation Ion Sava, Bucharest, Gigi Căciuleanu
Romania Dance Company, Art Production Foundation, The Romanian Cultural Institute.
L’Om DAdA is inspired from Tristan Tzara’s text, „The Approximate Man”, a very poetic
text, not at all absurd, beautiful, coherent, dense, filled with meanings, very contemporary
even after 100 years.
Dada appeared as a riot against the absurdity of cruelty, of war, of communism at its
embryonic stage, as a denial of logic. A riot which has not led, however, to destruction,
but, without giving precise directions, has paved the way for the precarious „Approximate
Man”. Any attempt of arranging the world between sharp edges has led to disasters and
then why not leave the human being with the privilege of dancing its life with its
uncertainties, in the „Dada” way, as constructive as possible. It is a show about each of
us and not an intellectualistic endeavor. We are all Dadaists, we defragment, and we
thrust something away from us on stage and in life. Gigi Căciuleanu
Two DanceActors capable to decompose and recompose the meaning of "Dada Man" reevaluating, de-structuring, re-structuring, unbalancing and re-balancing "The
Approximate Man"… Gabriela Hurezean
‘
55
Florin Ghioca
11.03.2016
One Minute of Dance… oof!!!
Teatrul Mic, Bucharest
www.art-production.ro
A performance by Gigi Căciuleanu
Script, direction, choreography: Gigi Căciuleanu
Music: Paul Ilea
Light design: Cristian Petru Simon
Assistant choreography : Lelia Marcu-Vladu
Performed by: Gigi Căciuleanu, Paul Ilea, Ana Vişan, Andrei Iancu
Co-producers: Gigi Căciuleanu Romania Dance Company, “Art Production” Foundation
One Minute of Dance... oof!!! is the creation of Gigi Căciuleanu, who conceived it in the tradition of
the “Nocturnes 9 ½” by choreographer Miriam Răducanu, to whom this performance is dedicated.
“The staging of the choreographic play is nearly finished. Only one minute of dance is missing,
towards the end of the performance. This minute of dance will be re-invented by the choreographer
for each performance, before the audience. The protagonists, the composer and the dancing couple
will have “to cope”, to adapt to a “state of urgency”, to its momentary fantasy, having to memorize
the choreography and of course, the musical score, both invented at the last minute. They will
have to integrate it and interpret it as well as they possibly can in order to present its final form to
the audience. At each performance, the choreographer and the composer will have to “put on their
thinking cap” to create something completely different every time, in the presence of the audience.
The music belongs to the “one-man-orchestra”, Paul Ilea (Sensor / Kult Studio), whom the
choreographer asked to start from the most popular and well-known themes of his musical
“colleague” and comrade in mischief, Wolfgang Amadeus Mozart, and then develop these themes in
his own way with as much “affectionate irreverence” as possible..
The entire show is in fact built around the complicated and often “insane” creative process
required to develop even one single minute of dance. Due to this nightly improvisation, in order to
create one minute of dance, the performances will be extremely different from one another… And,
like so, each performance will be unique. A nightly re-creation, for the audience…”
Gigi Căciuleanu)
‘
75
Ciprian Zinca
05.09.2015
Our Class
„Lucian Blaga” National Theatre, Cluj-Napoca
www.teatrulnationalcluj.ro
by Tadeusz Słobodzianek
Translated by Cristina Godun
Directed by: Bocsárdi László
Assistant director: Eugenia Sarvari
Set design: Bartha József
Costume design: Kiss Zsuzsanna
Dramaturgy: Benedek Zsolt
Music & assistant: Boros Csaba
Assistant corepetition: Adela Bihari
Step dance instructor: Adrian Strâmtu
Video: Cristian Pascariu
Lights design: Jenel Moldovan
Cast: Sânziana Tarţa, Irina Wintze, Anca Hanu, Cristian Rigman. Radu Lărgeanu, Miron
Maxim, Cătălin Herlo, Ovidiu Crişan, Matei Rotaru, Ionuţ Caras, Boros Csaba
The first death, that of our friend and colleague Jakub Kac is the most important one. This is
why the question „Who killed Jakub Kac?" comes over and over. "How could we kill our own
brother?" [...]
The performance is constructed in a concert-like manner. In other words, my life is a
performance: I go on the stage and I narrate, I do not play my life. All the events on stage have
seems to be a concert in which the songs have been replaced by shocking stories. [...]
The play is written/divided into 14 lessons, with reference to the stations of the cross, each
character having to pass the 14 stages of the Calvary, interpreted in the light perspective of the
20th century history. What happened in Auschwitz has something sacred; after this episode,
the history of humanity is not any longer the same. Millions of innocent people were killed there.
The sin of the world can only be redeemed through the death of the lamb.
In this performance, those who commit crimes do not know what they are doing; otherwise, they
would realize their evil actions. This is the effect of the text and this production stands under
the sign "Behold the Lamb of God; that takethaway the sins of the world". Bocsárdi László
NOT RECOMMENDED UNDER 16
!
‘
165
INTERNET
11.12.0.2015
Pandora's Box
ARCUB – Cultural Centre of Bucharest
www.arcub.ro
by Katalin Thuroczy
Translated by Anamaria Pop
Director, musical soundtrack & light design: Felix Alexa
Assistant director & technical manager: Cristina Giurgea
Set design: Andrada Chiriac
Cast: Mariana Mihu,ț Șerban Pavlu
Pandora's Box is a performance of deep emotions and extreme moods. Opening the box,
we make a fascinating incursion into the inner world of some characters who are
crossing nonchalantly from innocence to cruelty, from tenderness to crime.
Pandora's Box is a blend of humour and hopelessness, a black comedy full of suspense,
extreme emotional states with a surprising end. PANDORA'S BOX is the scream into
nothingness...
Katalin Thuroczy, well-known Hungarian dramatist, has written more than 50 plays,
translated worldwide. She wrote film and television scripts and received several
prestigious awards in Hungary and abroad. Pandora's Box has an outstanding cast: the
extraordinary Mariana Mihuţ and Serban Pavlu, one of the most talented theatre and film
actors of the younger generation. Felix Alexa
‘
90
Mihaela Marin
11.12.2015
The Pelican
„Lucian Blaga” National Theatre, Cluj-Napoca
www.huntheater.ro
by August Strindberg
Translated by László Kúnos
Directed by: Felix Alexa
Dramaturgy: Zoltán Csép
Set & costume design: Carmencita Brojboiu
Light design & music illustration: Felix Alexa
Technical manager: Pál Böjthe
Cast: Imola Kézdi, Zsolt Bogdán, Éva Imre, Péter Árus, Melinda Kántor
The Pelican one of the most well-known dramas, of the outstanding Swedish
playwright August Strindberg, is directed by Alexa Felix from a new and sensitive
perspective. A staggering performance that offers the actors exciting challenges.
The performance is the image of the world we live in: cynical, full of latent
aggression that sometimes breaks out of the depths. It is a play about spiritual
devastation and self-destruction. Strindberg is relevant to the core, especially
because he expounds a family apocalypse through borderline cases presented with
black humour. When hope dies and illusions are useless, the world of emotions
and extreme feelings starts. Felix Alexa
‘
90
INTERNET
27.02.2016
Pour Toujours
(For Ever)
Hungarian State Theatre, Cluj
‘
90
VIZUAL
István Biró
www.huntheater.ro
Directed by: Dominique Serrand
Assistant director: Balázs Bodolai, Gábor Viola
Set design: Dominique Serrand
Costume design: Carmencita Brojboiu
Video images: Peter Košir
Stage manager: Pál Böjthe
Cast: Csilla Albert, Francisco Alfonsín, Balázs Bodolai, Loránd Farkas, Éva Imre,
Sándor Keresztes, Júlia Laczó, Attila Orbán, Kinga Ötvös, Rita Sigmond, Ferenc Sinkó,
Csilla Varga, Loránd Váta, Gábor Viola
For what seems like forever, since my early childhood my agnostic, but nonetheless
spiritual ear, was and is still troubled by the overwhelming music of Requiems. This
musical form, to commemorate the dead in the hope to help finding the peace, has
inspired leading composers to create imperishable masterpieces of obsessing beauty.
I am fascinated by the inspiration that motivates these artists to compose some of their
most extraordinary works: death, disappearance, deprivation inspires them to a last sign
of celebration of the human being in its passing to non-existence.
A few months ago, witnessing of the chaotic pilgrimage the world we live in started, it felt
appropriate to create a play about loss, about something that is gone forever.
And so, helped by the grandiose music composed by Fauré, Bach, Mozart, Górecki and
many other brilliant artists, we created a dance theatre, exciting, powerful, even funny at
times, an ode dedicated to life and lost things. Dominique Serrand
Afiș: Zsolt Ercsei
23.03.2016
La Pulce
Comedy Theatre, Bucharest
www.comedie.ro
after A Flea In Her Ear by Georges Feydeau
Adapted by Horațiu Mălăele
Directed by: Horațiu Mălăele
Assistant director: Zoe Bălan
Set design: Lia Manțoc
Costumes design: Anca Răduță
Music: Vlaicu Golcea
Stage movement: Florin Fieroiu
Cast: Ștefan Bănică, Emilia Popescu, Delia Seceleanu, Gabriela Popescu, Teodora Stanciu,
Valentin Teodosiu, George Ivașcu, Alexandru Bogdan, Gelu Nițu, Șerban Georgevici, Bogdan Mălăele,
Dan Rădulescu, Delia Seceleanu, Domniţa Iscru, Gheorghe Dănilă, Bogdan Cotleț, Ruxandra Grecu,
Simona Popescu, Rădiţa Roşu, Domniţa Iscru, Bogdan Ghiţulescu
A new vision of this text, placed in Venice, in a world of commedia dell'arte.
Until the 13th century, the expression "avoir la puce a l’oreille" (to have flea in your ear)
meant "to feel a strong attraction for someone." Four centuries later, when France began to
be plagued by fleas, the meaning changed into "be worried". Nowadays we learn that in
fact the correct interpretation is "to mistrust someone”. And just so starts the series of
tangles and happenings in La Pulce, with a suspicion of adultery. Harald Odăţeanu
All the characters are faced with the thrill of love, either they love without hope, or are
possessed by jealousy and chased by the obsession of being betrayed . Passion obscures
their minds and brings them together in the same burlesque delirium, which fortunately
do not create victims.
… To see! To acclaim! To spread th news! Răzvana Niţă
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Mihaela Marin
15.10.2015
Scenes from a Marriage
“Mihai Eminescu” National Theatre, Timișoara
en.tntimisoara.com
by Ingmar Bergman
Translated by Carmen Vioreanu
Directed by: Radu Jude
Set design: Iuliana Vîlsan
Light design: Lucian Moga
Cast: Claudia Ieremia, Alina Ilea, Ion Rizea
The Story: Johan and Marianne could easily feature on the cover of any life style magazine:
they have been married for ten years, they have two wonderful children, equally wonderful
carriers, a circle of friends they find interesting, spiritual and trustworthy. But the perfect
couple is on the verge of a break-up, corroded by fear, low self-esteem, misunderstanding and
confusion. A shattered marriage, yes, but not shattered love. In Scenes form a Marriage,
famous film director Ingmar Bergman does a thorough research on the mechanisms of married
life, the overlapping and idiosyncrasies of “family” and “love” – these two terms that society
stubbornly deems as synonymous. Scenes from a Marriage is a lucid radiography that the
couple aims at deciphering, before irreversibly falling apart. And is there a better remedy than
truth itself?
The Author: Ingmar Bergman (1918 – 2007) is a Swedish film and theatre director. He was a
major influence on 20th Century cinematography. Among his work are The Seventh Seal,
Wild Strawberries, Cries and Whispers, Fanny and Alexander etc. He also made films for
television (among which Scenes from a Marriage is probably the best known), he wrote
scripts and directed theatre productions (between 1963 and 1966 Bergman was also the
manager of the Stockholm Royal Theatre). His movies were awarded the most important
distinctions of the trade: Jury’s Special Prize at the Cannes International Film Festival, The
Golden Bear at the Berlin International Film Festival, The Special Prize of the Venice Film
Festival, European Film Award and several Oscars (for best foreign picture, set, costumes etc.).
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INTERNET
12.03.2016
The Sunset Limited
UNTEATRU Theatre, Bucharest
www.unteatru.ro
by Cormac McCarthy
Translated by Ioana Pelehatăi
Directed by: Andrei & Andreea Grosu
Set design: Vladimir Turturica
Cast: Șerban Pavlu, Richard Bovnoczki
Project financed by ARCUB - Cultural Centre of Bucharest, within the cultural program
EȘTI BUCUREȘTI 2015
The Sunset Limited is an encounter. A true one. Full of joy. It's our way of opening
up. It's a story about fragility and boldness. It's about you. And about us. With no
tricks. It's about the darkest thoughts and the most delicate attempts. It's about love
or about the absence of love. It's about friendship. It's about God. Or not. It’s about
all of this and about none of this. It’s probably one of the most intimate experience
that might happen to you. Or not. It's about two people in need. That’s all. This is not
a presentation of the play. It's a little bit more. It's a brave confession. "
Even if apparently The Sunset Limited seems to have all the ingredients to function
in front of any audience, it’s hard to say whether this performance is everyone’ thing.
The Sunset Limited is not trying to convince anyone of the advantages or
disadvantages of believing in God or of being an atheist. It is not about religion or
justice. But since innocent people are victims of terrorism and you wake up with the
feeling that you live no longer in a safe but in a chaotic world, you start to ask
yourself in what to believe, which way to go. And perhaps the only sustainable,
unscathed feeling, has remained love which, ironically, an ex-criminal advises you to
share with people, even when you are onthe subway, cramped, tired, angry and you
feel like cursing everybody… Oana Bogzaru
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INTERNET
14.11.2015
Three Nights with Madox
“Nottara” Theatre, Bucharest
new.nottara.ro
by Matei Vișniec
Directed by: Mihai Lungeanu
Set design: Luana Drăgoiescu
Assistant set design: Gabriela Bădină
Music: Pedro Negrescu
Cast: Alexandru Jitea, Ion Grosu, Paul Chiribuță, Victoria Cociaş, Ion Haiduc, Iulian Burciu, Lucian
Bârsan, Iulian Cuza, Veliko Velikov
Madox is not a simple idea, it’s neither a concept nor a poetic image; it is, according to the
author of this attempt of definition, somebody who can transform everyday reality of living
as a metaphor of eternal life.
It could be a possible prototype of a virtual character, in the sense that, although we do
not know him directly, we can recognize him as part of our own inner life, as a partner to
which we address our long intimate monologues ,, even i though we’re alone.
Everyone tries to flee loneliness, but there is no place to run away from yourself. Madox is
what each of us decides to be. I myself consider him a guide to happiness, harmony,
fulfillment. Mihail Lungeanu
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100
INTERNET
24.10.2015
Twelth Night
Metropolis Theatre, Bucharest
www.teatrulmetropolis.ro
by William Shakespeare
Translated by Violeta Popa & George Volceanov
Adepted byVictor Ioan Frunză
Directed by: Victor Ioan Frunză
Set & costume design : Adriana Grand
Music: Tibor Cári
Cast: Diana Cavallioti/Corina Moise, Alexandru Pavel, George Costin, Nicoleta Hâncu, Adrian Nicolae,
Sorin Miron, Andrei Huțuleac, Andreea Grămoșteanu / Anca Dumitra, Alin Florea / Andrei Radu,
Codrin Boldea / Bogdan Florea, Matei Arvunescu / Codrin Boldea, Carol Ionescu, Costin Dogioiu,
Flavius Călin, Marin Olteanu, Voicu Aaniței, Matei Arvunescu, Andrei Redinciuc, Ștefan Mohor, Paul
Radu, Andrei Redinciuc
A cynic analysis of love and of how it may change people, of how love acts according
to circumstances and social areas, of how love becomes an alive mirror not distorted
of our own being. This is how the new performance directed by Victor Ioan Frunză
might be briefly described.
The story of the Twelfth Night is perhaps much more complicated than many of
Shakespeare's plays. Genres are melting into each other, with rhythms of drama and
comedy, with farces and travesties. The show is proposing an ironic outlook with
many cynical accents onto love, this (un)explained thrill, bearer of sorrows and
"divine joys". An excellent public comedy and also an intelligent research about "this
strange animal", the human being
Besides the excellent interpretations of the actors, the original music, created by
Cari Tibor, becomes a character itself, taking over a subtle kind of role – that of the
absent choir, which seems to comment scenes with the same irony that constantly
flashes in Feste the buffon’s eyes,. Monica Andronescu
NOT RECOMMENDED UNDER 14
!
165‘
Adriana Grand November 2015
Vivaldi and Some Seasons
National Theatre, Târgu-Mureş – ”Liviu Rebreanu” Company
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70
www.teatrunational.ro
after Dan Mastacan (idea & space concept)
Script, director, choreography: Gigi Căciuleanu
Assistant director : Laurenţiu Blaga
Assistant choreography: Cristina Iuşan
Text: Baroque Sonnet n: 7 by Beney Zsuzsa, translation by Paul Drumaru
Set & costume design: Măriuca Ignat
Light design: Daniel Klinger
Cast: Monica Ristea, Bordás Attila, Cristina Iuşan,Csaba Ciugulitu, Mihai Crăciun,
Costin Gavază, Anca Loghin, Rareş Budileanu, Raisa Ane, Luchian Pantea,
Georgiana Gherghu, Claudiu Banciu, Mihaela Mihai, Delia Martin, Cristina Holtzli,
Alexandru-Andrei Chiran, Tiberius Vasiniuc, Sergiu Marocico, Bianca Fărcaş, Cristian Iorga,
Laura Mihalache, Erika Domokos, Gabriela Bacali, Denisa Badea, Claudiu Ştian,
Robert Oprea, Ștefan Mura
Poster: Măriuca Ignat
Gigi Căciuleanus’ Seasons are looking for the man, describing the coagulation and
dissolution of the human relationships, deciphered in the seasons of his conditions.
Oana Cristea Grigorescu
By means of the charming music of Vivaldi, all the seasons settled in the human soul
are explored... from love to rage, from desire of integrationto desire of solitude, from
exuberance ... to suffering. Raluca Medeleanu
Bristena
30.09.2015
World premiere
The Painting on the Wall
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80
Ballet Preljocaj, Aix-en-Provence, France
www.preljocaj.org
Choreography: Angelin Preljocaj
Costume design: Azzedine Alaïa
Set design: Constance Guisset
Music: Nicolas Godin
Visual: © Studio Constance Guisset / Jean-Claude Carbonne
Light design: Éric Soyer
Rehearsal Assistant: Natalia Naidich
Choreologist: Dany Lévêque
20.09.2016
8:00pm | Fri 21 Oct 16
7:00pm | Sat 22 Oct 16
NTB | Grand Hall
Cast: Clara Freschel, Nuriya Nagimova, Nagisa Shirai, Anna Tatarova, Yurié Tsugawa, Sergi Amoros Aparicio,
Marius Delcourt, Antoine Dubois, Jean-Charles Jousni, Fran Sanchez
Coproduction. Grand Théâtre de Provence, Théâtre National de Chaillot, Théâtre de la Ville - Paris, Scène
Nationale d’Albi, Belgrade Dance Festival (Serbia), National Taichung Theater (Taïwan)
Angelin Preljocaj continue his choreographic exploration inspired by fairy tales. This time, he has chosen
an unexplored universe in his work - that of the traditional Asian fairy-tale. Thus The Painting on the Wall,
plunges the reader into the fantastical world of Chinese tales and reveals the ‘supernatural’ power of the
art of painting. Without literally telling its story, he retains the Chinese tale as the source of a more
contemporary adaptation. Angelin Preljocaj harnesses the power of his imagination to transpose the story’s
plot into a space at the crossing of cultures. He will, of course, preserve the essence of the fairy tale and the
symbolism that it evokes.
Might there be a hidden path allowing us to access the essence of a fascinating picture? To make his dream come true, Angelin Preljocaj is crossing the mirror and
enters, as the Chinese traveller, in the fresco; time overlaps, falls apart, stillness comes to life, while real speeds are slowed... the choreographer interrogate thereby
the movement, the temporal dimensions of dance and the extreme slowing down. Fascinating dimensions that for an artist are sources of inspiration to be decipher
in his creation.
The Painting on the Wall, inspired by the famous eponymous Chinese story, tells us about this journey into another dimension where the picture becomes a place of
transcendence and physical being enters into a relationship with the picture. This question of the picture is at the heart of our investigation. It also evokes Plato’s
cave and its shadows, which question our existence. The ballet seeks to explore the mysterious relations between representation and reality, sites at which the dance
creates the bonds that link the fixed image and movement, instantaneity and duration, the live and the inert. This metaphor running through the Chinese tale raises
the question of representation in our civilization. It speaks to us of the place of art in today’s society." Angelin Preljocaj
Short Stories
9:00pm | Tue 25 Oct
NTB | Studio Hall
Carolyn Carlson Dance Company, Paris / France
Choreography: Carolyn Carlson, Light design: Guillaume Bonneau
BURNING – solo - 26 minutes, created in June 2015 - talks about changes occurring at each stage
of life and about renewing of vital energy taking us into a contemplative journey into our inner centre.
Falling man through time and loss regains a seed of fire / burning inner illumination recovers the child /
lights the shadows / fires in the well / waters in the blood / walks born the Burning Man
Foto: Florent-Drillon
carolyn-carlson.com
Interpretation: Won Myeong Won or Yutaka Nakata Choreography assistant: Yutaka Nakata, Music: Meredith Monk, Sound
mix: Jean-Christophe Parmentier, Costumes: Lina Wu Ichiba, Paintings: Carolyn Carlson, Yutaka Nakata, Coproduction:
Adami Sponsor: Crédit du Nord Thanks: The House Foundation for the Arts Meredith Monk, Boosey & Hawkes Music Publishing
LI – a duo of 25 min. created in November 2007 - is an ideogram that originally designates the grain in
jade or wood, "organic pattern" at the base of all things, when the being is consistent with the "tao".
The transformations of nature / the breath of the wind / the darkness and the light / the duality of yin and
yang / that one becomes the other / without a word.
IMMERSION – Carolyn Carlson eternal “Water Lady”, embodies the pure and unique gesture as an
emanation of the aquatic movement in his infinite metamorphosis. To the sounds of waves, the
choreographer immerses in her fluidity, her intense presence in the unfathomable depths. In this solo 18 min. created in March 2010 - she offers us the fascinating vision of a dance driven by the vital force
of the natural element.
Interpretation: Carolyn Carlson, Original music: Nicolas de Zorzi, Production: Centre Chorégraphique National Roubaix Nord-Pas de Calais, Théâtre National de Chaillot
Foto: Laurent-Paillier
Interpretation: Chinatsu Kosakatani, Yutaka Nakata Artistic assistant: Valentina Romito, Set design: Philippe Karpinski,
Costumes: Chrystel Zingiro, Han Jin-Gook, Lee Young-Hee, Original music: Aleksi Aubry-Carlson, Production: Centre
Chorégraphique National Roubaix Nord-Pas de Calais, Soutien a la production: Quinzaine, Japon
Now
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Carolyn Carlson Dance Co. - Chaillot National Theatre, Paris, France
carolyn-carlson.com
9:00pm | Wed 27 Oct 16
NTB | Studio Hall
Choreography: Carolyn Carlson
Choreography assistant: Colette Malye
Set design (photos and videos): Maxime Ruiz
Costumes: Chrystel Zingiro & the team of the Théâtre National de Chaillot
Original music: René Aubry
Photomontages: Benoît Simon
Light design: Patrice Besombes
Cast: Constantine Baecher, Juha Marsalo, Celine Maufroid, Riccardo Meneghini, Yutaka Nakata, Sara
Orselli, Sara Simeoni
Producers: Chaillot National Theatre in partnership with the Carolyn Carlson Company
Coproduction: Ballet North / CCN Roubaix Nord-Pas de Calais, L'Atelier à spectacle / Agglo Pays de Dreux
Thanks: CDC Atelier de Paris-Carolyn Carlson & Theatres Cartoucherie
Support of endowments: "The Chaillot Carousel"
An act in seven metaphorical parts: home, from basement to attic - drawers, chests,
cabinets containing secrets; and cocoons lonely corners and dreams; tiny in the
universe; the intimate immensity; the eternal circle, inside and outside. Each of the
seven parts is illustrated by a poem chosen from poets like Milosz, Rilke, Baudelaire...
Hurricanes, storms and showers haunt the "poetics of space"; these tremors make the
most modest hut into a sturdy shelter used by Bachelard to enlarge our understanding
of the house and of the universe, of the tiny and the huge.
... Through our being, fly Birds in silence. O, me, who want to grow I look outside, and
the tree in myself grows up... Rilke as dance is essentially wordless. NOW is nothing
but a participation in a continuous flow, expressed as a meditative metaphor by time
and space. Carolyn Carlson
Max Resdefault
Patrick Berger
2014
The Cherry Orchard
Maly Drama Theatre, St. Petersburg, Russia
www.mdt-dodin.ru/eng
by Anton Chekhov, adapted by Lev Dodin
Directed by: Lev Dodin
Artistic collaboration: Valery Galendeev, Dina Dodina
Set design: Aleksander Borovsky
Music: Gilles Thibaut, Paul Misraki, Johann Strauss
Musical coordination: Mikhail Alexandrov
Piano: Ksenia Vasilieva, Elena Lapina
Camera operator: Alisher Hamidhodgaev
Light design: Damir Ismagilov
Stage manager: Natalia Sollogub
Technical manager: Alexander Pulinets
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INTERNET
2015
7:00pm | Sat 29 Oct 16
7:00pm | Sun 30 Oct 16
NTB | Grand Hall
Cast: Ksenia Rappoport, Danna Abyzova, Elizaveta Boiarskaia, Igor Chernevich, Sergei Vlasov, Danila Kozlovskiy,
Oleg Ryazantsev, Tatiana Shestakova, Andrei Kondratiev, Arina von Ribben, Sergei Kuryshev, Stanislav Nikolskii
The Cherry Orchard is Chekhov’s most performed play .In time, people realized it was one of the
greatest comedies ever written.. Even though it is not a comedy that makes us laugh, that
amuses and entertains us, it is a great comedy, such as life inflicts upon us every day, the
Comedy of History in which we are the characters and in which life becomes part of history.
Chekhov’s last play is the most realistic of them all. It is both a historical chronicle and a
prophecy. It is hard to comprehend how Chekhov could have anticipated with such strong
intuition and precisely 14 years in advance, what was going to happen to Russia and to the
world and perhaps what is still happening in Russia and in the world these days.
Therefore, as historical criticism, this play always remains topical. It has become a kind of myth
about the (un)predictability of history, about people’s lack of power over their lives and fates,
about their amazing strength and responsibility, about their capacity to protect and remain true
to themselves, despite everything. Undoubtedly not Anton Chekhov but the Chekhovian Genius
guided his hand as words after words were written on the pages of the manuscript. Lev Dodin
Financial Support: The Ministry of Culture of the Russian Federation, Art, Science & Sport Charity Foundation & Alisher Usmanov - Sponsor: KINEF –
Thanks: Francine Yorke, Kerstin Hintz, Brigitte van Kann, Helmut Butzmann, Moritz Widmann, Cinecentrum Company – Hamburg, Museum of Anton Chekhov - Ialta
Bucharest in the competition for the title of European Cultural Capital 2021
be our guest!
Concept & presentation: Christian Caimacan