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Exhibitions

Second Degree Sculpture exhibition

15 May 2018 - 10 September 2018
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Intrare liberă / Free entrance

Exhibition Matilda Simona Teodorescu - Instants 06 December 2018
The Media Foyer (the wing towards Tudor Arghezi street) shall host from December 6th, 2018 until January 8th, 2019 the personal painting, acrylic and oil painting exhibition of architect Matilda Simona Teodorescu, entitled Instants. "As an architect - the artist confesses- by searching, understanding and assimilating their shape, proportion and colour, they now make the reverse, from the macrocosm to the microcosm, treading on the path of visual arts through the personal exhibition of paintings “instants”, on rebirth, butterflies flying towards spring flowers, musical harmonies, snow-covered forests, sea horses at Vama Veche, love stories woven between the Danube and the Sea at Sulina, about life, about us. I seek the shapes of nature and place them into feelings, experiences, thoughts. I stop ... I lay on the colors of the stones broken by the waters, the wind, the sun ... and listening ... listen to the breath of life ... so the instants were born in the Media Hall foyer of the National Theatre of Bucharest. " The closing event with audience is scheduled for January 2019, on a date that shall be announced subsequently. The exhibition is open daily from 11.00 to 18.00, except for Mondays.   Translated by Simona Nichiteanu 
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The Hidden Museum! - Steps towards the Revival of the Romanian Theatre Museum (2) 09 November 2018
Between October 15th and December 14th, 2018, the "Tapestry" foyer on the first floor of the NTB Grand Hall hosts three thematic exhibitions dedicated to great actors that marked the centennial history of the National Theatre: Aristide Demetriade, Ana Luca and Ion Petrescu. Painting, sculpture, graphics, costumes, photographs, objects and documents (manuscript posters, archive images) that are part of the collection of the National Theatre Museum are exhibited. Some of these exhibits have undergone careful restoration-conservation interventions: as of 2018, expert restorer Dr. Aurelia Pomponiu masterfully restored some of the costumes from the collection of the National Theatre Museum and the project Steps towards the Revival of the Romanian Theater Museum shall continues the process of restoration of oil painting works on canvas and graphics by restorers Ioan Darida and Dana Postolache. After the first "micro-exhibition" of this generic cycle entitled The Hidden Museum, dedicated to the great actor Aristide Demetriade (1872-1930), from November 9th to 25th, 2018, under the title Presences Changing the Face of the Romanian Theatre, a new micro-exhibition capitalizes the personality of actress Ana Luca, a student of the famous Aristizza Romanescu. On this occasion, the recently restored painting of the famous painter, I. Teodorescu-Sion, who immortalized the actress in a beautiful portrait that is part of the recovered patrimony of the NTB Museum, shall be displayed. These exhibitions are part of the cultural project "Steps towards the Revival of the Romanian Theatre Museum". Initiated by the Art Conservation Support Association (ACS), in partnership with "Ion Luca Caragiale" National Theatre, the project is funded by the Ministry of Culture and National Identity "and is dedicated to a series of activities aimed at both the general public of all ages and experts in the conservation of material cultural heritage. Ana Luca (July 1957) She was a student of Aristizza Romanescu, from whom she learned the beautiful phrasing and style of the simple and non-emphatic performance. She made her debut on the stage of the National Theatre of Iasi. Although she was gifted, her gentle, reserved character made her not to be at the forefront of the Romanian scene, as her talent had justified her. The one who brought it to Bucharest was Alexandru Davila, who entrusted her with important roles in his company. Her debut at the Davila Company took place in 1909 at the inaugural show Stone among Stones by Sudermann. She remembered about that moment: "The room full of people? ... Lights, reflectors? ... I confess I do not remember this for some reason. There was too much light from the spotlights on the stage, something more important in my heart than the desire for theatre success. (FO Fosian, 87 artists from Bucharest, People's Culture Publishing House) Since September 1912, Ana Luca has been part of the Comoedia Theater ensemble. Davila's second appointment to the Bucharest National Direction makes Ana Luca fit into the ensemble of our first stage. During her work at the National Theatre of Bucharest, Luca's name shall appear in the cast of many performances: Voichiţa by Duiliu Zamfirescu, Forbidden Love by Pierre Wolff, Camille by Al. Dumas, Night Asylum by Gorky. During the war she escapes to Iasi, then returns to the Bucharest National. She is cast by the established directors of our theatre. Under the directorial wand of Paul Gusty, Victor Bumbeşti, Vasile Enescu, Soare Z. Soare, Ana Luca builds her characters with dedication and prowess, regardless of whether the roles are leading or supporting ones. We encounter her name in the cast of the performances: The Abyss by M. Sorbul, The Storks are Leaving by Ion Minulescu, The Sonata of the Shadows by Al. Dominic, The Death of Cleopatra by Iorga, The Power of Darkness by Tolstoy, The Roe by VI Popa, A Midsummer Night’s Dream (Elena), Twelfth Night (Olivia), Hamlet (Gertrude) by Shakespeare, Henry IV And Right You Are! (If You Think So) by Pirandello, A Woman of No Importance by Oscar Wilde, The Great Confessor of Eftimiu, The Children’s Crusade by Blaga, Candida by GB Shaw and many others. For her merits, Ana Luca is rewarded with the title of shareholder of the National Theatre of Bucharest. Since 1949, although she was supposed to retire, she pursued her activity at the Theatre in Resita. Here, she performed in June 1949 in the show Cumpana by Lucia Demetrius, directed by Sica Alexandrescu; then in May 1950 in the Fortress of Fire Sofia) by Mihail Davidoglu. From 1951 to 1956, her name appears on the posters of the National Theatre in Iaşi in: The Jester Cart (Pulcheria) by Mircea Ştefănescu, The Forest by Ostrovschi(Raisa), The Town in Flames (Bălăşa) by Valeriu Luca, The Town (Tudorita) by Davidoglu, Mother by Alecsandr Afinoghenov (Sonia). Ana Luca was among the few actresses concerned with the art of writing. Her play, On the sunny road, was awarded and represented on the stage of the National Theatre of Bucharest. She has also published the volumes of verse The Candle (The Literary Universe Collection - 1939); the novel Through the calumet smoke, Carvings (1941), Victor and Ana. Fifty-three songs (published at Forum Publishing House, Iasi). She passed away in 1957.   Vexation (1939) Forgive me tender aunt That I have not knocked and I have arrived this way, lofty I was longing to open a door Behind which I would be expected.   I have come to you Death to seek life I can not stand there anymore between the ghosts of ice I miss the heat, the living comrades There, in the streets, in the houses are only the spectres Or maybe the walking statues, the robots With computing machines and wheels on the inside Walled inside their horizon Like worms in the cocoon behind the furnace. When you want to touch their closed meaning with your fingers you touch a void like in a dream. In the world of people called alive, the deserted winds have frozen me. Your unveiled laughter Tells me that I have not bothered you How good are you, aunt and so close. Is that why no one ever leaves you, ever? You are the great sister who is wise and good, Who envelops and gathers What the crazy little sister messes up and throws away.   I also thank you for the foremost ordered place For all the centuries given I shall not go back to the men on top I did not even say farewell They did not even notice that I have been among them and left.   Now there may the sun set in the gardens Swaying flakes are falling, from the alders ... How tender the evening zephyr blows I see rosy fog far away Rising over the city   Why did they not love me, auntie? Hold me close I'm not leaving you from now on.   Ion Theodorescu-Sion (1882-1939) is one of the most important Romanian composition painters, whose decorative character is specific. He was equally concerned with portraiture, landscape and still life. In the collection of the National Theatre Museum in Bucharest we find him as a portrait artist. The picture depicts Ana Luca, an actress from the first half of the twentieth century, starring as Olivia in William Shakespeare's "Twelfth Night". Onu Soare Theodor, called by his teacher Theodorescu, a name he kept andto which he added himself the component Sion, was born in Braila and came to Bucharest in 1897 to study painting. At the National School of Fine Arts he has George Demetrescu Mirea and Ipolit Strâmbu as professors - for drawing, painting and composition; sculptor Ion Georgescu and arch. Victor Ştephănescu - for perspective. After six years of study, he receives a scholarship and goes to Paris where he attends the courses of professors Jean Paul Laurens and Luc Olivier at the Académie de Beaux-Arts. Both in Bucharest and Paris, he was colleague with Camil Ressu and Jean Al. Steriadi. Even during his studies he made portraits of those with whom he came into contact, standing out as an excellent drawer. Between 1908 and 1911, he worked satirical drawings he published in the humour magazines The Ant, Zavera and Nea Ghita. Later, he performs illustrations and portraits of actors for Facla. Since 1909, he has been exhibiting frequently at the Official Salons, at the Young Artists’exhibitions Art and Romanian Art. He also participates in Romanian art exhibitions organized abroad in Paris 1925; Barcelona 1929, where he receives the Grand Prix; Hague, Amsterdam 1930; Brussels 1935 and post-mortem at Berna 1943; Stockholm 1943. He is present on the picture rails of the international exhibition in Paris, 1937 and New York, 1939 and those of the Venice Biennial, 1938. He took part in the two conflicts at the beginning of the twentieth century, namely the Balkan War and World War I. In 1916, he was mobilized as lieutenant in antiaircraft artillery, participating in the battles in northern Dobrogea and Braila. After his retreat to Moldova, he is in Hlincea for the defense of Iaşi. He was part of the group of 35 artists mobilized by the Great General Headquarters of the Romanian Army, with the mission of translating into images scenes of war that would form the nucleus of a future national art museum. His work is characterized by a strong sense of decorative and monumental, features that singularize him in his group of contemporary artists. The representation of actress Ana Luca reveals the strong sense of the decoration through the way the background and the large garment is made. The refinement of color, which is juxtaposed, brings a special note to a discrete and distinguished personality.   Translated by Simona Nichiteanu 
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Cristian Badilita Exhibition – The Sign of Jonah 17 October 2018
On Wednesday, 17th October 2018, 6.00 p.m., the Media foyer of the ”I.L. Caragiale” National Theatre (Intercontinental wing) shall host the varnishing of the painting exhibition The Sign of Jonah signed by Cristian Badilita*. The event shall be prefaced by the poet Ana Blandiana. Known as a writer, essayist, poet, historian of early Christianism, translator – among others – of the New Testament, Cristian Badilita shall be present on the rails of the National Theatre in a new posture, the one of visual artist. The 40 manually manufactured paper plates which shall be exhibited, propose a troubling visual comment, in a symbolic register, of episodes and parables from the Gospel after Matthew. This is how the author himself defines this unusual endeavour: „The Sign of Jonahis a symbolic meditation on the Gospel after Matthew (the symbol being a wider term, more generous, less devotional than the icon). The symbol transcends the author, not depending strictly upon its „crafty” performances. If I were asked to draw a real fish, this would be impossible to me, because I am simply not gifted for drawing. But maybe precisely because I cannot draw a real fish, I can „imagine” a fish-symbol, a „trans-real fish”. This is the way I ask the exhibition symbols to be seen, read, perceived and interpreted. As you know, the term „symbol” originates from the Greek verb syn-ballein, „to put together”, „to reunite”. „The symbol” was a piece of ceramic broken in two on the occasion of a conclusion of a contract. Each of the „contracting parties” received a half. The two halves were „put together” at the ratification or breach of the contract. The present exhibition illustrates, also at another level, the original significance of the „symbol”. It „puts together” the image with the evangelic text, in an own version, very faithful to the Greek original. Thus, in the beginning was the reader of the Gospel. Its translator from old Greek into the Romanian of the 21st century followed, considering the most trustworthy editions. They were joined by the poet-theologist, who, this time, invents visual metaphors, not semantical-auditory ones. So much about the author and the specificity of works! They would have continued waiting, quietly, in their hiding place, if bishop Virgil Bercea had not replied, with his usual promptness, to the proposal of organising an exhibition in the memory of the seven Greek and Catholic bishops arrested seventy years ago, when modern Romania’s founding Church was made illegal by Communist non-law. The present exhibition is dedicated to the seven bishops - martyrs and, through them, to the true Church of Jesus Christ, a dignified, brave one, not subjected to the times and compromises of a century or an instant.  The National Theatre represents a third stop of this exceptional exhibition, after the Ilfoveanu Foundation of Pitesti and the Muzeikon from Alba Iulia.  The exhibition The Sign of Jonah shall be open to the audience until 18th November 2018. Entrance is free, daily from 11.00-18.00, except for Mondays.   *Cristian Badilita (b. 1968). Writer, historian of early Christianism. PhD of the Paris IV University – Sorbonne with the thesis Métamorphoses de l’Antichrist chez les Pères de l’Eglise (Solomon Reinach Award of the Hellenistic Association of France). Fellow at the Madrid Conciliar Seminary (1991-1992); Normal School of Pisa (1999-2000); Institute of Religious Sciences of Trento (2002-2005) etc. He coordinated the commented translation of the Septuagint within the framework of New Europe College (8 volumes; Polirom, 2002-2011). Courses on the Orthodox tradition at the Dan Bernardino Institute of Venice. He elaborates a commented translation of the New Testament (6 published volumes; Vremea Publishing, Bucharest). Recent publications: The Angel on the Highway (Vremea, 2016); Gospel of Luke (Vremea, 2016); The Deeds of the Apostles (Vremea, 2017); Orthodoxy versus orthodoxy (Tracus Arte, 2016); Unlearnings (Tracus Arte, 2016); The Poet and the Prosecution. Baudelaire’s Trial and the 13 Indicted Poems (Tracus Arte, 2017) etc. He exhibited „Poems for Birds and Aliens” in several museums and libraries throughout Romania, including the National Library of Romania, Bucharest; the Brukenthal Museum, Sibiu; Pogor House, Iaşi; the „Dinicu Golescu” County Library, Piteşti. Additional information on the website www.cristianbadilita.ro and the blog http://adamantius1968.simplesite.com dedicated to fine arts works.   Translated by Simona Nichiteanu 
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