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21 Mar 2019 The Door Mat, a New Premiere at NTB!
The Door Mat, a New Premiere at NTB!

After a long absence, the comedy The Door Mat by Ion Baiesu returns to the Bucharest billboard! The National Theatre announces the premiere of The Door Matby Ion Baiesu, directed by Mircea Cornisteanu, to be held on Thursday, March 21st and Friday, March 22nd, 2019, from 7.00 p.m. at the Studio Hall. A new bet with a long-lasting title on the Romanian stages and a colourful world that does not stubbornly disappear, not just from the block ... Considered one of the most enacted performances of the Romanian theatre, the comedy "The Door Mat" premiered for the first time in 1972 at the Comedy Theatre, when Ion Cojar - the director of that enactment, chose for the lead role of Filofteia, a young woman then, actress Stela Popescu. The show was performed without interruption until 1989, when it was stopped by the censorship of the time. With numerous enactments on stage in the country and even on stages abroad, The Door Mat returns after almost three decades to the Capital. The lively and hilarious characters of the play are impersonated at NTB by: Emilia Popescu - alternate role with Raluca Petra, Marius Rizea, Alexandru Bindea, Ovidiu Cuncea, Monica Davidescu, Tatiana Constantin, Tomi Cristin, Eduard Adam, Dragos Ionescu, Erika Baiesu, Irina Antonie and Alexandru Barbu. The scenery, a miniature block world, a significant part of the plot, is created by scenographer Puiu Antemir and the costumes by Liliana Cenean, also a well-known name of the Romanian scenography. "I wrote this play to make people laugh," said Ion Baiesu, placing a contemporary mirror in front of his contemporaries in order to recognize themselves with the quirks, issues and delights of collective life. "We fall with laughter at what we see, forgetting most often that we laugh at ourselves. It would not be wrong if, for a moment, we thought we might look like those we laugh at", says director Mircea Cornisteanu, who promises a much more sparkling comedy than his previous enactment, created in Craiova in 1985 . You are expected to the ... block of flats, to discover, amidst comic investigations, the mysterious creature that rushes, unknown, unseen, with boots thick with mud, leaving heavy traces on the woolen door mat ofproud Pamfil, an official in the buildingcommittee. The following performances are scheduled for March 31st and April 3rd, 2019 from 7.00 p.m.! Tickets at the NTB Box Office and online on   Translated by Simona Nichiteanu 

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27 Mar 2019 World Theatre Day Message 2019
World Theatre Day Message 2019

March 27th, 2019 Carlos Celdrán, Cuba Before my awakening to theater, my masters were already there. They had built their lodges and poetics on the vestiges of their own lives. Many of them remain unknown or rarely visit our memories: they have worked in secret, in the humble silence of rehearsal rooms, and in theaters overcrowded with spectators. Because, unconsciously, at the end of many years of work strewn with extraordinary achievements, they become invisible and vanish. When I realized that my profession, my personal destiny is to follow in their footsteps, I also understood that I inherited from them the heart-rending and unique tradition of living the present without any other hope than the attainment of the transparency of an unrepeatable moment. The moment you encounter the other in the darkness of the theatre hall, merely protected by the truth of a gesture, of a revealing word. My theatrical homeland is defined by such moments of encounter with the spectators who come to our halls each evening, from the most different corners of my city, to accompany us and share with us a few hours, a few minutes. From these unique moments I build my life, when I cease to be myself, to suffer for myself, and when I rejuvenate and understand the authentic purpose of the craft of theatre: to live ephemeral moments of pure truth when you know that everything you say and do under the limelight is true and reflects your deepest and most personal self. My theatrical myth, mine and my actors’, is woven from all these moments in which we leave aside the masks, the rhetoric, the fear of being who we are, and we take our hands in the dark. Tradition in theatre is a horizontal one. No one can state that in the theatre there is a centre of the world, which would be a privileged city or edifice. The theatre, as I came to perceive it, propagates by following an invisible geography that mixes the lives of those who make theatre with theatrical art, in a unifying gesture. All theatre masters die with their unrepeatable moments of lucidity and beauty, all go the same way, without any other transcendence that shall defend and make them illusory. Theatre masters know this, no recognition is more precious than the certainty that lies at the root of our work: to create moments of truth, ambiguity, strength, freedom in the midst of utmost precariousness. Nothing shall survive beyond the notes on their work and video or photo recordings that shall only convey a pale idea of ​​what they have done. But what shall always be missing in these records is the silent response of the public, who instantly understands that what is happening cannot be either translated or retraced outside, that the truth shared here is a life experience, more ethereal than life itself for a few seconds. When I understood that theatre is a homeland in itself, a vast territory that encompasses the whole world, a decision was born within me, which was also a liberation: you do not have to walk away or move from where you are, you must neither run, nor move. The audience is where you exist. There, your colleagues stand by you in need. There, beyond your home, you find all your daily, opaque and impenetrable reality. And then you work from the apparent immobility you find yourself in, in order to build one of the greatest trips, to rebuild the Odyssey, the legendary journey of the Argonautes: you are a real traveler who does not cease to accelerate the density and rigidity of your real world. Your journey is towards the instant, towards the moment to the unrepeatable encounter with your fellow men. Your journey is towards them, towards their hearts, towards their subjectivity. You travel through them, through their emotions, through their memories that you wake up and put them in motion. Your journey is vertiginous, no one can measure it or silence it. Just as nobody shall acknowledge its true value. It is a journey through the imagination of your people, a seed planted in the farthest land: the civic, ethical and human consciousness of your viewers. That is why I am steadfast, eternally connected to my own home, among those close to me, in a seeming immobility, working day and night, because I own the secret of speed.   Romanian translation of the original text in Spanish by Ligia Soare Translated in English by Simona Nichiteanu 

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22 Feb 2019 NTB Nominations for the UNITER Awards 2019
NTB Nominations for the UNITER Awards 2019

For the twenty-first edition of the UNITER Awards, the jury composed of theatre critics Monica Andronescu, Oana Bors and Mircea Morariu decided the following nominations for the IL Caragiale National Theatreof Bucharest: Nomination for Best performance: The Forest of the Hanged, after Liviu Rebreanu, script, direction and sound by Radu Afrim Nomination for Best Lead Actor: Alexandru Potocean, for the role of Apostol Bologa in The Forest of the Hanged, after Liviu Rebreanu, script, direction and sound by Radu Afrim Nomination for Best Supporting Actress: Natalia Calin for the role of Mrs. Bologa in The Forest of the Hanged, after Liviu Rebreanu, script, direction and sound by Radu Afrim Nomination for Best Scenography: Cosmin Florea, for the scenography of the show The Forest of the Hanged after Liviu Rebreanu, script, direction and sound by Radu Afrim   The UNITER Senate decided to award the Special Prize to musician Marius Mihalache for the "Saftita" project. More details here   Translated by Simona Nichiteanu 

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