Current Repertory

Carnival Stuff

by I.L. Caragiale

Carnival Stuff

by I.L. Caragiale

Alexandru Dabija
Assistant Director:
Patricia Katona
Liliana Cenean
Raluca Alexandrescu
Florin Fieroiu
Stoica Liviu, Ștefan Stanciu
Ionuț Vlașcu, Iordache Laurențiu
Scene director:
Andi Tuinea, Vlad Lăzărescu
Scene mechanisms:
Adrian Anton, Gabriel Ene, Mihai Bănuţoiu
Mădălina Ciupitu

Duration: 1 h 35 min / Pause: No


70 lei

50 lei

20 lei (reducere pentru elevi, studenți și pensionari)

One would think that Alexandru Dabija "reads" Caragiale on a "different" note. In fact, he looks at him inwardly, and he likes what he sees. And with what he likes he identifies. A lucid and cynical Caragiale to the point of cruelty with his heroes, a side that Dabija exploits with great interest in his productions. He also offers us a shattering vision of contemporary human emptiness and derision with "Carnival Stuff"; a modern staging faithful to the Caragialian text, with a humour that is no longer benevolent but rather vitriolic. A provocative performance whose aesthetics is close to that of the silent film, which reveals the absurdity of the human condition with realistic means. The stage set (Raluca Alexandrescu's set; Liliana Cenean's costumes) and the stage movement (Florin Fieroiu) capture the whole mechanism of this classic black and white comedy in which the destinies of the puppet characters are trapped as if in a mill, "bitter" by the thought of revenge in their own foolishness and imbecility. Through Alexandru Dabija's "Carnival Stuff”, we witness a carnival of misery, emptiness and nothingness.

Translated by Simona Nichiteanu

Photo: Florin Ghioca

Mita: Irina Movilă                      Didina: Natalia Călin
Waiter, Carnival Mask: Rodica Ionescu                      Cracanel: Claudiu Bleonţ
Iordache: Marius Rizea
Ionuț Toader
                     Nae Girimea: Gavril Pătru
Pampon: Emilian Oprea                      Junior Clerk: Mihai Munteniţă
First Police Officer: Mihai Calotă                      Second Police Officer: Ciprian Nicula

“The show has an incredible pace, it is lively, it is picturesque, it has a studied, worked and expressive dynamic. The scenography by Raluca Alexandrescu - reminiscent of Pintilie’s film "For Whom Do the Bells Toll, Mitică", ensures to a large extent the surprising dose, but also the personality of the staging.

As for the actors, we have exquisite ones. From Claudiu Bleonţ, whom I suspect has spare hands, feet and brains, he is so inexhaustible, offering an invaluable example of playful sense, stage presence, truthfulness, to Irina Movilă and Natalia Călin supporting their roles with vigour and maturity; Gavril Pătru, an atypical, impeccably built Nae, with charm, humour and balance; Mihai Munteniţă in a consistent role and with a stake that he performs with authentic talent but also responsibility, a sign that he has already moved to another league from a professional point of view; Emilian Oprea, spectacular, unusual and efficient; Marius Rizea, a joy of an artist, the detector of naturalness, artlessness and humanity in every script entrusted to him; and last, but not least, Mihai Calotă and Ciprian Nicula in a double role, adorable, special, a delight ". 

Răzvana Niţă, Acta est fabula - "Forgive me, uncle Iancu, I won't do it anymore!". And so on… Not often but quite often    

"Alexandru Dabija did not go on update, the stage design elements fix the plot in a time of the past, through materials and furniture used and through suggestions that stem from costumes. Definitive for the overview is the accelerated speed of the dramatic cavalcade initiated by the affairs of a community built on deception ".

Oltiţa Cîntec, Culture Supplement - Giving in the show   

"An overflowing energy, intelligently consumed together with the characters who create and fulfill it, in a carousel of imbroglios that each rides his own naughty horse and begins to turn the whip menacingly towards his servant, dropping it as if by mistake, from time to time, on the backs of others, on the principle every plotter needs an ignorant or a decent man to define oneself. An authentic humour in the construction of Caragiale’s characters, which Alexandru Dabija noticed and highlighted very well, from a Caragiale looked into the eyes and bravely grabbed by the collar whenever the contemporary is about to slide helplessly on the walls an eternity in which we seem to have been nailed and of which no one was aware that it could last so long a century ago… ".

Luciana Antofi, Blog - The comedy of Dabija's masks in pandemic times: "Hysterical Stuff", a carnival perpetuum based on humour   

"Ion Luca Caragiale's comedy Carnival Stuff becomes a drama in Alexandru Dabija’s vision. The dramaturgical material is offered by the reality next to us and not by the actual text of the play that crumbles in our hearing flooded with noises and sounds which perpetuate former words. In all respects, Alexandru Dabija's show exemplifies - with the aid of the actors and technicians mentioned above - our destiny today. The carnival continues. Like all the vanity and futility of this world. Perhaps not coincidentally, decades ago Liviu Ciulei, climactically concluded a show from Bulandra, with "A Lost Letter" smelling of grilled meat rolls and the tunes from the Union Dance. United. Reconciled. Together. At Nae Girimea's barber shop. There we were, here we are. "Carnival Stuff. It is all good."

Bedros Horasangian, Cultural Observer - Dabija's Men at NTB  


Translated by Simona Nichiteanu 

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