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Adina Nanu: Pleading for the Hats

08 February 2015

Video-streamig The National Theatre I.L.Caragiale has the pleasure to invite you to discover Adina Nanu’s spectacular collection of costumes and hats in the lobby of the Atelier Hall for two weeks (between 8th – 22nd of February). Adina Nanu is a critic and art historian, the author of the only book about Romania’s costumes history. The exhibition opens on the occasion of the conference held by Adina Nanu at the Atelier Hall from 11:00 a.m. on February 8th. Adina Nanu’s collection comprises some hundreds of costumes which belonged to her family or donor friends, ranging from casual dresses to evening ones, from hats, men’s costumes, accesories, decorative objects or furniture articles from ladies’ boudoir from La Belle Epoque, from the inter-war period to present costumes. Both the conference and the exhibition are a plea for style and beauty and promote the aesthetic refinement, the fashion and ellegance of times gone by. Stressing the importance of hats in ladies’ apparel, Adina Nanu will show that a hat isn’t a simple accesory, but it is also a definite indicator for the bearer’s social, psychological and cultural profile. The conference and the exhibition addresses not only those interested in the costume  history, but also art directors, fashion designers and all art lovers. We hope that after attending the conference and the exhibition the NTB audience will cry out:”Chapeau – bas!”   About Adina Nanu Critic and art historian. Between 1945-1950 she attended the Institute of Fine Arts in Bucharest and the Faculty of Letters simultaneously. Between 1947-1950 she attended the Medicine School to bone at anatomy. In 1977 she got her Ph. D in History of Arts with a thesis on 19th century costumes in Bucharest. Assigned as an assistant to the National Arts Museum in Bucharest, she worked at the World and Romanian Art Galleries. Since 1950 she has been asked to work at the Arts History Department within the Institute of Fine Arts where she has remained until retirement, first as Assistant, then as Lecturer since 1954 and as Reader since 1968. As her colleagues, Eugen Schileru and Ion Frunzetti, she retired having this degree in 1987, since the Professor degree was awarded by the Ministry of Education only to those politically priviledged during the years before 1989. She taught World Art History classes, special classes of History of Painting, Sculpture and Decorative Arts and the first classes of History and Theory of the Costume in Romania at the Scenography section and then at the Fashion Design section whose foundation she took part in. Consequently, she published the first history of world costumes in Romanian, Art, Style, Costume in 1976. Since 1994 she has been teaching Visual Education and Styles in Costumes and Decoration classes at UNATC Bucharest, for the Staging Department during the first years, then for the newly founded Scenography section, but also for the Choreography section.  For the UNATC students she published Arts on humans (2001) and Can you see?Communication through Imaging (2002), she rewrote and augmented Art, Style, Costume ( second edition,2008). Since 1975 she has been an INSEA member - International Society for Education through Art (UNESCO) and after 1990 founder and president of its branch in Romania. She has been a member of the Union of Artists in Romania since its foundation in 1950. She exhibited drawings and sculptures in five UAP collective exhibitions and in a personal exhibition at Galateea Gallery in 2008. Books published (selection): Gh. Tattarescu – The Painter (1955), Albrecht Dürer (1957), Theodor Pallady (1963), About Sculpture in Brief (1966), Octav Angheluţă – The Painter (1967), Sabin Popp – The painter (1968), Antonello da Messina (1969), A. Bourdelle – The Carver (1971), Lucas Cranach the Old (1972), On Dürer’s footsteps (1976), Art, Style, Costume (1976, the English version in 1981), Donatello- The Carver (1980), I. Gr. Popovici – The Carver (1984), Ion Lucian Murnu (in collaboration with Doina Mândru – 1986), Men and Fashion (2009). Awards: The „Loyal Service” Order – commander, Union of Artists (2000), Honour Diploma by the Staging and Production University (2002), Professor Honoris Causa by the National University of Arts (2008). „The collection formed itself as a consequence of my interest and respect for the object made with talent and skillfulness which I found in my house and kept them, I didn’t throw them away, as young people do nowadays. At first I played together with my parents, then with my children, using grandparents’ hats and clothes, then I used them as didactic material for the Arts History and Costume Art classes that I held. Relatives and friends also found in their wardrobes hats and dresses which were out of fashion, tailcoats and tuxedos which were useless, but they were filling the space and they gave them to us. I only bought the manikins and a few disparate pieces, links which were missing in the chain of some demonstrations. Even nowadays, my friends’ friends come to complete the exhibition with precious memories. I only like studying each hat or collarette to discover its origin, style and fashion it belonged to and to find its place in the exhibition so as to match the general geometry of the room, which has to recompose the atmosphere and perfume of every age. Among other things, I placed perfume bottles here and there, ranging from XIX th century pachouli to Coco Chanel’s Chanel no.5 and following. Due to these continuous changes, none of the fifteen exhibitions I have organized so far was similar to the others, starting with the first one from the Collection Museum in 1997, to the following ones from the National Arts Museum, History Museum, from Cotroceni Palace, Peles or the Costumes Museum in Venice”.   Translation made by Niculae Cristine MTTLC, University of Bucharest

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Prof. Dr. Vintilă Mihăilescu: Man and Technology. An anthropological history of the future

10 May 2015

Livestreaming Sunday, May 10th 2015, at 11.00 a.m., in the Small Hall of the National Theatre, Prof. Dr. Vintilă Mihăilescu will hold a conference addressing the topic of Man and Technology. An anthropological history of the future. About the conference “If “eternity was born in the village”, then the future was born ... in Renaissance. Up to modern days, Man had a past; with modernity, the individual has a future. Man takes God’s place and affirms I am what I am; furthermore, I am what I become, according to the unrestricted freedom of the individual. A “mystical” optimism of the future and of the final state of equilibrium (civilization, communism, market, etc.) is established in modern societies, confident in evolution, progress, advancement. And humankind begins to evolve in all sorts of ways... In time, this “evolution” becomes faster, first of all due to (new) technologies: the rhythm of change grows exponentially and “laws” that ascertain this fact are even issued. But where does this new “evolution” lead to? It takes us towards the elusive horizon of Man’s perfectibility, so dear to the pioneers of innovation – take into consideration the promoters of these new technologies and the Market that uses them. This optimistic “trans-humanism” faces the opposition of the “post-humanism” concerned with the excesses of Man’s domination. We were told we have arrived at “the end of History”; what follows next? Another future of another type of Man has already begun?” Prof. Dr. Vintilă Mihăilescu About Prof. Dr. Vintilă Mihăilescu Vintilă Mihăilescu (born in 1951) is a Professor Ph.D. and the head of the Department of Sociology of the Faculty of Political Sciences, at the National School of Political and Administrative Studies. In 1993, he obtained a Ph.D. in Psychology, with his thesis The Magyars and the natives. An ethno-psychological analysis. In 1990, he initiated the institution of The Romanian Society for Cultural Anthropology (RSCA), which he chaired from 1994 to 2000. He conducted an extensive research activity at The Romanian Academy’s Center for Anthropological Research. From 1992 to 2000, he was a member of the Société des Européanistes, occupying the position of secretary director for Eastern Europe. From 1997 to 1999, he was the director of The Bucharest Observatory within a PHARE program for Rural Development. Since 1998, he has been a permanent contributor to the Dilema Veche magazine, writing for his column the „Socio-hai-hui”. Starting the same year and up to 2000, he was chief editor of the Yearbook of the Romanian Society of Cultural Anthropology. He is a member in the scientific council / director: Center for the Study of Balkan Society and Culture (Graz), Ethnobarometer (Rome/Amsterdam), International Association of South-East European Anthropology (London) and South-East European Academic League (Sofia). He was the beneficiary of numerous scholarships at the Mission du Patrimoine Ethnologique. He was a Visiting Professor to various universities and centers for advanced studies in France, Switzerland, Germany, Belgium, Canada, Hungary and Bulgaria. He was the general manager of The Romanian Peasant Museum of Bucharest from 2005 to 2011. In 2006, he received a distinction from the Romanian President for his services to Romanian culture. These are some of his works: The fascination of difference (1999), Socio hai-hui. Another sociology of transition (2000), Paysans de l’histoire (co-author, 1992), Neighbors and neighborhoods in Transylvania (coord., 2002), Socio hai-hui through the Archipelago Romania (2006), Anthropology. Five introductions (2006, 2007), Urban ethnographies. The everyday seen up close (coord., 2009), The end of the game. Romania of the past 20 years (2010), The nation’s diapers and the emperor’s clothes. Observations on public anthropology (2013), The story of the stray Leuțu (2013), The fascination of difference. The years of apprenticeship of an anthropologist. (2014).   Translated by Ana-Maria Albu MTTLC, University of Bucharest

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Matei Visniec: Festival d'Avignon, theatre capital of the world

08 January 2017

Video-streaming  On Sunday, 8 January 2017, 11.00 a.m., the Small Hall of NTB shall host the first conference of this year, held by Matei Vișniec: Festival d'Avignon, theatre capital of the world About the Conference „The Festival d’Avignon is the most important of France and one of the greatest in the world. Since 1947, it became a true international cultural legend, inspiring many other cities. Each July, in the city of Popes on the shore of the Rhone, a kind of cultural pilgrimage unfolds, the theatre being its foremost dimension, but not the only one. This festival is also a social and political phenomenon (as it turns into a debate forum), and a touristic and economic one, as well as a genuine show market. Since 1990, I have never missed a single year in Avignon (where I also had systematically staged plays in the unofficial OFF section). I was, somehow unwillingly, the witness of an evolution, of an exponential growth of the festival, as nowadays, its posters feature around 40 shows in the IN section and over 1300 plays in the OFF section. This festival is a fascinating cultural and human adventure, often placed under the sign of avant-garde and challenge, worth telling.” Matei Vișniec The conference held by Matei Vişniec shall be illustrated with images from the documentary film „Matei Vişniec – King in Avignon”, a TVR Iaşi production from 2015 produced by Andreea Știliuc (film-maker), Relu Tabără (image), Dragoș Brehnescu (editing). About Matei Vișniec Matei Vişniec is a poet, playwright, novelist, journalist, member of several creative associations of Romania and France. He was born on 29 January 1956 in Bucovina, at Rădăuţi, fabulous city divided in two (cemetery included) by a railway representing for the author the axis of symmetry of the universe. The town is amply described in the novel published by Matei Vişniec at Cartea Românească and entitled „Pass-Parol Cafe”. His mother, Minodora, was a nursery school teacher, his father, Ioan, was a clerk. He made his poetry debut in the fourth grade, when he versified a fable by La Fontaine. Later on, he discovered in literature a zone of freedom and he nurtured himself with pages from Kafka, Dostoyevsky, Camus, Poe, Hemingway, Oscar Wilde, Nichita Stănescu and many other writers, not contaminated by Socialist Realism. He liked very much the Surrealists, the Dadaists, the fantastic stories, the absurd and grotesque theatre, the oneiric poetry and even the Anglo-Saxon realist theatre, in short, almost everything except the „official” literature of the Communist regime. He studies philosophy in Bucharest and becomes very active within the 80’s generation, being a founding member of the Monday Literary Circle. He believes in cultural resistance and in the capacity of literature to overthrow totalitarianism. He especially believes that theatre and poetry may denunciate the manipulation of man through the „great ideas", as well as the brainwashing through ideological speeches. Before 1987, he becomes known in Romania through his purified, lucid poetry, written with acrimony. From 1977, he writes theatre plays massively circulating in the literary milieu, but which are banned from the professional stages. His prose remains however ‘on shelf’, as well as the novel „ Pass-Parol Café”, written in 1982/1983 and only published after the fall of Ceauşescu. In September 1987 he leaves Romania with a tourist visa and arrives in France where he applies for political asylum. He starts writing in French, works at from 1988 to 1999, and then he starts working for Radio France Internationale. He becomes a French citizen in 1993, but also keeps his Romanian citizenship. As of 1987, since he has been living in France, his plays have transgressed the borders and his name has been on posters in approximately 40 countries. His plays are published at the Actes Sud - Papiers, Lansman, Espace D’un Instant, Non Lieu Publishing Houses. However, Matei Vişniec is also the author of a prose which some critics consider atypical. A first novel, “The Pass-Parol Café”, written in 1983, has only been published after the fall of Communism. “Panic Syndrome in the City of Lights” was one of the most appreciated novels of the year 2009, receiving the award of the Observator Culturalmagazine. Matei Vişniec has further published, in 2010, the novel „The Release of Mr. K”, written in 1988 in the first year of his Parisian exile, which he waited for over 20 years before sending it to be published. The novel „A Merchant of Novel’s Beginnings” was awarded in 2014 the Augustin Frăţilă prize. He received in 2009 the European Award of The French Society of Dramatic Authors and Composers for his entire activity; the “Jean Monnet” Award for European Literature in 2016 for the novel „A Merchant of Novel’s Beginnings” (Jacqueline Chambon Actes Sud Publishing). In Romania, his books were distinguished repeatedly with the Writer’s Guild Drama Award (most recently in 2015), the Drama Award of the Romanian Academy, the special UNITER Award for the Most Enacted Romanian Contemporary Playwright (2016). 2016 Overview: Matei Vişniec’s have been translated into over 30 languages. Some of his plays have been enacted in major European theatres: Rond Point Theatre des Champs Elysées in Paris, Stary Theatre of Cracow, Piccolo Theatre of Milano, Royal Theatre of Stokholm, Young Vic Theatre of London, National Theatre of Istanbul, Maxim Gorki Theatre of Berlin, Teatro Stabile of Catania (Sicily). Since 2006, his plays have been staged at a pace of one every two years by the Kaze Theatre of Tokyo. Numerous shows based on his plays were produced in Brazil, after É Realizações Publishing House from São Paulo started in 2010 to massively publish his plays (around 20 to date). After the fall of Communism, in 1989, Matei Vişniec becomes one of the most enacted authors in Romania, with shows produced on all national stages (Bucharest, Iaşi, Cluj, Craiova, Timişoara), as well as in countless other cities. Numerous radio plays produced by the National Theatre Live. Recent publications in Romania: - At the Cartea Românească Publishing House: The Spider in the Wound(theatre), 2007; The Hole in the Ceiling(theatre), 2007; The Human Trashcan. The Body of a Woman as a Battlefield in the Bosnian War(theatre), 2007; The Pass – Parol Café (novel), 2008; Panic Syndrome in the City of Lights(novel), 2009; The Release of Mr. K. (novel), 2010; Preventive Disorder(novel), 2011; Dinner with Marx (poetry), 2011; Word Cabaret (theatre), 2012; A Merchant of Novel’s Beginnings (novel), 2013; The Man from Whom the Evil was Extracted(theatre), 2015; Shoe Loves, Umbrella Loves (novel), 2016 - At the Paralela 45 Publishing House: The Town With a Single Inhabitant(poetry anthology), 2005; A Paris Attic Overlooking Death(theatre), 2005; The One-Winged Man(theatre), 2006; How to Explain the History of Communism to Mental Patients (theatre), 2007; Just Imagine that You are God! (theatre), 2008; Occident Express & About the Sensation of Elasticity When Walking Upon Corpses(theatre), 2009; The Man in the Circle(short theatre anthology), 2010 - At the Humanitas Publishing House: The Chekhov Machine & On the Frailty of Stuffed Seagulls (theatre), 2008; Love Letters to a Chinese Princess (poetic prose), 2011; The Trial of Communism through Theatre(theatre), 2012; The Balkan Trilogy & Migraaaants (theatre), 2016   Translated by Simona Nichiteanu

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101. Dialogue with Mihai Șora

21 January 2018

Video-streaming The first conference of the National Theatre in 2018 shall take place on 21st January, from 11.00 a.m., in the Studio Hall and shall be held by philosopher and essayist Mihai Șora. The conference shall be entitled: 101. Dialogue with Mihai Șora. About the Conference Over time, Mr. Șora has held further two conferences at NTB, but this time, at the incredible age of 101 years, he opted for a special meeting with the audience of the National Theatre of Bucharest. The conference shall commence with the projection, in premiere, of a film, a portrait-documentary with a duration of 45 minutes, followed by a dialogue with the audience. The being Mihai Șora is a profoundly (and authentically) dialogical one, very seldom encountered in our culture. Or, a film (where Mihai Șora is the main character, of course) has precisely this purpose: to introduce the audience into the so complex, unusual and atypical territory of this silent, piercing, humble philosopher, whom one gets to know only after years, days, entire hours of patient and careful vicinity… And one can – to a certain extent – „share“ him with others, with those people who do not have the time, occasion or privilege of always being around him. About Mihai Șora Born on 7th November 1916, in Ianova, Timiș County, Mihai Șora is a philosopher and essayist. Since 2012, he is an honorary member of the Romanian Academy. After high school studies in Timișoara, he would pursue philosophy studies at the University of Bucharest (1934-1938). There, he had Nae Ionescu and Mircea Vulcănescu as professors, among others, and Mircea Eliade as a teaching assistant at the seminar, for three years. Scholar of the French government, he arrived in January 1939 in Paris, where, under the guidance of Jean Laporte, he wrote a PhD thesis on La notion de la grâce chez Pascal / The notion of grace in Blaise Pascal’s works. The menace of the Wehrmacht’s vertiginous advancement made him leave Paris in June 1940 and, after long wonderings, he settled down in Grenoble (1940 – 1945), because there Jacques Chevalier, „an inveterate Pascal follower” was practising, according to his own words. In this period, he conceives his first book, Du dialogue intérieur, an essay of metaphysical anthropology, published later, in 1947, at Gallimard Publishing. During wartime, he participated in the antifascist French resistance and afterwards he became a researcher at the Centre National de la Recherche Scientifique, Paris, from 1945 to 1948. Not grasping the true tragic dimension of the de facto occupation of Romania by the Soviet Union, he returned to the country in the fall of 1948, with the intention to return to France, but it was too late. The border had already been closed and at the same time, Romania’s opening towards the West for almost 20 years. However, due to his youth and his obvious and outspoken apolitical attitude, he was not hindered from doing intellectual work. He worked as an expert advisor at the Ministry of Foreign Affairs (1948 – 1951), then as a head of department at the Foreign Languages Publishing House (from 1951 to 1954) and editor in chief at the State Publishing House for Literature and Art (1954 – 1969), where he had the outstanding editorial merit to be the founder of the new series Library for Everyone. Mihai Șora is a founding member of the Group for Social Dialogue, of the Civic Alliance and the Romanian Phenomenology Society. He translated from Jean-Jacques Rousseau (Reveries of a Solitary Walker), Jean-Paul Sartre (No Exit), Benjamin Fondane. He was awarded the Writers’s Guild Prize for The Salt of the Earth (1978) and for The Leaf of Grass (1998). After December 1989, he was a Minister of Education in the first temporary democratic government, led by Petre Roman, and the sole minister who resigned from the government, as a sign of protest in the aftermath of the miners’ riots from 13-15 June 1990, refusing afterwards to hold any office in the state apparatus. In 2016, he was bestowed the „Star of Romania” National Order to the rank of Knight.   Works: Du dialogue intérieur, 1947, Paris, Editions Gallimard; Romanian translation About the Inner Dialogue. Fragment from a Metaphysical Anthropology, Humanitas, 1995; 2006; The Salt of the Earth, Cartea Românească Publishing, 1978; Humanitas, 2006; To Be, to Make, to Have, Cartea Românească Publishing 1985; Humanitas, 2006; me&you&him&her or generalised dialogue, Cartea Românească Publishing 1990; Humanitas, 2007; The Leaf of Grass, 1998; Croquis and Evocations, 2000; Do We Still Have a Future? Romania at the Beginning of the Millennium, interviews, Polirom, 2001; Common Places, Universalia, 2004; The Moment and the Time, Paralela 45 Publishing, 2005   Translated by Simona Nichiteanu

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Prof. Dr. Vintilă Mihăilescu: Man and Technology. An anthropological history of the future

23 March 2020

Livestreaming Sunday, May 10th 2015, at 11.00 a.m., in the Small Hall of the National Theatre, Prof. Dr. Vintilă Mihăilescu will hold a conference addressing the topic of Man and Technology. An anthropological history of the future. About the conference “If “eternity was born in the village”, then the future was born ... in Renaissance. Up to modern days, Man had a past; with modernity, the individual has a future. Man takes God’s place and affirms I am what I am; furthermore, I am what I become, according to the unrestricted freedom of the individual. A “mystical” optimism of the future and of the final state of equilibrium (civilization, communism, market, etc.) is established in modern societies, confident in evolution, progress, advancement. And humankind begins to evolve in all sorts of ways... In time, this “evolution” becomes faster, first of all due to (new) technologies: the rhythm of change grows exponentially and “laws” that ascertain this fact are even issued. But where does this new “evolution” lead to? It takes us towards the elusive horizon of Man’s perfectibility, so dear to the pioneers of innovation – take into consideration the promoters of these new technologies and the Market that uses them. This optimistic “trans-humanism” faces the opposition of the “post-humanism” concerned with the excesses of Man’s domination. We were told we have arrived at “the end of History”; what follows next? Another future of another type of Man has already begun?” Prof. Dr. Vintilă Mihăilescu About Prof. Dr. Vintilă Mihăilescu Vintilă Mihăilescu (born in 1951) is a Professor Ph.D. and the head of the Department of Sociology of the Faculty of Political Sciences, at the National School of Political and Administrative Studies. In 1993, he obtained a Ph.D. in Psychology, with his thesis The Magyars and the natives. An ethno-psychological analysis. In 1990, he initiated the institution of The Romanian Society for Cultural Anthropology (RSCA), which he chaired from 1994 to 2000. He conducted an extensive research activity at The Romanian Academy’s Center for Anthropological Research. From 1992 to 2000, he was a member of the Société des Européanistes, occupying the position of secretary director for Eastern Europe. From 1997 to 1999, he was the director of The Bucharest Observatory within a PHARE program for Rural Development. Since 1998, he has been a permanent contributor to the Dilema Veche magazine, writing for his column the „Socio-hai-hui”. Starting the same year and up to 2000, he was chief editor of the Yearbook of the Romanian Society of Cultural Anthropology. He is a member in the scientific council / director: Center for the Study of Balkan Society and Culture (Graz), Ethnobarometer (Rome/Amsterdam), International Association of South-East European Anthropology (London) and South-East European Academic League (Sofia). He was the beneficiary of numerous scholarships at the Mission du Patrimoine Ethnologique. He was a Visiting Professor to various universities and centers for advanced studies in France, Switzerland, Germany, Belgium, Canada, Hungary and Bulgaria. He was the general manager of The Romanian Peasant Museum of Bucharest from 2005 to 2011. In 2006, he received a distinction from the Romanian President for his services to Romanian culture. These are some of his works: The fascination of difference (1999), Socio hai-hui. Another sociology of transition (2000), Paysans de l’histoire (co-author, 1992), Neighbors and neighborhoods in Transylvania (coord., 2002), Socio hai-hui through the Archipelago Romania (2006), Anthropology. Five introductions (2006, 2007), Urban ethnographies. The everyday seen up close (coord., 2009), The end of the game. Romania of the past 20 years (2010), The nation’s diapers and the emperor’s clothes. Observations on public anthropology (2013), The story of the stray Leuțu (2013), The fascination of difference. The years of apprenticeship of an anthropologist. (2014).   Translated by Ana-Maria Albu MTTLC, University of Bucharest

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Adina Nanu: Pleading for the Hats

09 June 2020

Video-streamig The National Theatre I.L.Caragiale has the pleasure to invite you to discover Adina Nanu’s spectacular collection of costumes and hats in the lobby of the Atelier Hall for two weeks (between 8th – 22nd of February). Adina Nanu is a critic and art historian, the author of the only book about Romania’s costumes history. The exhibition opens on the occasion of the conference held by Adina Nanu at the Atelier Hall from 11:00 a.m. on February 8th. Adina Nanu’s collection comprises some hundreds of costumes which belonged to her family or donor friends, ranging from casual dresses to evening ones, from hats, men’s costumes, accesories, decorative objects or furniture articles from ladies’ boudoir from La Belle Epoque, from the inter-war period to present costumes. Both the conference and the exhibition are a plea for style and beauty and promote the aesthetic refinement, the fashion and ellegance of times gone by. Stressing the importance of hats in ladies’ apparel, Adina Nanu will show that a hat isn’t a simple accesory, but it is also a definite indicator for the bearer’s social, psychological and cultural profile. The conference and the exhibition addresses not only those interested in the costume  history, but also art directors, fashion designers and all art lovers. We hope that after attending the conference and the exhibition the NTB audience will cry out:”Chapeau – bas!”   About Adina Nanu Critic and art historian. Between 1945-1950 she attended the Institute of Fine Arts in Bucharest and the Faculty of Letters simultaneously. Between 1947-1950 she attended the Medicine School to bone at anatomy. In 1977 she got her Ph. D in History of Arts with a thesis on 19th century costumes in Bucharest. Assigned as an assistant to the National Arts Museum in Bucharest, she worked at the World and Romanian Art Galleries. Since 1950 she has been asked to work at the Arts History Department within the Institute of Fine Arts where she has remained until retirement, first as Assistant, then as Lecturer since 1954 and as Reader since 1968. As her colleagues, Eugen Schileru and Ion Frunzetti, she retired having this degree in 1987, since the Professor degree was awarded by the Ministry of Education only to those politically priviledged during the years before 1989. She taught World Art History classes, special classes of History of Painting, Sculpture and Decorative Arts and the first classes of History and Theory of the Costume in Romania at the Scenography section and then at the Fashion Design section whose foundation she took part in. Consequently, she published the first history of world costumes in Romanian, Art, Style, Costume in 1976. Since 1994 she has been teaching Visual Education and Styles in Costumes and Decoration classes at UNATC Bucharest, for the Staging Department during the first years, then for the newly founded Scenography section, but also for the Choreography section.  For the UNATC students she published Arts on humans (2001) and Can you see?Communication through Imaging (2002), she rewrote and augmented Art, Style, Costume ( second edition,2008). Since 1975 she has been an INSEA member - International Society for Education through Art (UNESCO) and after 1990 founder and president of its branch in Romania. She has been a member of the Union of Artists in Romania since its foundation in 1950. She exhibited drawings and sculptures in five UAP collective exhibitions and in a personal exhibition at Galateea Gallery in 2008. Books published (selection): Gh. Tattarescu – The Painter (1955), Albrecht Dürer (1957), Theodor Pallady (1963), About Sculpture in Brief (1966), Octav Angheluţă – The Painter (1967), Sabin Popp – The painter (1968), Antonello da Messina (1969), A. Bourdelle – The Carver (1971), Lucas Cranach the Old (1972), On Dürer’s footsteps (1976), Art, Style, Costume (1976, the English version in 1981), Donatello- The Carver (1980), I. Gr. Popovici – The Carver (1984), Ion Lucian Murnu (in collaboration with Doina Mândru – 1986), Men and Fashion (2009). Awards: The „Loyal Service” Order – commander, Union of Artists (2000), Honour Diploma by the Staging and Production University (2002), Professor Honoris Causa by the National University of Arts (2008). „The collection formed itself as a consequence of my interest and respect for the object made with talent and skillfulness which I found in my house and kept them, I didn’t throw them away, as young people do nowadays. At first I played together with my parents, then with my children, using grandparents’ hats and clothes, then I used them as didactic material for the Arts History and Costume Art classes that I held. Relatives and friends also found in their wardrobes hats and dresses which were out of fashion, tailcoats and tuxedos which were useless, but they were filling the space and they gave them to us. I only bought the manikins and a few disparate pieces, links which were missing in the chain of some demonstrations. Even nowadays, my friends’ friends come to complete the exhibition with precious memories. I only like studying each hat or collarette to discover its origin, style and fashion it belonged to and to find its place in the exhibition so as to match the general geometry of the room, which has to recompose the atmosphere and perfume of every age. Among other things, I placed perfume bottles here and there, ranging from XIX th century pachouli to Coco Chanel’s Chanel no.5 and following. Due to these continuous changes, none of the fifteen exhibitions I have organized so far was similar to the others, starting with the first one from the Collection Museum in 1997, to the following ones from the National Arts Museum, History Museum, from Cotroceni Palace, Peles or the Costumes Museum in Venice”.   Translation made by Niculae Cristine MTTLC, University of Bucharest

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Sorin Alexandrescu: Visual Culture, Pros and Cons

10 June 2020

Video-streaming  On Sunday, March 4th, 2007, within the NTBB Conferences programme, Univ. Prof. Sorin Alexandrescu held the conference entitled Visual Culture, Pros and Cons. "We live nowadays in a visual age, in which art or religion, which dominated other periods, have declined in presence, in the sense that it influences much less what happens in the world, and the main interest stems from what is visual." Sorin Alexandrescu About Univ. Prof. Sorin Alexandrescu Professor at the University of Amsterdam, professor at the University of Bucharest and, since 2001, founder and director of the Centre of Excellence in Image Studies (CESI) of the University of Bucharest and the "Ion Mincu" University of Architecture. He first worked as teaching assistant and lecturer at the University of Bucharest in the field of comparative literature and stylistics and published several books, including "William Faulkner". He migrated in 1974 to the Netherlands, where he worked as a professor at one of the largest Romanian language departments in the West, at the University of Amsterdam. Returning, partially, to Romania, since 1989, he taught at several universities in the country and published several books, including "The Romanian Paradox" or "Mircea Eliade, from Portugal".   Translated by Simona Nichiteanu 

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Ilina Gregori: When was the 19th Century? Eminescu and Modernity

15 June 2020

Video-streaming  On Sunday, June 14th, at 11 o'clock, the Black Box Hall will host the conference When was the 19th Century? Eminescu and Modernity, held by Mrs. Ilina Gregori."What does the good God expect from the one who did not live his life due to the circumstances that humiliated and sacrificed it?"With this question - rhetoric, in fact - Alexandru Dragomir, the exceptional philosopher, but without writings, was recently justifying the tragic balance of his life. Forced by circumstances, he had decided to sabotage through solitude and silence the Romanian culture that was „created” around him – so false and so ill-founded, that any participation in the activities that kept it operative, was in the eyes of the philosopher an unforgivable guilt.But "what does the good God expect" from a brilliant man, who has lived only thirty-nine years, of which the last six cannot even be weighed with the units of measurement suitable for normal human life? In Eminescu's case, then, God should be content with little - if He is "good." And if such kindness and mercy have hitherto manifested themselves neither constantly nor clearly in the judgment of posterity, we must not lose confidence in the mercy of heaven, but only investigate more closely where those expectations we all know stem - maximum or downright immeasurable, if not even absurd - that have always and always imposed themselves in Eminescu's reception. How can we so easily forget the circumstances that distorted his life, the disease that "humiliated" and brutally abbreviated it?If that "God of culture" that C. Noica was talking about is not a simple figure of speech, such an exorbitant expectation could be attributed to him: Eminescu – the genius individual, the "complete man", moral and intellectual role model, "Soul" of the nation, "[its] better conscience". But Cioran also judges from above, from heaven, when it comes to Eminescu. Even in the years of maturity, with all the lucidity acquired in exile, even looking for challenge, offense, blasphemy, Cioran continues to believe that Eminescu saved the Romanian nation, deprived of any political or cultural merits, an "invertebrate" nation, lacking destiny, etc. In his youth, as we know, Cioran had claimed that Providence had expected more from its chosen one: as the Messiah, Eminescu had to project the virtues and triumph of his nation into the near future. However, Eminescu remained a prophet of the past, Cioran claimed, a true failure of the project of Romania’s modern "transfiguration".The disappointment of young Cioran, as well as the imputations of an Eugen Lovinescu, for example – in order not to recall but two moments of a rich critical tradition - they essentially look at Eminescu's deficit in relation to modernity, but can we still accept such an apology for modernity nowadays? How much more legitimacy did this secular religion have in the interwar period? But what did it mean to be modern in the second half of the twentieth century? How was modernity conceived in Iasi? What about in Vienna or Berlin? Which of these contemporary, interconnected and yet asynchronous environments decisively influenced Eminescu's relationship - theoretical, aesthetic, existential-emotional - with modernity? We propose some topics of reflection in this direction, aroused by the Berlin phase of the poet's biography. About Ilina Gregori:Graduate of the University of Bucharest, Faculty of Romanian Language and Literature.She made her debut with literary criticism articles during her student years.Present between 1966-1969 in the literary press, especially in the Luceafărul magazine, with numerous literary reviews, signed as Ilina Grigorovici.She pursued her studies (philosophy, Romanics, comparative literature) in the Federal Republic of Germany, where she settled in the early 1970s.Under the guidance of Professor Walter Biemel, she received her PhD degree in Aachen (completed in 1977), with a thesis on Maurice Merleau-Ponty and phenomenology of language (work published under the title Merleau-Pontys Phänomenologie der Sprache, in 1977, in Heidelberg, Carl Winter Publishing House).From 1976 to 2005, she was a lecturer at the Institute of Romance Philology of the Free University of West Berlin.Since 1977, she has published in synthesis volumes and specialized journals (from Germany, Holland, France) a series of studies, often from communications at congresses, colloquia, international symposia, about Eminescu, Caragiale (Ion Luca and Mateiu), Romanians writers in exile, etc.She translated into German (in collaboration with Heinz Hermann) Mircea Eliade's Memoirs (1987, Frankfurt, Suhrkamp).She collaborated with articles on Romanian literature at the Brockhaus Encyclopedia and the Kindlers Lexicon.The volume Rumänistische Literaturwissenschaft. Fallstudien zum 19. und 20. Jahrhundert (2007, Heidelberg, Winter Publishing House) contains a selection of 20 studies in German and French, dedicated to modern Romanian literature.She returned to Romanian cultural life after 1980 with the volume The Only Essential Literature: The Fantastic Story. Balzac. Villiers de l'Isle-Adam. Pieyre de Mandiargues (1996, DU Style Publishing House).The volumes Literary Studies. Eminescu in Berlin. Mircea Eliade: Three Analyses (2002, Romanian Cultural Foundation Publishing House, "Titu Maiorescu" award of the Romanian Academy) and Do We Know Who Eminescu Was? Facts, Riddles, Hypotheses (2008, Art Publishing House) followed. Translated by Simona Nichiteanu

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Ion Caramitru: The Limits of Expectation

16 June 2020

Video-streaming The exposé is based on the conference held in 1992 in the House of Commons in London and was designed to express the respect and gratitude for the families of those who fell in the Revolution and the revolutionaries. The conference retains the structure of the one from the beginning of the last decade, but it is updated, compared to nowadays and emphasizing the idea that nothing has changed since then and until now. "If I look and remember my existence since I opened my eyes to life, more logically, more concretely - I have been in an eternal expectation. I was expecting something that, most of the time, was not being fulfilled, or was being fulfilled with shortcomings, or was leading to a horizon of more and more dramatic expectations. I waited when I was 7 years old - two days for my sister to return from a militia search, I waited two months for my mother to return after she was arrested with my father, and I have waited for two years, for the first time, after he returned from the first confinement. And again, I have been waiting for my life to change, for things to change, obviously, for the world to take on a more significant, more vivid outline, for the sky not to be leaden, but blue… ”. Ion Caramitru   Translated by Simona Nichiteanu

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Matei Visniec: Festival d'Avignon, theatre capital of the world

17 June 2020

Video-streaming  On Sunday, 8 January 2017, 11.00 a.m., the Small Hall of NTB shall host the first conference of this year, held by Matei Vișniec: Festival d'Avignon, theatre capital of the world About the Conference „The Festival d’Avignon is the most important of France and one of the greatest in the world. Since 1947, it became a true international cultural legend, inspiring many other cities. Each July, in the city of Popes on the shore of the Rhone, a kind of cultural pilgrimage unfolds, the theatre being its foremost dimension, but not the only one. This festival is also a social and political phenomenon (as it turns into a debate forum), and a touristic and economic one, as well as a genuine show market. Since 1990, I have never missed a single year in Avignon (where I also had systematically staged plays in the unofficial OFF section). I was, somehow unwillingly, the witness of an evolution, of an exponential growth of the festival, as nowadays, its posters feature around 40 shows in the IN section and over 1300 plays in the OFF section. This festival is a fascinating cultural and human adventure, often placed under the sign of avant-garde and challenge, worth telling.” Matei Vișniec The conference held by Matei Vişniec shall be illustrated with images from the documentary film „Matei Vişniec – King in Avignon”, a TVR Iaşi production from 2015 produced by Andreea Știliuc (film-maker), Relu Tabără (image), Dragoș Brehnescu (editing). About Matei Vișniec Matei Vişniec is a poet, playwright, novelist, journalist, member of several creative associations of Romania and France. He was born on 29 January 1956 in Bucovina, at Rădăuţi, fabulous city divided in two (cemetery included) by a railway representing for the author the axis of symmetry of the universe. The town is amply described in the novel published by Matei Vişniec at Cartea Românească and entitled „Pass-Parol Cafe”. His mother, Minodora, was a nursery school teacher, his father, Ioan, was a clerk. He made his poetry debut in the fourth grade, when he versified a fable by La Fontaine. Later on, he discovered in literature a zone of freedom and he nurtured himself with pages from Kafka, Dostoyevsky, Camus, Poe, Hemingway, Oscar Wilde, Nichita Stănescu and many other writers, not contaminated by Socialist Realism. He liked very much the Surrealists, the Dadaists, the fantastic stories, the absurd and grotesque theatre, the oneiric poetry and even the Anglo-Saxon realist theatre, in short, almost everything except the „official” literature of the Communist regime. He studies philosophy in Bucharest and becomes very active within the 80’s generation, being a founding member of the Monday Literary Circle. He believes in cultural resistance and in the capacity of literature to overthrow totalitarianism. He especially believes that theatre and poetry may denunciate the manipulation of man through the „great ideas", as well as the brainwashing through ideological speeches. Before 1987, he becomes known in Romania through his purified, lucid poetry, written with acrimony. From 1977, he writes theatre plays massively circulating in the literary milieu, but which are banned from the professional stages. His prose remains however ‘on shelf’, as well as the novel „ Pass-Parol Café”, written in 1982/1983 and only published after the fall of Ceauşescu. In September 1987 he leaves Romania with a tourist visa and arrives in France where he applies for political asylum. He starts writing in French, works at from 1988 to 1999, and then he starts working for Radio France Internationale. He becomes a French citizen in 1993, but also keeps his Romanian citizenship. As of 1987, since he has been living in France, his plays have transgressed the borders and his name has been on posters in approximately 40 countries. His plays are published at the Actes Sud - Papiers, Lansman, Espace D’un Instant, Non Lieu Publishing Houses. However, Matei Vişniec is also the author of a prose which some critics consider atypical. A first novel, “The Pass-Parol Café”, written in 1983, has only been published after the fall of Communism. “Panic Syndrome in the City of Lights” was one of the most appreciated novels of the year 2009, receiving the award of the Observator Culturalmagazine. Matei Vişniec has further published, in 2010, the novel „The Release of Mr. K”, written in 1988 in the first year of his Parisian exile, which he waited for over 20 years before sending it to be published. The novel „A Merchant of Novel’s Beginnings” was awarded in 2014 the Augustin Frăţilă prize. He received in 2009 the European Award of The French Society of Dramatic Authors and Composers for his entire activity; the “Jean Monnet” Award for European Literature in 2016 for the novel „A Merchant of Novel’s Beginnings” (Jacqueline Chambon Actes Sud Publishing). In Romania, his books were distinguished repeatedly with the Writer’s Guild Drama Award (most recently in 2015), the Drama Award of the Romanian Academy, the special UNITER Award for the Most Enacted Romanian Contemporary Playwright (2016). 2016 Overview: Matei Vişniec’s have been translated into over 30 languages. Some of his plays have been enacted in major European theatres: Rond Point Theatre des Champs Elysées in Paris, Stary Theatre of Cracow, Piccolo Theatre of Milano, Royal Theatre of Stokholm, Young Vic Theatre of London, National Theatre of Istanbul, Maxim Gorki Theatre of Berlin, Teatro Stabile of Catania (Sicily). Since 2006, his plays have been staged at a pace of one every two years by the Kaze Theatre of Tokyo. Numerous shows based on his plays were produced in Brazil, after É Realizações Publishing House from São Paulo started in 2010 to massively publish his plays (around 20 to date). After the fall of Communism, in 1989, Matei Vişniec becomes one of the most enacted authors in Romania, with shows produced on all national stages (Bucharest, Iaşi, Cluj, Craiova, Timişoara), as well as in countless other cities. Numerous radio plays produced by the National Theatre Live. Recent publications in Romania: - At the Cartea Românească Publishing House: The Spider in the Wound(theatre), 2007; The Hole in the Ceiling(theatre), 2007; The Human Trashcan. The Body of a Woman as a Battlefield in the Bosnian War(theatre), 2007; The Pass – Parol Café (novel), 2008; Panic Syndrome in the City of Lights(novel), 2009; The Release of Mr. K. (novel), 2010; Preventive Disorder(novel), 2011; Dinner with Marx (poetry), 2011; Word Cabaret (theatre), 2012; A Merchant of Novel’s Beginnings (novel), 2013; The Man from Whom the Evil was Extracted(theatre), 2015; Shoe Loves, Umbrella Loves (novel), 2016 - At the Paralela 45 Publishing House: The Town With a Single Inhabitant(poetry anthology), 2005; A Paris Attic Overlooking Death(theatre), 2005; The One-Winged Man(theatre), 2006; How to Explain the History of Communism to Mental Patients (theatre), 2007; Just Imagine that You are God! (theatre), 2008; Occident Express & About the Sensation of Elasticity When Walking Upon Corpses(theatre), 2009; The Man in the Circle(short theatre anthology), 2010 - At the Humanitas Publishing House: The Chekhov Machine & On the Frailty of Stuffed Seagulls (theatre), 2008; Love Letters to a Chinese Princess (poetic prose), 2011; The Trial of Communism through Theatre(theatre), 2012; The Balkan Trilogy & Migraaaants (theatre), 2016   Translated by Simona Nichiteanu

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