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11 Aug 2020 Ion Caramitru MasterClass. Poetic Copyright
Ion Caramitru MasterClass. Poetic Copyright

During this period, the “Ion Sava” Centre for Theatrical Research and Creation organizes the MasterClass Poetic Copyright, held by Ion Caramitru, in which a large part of the National Theatre actors participate: Lamia Beligan, Amalia Ciolan, Ileana Olteanu, Monica Davidescu , Florentina Țilea, Costina Cheyrouze, Rodica Ionescu, Aylin Cadîr, Irina Cojar, Fulvia Folosea, Silviu Biriș, Ovidiu Cuncea, Tomi Cristin, Eduard Adam, Lari Giorgescu, Ionuț Toader, Ciprian Nicula, Mihai Munteniță, Axel Mustache, Petre Ancuța, Alex Voicu. Fine and experienced actor of poetic expression and its contained meanings, Ion Caramitru wrote in the Dilema veche magazine from April, an explicit essay, with the value of an acting manifesto, about the transfiguration of the written word into lived emotion. This route-concept is the starting point and the method of rediscovering the lyrics of Nichita Stănescu, Nina Cassian, Mihai Eminescu, Leonid Dimov, Tudor Arghezi, Geo Bogza etc. Poetic Copyright By Ion Caramitru The artistic existence I have traveled so far has been, more or less, under the sign of poetry: as a genre, on the one hand, as a chance, on the other. An actor’s job involves observing life in all its details. But it expresses itself, it ends with the utterance on a stage of words, lines, lyrics that do not belong to the artist and that are the absolute property of an author. In Shakespeare, for example, the author decided that the characters should speak sometimes in prose, sometimes in verse. It is a balance that implies vague musical knowledge, but, necessarily, a serious culture of contrasts, of paradox. And, of course, a real sense of humour. Poetry is a miracle of the use of language, of literary language in this case. And this not only because it saves typographic space and paper, but also because, in a minimal setting, it hides deep meanings. In poetry, what is read is less significant than what must be deciphered from the mysteries of metaphor or symbols. Poetry attaches to one word another, in a logic that belongs neither to spoken language nor to literary prose. The associations of words that produce metaphors or poetic symbols are surprising, strange, contradictory most of the time. Deciphering and understanding poetry involve undergoing several stages. The first is intimate reading, in solitude. By simple reading, you approach the text without hesitation. Then when, still alone, you read it aloud and approach it from the perspective of sound. It can also happen, then, that after reading it in your mind and out loud, you want to "tell" it to someone, to check what he meant "to say". Check if the intention was perceived. This adds to the reading the ambition to translate the text of its substance into the interlocutor’s language. The next step of approach, of perceiving the hidden mystery, is the more or less spontaneous memorization of the verses. You learn them for yourself and you say them with the voice of thought. Then follows (in my case, ours, the actors') the climax, when you go on stage and utter the poem in front of the audience. In this situation, it acquires special values. I would call them unexpected usage values. The utterance that interests me is that of meanings. In a poem that excites you, you must intuit the hot moment of the poet's inspiration, the one that dictated to his hand to write. The poet conveys a good, a finished good, frozen in the page. I take it as such and pass it through the filter of my sensitivity. I am amazed by the aesthetic value, by the world I discover behind the metaphor and fascinated by the author's temperament. Poetry has become, organically, mine too. And that is why I feel attracted, I find myself forced to say it. I hurry back to the place where the poet sought, in solitude, to master the words. I feel the warmth of the moment of grace, I am a direct partner. Poetry becomes mine too. I willingly master it and add my speech to the method. I go on stage and claim copyright. All this receives meaning and aura when I take Eminescu's poetry as my ally. Through him, I fell in love with the Romanian language. He knew best that the worlds of poetry are the worlds of our dreams. That is why, having him by my side, I have the courage to go on stage and publicly claim the right to be an author myself. Text published on April 30th, in Dilema Veche magazine   Translated by Simona Nichiteanu 

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12 Jan 2021 Documentary Film “1989. The Diary of a Revolution”
Documentary Film “1989. The Diary of a Revolution”

Production of the “I.L. Caragiale” National Theatre of Bucharest Director: Carmen Lidia ViduWith: Ion Caramitru, Oana Pellea, Daniel Badale, Florentina Țilea, Germina Nagâț, Dan Voinea, Dennis Deletant, Andrei Ursu, Lavinia BeteaMultimedia: Cristina BaciuPhoto - Video Drone Operator: Florin BoicescuImage Operator: Marius DoniciPhoto: Vlad LăzărescuDecember 2020 Online Video   Teaser   One of the moral duties of the theatre is to ask questions and engage in dialogue.Everyone has a different opinion about how one was during the Revolution, whether one experienced it or not.Most of the information that the population has assimilated and repeats is "the official one", sometimes forgetting their personal history. The documentary film "1989. The Diary of a Revolution” aims to combine the two types of images (official and private ones) to outline a more nuanced image of the 1989 Revolution.The documentary is a cultural hybrid adapted to the social context, made of elements of film, theatre, set television, videomapping, aerial filming. In addition to the testimonies of actors Ion Caramitru, Oana Pellea, Daniel Badale and Florentina Țilea, you will also be able to watch interviews about the Securitate, the Ceausescu Trial, the Revolution, the terrorists made with Germina Nagâț, Lavinia Betea, Dan Voinea, Dennis Deletant and Andrei Ursu. Reviews“About simple, emotional things. The main advantage seems to me to be the naturalness of the testimony. Maybe because in this completely different December we need more than ever, maybe just as much as we needed in December 1989, genuineness and humanity. "Mircea Morariu, Contributors - December 1989, the Genuineness of the Testimony    “1989. The Diary of a Revolution” is a projection that captivates through naturalness, the captured testimonies show a new attitude towards an event that, some time ago, was still approached with spite. The production ends with the director Carmen Lidia Vidu herself: "Denying the revolution is like cutting off a people's self-confidence."Tudor Voicu, Book Agency - It was a Revolution   "Faced with their parallel destinies, actors, people, researchers or historians, the representatives of a more objective position, of official history, written in documents, realize together what we all know in one form or another as the Revolution of 1989. The formula chosen by Carmen Lidia Vidu, alternating official and subjective testimonies, without proposing a textbook history, non-interrogative, clarifying certain issues through interviews, without intervening herself in the documentary approach, however quite gentle in tone, is one under the sign of the possible and which leaves very much room for the future.”Dana Tabrea, Ziarul de Iași - A Film after a Theatre Show   “My impressions? I enjoyed it very much, it made me think, it clarified some things for me. The technical part, visual, auditory, script, games, surprises, pleasures, joys, moments of sadness, regret, sighing - all were well combined. I endorse it.”Olivian Breda, Blog - Documentary film (confession) - Romanian Diary. 1989  “From theatre to film, with Carmen Lidia Vidu, pioneering director of Romanian multimedia: The actors became documents of the Revolution. They are Romania’s living culture”.NTB Blog: Carmen Lidia Vidu in Dialogue with Olivia Chirvasiu  Translated by Simona Nichiteanu 

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10 Mar 2021 Winning 9G at NTB Projects - 7th Edition
Winning 9G at NTB Projects - 7th Edition

Within the competition of 9G Projects at NTB, 7th edition, 25 eligible projects were entered according to the competition regulations. The winning titles are the following:   1. Best Kid in the World - one woman show with and by Alina Serban Assistant director: Andrei MãjeriSet design: Tudor ProdanCostumes: Cristina MileaVideo: Tania Cucoreanu 2. Oleanna by David Mamet, directed by Luana Hagiu Cast: Claudia Moroşanu, Radu Catana 3. Extraordinary Lifeby Mariano Tenconi Blanco, director Teodora Petre Cast: Aida Economu, Mihaela VelicuSet design: Raluca Alexandrescu 4. Orphans by Dennis Kelly, directed by Alexandru Nagy Cast: Radu Catan, Laur Dragan, Claudia Moroşanu, Alin PotopSet design: Alexandra SucioaiaSound & video design: Danni IonescuChoreography: Teodora Velescu

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