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World Theatre Day Message 2019

27 March 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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The Door Mat, a New Premiere at NTB!

21 March 2019

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 www.mystage.ro.   Translated by Simona Nichiteanu 

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Ambassadors of the National ‘Artists for Artists' Campaign 2019

01 March 2019

On March 1st, the 18th edition of the Artists for Artists social campaign was launched, with the indispensable support of the theatrical institutions in Bucharest and the country. Through this humanitarian campaign organized by UNITER in March and April, funds are raised for artists of all ages across the country who have medical problems and poor health. It is also the month when we celebrate the World Theatre Day in the most natural way possible: on stage, in the show hall, backstage, to give other artists confidence, warmth and a chance for a better life. There are many ways to be active and to do something concrete for this cause. And it is not just about guild solidarity! This is primarily about human solidarity! Therefore, once again, two great artists, very sensitive and very involved in the life of the theatre community, resume with the same confidence the words of the UNITER social campaign: Join the campaign, buy tickets, enjoy the theatre and do a good deed! Emilia Popescu and Marius Manole are the messengers of the good deeds in the month of March. They are this year’s ambassadors of the Artists for Artists Campaign and invite you to take part in changing attitudes to the delicate, but solvable situation of our artists in difficulty. And this year, several dozen theatre institutions in Bucharest and across the country scheduled shows throughout March and April, with proceeds from the sale of tickets being directed to the Theatre Solidarity Fund: RO40RZBR0000060007801286 opened at Raiffeisen Bank, Amzei Square Agency. On www.uniter.ro, you can see the ambassadors' video messages and, starting March 1st, find the full list of the representations to be performed under the Campaign sign. Hurry to buy tickets to the theatre! Every purchased ticket means not only a sign of reverence for the actors' work, but also concrete help. Because there are artists who depend on the funds collected by UNITER within the National ‘Artists for Artists' Campaign, some of whom do not have family or other support. People who need urgent financial support! Join the campaign! Buy tickets, enjoy the theatre, do a good deed! The money raised from the sale of tickets, donations and sponsorships can be transferred to the UNITER account RO40RZBR0000060007801286 opened at Raiffeisen Bank, the Amzei Square Agency, the Theatre Solidarity Fund. Organizer: UNITER - Theatrical Union of Romania, in partnership with theatres from Bucharest and countrywide. Partners: Romanian Broadcasting Society, Romanian Television Society through the TVR Production House, ITI - International Theatre Institute - Romanian Centre   Translated by Simona Nichiteanu  

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NTB Nominations for the UNITER Awards 2019

22 February 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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The Nouveau Criminals on the Grand NTB Stage!

16 February 2019

The I.L. Caragiale National Theatre of Bucharest announces the first performances of the The Nouveau Criminals by Edna Mazia, translated by Etgard Bitel, directed by Ion Caramitru, which shall take place on Saturday, February 16th, Sunday February 17th, 2019, Sunday, February 24th and Friday, March 1st at The Grand Hall, starting from 7.30 p.m. Designated by Haaretz Magazine as "First Lady of the Israeli Theatre", Edna Mazia first became a screenwriter, then a playwright and theatre director, followed by philosophy and drama studies, and her career was crowned with recognition by the audience and the specialized criticism. Among her numerous plays, those which enjoyed a special appreciation were the Family Story - rewarded in 1997 with the Meir Margalit Prize (after the name of a famous Israeli actor of the 20th century) and the Lea Goldberg Award, then only two years later, for the Rebels, the writer would be declared Playwright of the Year 1998-1999, a recognition doubled by a new Meir Margalit Award. In Romania, the most famous piece of Edna Mazia is the one in 2011, Games in the Backyard, director Bobi Pricop's debut exam, taken over by Act Theatre. With Nouveau Criminals, the author, who was also the director for this play performed with great success by Israel's Cameri Theatre, offers us a comedy of stark topicality, oscillating between laughter and tears, about a family hoping to regain their lost well-being. It's a story about the temptation of money, easy gains on not exactly Orthodox ways, risky maneuvers of survival, and the cumbersome routine of domestic cares. A bitter comedy, reserved exclusively for adults, with generous scores and extraordinary actors - guided with psychological finesse by Ion Caramitru - the director, gives you the opportunity to meet with a five star cast on the great stage of the Bucharest National Theatre. The amazing situations and characters that trigger them are brought to the scene by the actors: Virginia Mirea - invited to join NTB with this role, Alexandrina Halic, Andrei Finti, Silviu Biriş, Afrodita Androne, Teodora Mareş, Ileana Olteanu, Aylin Cadir / Diana Sar, Cosmina Olariu, George Piştereanu, Daniel Badale, Mihai Verbitchi, Alexandru Hasnaş. In other roles: Viorel Florea, Alexandru Popescu, Nicoleta Tase, Aris Bănuţoiu. The welcoming home of a once wealthy family is the stage creation of Florilena Popescu Farcasanu - as well as the costumes of the show, the lighting of the lighting designer Chris Jaeger, the choreography of Florin Fieroiu and the musical arrangements made by Călin Topa. You shall laugh at the challenges of dealing with the "nouveau criminals" ... The humour and wisdom of an honest contemporary family shall persuade you that it is worthwhile facing your fate even if you becomes its toy, even if the whole world has gone mad and .. even though "it's all but ... a great mess" !!! So dare and be welcome to the generous home of a respectable family, where a fancy business flourishes ...! The official premiere of the show is scheduled for Thursday, March 7th, 2019, from 7.30 p.m. in the presence of the author. The duration of the show is 2 hours 50 minutes, with a break.  Tickets are available at the NTB Box Office, in the Grand Hall foyer, as well as online on www.mystage.ro.   Translated by Simona Nichiteanu 

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Virtual Tour of a Unique Project

05 April 2016

  Starting with the month of April 2016, on the website of the ”I.L. Caragiale” National Theatre, a totally exceptional virtual tour can be accessed, in the form of an interactive documentary film, consisting of 310 panoramas, enabling the navigation of the NTB building, inside and outside, before, during and at the end of the restyling works of the theatre building. The material published on the website further includes the virtual presentation of the sceneries of six performances from the NTB production of the last years: Scourge, The Avalanche, Master Leonida Facing the Reactionaries, Lottery Tickets, The Cherry Orchard, The Visit. The time frame for the creation of the 310 published panoramas (accomplished in the period 2010-2016) has been estimated to over 1500 hours and approximately 30.000 separate photographs have been used. The high-resolution images enable the study of the spaces in detail and from a bird’s eye view, presenting the users even areas inaccessible to the audience (workshops, dressing rooms, the costume stock, the off-stage area etc). The application is accompanied by a brief ”visualisation guideline” in Romanian and English. Not lastly, the publishing of this complex virtual tour also aims at promoting the « new » National Theatre as an institution open to a new audience, interested in theatre, but also in the latest technologies. The material used for the creation of the virtual tour is part of an extensive documentary archive compiled over 7 years, in the time frame 2008-2016. Completed at the end of 2015 (except for some photographs taken in 2016), the archive comprises video and photo materials, panorama images, architecture layouts, interviews and media coverage, following the National Theatre evolution and of its former and current employees throughout the entire duration of the building site for the building restyling. Through the spatial and temporal deployment, the archive has been first and foremost gathered as a study material on the topic of the architecture project, of the habitation of areas and the place occupied by NTB in the public space, aimed at both the audience and theatre professionals or those wishing to pursue a training in this field. The project has been entirely produced, in his capacity as author, by Mihai Bodea-Tatulea, graduate of the National University of Theatrical Arts and Cinematography, who even from the launch of his initiative, had the theatre’s consent to film and shoot all key moments in connection with the evolution of the institution. The entire documentary archive is subject to a potential publishing, and the author is seeking financial aid for supporting this effort. The National Theatre encourages the affiliation of other people, institutions or companies for supporting the project continuation.   Translated by Simona Nichiteanu 

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