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Project competition. 9G at NTB - 7th edition

18 November 2020
M from Murphy Premiere at the NTB Amphitheatre 15 September 2020
M from Murphy or production number 16 under 9G atNTB, the programme exclusively dedicated to young people not employed in entertainment institutions, launched by the Bucharest National Theatre in 2014, premieres on September 15th, 2020, up on the theatre, at the NTB Amphitheatre. The concept, direction and choreography are signed by Andrea Gavriliu, an artist whose name is known to theatre and dance people, as she signed collaborations with some of the most popular directors of the moment: Radu Afrim, Mihai Măniuțiu, Andrei Șerban. She is not at her first encounter with the National Theatreof Bucharest, the choreography of some important shows from NTB being her creation: Thieves by Dea Loher and Forest of the Hanged after Liviu Rebreanu (both directed by Radu Afrim). Actress, choreographer, dancer and director (as and when needed), Andrea Gavriliu has signed a clever show, full of humour, both theatreand dance, where she plays with Ștefan Lupu since 2013, awarded at many festivals and distinguished with the Special Prize for Dance Theatre at the UNITER Gala in 2014:Zig Zag. M from Murphy launches her in a different zone from what Andrea Gavriliu has worked so far, but it carries the same personal imprint of obsession with perfect movements, clear structure, controlled improvisation, slipping into comics when you least expect it. And the chosen theme, Murphy's Law, is tender, universally applied and verified (by all of us). The proposed language becomes accessible through the 8 actors -performers - Alexandru Chindriș, Eva Danciu, Roxana Fânață, Mariana Gavriciuc, Pedro Aurelian Gâfei, Flavia Giurgiu, Ciprian Valea, Tavi Voina -, who support with an overflowing energy the ideas, the shapes, the playfulness and the fatality of Murphy's famous sayings. This circle of ironic gaze is closed by symbolic objects or visual-theatrical signs created by scenographer Alexandru Petre and controlled through mysterious lights by Cristian Șimon. A physical theatre show, with a lot of dance and a lot of humour, where the body and voice of the performers - actors and dancers - become comic language, supported by a comforting, varied and captivating musical playlist. Dance and movement are manifested in a huge dynamic puzzle. And, as life is what happens to us while we make other plans and making mistakes is human, but even more human is to blame others and because, ultimately, if something can go wrong, it will go wrong, the show "M from Murphy" plays ironically with everyday fatality and makes the best of a bad bargain.   “Considering Andreea Gavriliu’s artistic resume, her presence in the 9G Programme seems somewhat atypical. And it really is, if we consider that many of the artists included in 9G during the six editions were young creators less known and without much stage experience at the time. Many of the young directors who nowadays have popular performances in theatres have switched to 9G, having the opportunity to propose bold ideas at the Small Hall. Perhaps what is now the presence of Catinca Drăgănescu, Andrei Măjeri, Horia Suru, Ștefan Lupu, Radu Iacoban, Elena Morar or Iris Spiridon is also due to the debate, the controversy, the breaking of some institutional barriers that the 9G Programme has assumed, ever since its launch. In Andreea Gavriliu's situation, the story is different. Her show is part of another 9G perspective. Knowing that other theatres offer her authorial performances and she no longer needs confirmation, after the project was chosen for 9G, the first question was: Why 9G? Her answer: Because I wanted to work with my ideal team, without a given theme, without anything imposed. 9G at NTB is the only programme that offers this freedom.” Cristiana Gavrilă, coordinator of the 9G Programme at NTB The following performances: September 15th, 22nd, 2020, 8:30 pm, at the NTB Amphitheatre 9G at NTB is a programme of the "Ion Sava" Centre for Theatrical Research and Creation launched in 2014.   Translated by Simona Nichiteanu 
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Ion Caramitru MasterClass. Poetic Copyright 11 August 2020
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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