"This is a must-see show. By force. To be projected outdoors, as a film, if it cannot be performed, to go around the country, to have real debates afterwards. For the young people to find out, but also their superficial parents, andalso teachers who teach three lines about the Revolution, about communism and communist camps, about darkness, fear, deprivation of liberty, property, about torture, about the secret service, about the secret service agents, about the Mineriad. "

Marina Constantinescu, Radio Free Europe Romania - Fragmentarium. Subjective. Something about the Prerequisites of Freedom 

"Beyond "our" Revolution of December 1989, there were millions of revolutions. It is through this reference to previous stories, to the family as a way of connecting with the past, to each other's biographies and to the place where they were caught up in events, that Lydia Vidu's play does what many miss: it emphasizes that behind the event there is a history."

Mădălin Hodor, Revista 22 - Our Revolutions  

"Oana Pellea had perhaps the most moving testimonial of the evening because for her the moment of the Revolution of December 1989 coincided with a personal revolution, she put an end to the dreamy wanderings in which the young girl protected by the family had settled down without realizing it and opened the way to an assumed, responsible existence. Beyond what she built on stage or in movies, if Oana Pellea is today who she is - the responsible citizen, who takes a public position when she feels the need for it, the whole person - that started then, at the Revolution. And it would have been beautiful if the same thing happened to many more people in Romania. "

Cristina Modreanu, Scena Magazine - The “Dethroned” Revolution  

"The show is much more than the Romanian shows produced in recent years under the title of documentary theatre, and this is also due to the professionalism of the actors involved. A show that fully speculates the advantages of an outdoor hall and which is specially designed for the Amphitheatre of the I.L. Caragiale National Theatre of Bucharest. "

Nona Ropotan, Bookhub - The Actors' Revolution - The History of a Documentary TheatreShow  

"The most emotional moment seemed to me the intervention of Florentina Ţilea, leading pioneer in those times, selected to meet the dictator when visiting Iasi County. "

"The projections were not only cool and larger than life, projected on the panoramic wall of hundreds of square meters of the National Theatre, but also a real directorial commentary, emphasizing words and ideas expressed by the protagonists. A kind of visual voice over, very well balanced, non-intrusive, but essential throughout the evening. "

Alexandru Pătrașcu - About Creation and Truth 

"The main quality of the enactment "Romanian Diary. 1989" is that, bluntly and unequivocally, it condemns communism from the height of a first-rate cultural institution: the National Theatreof Bucharest."

Horia Ghibuțiu, Blog - Romanian Diary. 1989, the Second Sentencing of Communism 

"Visually, the show is a performance in itself. The multimedia creation achieved by Cristina Nicoleta Baciu supports very well the idea of ​​the show and Ovidiu Zimcea's score assimilates and carefully reflects a disturbing universe. Dynamic, expressive is the animated graphics, the comics created by Gabriela Schinderman. "

Marian Popescu, Blog - Theatre of the Revolution. In Times of Illness  

"I left "Romanian Diary. 1989" excited and persuaded that this series of documentary theatre could continue with many other personal stories that, if not told, will be irretrievably lost. It is a show worth seeing by all generations. Times of crisis unite people in the situation The 1989 Revolution reminds us of where we started and what we must fight for: freedom of action and thought, always under attack from one form or another internally or externally, nationally or globally - which can be taken away from us again at any time. "

Alexandra Ares, Neuma magazine  

"These confessions help us understand Romania"

Medana Weident, Deutsche Welle - Romanian Diary. 1989  

"Romanian Diary. 1989" is a unique, sincere and necessary show, and the fact that it is played exactly above one of the emblematic sites of the Revolution (and later of other events) has a special symbolism, perfectly assumed. "

Ionuț Mareș, Ziarul Metropolis - Romanian Diary. 1989. History and Histories  

"It should be emphasized that "Romanian Diary.1989" is not a trivial evocation, it presents personal life files, reported at the time we all lived. It excites and stirs the soul, it surprises with originality and innovation in theatrical expression, serving the theme of the need to judge today communism and its history that destroyed society, dramatically ending with loss of life. It still has repercussions through some active mentalities with some citizens, under the shield of politicians. "Romanian Diary.1989" memorably serves the mission to the public of the theatrical act - culture and education. "

Ileana Lucaciu, Blog - Exceptional show. It can excite and stir the soul  

"I think it is great that we have a political show at NTB. I am very curious how / whether this will influence the repertoires of state theatres."

"Beyond the likes and dislikes, I found it very interesting to see Ion Caramitru telling his story of involvement in the Revolution, how he came to say that " Brothers, we won" live on television."

Mirela Petre, Libertatea - Recommendations of the week. Romanian Diary.1989  

"The show "Romanian Diary. 1989 ", directed by Carmen Lidia Vidu at the "IL Caragiale" National Theatre of Bucharest, is a responsible act of memory.

Told like this, the Romanian Revolution is not just a blunt history lesson for a good grade or an anecdote told at a family meal. The show performed in the NTB Amphitheatre Hall does not allow you to "know better"; because it is percussive, it has artistic sincerity, moral commitment and aesthetic fulfillment. "Romanian Diary. 1989" is a necessary show."

Alina Epîngeac, Amphitheater - Romanian Diary.1989 - the Dignity of Assumed Memory 

"The truth about the Revolution", a phrase meaningless from so much invocation in the first years of his freedom is not yet known: who shot in December 1989, who had access to power, what role did the Securitate play, who orchestrated Ceausescu's trial? as in 1989. Carmen Lidia Vidu's show is marked by these misleading prospects.With a bright red evening dress (the metaphor of communism), Florentina Ţilea tells in the prologue how she replaced, when she was little, her sick brother in a show dedicated to "It is no coincidence that the history of the stories of the Revolution begins with a hoax."

Oana Stoica, Scene 9 - The Revolution, the Pandemic and the People of Bucharest  

"Because the revolution, in particular, is for future generations, not necessarily for those who lived it, the show ends with a comic strip , a diary of the events of the revolution. Clever.

And because the comics are about heroes, here are drawn the unknown heroes, those to whom we owe our gratitude and children will be able to love them. "Romanian Diary. 1989" does not move you, it really shakes you."

Dana Cristescu, Hotnews - What Do We Say When We Stop Talking about the 1989 Revolution? 

"From beginning to end the impression is strong, you have the feeling that you are reliving scenes from the ancient theatre, as you imagine it to be, a person comes and tells you briefly, in unsophisticated words, what happened to him from childhood to December 1989. What an impact that turning point had on his own and his family's history, meanwhile, handwritten texts, photographic images, short film clips are projected on the huge front screen, large side panels and spectators' clothes. "The abundance of artistic means and the direct presence of the four witnesses - actors melts into a round and flawlessly finished whole."

Carmen Săndulescu, Radio Romania International - “Romanian Diary.1989”, Premiere at the National Theatre of Bucharest 

“The film addresses indirectly the young generations, born around and after 1989, regarding their participation in history, the birth of the civic spirit in the following decades, the assumption of an honest critical attitude towards their own history. I do not think it is a coincidence that this film appears after the protest movements of the last years and is signed by Carmen Lidia Vidu, an artist established through documentary theatre (see the Romanian Diary series), interested in reflecting in drama the actors’ relationship with the places they inhabit, in the way their destiny is forged by their involvement in the community, in society, in history. ”

Oana Cristea Grigorescu, scena.ro - Confronting the witnesses of history in theatre  

Translated by Simona Nichiteanu 

UNITER Award for Best Direction - Carmen Lidia Vidu, 2021

Participation in the Contemporary Dramaturgy Festival, Timisoara, 2020