CIS News

The result of the 9G at NTB contest

14 November 2019
Winning 9G at NTB Projects - 7th Edition 10 March 2021
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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Project competition. 9G at NTB - 7th edition 18 November 2020
The “I.L. Caragiale” National Theatre of Bucharest, through the “Ion Sava” Centre for Theatrical Research and Creation launches the 7th edition of the programme 9Gat NTB (New Generation) which addresses young theatre creators, graduates of the specialized faculties, up to 35 years old, not employed in entertainment institutions. The programme was launched in January 2014, so far 23 projects have been selected, 18 of them being included in The 9G Season at NTB. 9G at NTB takes place at the Small Hall, a space intended exclusively for young artists. 9G at NTB: - The “IL Caragiale” National Theatre of Bucharest through the “Ion Sava” Centre for Theatrical Research and Creation provides the space for the preparation of the show, at the Small Hall or in one of the theatre's rehearsal halls, for a period of four weeks (of which one week on the Small Hall stage). Depending on the rehearsal program of the theatre and the availability of spaces (rehearsal rooms, foyers, etc.) or the difficulty of the proposed project, the time given to the preparation of the show may be extended. - NTB provides the technical facilities at the Small Hall, the costume warehouse, the set store, the props, the theatre workshops, without making any additional investment related to the production of the show, but also the logistical support and advice from the theatre. - The performances resulting from the selected projects will have 3 free performances, with free admission, without the payment of copyright or related rights. - Following the performances with the audience, and with the agreement of the NTB Artistic Council, the show can be taken over in the repertoire of the Small Hall, in the 9G Season at NTB, benefiting from minimal investments in production, payment of royalties, according to the recipe and performances, and promotion. Conditions for participation in the pre-selection of projects: - The team proposing the project must be composed of independent artists, graduates of the specialized faculties, with a maximum age of 35 years. - There is no requirement or restriction in relation to the written texts (classical and contemporary drama) or the type of aesthetics proposed, but it is of advantage the concept of the show that relies mainly on the art of the actor. The projects will be sent by email to: They will include (according to the attached form): the directorial concept of the show (maximum 2 pages); cast, resume of team members. (Links to recordings of shows the team members have worked on can be added or recorded performances can be sent via transfer). The technical needs of the project will also be mentioned in detail. The play, the adaption for the stage, the script (any text underlying the project) must be put together in a separate document. The registration of the projects is made starting with November 19th, 2020, until January 31st, 2021, and until February 28th, the shortlisted titles and teams will be announced. Following a discussion with the teams, the selected titles will be decided to start rehearsals, in the first stage of the 9G programme (according to the regulations).   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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