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Teatrul Tineretului Piatra-Neamț
Teatrul Tineretului Piatra-Neamț
by Duncan Macmillan
Director: Horia Suru
With: Florin Piersic Jr
A THOUSAND REASONS tells the story of a man who constantly seeks what is beautiful in people and in everything around him, because only thus can he understand himself. Because only thus can he understand the purpose of life.
A play about how much we are prepared to do for those we love.
Luiza Zan, Tajti Albert, Michael Acker
Tickets can be obtained from the agency of “Ion Creangă” House of Culture Tîrgu Neamţ (program 8-16.30) or can be booked at the TT agency.
after Aglaja Veteranyi
Director: Dana Paraschiv
With: Edith Alibec
The story of a circus family who flee Romania is search of glory in the West is told from the perspective of the youngest daughter. Produced and acted by Edith Alibec, directed by Dana Paraschiv, the play was created in Munich, in German, and later performed in Zürich, London, New York, Bucharest, and Stockholm in German, English, and Romanian. It tackles the theme of the stranger who is at home everywhere and yet never truly anywhere, a feeling that the actress herself experienced when she lived in Germany.
Tickets can be obtained from the agency of “Ion Creangă” House of Culture Tîrgu Neamţ (program 8-16.30) or can be booked at the TT agency.
after Ludmila Razumovskaia
Director: Mădălin Hîncu
Scenography: Răzvan Bordoș
Translation: Lia Crișan and Tudor Steriade
With: Firuța Apetrei, Ștefan Alexiu, Eduard Burghelea, Minodora Broscoi, Tudor Hurmuz
What is goodness? What does it mean to do good? In the context of our story, we may wonder, what does it mean to be good in a corrupt society? How many of us are truly incorruptible? The play is my attempt to offer an answer to these questions. At this moment, I do not know what it means. This is our mission and the direction of the play. A play about the nature of good in a corrupt world.
(Mădălin Hîncu, director)
by George Cocoș
Director: Elena Morar
Decor: Samuel Alfred Mihailovici
Costumes: Beatrice Şandru
Sound design: Andrei Mihai
Photographers: Andrei Burcea, Andrei Ceobanu
With: Aida Avieriței, Dragoș Ionescu, Andrei Merchea Zapotoțki
Pupil assistants: Anda Brașoveanu, direction assistant // Alexandru Nechita, dramaturgy assistant // George Borș, scenography (decor) assistant // Otilia Toma, scenography (costumes) assistant // Teodora Parmac, lighting assistant // Dan Beșu, sound assistant // Miruna Beteringhe, technical direction assistant // Alexandra Sandu, production assistant // Raluca Zaiț, promotion assistant
A play produced as part of the Mic-Ro Theatre Creation Laboratory, a cultural project financed by Administration of the National Cultural Fund (AFCN). The aim of the project is to promote Romanian dramaturgy and performances of contemporary texts among the young public, through a creation laboratory dedicated to young dramaturgs, directors, and scenographers, actively assisted by high-school students at all stages of their work. By the end of the project, in November 2018, three theatrical productions will have been developed, based on the winning texts in the Corneliu-Dan Borcia Dramaturgy Competition, organized as part of the project. SCHOOL FEAT. COOL is the first of these three productions.
“SCHOOL FEAT. COOL talks about the school–pupil relationship through the prism of the personal trajectories of three children in 1990s small-town Romania, bringing their intersecting stories up to the present day. Focusing both on the thread of memories and on the affective micro-geography of the places that form one’s personality, George Cocoș’s tender and tragicomic text explores how the “latch-key” bridge generation of 1990–2000 has melted into the society of today. When nostalgia is interwoven with trauma and when the reconstruction of what was going on in the school yard or behind the apartment block leads to personal revelations, Petre, Cristina, and Smokey come across to us, each in their own way, as survivors.’ (Elena Morar, director)
Ada Milea and Bobo Burlăcianu
Text and direction: Joël Pommerat
Scenography and costumes: Marguerite Bordat
Music: Grégoire Leymarie, François Leymarie
Lighting: Éric Soyer
Technical direction: Thomas Ramon
Translation: Mihaela Michailov
With: Ludovic Molière, Valérie Vinci, Isabelle Rivoal
Performance in French with Romanian subtitling
Joël Pommerat sets out to create a visual theatre, at the same time intimate and spectacular. He is ‘a writer of performances’, in which text and direction come into being in the course of rehearsals. From the beginning, he has collaborated with such theatres as Théâtre de Brétigny-sur-Orge and Théâtre Paris-Villette. At the invitation of Peter Brook, he was artist in residence at the famous Théâtre des Bouffes du Nord from 2007 to 2010. He has also been associate artist at the National Theatre in Brussels and the Odéon Theatre in Paris. The Louis Brouillard Company, founded by Pommerat in 1990 is associated with the Théâtre de la Coursive / Scène Nationale de La Rochelle and the Comédie de Genève. Pommerat’s productions have won numerous awards and have been presented at the most important festivals worldwide. LE PETIT CHAPERON ROUGE, created in 2004 has been presented on tour for fourteen years all over the world, numbering to date 900 performances in 176 cities in 10 countries.
“The success of this production shows that theatre does not necessarily need great resources to exist. Because all that is Pommerat is there, in this production simple in appearance but emblematic for his theatre: a theatre written as much in light, darkness, sound, and image as in words: a mixture of cruelty, humour, and mystery…’ Fabienne Darge, Le Monde, 2013, ‘Un loup aussi effrayant que séduisant’
“I wanted to make the characters and the episodes in the story as simple and true as possible. And very real. The relation to nature and animality, even bestiality, is essential for me. Dangerous, mysterious nature, its unpredictability and that of the animals, but also their beauty and wonder, the captivating and desirable side – all this I want to bring onto the stage. The relation to fear is primordial in this story, as indeed in the life of every child. In my opinion, fear has as its reverse side another emotion, desire.” (Joël Pommerat, ‘Work notes’, 2004)
Tickets can be obtained from the agency of “Ion Creangă” House of Culture Tîrgu Neamţ (program 8-16.30) or can be booked at the TT agency.
after Aglaja Veteranyi
Director: Dana Paraschiv
With: Edith Alibec
The story of a circus family who flee Romania is search of glory in the West is told from the perspective of the youngest daughter. Produced and acted by Edith Alibec, directed by Dana Paraschiv, the play was created in Munich, in German, and later performed in Zürich, London, New York, Bucharest, and Stockholm in German, English, and Romanian. It tackles the theme of the stranger who is at home everywhere and yet never truly anywhere, a feeling that the actress herself experienced when she lived in Germany.
Andrei Robin Proca (vocal, guitar)
Florentin Vasile (guitar, vocal)
Oigăn (bass)
Andrei Fântână (keyboards, saxophone)
Radu Moldovan (percussion)
Vladimir Proca (drums)
Tickets can be obtained from the agency of “Ion Creangă” House of Culture Tîrgu Neamţ (program 8-16.30) or can be booked at the TT agency.
Concert-play by Ada Milea, after Ion Creangă
Scenography: Alexandra Constantin
With: Andrei Merchea Zapotoțki, Emanuel Becheru, Corina Grigoraș, Cătălina Eșanu,Rareș Pîrlog, Gina Gulai, Maria Hibovski, Dragoș Ionescu, Nora Covali, Cătălina Bălălău, Valentin Florea, Sir Blues Vali Răcilă (special guest)
Like her concert-play THE DREAMER (and with the same cast), Ada Milea’s new creation explores the world of childhood, this time starting from a classic of Romanian literature which she revisits with humour and ingenuity. MEMORIES is the place where the youngest members of the audience meet adult members who have kept their curiosity and freshness of vision.
‘The concert MEMORIES tries to resonate with Creangă the old author in the world of today, with possible memories of possible audience members and the few memories of today’s children. Beyond the theft of cherries, scabies, goats, Irinucă, and the hoopoe, it is a world in which every mother wants to make her boy a priest (because of advantages material as well as spiritual). The actors sing accompanied by brooms, spoons, washboard, frogs, and guitar, in an atmosphere that may bring to mind the American Wild West.’ (Ada Milea)
by Iulian Tănase
Director: Cristina-Andreea Ion
Scenography and choreography: Lightwave Theatre Company
With: Constantin Cotimanis (voice of Mr. Time), Cristina-Andreea Ion, Petru Stratulat, Andra Mirescu / Oana Cercel, Dragoș Stanciu
Anabel enters her childhood home and finds the diary that she kept until her adolescence. She is a girl like any other, in a family like any other, as dysfunctional as most families, who through her imagination tries to pass over her parents’ quarrels, growing up and coming face to face with the temptations of adolescence. Life-size puppets, in a show aimed also at an adult audience.
Tickets can be obtained from the agency of “Ion Creangă” House of Culture Tîrgu Neamţ (program 8-16.30) or can be booked at the TT agency.
after Ecaterina Oproiu
Direction and scenography: Constantin Podu
With: Mircea Rotaru, Teodora Voineagu, Robert-Alexandru Hâncu Bălțatu, Alexandru Nicoară, Alexandra Podu
A TV programme compèred by two charismatic presenters, with six women as guests to talk about femininity. All these elements make up the story of a play that turns into a parody of today’s commercial broadcasts. Ecaterina Oproiu’s play Interview is the pretext for an attack on the media circus that we see every day. From a theatrical show, the production thus becomes a social one, in which each member of the audience can recognize themselves.
by Elise Wilk
Director: Leta Popescu
Scenography: Török Réka
Music: BOCSÁRDI Magor
With: Moșu Norbert-László, Vajda Gyöngyvér, Máthé Annamária, Boros Mária, Tamás Boglár, Kolozsi Borsos Gábor, Bartha Boróka, Faragó Zénó
Performance in Hungarian with Romanian subtitling.
“COLD is a false documentary about the city of Gheorgheni. The characters have never existed, and the events related have never taken place. The only thing that is true is that in Gheorgheni it is very cold. And when it is cold, in the long winter nights, when fog envelopes the city, people stay at home and make up stories. To make the time pass faster, to escape into other worlds, or because, by telling stories, they feel less alone. COLD is a text about our need to tell and to listen to stories.” (Elise Wilk)
by Petro Ionescu
Director: David Schwartz
Scenography: Anda Pop
Music: Krisztina Sipos
Documentary assistant: Silvia Netedu
Illustrations: Lucia Mărneanu
Video: Daniel Răduț
Live music: Krisztina Sipos
With: Oana Mardare, Lucia Mărneanu, Denisse Moise, Doru Taloș
The starting point of the play is the media scandal surrounding the Caritas pyramid scheme and the testimonies of the people directly involved in the story. Situating everything in the sphere of the possible and of the miraculous, the play brings onto the stage the story of the Caritas game and the phenomenon that built up around it in the 1990s. Gradually it reveals the political and social dimension that lay behind this circuit, without which it would not have attained such proportions.
THE CLUJ MIRACLE is part of the project ‘Exercises in Democracy: The Investigation of Recent History’, which proposes the creation of two documentary theatre plays starting from significant events in the recent history of Romania.
by George Brant
Director and live VJ: Ligia Ciornei
Scenography: Andreea Sarău
Live sound design: Marian Cîtu
Light design: Dragoș Mărgineanu
Translation: Isabela Neamțu
With Isabela Neamțu
A woman bomber pilot becomes a mother and wife, but when she returns from maternity leave and wants to fly again, the system ‘recycles’ her and sends her to pilot drones in the desert. Is it possible for a human being to go to war every day and then, in the evening, to kiss her daughter goodnight? How do you cope when you become aware that everything is recorded?
The modern age superposes existences and archives all the moments of our lives. It is the age of Big Brother. The originality of the staging consists in the harmonious dialogue between acting, sound, and video montage, all three going on in real time, to recover a present ready at any time to dissolve into grey.
by Alexandra Felseghi
Direction and scenography: Adina Lazăr
With: Irina-Maria Barbir, Diana Buluga, Emanuel Cifor, Sergiu Diță
What does it mean not to fit into the norms imposed by a society obsessed with nutrition, political correctness, and a healthy lifestyle? How do you manage to reconcile yourself to your image, which doesn’t resemble those of showbiz models, as a standard of beauty? When social pressures regarding healthy food and lifestyle and more important than personal happiness, what are we left with?
EAT ME is a play about our lives full of beta carotene, fatty acids, perfluorooctanoates, calcium, and magnesium; about the guilty pleasure of bags of crisps hidden behind the sofa; about the importance of squares on the abdomen in relation to spiritual fulfilment.
after Eric Bogosian
Directors: Andrei Stan și Andrei Dinu
Scenography: Mihai Vălu
Music: Petru Damșa
Drawings: Mara Stiru
Soundtrack: Andrei Stan și Andrei Dinu
With: Andrei Stan, Andrei Dinu
Special guest: Ioana Cheregi
“Before our eyes come all sorts of characters who want to seem trendy, extremely laid back, caring very little for rules or codes. However the whole game of appearance is part of the daily manipulation to which we are subjected by TV, school, church. We act out prosperity to play the game of consumerism; we simulate compassion and empathy out of who knows what mean interests; we listen daily to very well targeted speeches that play dirty games.”
(Mircea Morariu, theatre critic)
by Jean-Claude Grumberg
Translation: Liviu Ornea;
Adaptation: Alexandru Berceanu
Direction and scenography: Alexandru Berceanu
With Maia Morgenstern
Secret books, distorted mirrors. A lesson in good manners, administered with courage. If you look where the author points, screams of horror turn into laughter. By gathering a few pages of Romanian story into the great European anti-Semitic current, we want to make a historical reparation, to learn and to recognize better who our fools are and to ask ourselves how much longer we can let them rest in peace.
(Alexandru Berceanu, director)
An artistic project by Cosmin Manolescu
Choreography: Cosmin Manolescu
Video: Gemma Riggs
Photo: Dragoș Lumpan
Dramaturgic support: Ștefania Ferchedău
With: Idris Clate, Judith State, Cosmin Manolescu
A production presented as part of Platforma ZonaD, a cultural programme co-financed by the Administration of the National Cultural Fund.
Wanderlust, atmosphere, poetry, vibration, observation, rhythm. Is the traveller the one who observes the others or the one that the others observe/follow?
JOURNEY TOWARDS MYSELF is the first episode of the artistic project dans#wanderer, the work of the choreographer Cosmin Manolescu in collaboration with performers Idris Clate and Judith State, which had its premiere in October 2017 at the Replika Centre for Educational Theatre in Bucharest. The project is inspired by the book The Wander Society by Keri Smith (Penguin Books, 2016), which speaks about the philosophy of the experiential type of journey and about the discovery of the unknown.
Tickets can be obtained from the agency of “Ion Creangă” House of Culture Tîrgu Neamţ (program 8-16.30) or can be booked at the TT agency.
Text, direction, scenography, light design: Daniel Chirilă
With: Alina Mîndru, Maria Veronica Vârlan, Tudor Morar, Tiberiu Enache, Ovidiu Cosovanu, Dumitru Georgescu
BEFORE OUR TIMES is a play about each of us and about how we got here. Here in the present between ‘communism’ and ‘democracy’, caught in the permanent and confused transition between ourselves and ‘the others’, in an endless rush after the food of today and the so-called (but certain) ‘salary’ of yesterday.
We have been ‘Before Our Times’ (too) many times and it all starts from education. What more bitter comedy than our daily school?! A few scenes from the lives of some people who live in other times, perfectly valid today too. A few scenes with children, systems and electricity, about laughing to stop crying.
Collective creation, coordinators: Jo Brăilescu și Daniel Chirilă
A play created as part of the Frilensăr Cultural Platform
With: Laura Bondalici, Raluca Chiper, Gabriela Cozma, Florina Dochița , Cezar Filip, Diana Glodeanu, Alexandra Partene, Georgiana Roșu, Ana Ungurean
The CEVA young theatre troupe was founded as part of the Frilensăr Cultural Platform in February 2018. Through the cultural intervention project CEVA (in Romanian meaning ‘something’ and also the acronym for ‘community, education, future, art), the Frilensăr artists assembled a group of twenty teenagers in the town of Târgu Neamţ (Neamţ county) to question, with the help of theatre, the immediate realities of their local communities. CEVA has in view the creation of a regional (Moldavian) educational theatre centre, to promote theatre in the coming years among teenagers as a means of alternative education. The creations of the CEVA young theatre troupe are based on collective direction.
#BOOMERANG: Thoughts, community, and teenagers. Freeflow and carpets. Chairs, discoball, and stories about children who grew up here. Our stories about us and our town.
by Igor Bauersima, directed by Emanuel Becheru
With: Adriano Panoschi, Ana Maria Hârleț, Florina Cojocaru
In January 2018, the TT actor Emanuel Becheru founded the theatre troupe of the Gheorghe Asachi National College, Piatra Neamț, some of whose students had been TT volunteers since October 2018. In addition to workshops in development through theatre, the members of the Troupe decided to try out their abilities on Igor Bauersima’s text. After three months of intense work, the result was this production, which will have its premiere at the Piatra Neamţ Theatre Festival.
NO(R)WAY TODAY is a story about love, about the temptation of a limit experience, somewhere at the ends of the earth, in a fjord.
adapted from „Almost. Maine“ de John Cariani, directed by Sabina Brândușe and Valentin Florea
With: Mălina Cojocaru, Daniela Popa, Georgiana Diaconița, George Cioflînc, Miruna Moaleș, Sebastian Anghel, Bogdan Romedea, Teodora Parmac, Sînziana Gondor, Carla Bălan, Ștefan Grădinaru, Alexandra Berariu
This project was born on a winter day in 2017, out of the desire of the twelve students of Calistrat Hogaș National College who had just formed a theatre troupe to show their classmates and teachers the form taken by the work they had put with passion into their workshops of personal development through theatre, coordinated by Theatre of Youth actors Sabina Brândușe and Valentin Florea.
BITTER-SWEET is a collage of eight scenes adapted from the two twin texts by John Cariani, Almost, Maine and Statistic. The love stories are brought, as far as possible, to the age of adolescence, and are an exercise in sincerity, assumption of responsibility, relating, and scenic truth, seen from the perspective of a group of high-school students.
by Alexandru Gorghe and Theatre Workshop, after William Shakespeare
director Lenuș Moraru
With: Anamaria Codiţă, Doriana Mihai, Alberto Păduraru, Alex Maxim, Anamaria Rusu, Augustin Maricuţa, Antonia Scutaru, Denisa Dutcovschi, Robert Onofrei, Toma Rîşca, Diana Bălăucă, Ramona Andrieş, Ruxandra Moraru, Diana Ştir, Natalia Radu, Iza Pamparău, Ioana Alexuc, Larisa Fedeleș, Daria Caragea, Ilinca Hangan, Alexandru Andrian , Tavi Mateiciuc Adela Bradu , Bianca Plăcintaru, Ştefan Hruşcă
Production presented in partnership with the Ideo Ideis National Festival of Young Theatre in Alexandria.
AS WE LIKE IT is a collection of occurrences that speak about love, collected from the plays As You Like It, A Midsummer Night’s Dream, Twelfth Night, and The Taming of the Shrew. The well-known characters have changed their names and have started to speak the same language as us, but they are the same types that Shakespeare tells us of. They come in a package with the problems of parents, of friends, of out-of-school passions – in short, they are immersed in the world of today’s teenagers.
A play by Gianina Cărbunariu
Italian translation: Roberto Merlo;
Scenography and light design: Mihai Păcurar;
Scenic movement: Alessandro Sciarroni;
Musical preparation: Cristina Renzetti;
Direction assistant: Thea Dellavalle;
Photo: Luca Del Pia
Technical direction: Marco Palermo;
Lights: Vincenzo De Angelis;
Sondt: Alberto Irrera;
Costumier: Elena Dal Pozzo
With: Francesca Camurri, Enrico Caroli Costantini, Roberta De Stefano, Vladimir Doda, Luigi Feroleto, Michele Galasso, Mattia Giordano, Leo Merati, Federica Ombrato, Giulia Quadrelli, Chiara Sarcona, Maria Vittoria Scarlattei, Giacomo Stallone, Marco Trotta, Valentina Vandelli, Maria Luisa Zaltron
Spectacol prezentat cu sprijinul financiar al RIFIL, sponsorul principal al Festivalui
Partener: Festivalul Internațional pentru Publicul Tânăr Iași
Performance in Italian with Romanian subtitling.
WORK IN PROGRESS is an ERT production from the Teatro delle Passioni din Modena, with a cast of sixteen young artists between 23 and 35 years of age. Coming from different regions of Italy, they were involved in the first phase in an intense effort of documentation on the theme of the working conditions offered to the new generations of workers. The more than a hundred interviews that formed the basis of the fictional script were carried out in the city of Modena and the surrounding area, but the themes of the play can be recognized throughout today’s Europe: vulnerability, precariousness, individualism, all in an atmosphere more and more marked by the rise of nationalism, populism, and the extreme right. The play fictionalizes with irony and self-irony situations in various working environments, and tries to raise questions about the meaning of the concept of work and, implicitly, the rights of workers in Europe. The characters inspired by reality are young people with various occupations: entrepreneurs, students with part-time jobs, badante (carers) from Eastern Europe, trainee lawyers, bus-drivers, artists, etc., or young people seeking jobs in a market in which the rules are constantly changing.
‘WORK IN PROGRESS is a convincing example of what today’s theatre can and should be doing: entering into dialogue with society and finding again its nature as a civic assembly.’ (Enrico Fiore, Controscena, 18 May 2018)
Tickets can be obtained from the agency of “Ion Creangă” House of Culture Tîrgu Neamţ (program 8-16.30) or can be booked at the TT agency.
Text, direction, scenography, light design: Daniel Chirilă
With: Alina Mîndru, Maria Veronica Vârlan, Tudor Morar, Tiberiu Enache, Ovidiu Cosovanu, Dumitru Georgescu
BEFORE OUR TIMES is a play about each of us and about how we got here. Here in the present between ‘communism’ and ‘democracy’, caught in the permanent and confused transition between ourselves and ‘the others’, in an endless rush after the food of today and the so-called (but certain) ‘salary’ of yesterday.
We have been ‘Before Our Times’ (too) many times and it all starts from education. What more bitter comedy than our daily school?! A few scenes from the lives of some people who live in other times, perfectly valid today too. A few scenes with children, systems and electricity, about laughing to stop crying.
by Mihaela Michailov
Verses: Bobi Dumitraș (Fără Zahăr)
Director: Radu Apostol
Scenography: Gabi Albu
Choreography: Paul Dunca
Music: Bobo Burlăcianu (Fără Zahăr)
Video: Elena Găgeanu și Gabi Albu
Musical preparation: Oana Pușcatu
Live piano: Silvana Negruțiu, Oana Pușcatu
Direction assistant and technical assistant: Andreea Iacomiță
Sound engineer: Tudor Bâlcu
Photo: Maria Ștefănescu
With: Mihaela Rădescu, Viorel Cojanu, Gabi Costin, Oana Pușcatu, Silvana Negruțiu, Paul Dunca
THE FAMILY WITHOUT SUGAR is a musical play about family among the Romanians. The family is seen as an intersectional concert, in which the voices of parents, children, grandparents, churches, robots, normative rules, and oppressive clichés, the voices of those who do not fit into pre-established formats and inherited patterns, model our perception of the understanding of the ‘basic cell of society’. The family is a fluid construct, in which belonging is continually being written and relations change according to unpredictable variables.
Text and direction: Sînziana Koenig
Scenography and light design: Hermina Stănciulescu
With: Alex Călin, Florina Gleznea, Katia Pascariu, Oana Cristina Pușcatu, Liviu Romanescu
BOYZ AND GIRLZ is a production of social theatre that explores the tragic consequences of patriarchal values in the lives of adolescents, whom society tries to protect through ignorance. It tells the story of some adolescents trying to find their place in a world in which gender identity is imposed and which they do not receive counselling regarding consent, relations, sexuality, and mental health. The play explores people’s reactions when an abuse takes place, raises the problem of collective responsibility, and tries to show the importance of communication between parents, children, and teachers, and the need for sex education in Romania.
after the Brothers Grimm (dramatization by Ramona Iacobuțe), from an idea of Oltița Cîntec
Director: Ion Ciubotaru
Scenography (scenic objects): Constantin Butoi
Music: Matilda Andrici
With: Carmen Mihalache, Liliana Mavriș Vârlan, Alex Iurașcu, George Cocoș
What the artistic team of the theatre in Iaşi brings before the public is an unusual type of show for them. It combines storytelling with animation of objects, in a representation in which the actors are both narrators and characters. They narrate, using the resources of modern animation theatre, the experiences of the brother and sister lost in the woods. The creative team worked in close collaboration, with techniques of collective improvization helping to enhance their creativity and to generate ideas.
The director Ion Ciubotaru has created “an improvization show, in which the imagination of the viewer is made to work hard. We wanted an active spectator, who, seeing the show, will make their own story. This time, we have given up puppets in the traditional sense and have resorted to objects, which leave behind their utilitarian side and acquire a theatrical potential. We want to demonstrate that in theatre, fiction is the most important thing, and that if we dream, we can make theatre with anything, with anything.”
by Garret Jon Groenveld
Translation: Laurențiu Bănescu și Daniel Popa
Direction and Scenography: Daniel Popa
With: Daniel Popa, Irina Margareta Nistor
We are just a tweet away from the world of THE HUMMING BIRDS – an absurd comedy about a near future in which what you wouldn’t have others do… the others don’t care.
by Jean-Baptiste Poquelin Molière
Translation: Doru Mareș
Director: Alexandru Mâzgăreanu
Decor: Andrada Chiriac
Costumes: Alexandra Mâzgăreanu
Music: Alexandru Dan Suciu
Photographs: Andrei Gîndac
With: Emilian Oprea, Valentin Terente, Andreea Vasile, Corina Borș, Liviu Pintileasa, Narcisa Novac, Adrian Ștefan, Emilia Mocanu, Vlad Galer
A satire that, though written more than 300 years ago, is a topical as ever. A master of the comedy of manners, Molière, reminds us across the centuries of the great human defects: cunning, hypocrisy, unfairness, folly, inequality, and imposture.
Tartuffe or the exposure of the charlatan, a painfully real hypostasis at the border between bad and worse, far too often met in our contemporary society, the type who exploits anyone, in any situation, the type of the plagiarist so ‘dear’ to us, apparently fervently religious, totally dedicated to his faith and to unconditional love of his neighbours, angel and demon together.
(Ciprian Buzoianu, theatre scholar)
by Bobi Dumitraș, Bobo Burlăcianu
Direction, scenography, music: Bobo Burlăcianu
Illustrationsi: Ana Țăranu
With: Cătălin Ștefan Mîndru, Clara Popadiuc, Cosmin Panaite, Horia Butnaru, Cristina Florea
CATS is a concert-play conceived by Bobo Burlăcianu and Bobi Dumitraș. A musical game in which a number of cats reveal their stories. In the beginning was a miaow, after which the God Cat created a world dominated by cats. In the absence of people, cats take their place, complete with all the problems that involves. An old she-cat obsessed with pickles, the boss of a furniture factory who aspires to be a politician, a naive gangster, a dog reincarnated as a cat, a couple with problems in their marriage,, and other feline characters take turns to sing their sorrows and joys.
CATS, a concert-play created by Fără Zahăr.
by Ted Hughes and Lavinia Branişte
Concept: Nicoleta Lefter
Video Artist: Paul Mureşan
Graphic assistant: Liviu Pop
Sound Design: Claudiu Urse
With: Claudia Stühler, Raluca Maria Şerbu, and Emanuel Furdui (pupils at School Centre for Inclusive Education no. 2, Sibiu), Claudiu Urse, Nicoleta Lefter / Paul Bondane
“…and you wonder what sound does warm hair make?’
The play DREAMING OF VOICES opens a new, and for many of secret, door into the unknown of communication apart from the spoken words. Starting from the universe of emotions of children with hearing deficiency, the story presents a suite of images, of states and of very poetic associations of the ways in which sounds are perceived where they cannot penetrate as they are.
‘When the crow opens its beak, I shut my eyes – I imagine what it says.”
Launch of a book for children edited by Vasile Ernu and illustrated by Veronica Neacșu (the stories of children in Telciu, edited)
‘Collected in Telciu’ is a cultural programme dedicated to the children and young adults of Telciu and its surroundings, through which they become co-authors of a theatre play, a documentary film, and an illustrated story book. The programme is dedicated to supporting the first locally created artistic productions.
Lorand Maxim and Alexandra Voivozeanu are working with young people between 19 and 25 years of age to prepare a reading-performance about work in the countryside.
Vlad Petri and Theodor Constantiniu are making a documentary film about the types of modern and less modern entertainment enjoyed by young people of Telciu.
Vasile Ernu and Veronica Neacșu are collecting the stories of the children of Telciu and publishing them in the form of an illustrated book.
Reading-performance by Lorand Maxim and Alexandra Voivozeanu (about work in the countryside)
‘Collected in Telciu’ is a cultural programme dedicated to the children and young adults of Telciu and its surroundings, through which they become co-authors of a theatre play, a documentary film, and an illustrated story book. The programme is dedicated to supporting the first locally created artistic productions.
Lorand Maxim and Alexandra Voivozeanu are working with young people between 19 and 25 years of age to prepare a reading-performance about work in the countryside.
Vlad Petri and Theodor Constantiniu are making a documentary film about the types of modern and less modern entertainment enjoyed by young people of Telciu.
Vasile Ernu and Veronica Neacșu are collecting the stories of the children of Telciu and publishing them in the form of an illustrated book.
Showing of a documentary film by Vlad Petri and Theodor Constantiniu (about the types of modern and less modern entertainment enjoyed by young people in the countryside)
‘Collected in Telciu’ is a cultural programme dedicated to the children and young adults of Telciu and its surroundings, through which they become co-authors of a theatre play, a documentary film, and an illustrated story book. The programme is dedicated to supporting the first locally created artistic productions.
Lorand Maxim and Alexandra Voivozeanu are working with young people between 19 and 25 years of age to prepare a reading-performance about work in the countryside.
Vlad Petri and Theodor Constantiniu are making a documentary film about the types of modern and less modern entertainment enjoyed by young people of Telciu.
Vasile Ernu and Veronica Neacșu are collecting the stories of the children of Telciu and publishing them in the form of an illustrated book.
Text and direction: Andreea Cristina Borțun
Scenography: Andreea Săndulescu
Visual art: Oana Barbonie
Light design: Marius Apopei
Lighting engineer: Dragoș Mărgineanu
Sound design: Roxana Bain
With: Cosmina Stratan, Alexandru Ion
Voice-over: Alexandru Bogdan, Gabi Costin
The country is in revolt. A stepbrother and sister meet again after more than ten years. She with a revolutionary agenda, he in a societal paralysis, which seems incurable. Both seek to understand who they are. Before anything else, however, they have to understand where they come from. BACK INTO THE WINTER is a play that follows the search for identity of two young people who return to their origins: to the provinces, to the village of their childhood, in the winters of Romania in transition. Against the backdrop of protests that seem endless – anti-corruption, LGBT, anti-LGBT – the protagonists are witnesses to the political rise and fall of their father, the local ‘baron’ come to power, the antichrist of the people in revolt.
The inheritance of paternal evil, family histories, civic duty, the generation gap, the gulf between urban and rural, the years of transition, and the freedom to choose whom we love are subjects that redefine the relationship between the two siblings and bring them closer to themselves.
Tickets can be obtained from the agency of “Ion Creangă” House of Culture Tîrgu Neamţ (program 8-16.30) or can be booked at the TT agency.
Concert-play by Ada Milea, after Ion Creangă
Scenography: Alexandra Constantin
With: Andrei Merchea Zapotoțki, Emanuel Becheru, Corina Grigoraș, Cătălina Eșanu,Rareș Pîrlog, Gina Gulai, Maria Hibovski, Dragoș Ionescu, Nora Covali, Cătălina Bălălău, Valentin Florea, Sir Blues Vali Răcilă (special guest)
Like her concert-play THE DREAMER (and with the same cast), Ada Milea’s new creation explores the world of childhood, this time starting from a classic of Romanian literature which she revisits with humour and ingenuity. MEMORIES is the place where the youngest members of the audience meet adult members who have kept their curiosity and freshness of vision.
‘The concert MEMORIES tries to resonate with Creangă the old author in the world of today, with possible memories of possible audience members and the few memories of today’s children. Beyond the theft of cherries, scabies, goats, Irinucă, and the hoopoe, it is a world in which every mother wants to make her boy a priest (because of advantages material as well as spiritual). The actors sing accompanied by brooms, spoons, washboard, frogs, and guitar, in an atmosphere that may bring to mind the American Wild West.’ (Ada Milea)
by Abel Neves
Director: Rui Madeira
Scenography: Acácio Carvalho
Costumes: Manuela Bronze
Romanian translation: Marinela Banioti
With: Nora Covali, Rogerio Boane
The performance is bilingual (Romanian–Portuguese) with Romanian subtitling.
In the citadel of transplants, Beatrix visits Antonio. The citadel is a space of advanced science in which medicine increases life expectancy. Antonio is one of those who have been selected to survive longer. But for what reason was he selected and not someone else? What will be the price? In a place, somewhere in the future, in a reservoir of controlled lives, words and deeds make the difference, and Beatrix is very different from Antonio. Capable of dominating Antonio’s existence, her intelligence being of a different nature, she decides, all the same, to follow him. The power is an occult one, and the young Antonio and Beatrix, together with others whom we do not see, are the protagonists of an authentic love, defying power, prejudices, and death.
The text of the Portuguese dramaturg Abel Neves was written specially for the current season of the Braga Theatre Company, the theme of which is ‘frontiers’.
Alexandru Andrieș, Berti Barbera, Sorin Romanescu and Ioana Mîntulescu