Ariane Mnouchkine born in Boulogne, on 3 March 1939, is the artistic and managing director of the theatre company Théâtre du Soleil, which she founded in 1964 with her friends from ATEP (The Theatre Association of the Students of Paris). In 1970, Théâtre du Soleil produced 1789 performance at the Piccolo Teatro in Milan, where Giorgio Strehler warmly welcomed and supported the young company. The company then went on to choose its home at the Cartoucherie, a former military camp, abandoned and isolated, in the forest of Vincennes, on the outskirts of Paris. The Cartoucherie enabled the group to expand more on the notion of theatre than an architectural institution, being rather a place of shelter, than a theatrical edifice, and all this, at a time when urban change and development in France was transforming the place of man and theatre in the city. Théâtre du Soleil successfully creates theatre for the elites, as well as for the common people. Even back then, the purpose was to establish a new relationship with the audience and to distinguish itself from bourgeois theatre in order to create a high-quality theatre for the people. From the 1970s onwards, the troupe became one of France's major theatre companies, both because of the number of artists working (more than 70 people a year) and because of its national and international growing reputation. Attached to the notion of the theatre group as family, Ariane Mnouchkine established the ethics of the group based on basic rules: everyone working at all levels, equal pay, and everybody has to work on the well being and functionality of the theatre (daily mentenance, welcoming of the audience etc). Théâtre du Soleil is one of the very few Europe theatre functioning by these rules. The adventure of Théâtre du Soleil has been continuing for more than forty years, thanks to the loyalty and affection of a large audience both in France and abroad. Its development is marked by a ceaseless questioning of the place theatre has in society and of its capacity to stand for its times. This commitment in treating the great political and human questions from a universal angle, goes hand in hand with its research on the great theatrical forms and the convergence of Asian and Western arts.
Supported by: BRD Groupe Société Générale
Declan Donnellan born in 1953, is an English film/stage director and author. He is the co-founder of Cheek by Jowl theatre company with Nick Ormerod and Associated Director of the National Theatre in London. Declan Donnellan receives a star on the Walk of Fame for excellence of his creation and the dialogue imposed between the artists of the European cultures. Since the establishing of Cheek by Jowl, Donnellan directed tens of productions for the company, which are still being performed throughout the world. The shows are presented in three languages: English, Russian and French. As the Associate Director of the National Theatre in London, his performances include Fuenteovenjuna, Sweeney Todd, The Mandate and both parts of Angels in America. He was invited by Claudio Abbado to stage Falstaff in Salzburg, by Lev Dodin to direct The Winter's Tale at the Maly Drama Theatre in St Petersburg, by Peter Brook to direct Andromaque at the Bouffes Du Nord in Paris. In 2000, Chekhov Festival invited Donnellan to form a company of actors in Moscow. Their productions now include Boris Godunov, Twelfth Night, Three Sisters, and The Tempest. In Moscow, he also has a close relationship with the Bolshoi, where he directed Romeo and Juliet and Hamlet. In 2008, he received the Charlemagne Award, together with Craig Ventner and Archbishop Desmond Tutu. Declan Donnellan received awards in several cities, including Moscow, Paris, New York, and he was distinguished with the title of Chevalier de l’Ordre des Arts et des Lettres for his creation in France. He is the president of the Foundation of Russian Theatre Confederation. His book, The Actor and the Target, originally published in Russian in 2001, has since appeared in over a dozen languages, including Romanian. His film, Bel-Ami, co-directed with Nick Ormerod, was released in 2012.
Supported by: Raiffeisen Bank
Eimuntas Nekrošius (born in 1952) graduated from the Lunacharski Theatre Institute in Moscow in 1978. He worked at the National Youth Theatre in Vilnius (1978 - 1979) and at the Kaunas Drama Theatre (1979 - 1980). In 1980, he came back to the Vilnius Theatre where he collaborated for the following performances: The Square by Yeliseyev, Pirosmani, Pirosmani (1981), Love and Death in Verona by Antanėlis and Geda (1982), A Day Lasta More Than a Hundred Years by Aitmatov (1983), Uncle Vanya by Chekhov (1986) and The Nose by Gogol (1991). All his productions were awarded in various theatre festivals in Lithuania and the Baltic States. In 1994, Nekrošius receives the award for Best Director of the Year of the Lithuanian Theatre Union, and the European Theatre Union awards him with New European Theatre Realities for the show Mozart and Salieri. Don Juan, Plague. In 1997, he creates one of his most successful productions: Hamlet by Shakespeare, which is played at almost all the big European festivals, winning several prizes. In 1998, he sets up the theatre studio Meno Fortas, where he works as an artistic director. In 1999, he stages Macbeth by Shakespeare, and, in 2001, Othello, which is world premiered in Venice. In 2002, he directs his first opera, Macbeth by Verdi, at Teatro Comunale in Florence. In 2003, Nekrošius stages The Seasons, based on a poem by the famous Lithuanian poet Kristijonas Donelaitis and The Cherry Orchard by Chekhov, premiered in Moscow and praised by the Russian critics for being the most memorable production of Chekhov’s work in the last ten years. In 2008, Anna Karenina is staged at Emilia Romagna Teatro in Modena and the opera production The Legend of Invisible City of Kitezh directed by Eimuntas Nekrosius at the Teatro Lirico of Cagliari, as well as at the Bolshoy Theatre in Moscow. In 2009, in the framework of Vilnius – Cultural Capital of Europe programme, he stages The Idiot by Dostoevsky. This production receives the Lithuanian award Golden Stage Cross for the Best Theatre Performance of the Season. In 2010, Nekrošius stages the opera Faust by Charles Gounod at La Scala Theatre in Milan and, in 2011, he stages two productions – Caligula in Moscow Theatre of Nations and opera Othello by Verdi in the Lithuanian National Opera and Ballet Theatre. Some of the most recent productions are: The Divine Comedy by Dante at Meno Fortas Theatre, Paradise staged at the Olympic Theatre in Vicenza (2012), the opera Othello at the Lyric Theatre in Bari and Cagliari (2013) and The Book of Job at Meno Fortas Theatre (2014).
Supported by: E-On Gaz Romania Receiver: Audrius Jankauskas, company manager, Meno Fortas Theater
Eugenio Barba born in 1936, is a leading figure in contemporary theatre. Director, theorist, school creator and founder of the legendary Odin Theatre (1 October 1964). His books and shows influenced generations of directors, actors and theatrologists. He is also the founder of the International School of Theatre Anthropology. The first production of the Odin Theatre, Ornitofilene, by the Norwegian author Jens Bjørneboe, was presented in Norway, Sweden, Finland and Denmark. Eugenio Barba was subsequently invited by the municipality of Holstebro, a small town in North-West Denmark, to create a theatre laboratory there. To start with, they offered him an old farm and a small sum of money. Therefore, the director decided to move Odin Theatre to Holstebro. In 1979, Eugenio Barba founded ISTA, International School of Theatre Anthropology. He directed over 70 productions, some of which required up to two years of rehearsals. Among the best known productions, there are: Ferai, Min Fars Hus, Brecht's Ashes, The Gospel According to Oxyrhincus, Talabot, Kaosmos, Mythos, Andersen's Dream, Ur-Hamlet and Don Giovanni all'inferno. He also published numerous books, of which we mention: The Paper Canoe: A Guide to Theatre Anthropology, Theatre: Solitude, Craft, Revolt and Ash and Diamond Earth. He received the honoris causa title from several well known Universities (Århus, Ayacucho, Bologna, Havana, Warsaw, Plymouth, Hong Kong, Buenos Aires, Tallinn, Cluj-Napoca) and received numerous prizes and awards.
Supported by: UniCredit Bank
Critic and theatre personality born in Romania and settled in Paris in 1973, he studied at the Academy of Drama and Film, Bucharest, was a generation colleague with the director Andrei Şerban. Professor at I.E.T. (Institut d’Études Théâtrales) at the University of Paris III, Sorbonne Nouvelle in Paris and at the Theatre Studies Faculty of the University of Louvain la Neuve in Belgium. In 1981, George Banu published the well-known volume Costumul de teatru and the book Brecht ou le petit contre le grand, for which he received the Critics Award for the Best Theatre Book of the year. In 1990, together with Michelle Kokosowski, he founded the Experimental Theatre Academy in Paris, which he runs until 2001, when its activity stops. General Secretary (1985-1992), President (1994-2000), then Honorary President of the International Association of Theatre Critics, UNITER Member, doctor honoris causa of the “I.L. Caragiale” National University of Theatre and Film Bucharest, and doctor honoris causa of several European Universities. Amongst the awards, he was distinguished with: three times the award for Best Theatre Book in France, Honorary Award of IATC - Romanian section in the UNITER Gala 2012, Special Prize of the Shakespeare Festival 2012, offered by Rotary Probitas Craiova and Rotary Craiova. He is a honorary member of the Romanian Academy since 2013. He is co-director of the magazine Alternatives Théâtrales in Brussels and director of the collection Le temps du Théâtre published by Actes Sud in France. His books were published in France and were translated in numerous languages. He wrote a trilogy about the relationship between theatre and painting: Le Rideau, L’Homme de dos and Nocturnes. Published books: L’espace Théâtral, Le Costume De Théâtre, Brecht ou le petit contre le Grand, Le Théâtre, Sorties de secours, L’acteur qui ne revient pas, Mémoires du théâtre, Le rouge et or, Peter Brook: de Timon d’Athènes à La Tempête, L’instant Habité, Sarah Bernhardt ou les sculptures de l’éphémère, Le Rideau Ou La Fêlure Du Monde, Notre Théâtre, la Cerisaie, L’homme De Dos, Exercices d’accompagnement, D’Antoine Vitez a Sarah Bernhardt, L’oubli, Nocturnes, La Scène Surveillée, Le Repos, Les Solitaires Intempestifs, Miniatures Théoriques, Shakespeare, le monde est une scène, Shakespeare, Métaphore et pratique du théâtre, Les voyages du comédien.
Supported by: Farmexim
Gigi Căciuleanu is known all around the world for his career as a dancer and choreographer. He performed in the companies of Pina Bausch and Maya Plisetskaya, he received the Romania Star Chevalier Medal, he was decorated by the French state as Chevalier des Arts et Lettres, and in 2012 was awarded the title of professor honoris causa of the University of Arts Târgu-Mureş. The most powerful influence for him, the absolute master, remains, however, his teacher, Miriam Răducanu, from whom he learned to envision and think dance. With a record of over 300 shows that he staged, Gigi Căciuleanu continues to create and teach his own technique. He transmits his original contemporary dance style in workshops and master-classes held at prestigious institutions around the world. Gigi Căciuleanu started to take dance lessons since when 4 years old, because of his restless character, as his closed-ones decided he was a child who needed to use his energy. During his career, he created performances for the most important ballet dancers in the world: Maya Plisetskaya, Pina Bausch, Svetlana Beriosova, Jean-Christophe Paré, Jean Guizerix and Wilfride Piollet. He founded the Gigi Căciuleanu Company in Paris. Between 2001 and 2013, he was main choreographer and artistic director of the National Ballet in Santiago de Chile. In 2007,the Gigi Căciuleanu Romania Dance Company, under the aegis of the Art Production Foundation, makes its debut in Bucharest. Nowadays, Gigi Căciuleanu continues to perform with his company in Romania and Europe. Some of his most renowned shows: Stimmung on the music of Mariei Tănase, Mess around on the music of Ray CharlesVerdi- Requiem, Actos de mor, Cartoons, Saxografia, Alter Mahler, D’ale noastre, Imagine All the People, Mozart Steps, Un minut de dans sau Uf!!!.
Supported by: JTI
Joël Pommerat founds the Louis Brouillard Company in 1990. He directs only his own plays, trying to create a visual theatre that is, at the same time, intimate and spectacular. He produces the shows Le théâtre (1991), Des suées and Les Evénéments (1994). In 1995, he creates Pôles, the first text which he considers as being artistically complete and which is published by Actes Sud-Papiers Publishing House. Until 2000, Joël Pommerat focuses on film research before making a definitive return to theatre. At the Paris-Villette Theatre, he re-stages two of his creations, Pôles and Treize étroites têtes, and directes the new production Mon Ami. He creates Grâce à mes yeux (2002), Qu’est-ce qu’on a fait (2003), Le Petit Chaperon Rouge (2004), and, in 2005, his first performance for children, D’une seule main. After the company relocates at the National Theatre of Chambéry and Savoie, in 2006 he creates Les Marchands (Grand Prix for Dramatic Literature) and Cet enfant (Award for Best Work in French). Au monde, Les Marchands and Le Petit Chaperon Rouge were restaged at the Avignon Festival in 2006. 2007, the year when Je tremble (1) is produced, the company starts its residence at the Théâtre des Bouffes du Nord and the director stages in Russian Cet enfant at the Praktika Theatre in Moscow. In March 2008, Joël Pommerat produces Pinocchio and, a few months later, he produces Je tremble (2) at the Avignon Festival. He also restages Je tremble (1). In January 2010, he produces Cercles/Fictions (Molière Award). In October 2010, Joël Pommerat produces Pinocchio in Russian at Moscow. He then writes the libretto for the opera Thanks to My Eyes, based on his play of the same name, for the Festival d’Aix in July 2011. In October 2011, he produces Cendrillon at the Brussels National Theatre. In December 2011, he produces La Grande et Fabuleuse Histoire du Commerce at the Comédie de Béthune (National Drama Centre) in the Nord-Pas-de-Calais. In September 2010, Joël Pommerat begins a three-year partnership with Odéon-Théâtre de l’Éurope and a five-year partnership with the National Theatre in Brussels. In 2011, he produces Ma Chambre froide and he receives the awards Molière des compagnies and Molière de l’auteur francophone. Directed in 2013, La Réunification des deux Corées and the project Cities on stage/ Villes en scène, he is awarded the prize Beaumarchais/le Figaro for Best Author, the prize Palmarès du Théâtre for Best Performance and the prize for Best Work in French. In 2015, he receives the prize for the World Premiere at the International Opera Awards, for directing the opera Au monde.
Supported by: BRD Groupe Société Générale
Receiver: Chloe Becqueriaux, Head of the Book Department - French Institute Bucharest
Kazuyoshi Kushida (born in 1942) is an actor, director and the artistic manager of the Matsumoto Performing Arts Centre. After studying acting at Haiyu-za, in 1965, he decides to join the theatre company Bungaku-za. A year later, together with Makoto Sato, Ren Saito and Hideko Yoshida, he creates the Jiyu Gekijo Company and start producing traditional theatre shows, the most popular being Maboroshi no Suizokukan (1976), Motto Naite-yo Flapper (1977), Shanghai Rhapsody (1979) and Cusco (1982). From 1985, he begins working for the opening of the Bunkamura Theater Cocoon, being extremely involved in the project, from the architectural plan to the artistic strategy. With the opening of the theatre in 1989, he signs a franchise agreement with On-Theater Jiyu Gekijo, which he continues to manage, and introduces a repertoiry system. From that moment, he starts working intensively for Theatre Cocoon and creates a schedule for the play A Midsummer Night’s Dream to be staged every year with a new director. Later on, he introduces the Cocoon Kabuki series, in collaboration with the famous actor Kanzaburo Nakamura XVIII. Since 2000, he is a professor at the Performing Arts Department of Nihon University and since 2003, he is the artistic and administrative manager of Matsumoto Performing Arts Centre. In 2007, he wins the Outstanding Director Award of the Yomiuri Drama Grand Prix for the performance Tokaido Yotsuya Kaidan–Kita, the seventh production of the Cocoon Kabuki series. In 2008, he receives the Medal of Honour (Purple Ribbon) from the Japanese Government for outstanding artistic and academic performances.
Supported by: JTI
Klaus Maria Brandauer (born in 1943) is an actor, film director and professor at the Max Reinhardt Seminar in Vienna. With an international fame for acting both in film and theatre, Klaus Maria Brandauer is more popular to the Romanian audience for being the leading actor in the film Mephisto (1982), receiving the award for Best Male Actor at the Cannes Festival and also for the amazing role he played with Meryl Streep in Out of Africa, for which he was nominated at the Oscars for Best Supporting Male Actor. He has been a member of the regular cast at Vienna’s Burgtheater since 1972, playing multiple leading roles such as: Don Carlos, Ferdinand, Tartuffe, Cyrano de Bergerac, Nathan from Lessing’s play and Hamlet, a hundered times. For 10 years, he played the leading part in Jedermann, at the Salzburg Festival. After reaching fame with the role of Mephisto, in 1982, he played in the James Bond film Never Say Never Again, then in Out of Africa, White Fang, Streets of Gold, Rembrandt or Introducing Dorothy and Tetro, directed by Francis Ford Coppola. In 2007, he played the leading roles in Peter Stein’s performances: Wallenstein, Oedipus at Colonos, produced for the Salzburg Festival and The Broken Jug at the Berliner Ensemble Theatre. The collaboration with Peter Stein continued in 2013, when Klaus Maria Brandauer played the leading role in the show King Lear by William Shakespeare, which was staged at Burgtheater Vienna.
Supported by: Telekom Romania
Krystian Lupa is a renowned Polish theatre director, stage designer, winner of the European Theatre Award (Premio Europa per il Teatro) in 2009. Considered a theatrical giant, Lupa is ranked alongside major world figures such as: Harold Pinter, Peter Brook, Ariane Mnouchkine and Pina Bausch. Winner of numerous awards, among which the Austrian Silver Cross of Merit in 2001 and the French Order of the Fine Arts and Humanities in 2002. “Lupa’s theatre is one of psychological extremes, which he chooses to reveal in times of hypocrisy and cheap entertainment. Lupa warns: cheap entertainment means cheap humans, cheap lives, cheap souls, cheap reason, cheap sensibilities... His productions begin where questions are not asked and end where all that relates to us has been questioned. This delicious paradox is not a mere mechanism, but denotes a certain inability to name man ’completely’. Thus is created the mystery of being human to one self and to others. (...) In the structured stage world, every individual is a contradiction on the inside. He or she builds castles on sand, because that makes sense. They decline into madness because they find no answer to questions regarding who they truly are.” Tomasz Man. Notatnik Teatralny, 1999, no. 18-19 With acknowledgments to Culture.pl
Supported by: Adam Mickiewicz Institute
Born in 1944 in Siberia, Lev Dodin began studying theatre as a child at the Leningrad Young Viewers’ Theatre. He was admitted to the Leningrad Theatre Institute immediately after graduating high school and studied under the famous stage director and teacher Boris Vulfovich Zon. Dodin’s debut as a director came in 1966 with the televised performance of First Love based on the story by Ivan Turgenev. Then, dozens of shows were staged at theatres in St. Petersburg, Moscow and abroad. Work with the Maly Drama Theatre started in 1975 with Karel Capek’s The Robber. The staging of Abramov’s The House in 1980 determined the fate of Lev Dodin and the Maly Drama Theatre. He has been the theatre’s artistic director since 1983. He continued staging: Brothers and Sisters, Lord of the Flies, Stars in the Morning Sky, Gaudeaumus, The Devils, Love Under the Elms, Claustrophobia, Chevengur and many other. The performances staged by Dodin after A. Chekhov’s plays make a tetralogy: Cherry Orchard, A Play without a Title, The Seagull, Uncle Vanya. In 1992, the theatre directed by Lev Dodin and Lev Dodin himself were invited to join the Union of Theatres of Europe, and in 1998 Maly Drama became the third theatre granted the status Theatre of Europe after the Odeon in Paris and the Piccolo in Milan. Lev Dodin is a member of the General Assembly of the Union of Theatres of Europe. In 1967, Dodin began teaching acting and directing. Now he is a professor at the St. Petersburg State Theatre Arts Academy where he chairs the stage direction department. Lev Dodin has been raising many generations of actors and directors and teaching master classes at theatre schools in Great Britain, France, Japan and the USA. Many directors working in St. Petersburg have been his students one way or another. Lev Dodin’s directing and productions have won many state and international prizes and awards, including state prizes of Russia and the USSR, for example the Triumph Independent Prize, Golden Mask National Awards and the Laurence Olivier Award. In 2000, Lev Dodin was presented the highest European Theatre Award – Europe Theatre Prize, and, in 2001, he received the Russian Presidential Award.
Supported by: Raiffeisen Bank
Martin Hochmeister, born 1740 - dead 1789, was a Transylvanian Saxon typographer and bookseller from Sibiu who learned the art of presswork in the print shop of Johann Barth in Sibiu. In 1773, he won the imperial lottery prize of 108 gold florins that he used to buy the Sárdi print shop in 1777. He opened the first library in town that lent books in 1782. In 1778, he founded the first theatre magazine, Theatral Wochenblatt. In 1784, he started printing the newspaper Siebenbürger Zeitung, which shortly became the most read newspaper by the Transylvanian Saxons. Hermannstädter Kriegsbote appeared in 1787, followed by Siebenbürger Bote in 1791, journals edited in the spirit of the Enlightenment. In 1787, Martin Hochmeister requested and obtained the concession of the building of Turnul Gros (the Thick Tower) for organizing a city theatre, the first theatre on the current territory of Romania and one of the few in Europe at that time. The theatre hall was built in one year, for 24,000 florins. In June 1788, the first theatre performance was held there.
Supported by: Henkel,
Receiving the star: Martin Hochmeister, the 8th generation of Hochmeister
Nakamura Kanzaburo XVIII is one of the most popular and talented Japanese actors. Born in May 1955, he made his first stage appearance as Nakamura Kankuro the 5th on April 1959, name which remains for almost half a century until. In March 2005, he succeeds to the name of Nakamura Kanzaburo in Tokyo’s Kabuki-za theater. As an accomplished actor in both male ‘Tachiyaku’ and female ‘Onnagata’ roles, Kanzaburo is a name synonymous with Kabuki in Japan nowadays, although the Kanzaburo name itself stretches back to the mid-17th century and is recognized as one of the most prestigious hereditary names in Kabuki. Following succession to the Kanzaburo name, a series of ‘shumei’ name taking ceremonies ran for almost 2 years in cities across Japan and the appearance at the 2008 Lincoln Hall Festival was the first time he performed outside Japan as Kanzaburo after his first visit to the US in July 2004 when he performed, as Kankuro, in Boston, New York and Washington D.C. as head of the Heisei Nakamura-za troupe. Kanzaburo performed alongside his two sons (Nakamura Kantaro VI and Nakamura Shichinosuke II) in a total of 11 shows in New York; the first of which was a rendition of the famed dance Renjishi, He also performed in London in 1991, in Stockholm, Sweden in 1998, in Lyon, France in 2000, in Berlin, Germany in 2008 and in many other cities around the world. On the 5 December 2012, Kanzaburo passed away in Tokyo.
Supported by: Takata
Neil LaBute (born in 1963) is a director, a screen writer and one of the most controversial and innovative American playwrights. Critics respond to his plays as having a misanthropic tone, Rob Weinert-Kendt referred to LaBute in The Village Voice as “American theatre’s reigning misanthrope”. His plays are translated and staged extensively in the United States of America and Europe: Bash: Latter-Day Plays (1999), The Mercy Seat (2002), Autobahn (2003), Fat Pig (2004), Some Girl(s) (2005), In A Dark Dark House (2007), Reasons To Be Pretty (2008), Helter Skelter (2008), Land of the Dead (2008), The Break of Noon (2010), The Furies (2009), In A Forest, Dark and Deep (2011), Lovely Head & Other Plays (2013), Reasons to Be Happy (2013), Money Shot (2014), The Way We Get By (2015). He wrote the script for several feature films: In the Company of Men, Your Friends & Neighbors, Nurse Betty, Possession, The Shape of Things, The Wicker Man, Lakeview Terrace, Death at A Funeral, Some Girl(s), Some Velvet Morning, Dirty Weekend and for some short films: Tumble, After-School Special, Sexting, Denise, Double or Nothing, Bench Seat, Sweet Nothings, BFF, It’s Okay. In 2013, LaBute receives the Literature Award of the American Academy of Arts and Letters.
Supported by: UniCredit Bank
Receiver: Ronald E. Hawkins, Jr., Public Affairs Counselor – Embassy of the USA in Romania
Peter Stephen Paul Brook was born in London, on 21 March 1925, and he is one of the most important theatre and film directors during the second part of the 20th century. He has had a significant contribution to the research of theatrical forms and he also developed the concept of the empty space in theatre. The concept tackled in his book, The Empty Space, reconfigured the view on performing arts and decisively influenced many theatre creators. The first performance directed by Peter Brook is Dr. Fustus, at Torch Theatre in London. In 1947, he went to Stratford-upon-Avon, as assistant director for Romeo and Juliet and Love’s Labour’s Lost. He has made many memorable stagings after William Shakespeare’s plays and the performance Midsummer Night’s Dream, staged in 1970, is considered by specialists to be better than the play itself. Determined by the idea of performing his research and exploring human creativity, he leaves for Paris, where he founds The International Centre for Theatre Research, along with Micheline Rozan. In the view of making a research as relevant as possible, he works with actors, dancers, musicians and other artists of various nationalities, travelling with them and performing a series of artistic experiments in the Middle East and Africa. Until 2008, he created at Bouffes du Nord Paris - the headquarters of his exploratory studies. Among his most important performances, we note Hamlet (1955), Marat/Sade (1964), Orghast at Persepolis (1971–1972), Conference of the Birds (1979), The Tempest (1990), Tierno Bokar (2004), The Grand Inquisitor (2004).
Supported by: BRD Groupe Société Générale
Receiving the star: Nina Soufy
“Mr. Stein – Germany’s biggest postwar directing star, leader of Berlin’s Schaubühne during its glory days of the 1970s and a critically beloved wunderkind turned self-exiled reviler of the German theater establishment [...] In 2000 he staged the entirety of Goethe’s epic Faust, in a 21-hour production that (despite the price of the ticket, $265) was performed sold-out for a year and a half in Hannover, Berlin and Vienna.” Jonathan Kalb, New York Times, 1 July 2007. Working for over 50 years as a theatre director, winner of the European Theatre Award in 2008, Peter Stein has earned international recognition for the breadth of his theatrical vision, the rigor of his research, the inventiveness of his stagecraft, and his ability to continually renew his art. Among his recent productions: Medea by Euripides (performed at Syracuse and Epidaurus), Electra by Sophocles (Epidaurus and New York), The Demons by Dostoyevsky (Ateliers Berthier, Paris), the operas Falstaff by Verdi (Lyon Opera House), Don Giovanni by Mozart (Chicago), Bluebeard’s Castle by Bartok (Scala in Milan), Lulu by Alban Berg (Vienna, Lyon and Milano). “Ever since I saw the premiere in London, nearly 50 years ago, I’ve been wanting to stage The Homecoming. Perhaps it is Pinter’s darkest play, dealing with the profound dangers within human relationships, and even more with the precarious relations between sexes.”
Supported by: Romanian Cultural Institute
Playwright, poet, essayist and theatre director, born in Sebeș on 5 March 1920 and died in Cluj on 26 December 1962. He started writing when he was in school and until 1945 he published lyrics, articles and essays in different publications, such as: Națiunea Română, Pagini literare (in Turda), Lanuri (in Mediaș), Afirmarea (in Satu-Mare), Familia (in Oradea), Gând Românesc, Symposion, Luceafărul, Universul literar. He was a student of the Faculty of Letters and Philosophy in Cluj, which he graduated with a thesis on The Issue of Reading. His first stage appearance is in the role of Farfuridi from O scrisoare pierdută (A Lost Letter), directed by the university Professor Liviu Rusu. He taught the course Introduction to the aesthetics of theatre at the Popular Conservatory in Sibiu. In 1974, he is awarded with the Sburătorul Award for the manuscript of the play Dona Juana. The first performance he directed, Căsuța din câmpie (Little House on the Plain), by S. Marshak, was premiered on 13 February 1949. Among the most important performances he directed, we mention: Gaițele (The Jays) by Al. Kirițescu - in four different stagings, O scrisoare pierdută (A Lost Letter) by I. L. Caragiale - in three different stagings, and Hagi Tudose by B. Delavrancea. On 1 October 1956, the German Department of the Sibiu State Theatre is founded, on the urge of Radu Stanca. Starting with October 1961, he is main-director at the National Theatre in Cluj and here is where he directs his last performances: D-ale carnavalului (Carnival Adventures) by I. L. Caragiale and Uncle Vanya by A. P. Chekov.
Supported by: Banca Comercială Carpatica
Receiving the star: Irina Albu
Silviu Purcărete, born in 1950, is a theatre, opera and film director. He began his artistic career in Bucharest in 1974 and soon earned himself a reputation for his exceptional creations. In 1986, he staged a performance after Campiello by Goldoni and won the National Prize for Theatre. During 1989-1996 he was a member of the National Theatre of Craiova, where he developed numerous productions that were appreciated on national and international scale. In 1992, he becomes the Artistic Director of the Bulandra Theatre in Bucharest. In 1996, he becomes Director of Centre Dramatique National at the Théâtre de l’Union in Limoges, France, where he staged Orestia, Three Sisters and Don Juan and where he founded a school for young actors. In 201,2 he founds his own theatre company. In 2009, the show Faust, directed at the National Theatre Radu Stanca of Sibiu, was the highlight of the Edinburgh International Festival where Ofelia Popii was distinguished with the Herald Angel Award. In 2012, Silviu Purcărete makes his debut as film director with Somewhere in Palilula (Undeva la Palilula). Among his most memorable performances, we mention: Dwarf from the Summer Garden by D.R. Popescu, Ubu rex with scenes from Macbeth after Alfred Jarry and W. Shakespeare, Titus Andronicus by W. Shakespeare, Phaedra by Seneca and Euripides, Les Danaides and Orestia by Aeschylus, The Twelfth Night by W. Shakespeare (National Theatre of Craiova), Faust, Gulliver’s Travels, D’ale carnavalului (National Theatre Radu Stanca of Sibiu). As an international director, he staged productions such as: La Bohème by Giacomo Puccini (Essen), Parsifal by Richard Wagner (Scottish Opera), Roberto Devereux by Gaetano Donizetti (Wiener Staatsoper), Castor et Polux by Jean-Philippe Rameau (Opera Bonn). He was awarded numerous prizes and distinctions, among which we mention: the Critics’ Prize and the Hamada Foundation Award in Edinburgh International Festival (1991); the Prize for the Best Foreign Production at the Festival TransAmériques in Montreal (1993); Peter Brook Prize for Best Staging 1995; Critics’ Award in Dublin (1996). Special Jury’s Award of the International Shakespeare Festival, Gdansk (2006). Starting with 2003, he is a personal title member of the European Theatres Union.
Supported by: Banca Transilvania