Agenda LiterNet / Cristina Calangiu: #poateconteaza, #sperantamoareultima

context: On June 24, 2022 to me chest The Management Project Competition for the National Theater “IL Caragiale” was organized in BucharestIn other words, the competition for the position of general manager of TNB. File submission deadline: July 18, 2022. Some or Complained of a very short time, others or He complained about some legislative requirements limiting the participation of potential interested persons. I find it even more disturbing that the thoughts about the expectations each of us have of TNB, and implicitly, of a TNB director are not circulating in the public space.

Ms. Cristina Calanguo, Artistic Council Member of the National Marin Sorescu Theatre, Craiova, LiterNet Historian and Endocrinologist, suggests some ideas in the text below.


Before any further discussion of National Theater Administration projects, I would like to point out that many of the past and current projects are very clever and complete, but they don’t apply. Because the evaluation is done only on paper (as an ANAF control) and only the number of assumed and implemented presentations or other parameters is a numerical rather than qualitative task. Any proposed project must also address the assumption of quality standards and contain the keys of controls that the future manager considers optimal to achieve. Change can only come with a change in the method of assessment.

The project of managing the Bucharest National Theater must take into account first of all its unique character – the first stage of the country – and the name of the National Theatre, which comes with significant funding for other theaters. Not citizen But also from the national, but located in the province. So the first phase of the country benefits from funding from all the citizens of this country, for which it is their constitutional duty to ensure their equal access to culture. Hence naturally arise obligations regarding the selection of a representative reference, a balanced representation of contemporary Romanian artists, to support research and theatrical experimentation in order to develop new directions and maintain a high level of artistic quality.

Regardless of any suggestion, I must specify, in my opinion, that the theater manager, like any other manager, has a role in implementing the organization/development strategy of the organization, based on clear and transparent principles, taking care of the sources of funding and supervising/controlling/coordinating the good development of each activity Department and harmonious cooperation between them. I do not think that the manager is the one who has to make unilateral decisions which he then seeks to make acceptable to the organisation, especially in terms of ammunition, collaborators and other aspects related to the technical side of the activity. By this I do not consider that I am absolved of responsibility for the outcome, but rather insist only on the position of responsible for ensuring the resources necessary for the proper operation, both financial and human, of the performance valuation strategy, and ensuring the means for professional development and criticism. Constructively within the organization, by creating mechanisms to control and remedy slips right on time.

With regard to diversifying the reference and emphasizing the seasonal function of TNB, it would be appropriate:
Strengthening, re-professionalism and re-evaluation within the institution, the Dramaturgy Department. The periodic evaluation of this section regarding the proposals of contemporary texts by Romanian and foreign authors, the quality of translations, and the analysis they make on the repertoire of other theaters in the country and Europe. Ensure a budget for the collaborators in this department – playwrights and translators.
Compulsory cancellation of the names of the members of the board of directors and the authors of the management projects that these directors will ascend during their tenure of office. It is not in a manager’s capacity to do this, especially on his own.
Analyzing the current repertoire and assessing the gaps related to the presence in the repertoire of certain dramatic or aesthetic currents that represent particular historical and cultural periods, of some representative names of classical or contemporary authors.

To ensure quality standards for offers:
Formation of a technical council with powers to approve the start of production for new shows – Presentation of the selected director of the concept and decorative drawings before the start of production.
Formation of the technical council from other representatives the concerned (For example, the Romanian Academy, representatives of embassies that finance through cultural institutes production of performances in Romania, UNATC and other universities in the country, Critics’ Unions, UNITER, etc.). Personally, I would suggest that each institution have a place on the Technical Council, but many people have been appointed to this position. Thus the composition of the board is determined by the institutions represented and random by the people present at the meetings – this would make it easier to organize the meetings by finding the meeting slots easily. The artistic board should consist mostly of specialized people – theater, directing, scenography, drama.
The Technical Council should also be consulted regarding presentations/conferences in which some rooms are required to be rented.

The relationship with external collaborators should become more transparent, based on the principle of performance evaluation, while respecting the balanced representation of artists of different ages.
Ensuring a balanced representation between novice, emerging and established directors and scenographers.
Transparency of fees from collaboration contracts for each category of artists involved in the creation process from concept documentation and investigation to exploitation and tracking Determining the minimum and maximum ceilings according to the categories of professional competencies that will be assumed, and contained in the Regulation and Operating Regulations (ROF). For example – a novice, emerging, established, with clear criteria for defining these categories.
Setting limits on production budgets by type of rooms, setting maximum and minimum ceilings. Approval of the production budget after project presentation.
Transparency of room rental rates.

Art programs related to the representation of contemporary Romanian artists, the diversification of the cultural offer, and the continuous training of personnel involved in the artistic work
Collaborating with other theaters in the country to bring representative performances outside of festival periods, with 4-5 consecutive shows and a track of TNB shows in the country.
Create competitions for novice and emerging artists without specifying an age, but only by the number of years after graduation. Ensure balanced representation of each category in annual production – after the 9G model, but extended to several age groups, while ensuring the same production fees and budgets as those of guest artists and related training spaces.
Programs to present valuable independent presentations in the country (such as the program 11+ From the National Theater in Craiova)
Create a dedicated room for research and experimentation projects. Revitalization of the Ion Sava Center by granting a justified budget by A research project with clear objectives.
Workshops With Romanian and European artists represented to address artists and students alike. Cooperating with universities and performing arts departments in the country to invite students to them Workshops – according to the model –Noun Who do you want Morey?
Workshops Ongoing training, depending on areas of interest, for working artists and technical personnel responsible for lights, sound, projections, etc.
Involve final year (3-4) students in training programs in current theater productions.
Cooperating with theater critics and promoting a return to constructive and honest dialogue
Activate the publishing activity and publish translations of criticism and texts of contemporary drama.
Inclusion in the cultural activities of all spaces – eg: summer season for the outdoor hall, performance installations at the TNB Museum, use of the foyer for exhibitions.
It shows the clip older than 10 years, which is rarely played, after scheduling a potential 4-5 shows in a row.
Digital archiving of all shows and creation of a digital library within the TNB Museum.


We are waiting for other opinions (from as many directions as possible) on [email protected]preferably before July 18, 2022. (litternet)

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