The National Theater Craiova, formally named after playwright Marin Sorescu (, TNC), is a state-run institution for performing arts in Craiova, Romania. It endures as the center of theatrical life in all of Oltenia, and overall as one of that region's most celebrated cultural institutions. Its origins lead back to a private company set up in 1850—though a permanent local troupe was only established in the 1860s, when managed by Theodor Theodorini and his wife Maria; sponsored and rebuilt by their famous daughter Elena, by 1880 it was already embroiled in political intrigue, and ignored by the affluent elites. It became a fully state-owned theater in 1889, under the Romanian dynastic regime. This change turned allegations of maladministration into issues of national interest, especially during 1898, when Ion Livescu led an actors' revolt against the state-appointed managers. The modernization effort begun by Livescu and Petre I. Sturdza, who changed focus away from crowd-pleasing operettas and melodramas, was carried forward by manager Emil Gârleanu, initially with help from Liviu Rebreanu. In the early 1910s, Gârleanu's TNC came to promote Romanian nationalism and historicism alongside the staples of modern drama, while also completing one of the earliest projects in Romanian cinema.
Virtually closed down during World War I, the TNC fared poorly in interwar Greater Romania. Its building burned down in 1927, with shows being performed at Carol I High School, or in cinema halls; actors were driven into poverty by the Great Depression, and the management team changed constantly. TNC programs continued to be shaped by the aesthetic preferences of average consumers, but it occasionally welcomed non-traditional stage directors, and sometimes embraced avant-garde drama. The institution broke down completely in 1934, when the actors staged a revolt against troupe manager A. de Herz; the TNC was closed down in 1935, and was only reopened in 1942, by which time Romania was under Ion Antonescu's Nazi-aligned dictatorship. Pushes for a fascization of the repertory lasted until Antonescu's toppling in 1944, after which the TNC embraced generic leftism, eventually narrowed down to socialist realism.
During the early stages of the communization era, the TNC was regarded, by both government officials and their critics, as a mediocre enterprise. A creative burst occurred in the mid-to-late 1950s, when Vlad Mugur was called in to direct; the program became more classical in nature, and national-themed plays were also showcased (including original ones by Mihnea Gheorghiu). The institution was again well-regarded in the 1960s, when a selective liberalization was initiated by communist leader Nicolae Ceaușescu. The period overlapped with Ion Dezideriu Sîrbu's employment as a dramaturge, and with a programmatic emphasis on Marxist humanism. The company premiered new plays, including Sîrbu's and Sorescu's, and introduced actors such as Tudor Gheorghe.
In 1973, Ceaușescu's regime erected the TNC's new building, which came to be lauded as one of the most functional and elegant projects in local communist architecture. The reintroduction of ideological scrutiny and censorship directly affected the TNC, especially in the 1980s; under Emil Boroghină's management, a new generation of directors, including Mircea Cornișteanu, Cristian Hadji-Culea and Silviu Purcărete, subverted pressures by recontexualizing plays and encoding critiques of Ceaușescu. The end of communism encouraged more experimentation, and, into the late 1990s, the TNC was internationally famous, especially for Purcărete's avant-garde productions; from 1994, it has been hosting its own Shakespeare festival. Cornișteanu's term as TNC manager consolidated national fame for local actors such as Mirela Cioabă, Vlad Dellakeza and Ilie Gheorghe, though the company was also affected by financial instability and a string of poor reviews. In the 2010 and 2020s, its program remained divided between local classics and fully experimental plays. Its routine was interrupted by the activity of guest directors, including Robert Wilson and Declan Donnellan.
Roots Beginnings of theatrical life The early days of theatrical life in Craiova reflect developments in the cultural life of Wallachia—one of the two Danubian Principalities, existing as autonomous components of the Ottoman Empire. Craiova historian George Franga argued in a 1973 article that the beginnings of such activities can be traced to March 1830: a poster, written in French and German rather than the vernacular Romanian, announces that Antonachy Burelly's townhouse was hosting performances of comedies by August von Kotzebue.George Franga, "Din istoricul teatrului craiovean (I). 'V-am dat teatru, vi-l păziți / Ca un lăcaș de muze...'", in Ramuri, Vol. X, Issue 4, April 1973, p. 19 Franga also notes an opera performance in March 1837. This is more reliably attributed to a "German" touring company, which sang I puritani, by Vincenzo Bellini. In 1838, Craiova already had six music schools, one of which was housed in the Poroianu complex. They gave regular concerts, helping to consolidate a local tradition.Franga (1968), p. 164 As attested in a period letter by Ioan Maiorescu, before 1847 the scions of the local boyardom had fully embraced amateur theater, and were performing for each other in wintertime. Such private shows, done for a small audience, ranged from tragedy to pantomime.Franga (1968), p. 164 By 1840, Craiova was the permanent home of the French immigrant actors, identified as "Valeri" and "Theodor Gafrey". These two placed a demand with the Oltenian regency, seeking approval to perform "on days when there are no club meetings". As Franga notes, the two new arrivals were also managers of the "Craiova French Theater", attested in March 1841. They introduced Oltenians to the works of Eugène Scribe and Jean-François Bayard; at exactly the same time, the city welcomed in two English acrobats, Nicholas Craft and John Atterbury, who gave professional circus performances.
Theatrical life went through an unexpected hiatus during the Wallachian Revolution of 1848, and especially during its quelling by the Ottoman and Austrian armies (1848–1850), who restored order under a conservative Wallachian Prince, Barbu Dimitrie Știrbei. These two military forces also occupied Craiova, and its only usable auditorium, located within the Central School for Boys, became their barracks.Franga (1968), pp. 164–165 During these events, Costache Caragiale's company in Bucharest had to shut down its theater; it is possible, though not fully certain, that Alecu Corcoveanu and his troupe of actors were performing at the time in Craiova's public gardens.Franga (1968), pp. 164–165. See also Constant (1980), pp. 54–55 One local tradition is that Caragiale himself came to Craiova, helping to form its permanent company. This account relies on details about Caragiale's associate, Ion Gestianu-Mihuț, who settled in Craiova in 1849, and remained there, as a member of the troupe, for the rest of his career."Magazin. File de dicționar", in Înainte, 6 September 1970, p. 2 Scholar Lelia Nădejde believes that both Caragiale and his pupil, Constantin Dimitriade, were at Craiova in 1849.Nădejde, p. 59
In mid-1850, Dolj County's governor, Dimitrie Filișanu, heard a demand by his citizens, which was to set up a permanent theater. He acquiesced, bringing in Caragiale's former associate, Costache Mihăileanu, to organize a permanent company in Craiova.Franga (1968), p. 165 The employees that Mihăileanu and his sister Ralița took to Craiova are believed to have included Dimitriade, Mihail Pascaly, Constantin Serghie, and I. Vlădicescu, joined by sisters Maria, Polina, and Raluca Stavrescu.Ștef., "Din trecutul Teatrului Național. Începuturile teatrului. — Societatea Filarmonică. — La Craiova. — Teatru de la Momolu. — Primii artiști. — Primele artiste. — Cei cari mai trăesc", in Viitorul, 30 August 1908, p. 1 The first mention of shows being performed under Mihăileanu's direction is from 29 June (Old Style: 18 July) 1850—on that day, Vestitorul Românesc of Bucharest published an article by the Craiova intellectual, Gheorghe Chițu, with detail on what was being done to make the Central School into a theatrical venue. It is, according to Franga, also the first piece of theater criticism to come out of Craiova.Franga (1968), p. 165 Two plays were being produced—one by Caragiale, and the other by Vasile Alecsandri; as Franga argues, Caragiale himself most likely appeared in at least one of the roles.Franga (1968), p. 165
A teenager at the time, the Craiova native Ștefan Vellescu recalls being allowed to perform a small role in Molière's comedy, Monsieur de Pourceaugnac, which was his debut on the stage.Ștefan Vellescu (contributor: George Franga), "Din istoria teatrului românesc. Memorii", in Contemporanul, Issues 23–27/1995, p. 12 In November 1850, Mihăileanu also directed, and starred in, Matei Millo's operetta, Baba Hârca.Franga (1968), pp. 165, 166 The ongoing performances infuriated some members of the Wallachian Orthodox hierarchy. In June 1851, the Archbishop of Râmnic, Calinic, observed that a Christian school was hosting petreceri de noapte sub denumirea de teatru ("nighttime parties that they call a theater"), and pleaded with Prince Știrbei that he suppress the new institution.Franga (1968), p. 165 The request was already anachronistic, since, from late 1850, the company had been ordered to evict the school, and a new hall was being built to accommodate its activities.Franga (1968), p. 165
Stroescu, Gănescu, Theodorini The budding institution was assigned its own hall, but this was hastily constructed, timber-framed with wattle-and-daub infill.Sîrbu, p. 84 Despite such modest conditions, it was already being referred to as a "national theater"—the name is used as such in demand for sponsorship by Toma Strâmbeanu, who may also have been the first Craiova-based playwright.Franga (1968), p. 165 The full program of the 1851–1852 season remains unattested, but it is known to have included three plays—a comédie en vaudevilles, a farce, and a regular work of drama; all had the same Wallachian author, I. Dimitrescu.Franga (1968), p. 166 The institution already had a monopolizing role on the city's cultural scene, which was generally poorer than that of other centers of culture. This issue was highlighted in 1966 by dramatist Ion Dezideriu Sîrbu: The National Theatre of Craiova has been, for almost a hundred years now, the center of cultural life in Oltenia. [It] has stood in for an Atheneum, an Opera House, an Academy and a Library. It is only now, only for these past few years, that it has begun to cede its prerogatives, one by one; but in the last century it was a spiritual valve, the only spiritual valve, through which the rich soul of Oltenia could breathe, allowing for the only possible connection with the great literature of Europe and with the great ideals of the time.Sîrbu, p. 83