Teaching Theatre as a Transformative Practice: Three Years of Pedagogical Creation in Romanian High Schools
Updated: May 18
Overview
For three consecutive school years, I developed and implemented two major pedagogical theatre projects in partnership with two Romanian educational institutions: National College “Gh. Roșca Codreanu”—one of the oldest high schools in the country—and Technological Highschool “Al. I. Cuza”.
These projects combined artistic creation, curriculum design, community engagement, and cultural event management. They also shaped the artistic journeys of many students, some of whom later pursued careers in design, modelling, theatre and film.
National College “Gh. Roșca Codreanu”: Theatre as a Space for Dialogue and Identity
“…and Yet, Death” – A Student’s Voice on Stage
The first project culminated in the performance “…and Yet, Death”, a stage adaptation of a text written by one of the students, Ana Alexandra Farcaș. The piece was inspired by the music of Pink Floyd and explored themes deeply relevant to contemporary adolescents:
• the relationship between teenagers and their parents
• the pressures and expectations of school
• the search for personal identity
• the tension between ideals and reality
• the emotional landscape of a generation negotiating its place in the world
The premiere took place in the historic aula of the Codreanu National College, and the production was later invited to the LICART Theatre Festival in Bucharest, one of the most important national events dedicated to high‑school theatre.
Plautus’ “The Twins”: Classical Comedy Reimagined
In the following school year, I directed a new production: “The Twins” by Plautus. The project introduced students to classical Roman comedy, mask work, and the challenges of physical theatre. One student performed a double role, while others worked with masks for the first time—an experience that expanded their expressive vocabulary and confidence.
The student who played the lead role later chose a career in theatre and film, eventually becoming a screenwriter. He often described this production as the moment that opened his artistic path.
Rehabilitating the School Stage
With the support of the school leadership, I coordinated the renovation and technical upgrade of the main performance hall, including:
• restoring the stage
• installing a functional lighting system
• reorganizing the space for future artistic events
This created a sustainable infrastructure for cultural activities long after the project ended.
Organizing the Orfeu Theatre Festival (Editions XIV and XV)
During my collaboration with the college, I organized two editions of the Orfeu High‑School Theatre Festival, taking responsibility for:
• writing the project proposal
• securing logistical support from the local municipality
• inviting jury members and cultural figures
• designing posters and promotional materials
• coordinating media outreach and local dissemination
The festival became a platform for young performers from the region, strengthening the cultural identity of the school and the community.
Liceul Tehnologic “Al. I. Cuza”: Oscar Wilde on a 500‑Seat Stage
“The Importance of Being Earnest”: Directing, Music, and Scenography
In the second pedagogical project, I collaborated with Liceul Tehnologic “Al. I. Cuza” to stage Oscar Wilde’s “The Importance of Being Earnest”.
My responsibilities included:
• directing the production
• composing the musical score
• designing the scenography together with my friend, painter and restorer Valentin Stoian
• identifying practical solutions for costumes and set construction
Rehearsals took place on the large stage of the City’s House of Culture, a 500‑seat venue that offered students a professional environment and a sense of artistic legitimacy.
The Human Dimension: Relationships That Continue Beyond the Stage
Perhaps the most meaningful outcome of these projects lies in the relationships formed with the students.
Many of them still keep in touch, sharing memories of what they describe as “the most beautiful period of their lives.” Some strengthened friendships that later became lifelong bonds; others built families and still express gratitude for the support and confidence they discovered through theatre.
These experiences reaffirmed my belief that theatre pedagogy is not only about performance—it is about shaping character, empathy, collaboration, and the courage to imagine oneself differently.
Conclusion
My work in these two institutions represents a foundational chapter in my development as a theatre educator and was the practical foundation for the Willow Method.
It brought together artistic creation, pedagogical innovation, community engagement, and cultural management. More importantly, it demonstrated how theatre can transform educational spaces into places of dialogue, discovery, and personal growth.
As I prepare for new professional opportunities, I carry with me the lessons, stories, and human connections forged during these years—evidence of a teaching philosophy rooted in creativity, empathy, and the belief that art can change lives.
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