BITEI 2026 – 14th Theatre Festival in Chișinău, Republic of Moldova

 

11 days and a wide range of cultural events and workshops in collaboration with the theatre and the Ministry of Culture

For 14 editions, BITEI has created a genuine space for contemporary art in the Republic of Moldova, where ideas circulate freely and the stage becomes a meeting place for different cultures, generations, and perspectives.

 

Founded by the “Eugène Ionesco” Theatre, the festival has evolved into a remarkable platform for dialogue and cultural exchange, a place of true artistic vitality and of seeking answers to the complex problems of the world through art.

The opening performance of the 14th International Festival of Performing Arts, “Uciderea lui Gonzago” by Bulgarian author Nedyalko Yordanov, already proved to be a firework of direction by Petru Vutcărău, impressing with its contemporary message, staging, and the talent of the Ionesco ensemble.

BITEI lasts a total of 11 days and includes a wide range of cultural events and workshops. The focus in 2026 was on the 30-year collaboration between the “Eugène Ionesco” Theatre and numerous Japanese ensembles, especially the KAZE Theatre from Tokyo.

A small selection of productions I was able to watch during my short visit is mentioned below:

Ionesco, master of the theatre of the absurd, met his equal opponent

The Voskresinnia Academic Theatre from Lviv, Ukraine, rocked the BITEI Festival — in the truest sense of the word. With clarity and, above all, tremendous volume, their Ukrainian folk-punk performers hinted at what would later be driven to the utmost extremes of absurdity.
A young, very naïve girl takes private lessons with an older professor. Language serves as an instrument of power to secure dominance over those unfamiliar with terminology and technical jargon. Power also grants sexual superiority, and the professor exploits this advantage mercilessly.
Three maids assist a mad professor until, after the death of the student, everything begins anew.
An absurdist play by Ionesco in the theatre bearing his name, brilliantly staged by Alla Fedoryshyna, which found its perfect expression in the Ukrainian language. A true BITEI highlight!

 

David Mamet’s “EDMOND (Nocturnal Performance)” at the Eugène Ionesco National Theatre

(Direction: Nicolae Neghin and Bogdan Bîtlan, stage camera: Ion Rotaru, sound design: Cristian Patras, Iuliana Vornicescu Cotrobai)

An intense theatrical journey into the abysses of human existence. At the center stands Edmond, a man who realizes the emptiness of his previous life and, after an apparently casual encounter, breaks out of his familiar reality. What follows is a merciless nocturnal descent through the darker sides of society and of his own consciousness. Along his path, Edmond encounters figures shaped by cynicism, violence, and inner emptiness.

The production did not create a foreign universe, but rather a radically condensed version of our own reality — a world in which anger, alienation, and the desperate need to be noticed have become a universal language. Yet the true confrontation took place within the protagonist himself.

The performance combined dramatic intensity with atmospheric music, powerful visual imagery, and philosophical depth. It opened a reflective perspective on fear, identity, personal trauma, and the question of the meaning of human existence.

EDMOND was a disturbing and at the same time captivating theatrical experience that — particularly thanks to the outstanding actors of this theatre — accompanied the audience far beyond the moment of the final curtain.

 

Takuya Taniguchi – THE TAIKOIST enchanted the audience

“As Europe’s only Taiko soloist, Takuya Taniguchi creates an impressive musical journey that evokes deep emotions and reverence. His performance reflects the earth and spirit of Fukui in Japan — the place where his artistic roots are anchored. By combining the powerful tradition of Taiko drumming with the unique artistic vision of a soloist living in Munich, Takuya builds a bridge between Japanese cultural heritage and contemporary European sensibility,” as the announcement stated.

The master stepped onto the stage, verbally attuned the audience to his presence, and then the evening unfolded:

With masterful theatrical staging, Takuya combined rhythms ranging from delicate subtlety to overwhelming power, unfolding an emotional intensity that completely captivated everyone present.

A spiritual and emotional experience transcending cultural boundaries.

On the day of the Japanese performances at the BITEI Festival, Takuya deeply impressed the audience and left a lasting impact with his powerful, almost orgiastic performance.

 

As early as 2012, the BITEI Festival and its director Vutcărău received the Culture Award Europe from the Kulturforum Europa for their achievements as mediators between East and West in the field of culture. The world has changed, yet during the 14th festival edition in 2026, the merits of the festival and its director remain unmistakably evident.

Today, the significance of the award winner and his festival is demonstrated on a cultural level as ambassadors of the Republic of Moldova for Japan, Korea, and above all Europe.

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