Theatre Director

In Carmen Lidia Vidu's theater, there are two distinct directions: a multimedia one and a social-political documentary.
The Project Romanian Diary started in 2016 marks the beginning of the documentary theater practiced by Carmen Lidia Vidu.

Romanian Diary. 1989
The I.L. Caragiale National Theatre of Bucharest
Romania has celebrated 30 years since the Revolution of '89.
On this occasion, we ask ourselves: how do we relate to history?
Where are the stories of the so-called "ordinary people", who often turn out to be rather extraordinary?
Where are the personal, subjective memories that make up the fine texture of a life, whether it is better or less well lived?
The project "Romanian Diary. 1989" is based on interviews with actors whose unfiltered opinions, whether personal, civic or social, are intertwined to provide the "bigger picture" of a historical event. The multimedia show will give viewers the opportunity to compose a powerful and very humane puzzle. History is contemplated in terms of personal biographies. Research, image and sound make up the multimedia universe that completes the stories of the actors.
Power. Personal Stories
The event is a theatre concert. The visual and conceptual starting point is the work of the contemporary artist Gheorghe Fikl. The performance utilizes different artistic mediums: theatre, concert, video projection, and painting, to create a show which is anchored in our immediate reality. It talks about the human perpetual, the sapiency, the human remembrance, and his fears. To sum, it is structured as an epic where we search for the LOCUTION, for where our humanity sunders, our angelic nature colligates. The confessions are built almost exclusively on the life experience of the actresses, whether its junctures of happiness or pain, success and failure, trauma and depression, or alienation and belonging.
Romanian Diary. Timișoara
The German State Theatre, Timișoara
The confessions are built almost exclusively on the life experience of the actresses, whether its junctures of happiness or pain, success and failure, trauma and depression, or alienation and belonging.
Romanian Diary. Constanta
The State Theatre
Theatre risks to become irrelevant to the community and danger lurks our vanity and leads to isolation.

We only listen to opinions that confirm our own.
Romanian Diary. Saint George
Andrei Muresanu Theatre
Saint George
"Romanian Diary. St. George " is intended as a communication vehicle, an invitation to dialogue. How it influences our location and how much we influence the community to which we belong? Is Theatre one of the pillars of the community?
Me, a dollhouse
Ibsen, Odeon Theatre
Carmen Lidia Vidu's performance boosts a schizoid, hypnotic atmosphere, aggressive and poetical at the same time. Video projections on the human body trigger both rejuvenating sensations and feelings of getting old in a showcase of senses becoming visible.
The Fisherman and Its Soul
Oscar Wilde, Odeon Theatre
Short and well targeted, visually overwhelming, very well executed from an aural standpoint, The Seaful and Its Soul is the type of show which seems to end before it begins. After an extremely intense hour, viewers remain dumbfounded and have many unanswered questions.
The Seagull. The Last Act
A.P. Cehov, National Center for Dance
“The Seagull. The Last Act” is a concert-theatre show, a combination of opera music, post-rock, contemporary dance, and theatre.
Lullaby. A Story about Maria Tanase
Godot Theatre-Cafe
A documentary theatre performance. An honest show, like a mood, charged with emotion, that unfolds for us another face of Maria Tanase, far away from the character presented by the media. Carmen Lidia Vidu transforms everything that touches in emotion. This is a theatrical video poem bringing on a stage for the first time documents, authentic letters from the archives, fragments of interviews, thoughts, and memories of Maria Tanase, together with 6 from everlasting songs of the artists, performed live.
The Little Prince
Antoine de Saint-Exupéry, Odeon Theatre
A theatrical poem about loneliness. The set-up is a multimedia installation where actors are presented as baroque paintings video projected onto clouds, while the Little Prince is walking among the stars which function here and there as microphones. The sound of the play is distinguished as a classical piano with industrial noise highlights. The performance can be viewed as a multimedia fairytale book. To me, video projecting is a poem which I want to include in each show as words which aren’t included in the text but which I feel are thought by the characters and to which I give a visual representation.
Stop Crying, Baby
Peca Stefan, Monday Night Theatre at Green Hours Cafe
Contemporary art show, multimedia performance. Obsession transforms you into a very sad and choleric person. Some have an implosion. You cannot exteriorize your feelings, at a subconscious level there sometimes begins a self-destructing process, you make bad decisions, you surround yourself with the wrong, narcissistic people, you do stuff that you do not like, you humiliate yourself, you self victimize, you cannot stop crying for weeks on end, your mind is an endless loop of scenarios, words, possible scenes going on over and over again until you wake up in the morning, in the kitchen, in the shower, in the pub, at the market and you dream you are flirting with someone else.
C’est pas une chanson d’amour
Temps D'Images, Fabrica
Multimedia performance, ArtLink production. A show about how Bucharest is no longer a love story. A kaleidoscope performance with a mixture of images, music and intense feelings, recoveries or nervousness as in real life. Among the many “constructions” of Bucharest, “C’est pas une chanson d’amour” has a solid structure, lacking the red dot which conveys an earthquake risk. To watch and listen. To rewatch.
Baby Smile
inspired by William Shakespeare’s Sonnet 120, Undercloud,
The Nightingale and the Rose
Oscar Wilde, Bucharest National Theatre
Carmen Lidia Vidu becomes the youngest director of the Bucharest National Theatre. The Show is something between a rock concert, poetry show and multimedia happening. Oscar Wilde’s famous tale is thought out as a video poem. A personal lecture, a multimedia performance about total sacrifice, in which the image, music and actors’ performance follow and filter diverse forms of emotion.
[a bus station…]
Peca Stefan, Bucharest Comedy Theatre
Innovating performance, yet not innovating through aggressiveness and excess, but through concept, through the emotion that it creates in the spectator, through the quality of the means through which it transpires emotion. Because it is truly a performance which transpires emotion. At the same time, it is a performance which tells a story. About fear, about mistakes, about self-hate, about power and helplessness, about reality and non-reality, about pain and poetry. And about the power to give yourself and to let yourself receive. About the audacity of giving yourself and about the same audacity, maybe, to let yourself receive.
I Hate Helen
Peca Stefan, ARCUB
“I Hate Helen” is not theatre! But surely it is something that announces the art form of future decades. I HATE HELEN” is a performance that uses new media means, musical mixes, animation, projections, and photography. “I HATE HELEN” is not theatre or better yet it is not just theatre. It is a movie, it is Cartoon Network, photography, music, it transpires urban legends (snuff is a mere example), it is underground and anti-underground at the same time and it is a savory parody. All these elements taken aside are not prevailing, yet taken as a whole, the actors’ performance added, are a novelty and I must say quite felicitous. It is a multimedia blend, chaos ultimately well-ordered by the media discourse parody glue. It is a cliche story about love and delusion transposed by new media means filtered through projections and processed through the imaginary.
Bitter Sauce
Eric Bogosian, Monday Night Theatre at Green Hours Cafe
It takes a photo of emotion. From the very beginning, the director chose to make a performance and not a show. By choosing to make an experiment she constructed her theatrical discourse in a series of photographies. The interest for photography is justified by the director’s choice for clarity and message disambiguation, through the corporeal attitude that photography presumes without leaving any room for interpretation: “If I say I am alone, I am afraid and I love you, I do not want to express anything more than that. We are living the present time, here and now, without referring our emotions to the past or the future. I do not care for the biography of emotions, but for us to learn to feel them”.
Fool for Love
Sam Shepard, ACT Theatre
The first multimedia performance in Romania.