The building was built between 1872 and 1875 in the intra muros area of the fortress, according to the plans of the architects Ferdinand Fellner junior and Hermann Helmer, in an eclectic historical style.
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From the balcony of the Opera House, Timișoara was proclaimed the first free city in Romania on December 20, 1989. The Palace of Culture was built in the northern part of the square, a building that houses several prestigious cultural institutions: the National Opera, the Mihai Eminescu National Theater, the Hungarian State Theater Csiky Gergely and the German State Theater, along with the Workshop/Exhibition of Timișoara City Hall Urbanism, Timișoara City Hall Tourist Information Center and many commercial companies. The so-called "Palace of Culture" dates back to the 1930s, when this building housed the theater, the Banat Museum, the Academy of Fine Arts and the Banat-Crișana Social Institute. The theater was built between 1872 and 1875 according to the plans of junior architects Ferdinand Fellner and Hermann Helmer, in an eclectic historical style. After the fire of April 30, 1880, the theater was bought by the city from the joint-stock company that owns the building, with the amount of 150.000 florins, investing 120.000 florins for the reconstruction of the theater between 1880-1882. The building suffered a strong fire on October 31, 1920, the interior being completely rebuilt between 1923 and 1928 according to the plans of the architect Duiliu Marcu in neo-Romanian style. In 1934, the same architect designed a new theater façade, completed in 1936, as a perspective for Victoriei Square. The year 2003 marks the return to the original architecture of the sides of the main façade (architect Marcela Tietz). Victoriei Square, formerly Opera Square, is one of the central squares of Timișoara, with a very important historical significance for the events of December 1989: from the balcony of the Opera House, Timișoara was proclaimed the first free city in Romania on December 20, 1989. In the northern part of the square, the Palace of Culture was built - a building that houses several prestigious cultural institutions: the National Opera, the Mihai Eminescu National Theater, the Hungarian State Theater Csiky Gergely and the German State Theater, along with the Workshop/Exhibition Urbanism of Timișoara City Hall, Tourist Infocenter of Timișoara City Hall and commercial companies. The name "Palace of Culture" dates back to the 1930s, when this building housed the theater, the Banat Museum, the Academy of Fine Arts and the Banat-Crișana Social Institute. The theater was built between 1872 and 1875 in the inner wall of the fortress, according to the plans of junior architects Ferdinand Fellner and Hermann Helmer, in an eclectic historical style. During his visit on May 7, 1872, King Ferenc József approved the theater to bear his name. The performance hall had 900 seats, but in the building also operated the Kronprinz Rudolf hotel and the Redoute dance and festivities hall. In the wing of the building on Alba Iulia Street you could find a cafe, a reading room, a bowling alley and a club - where you could play cards. The cost of the building was 1,440,000 forints. The theater building was inaugurated on September 22, 1875 with the play Women's Domination by Ede Szigligeti. After the fire on April 30, 1880, the theater was bought from the joint stock company that owns the building, by the city, with the amount of 150,000 florins - further investing 120,000 florins for the reconstruction of the theater between 1880-1882. In 1890, the building underwent a restoration process, by restoring the interior furniture by the carpenter Ferenc Gungl, gilding the performance hall by Jenő Sprang, reconditioning the sculptures by Alajos Heine, changing the heating system, arranging new toilets, purchasing an electric motor for the iron curtain (a firewall between the stage and the performance hall), the installation of two new water basins and the reparation of the roof. Architecturally significant for this stage is the entrance from the ground floor, with three openings finished in the arch in the center. After the Great Union, the first show in Romanian language on the stage of the theater took place on August 7, 1919, with the play Institutorii by Otto Ernst, played by actors from Craiova. The building suffered a strong fire on October 31, 1920, the interior being completely rebuilt between 1923 and 1928, according to the plans of the architect Duiliu Marcu in neo-Romanian style with Byzantine ornaments and Art Deco. On November 12, 1923, King Ferdinand of Romania laid the foundation stone for the reconstruction of the theater, and it was later reopened as the Communal Theater on January 15, 1928 with the show Red Rose by Zaharia Bârsan. In 1934, the same architect designed a new facade for the theater - completed in 1936, as a perspective for Victoriei Square, the works being coordinated by the architect Edmond Stanzel and the entrepreneur architect August Schmiedigen (Bucharest). The new facade dominated by a monumental triumphal arch is a balanced perspective for the wide esplanade of Victoria Square. The year 2003 marks the return to the original architecture of the sides of the main facade (architect Marcela Tietz).
Bibliography:
- Mihai Opriș, Mihai Botescu, Historical Architecture from Timișoara, Tempus Publishing House, Timișoara, 2014
- Josef Geml, The old Timișoara in the last half of the century 1870-1920, Cosmopolitan Art Publishing House, Timișoara, 2016.
The National Theater and Opera House
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Robert Șerban
whenever I pass by the theater
I remember the balcony scene
when those upstairs
and those downstairs
were both so much in love
with freedom
waiting for it to turn
to eternity
June 2022
“He reached the great Central Square of the city. Only pigeons used to fly around here once. Now the vast area was packed with people. Up in a balcony of the National Theaterbuilding, a hustling crowd, speakers taking turns at a microphone. They were occasional speakers, each saying whatever was on their mind. Some were listened to with the utmost attention, getting a round of applause after every sentence, others were talking without any applause, leaving quickly, someone else taking their place. From the sides, some tanks, or whatever they may have been, guarded the unsettled crowd and those speaking from the balcony.” (Ion Arieșanu, The Best Die First, Timișoara, Amarcord, 1998, p. 224)
“He walked along the boulevards, the streets, the squares, went inside the churches, walked along the passageways, reached the park alleys, the riverbank, and kept walking and walking... Until he realized he was falling off his feet. And that it was evening again. The hustle had faded away. In the National Theatre Square, in front of the Cathedralas well as on the main boulevards. After the euphoria of the day, after the hours of bliss, the alarming sound of gunfire and machine guns could be heard again here and there, coming from unknown parts of the city. Again, tanks in the streets. Again, few lights. Again, hurried passers-by sneaking past walls. What was going on, though? He wondered sitting on a bench, looking around the deserted park, as his weary body started to cool from the evening icy winter wind creeping through the trees. What’s going on, for God’s sake? Isn’t it over, all the madness?” (Ion Arieșanu, The Best Die First, Timișoara, Amarcord, 1998, p. 247-248)
Francisca Schultz (b. 1950)
(...) As a child, my parents, although they were simple people, gave me an extraordinarily good education, in the sense that I did nine years of ballet at the Opera. I graduated from school, so I could have become a ballerina. I had colleagues who remained employed as ballerinas at the Opera. I even had roles in performances alongside the Opera's employed ballerinas. However, I was always a prize winner at school. And my father said to me: "You won't make a job out of this!" He came at night - at eleven o'clock he left his shift at work, at 23:30 he was already standing behind me backstage, waiting for me until I left the stage to take me home. He could see the dancers, especially the soloists, almost spitting their lungs out, excuse the expression, between the dances. My father said: "I won't let you do that kind of work." Women retired at forty, men at forty-five and they were already wrecks. He said, "Why destroy your health? (...) just keep going to school".
At the opera, at one point, I was sixteen years old, a coach came to visit us from Bucharest, she was a national champion in rhythmic gymnastics, the one with “the objects”. In school, I also did about three years of apparatus gymnastics. The sports teacher would sometimes let me hold the lessons in her place with my colleagues - on the floor, on the beam, on the parallel bars, on all kinds of things like that. I was always active, when there was a contest or any celebrations, at sports, at all the schools I went to, I always participated and got prizes.
Ok, so… that coach from Bucharest came to the opera. And she chose six girls. She made the first rhythmic gymnastics team of Timişoara, and we participated in the first national competition of this kind. I also participated in the Balkans at one point. In the meantime I had become a student. I had practiced gymnastics for four years. One could very easily switch from ballet. We had to do the craftsmanship ourselves, because we had the base, the ballet. And that's what you need for rhythmic gymnastics. In the second year of college, the Polytechnic demanded a lot from me and I gave up on everything. This is my great pain. For years and years I couldn't watch a ballet performance like the rest of the world. I was sobbing and had to go outside. (...) For decades, at night, I dreamed of dancing and even today, I can say that I still know every move of everyone in Swan Lake , for example. That was my whole childhood, in the Opera. Then I also played the piano at the pioneers' palace, I did a theater circle, a painting circle, everything possible. I did everything. (...)
Francisca Schultz (b. 1950) interviewed by Onica Adrian in Timisoara in 2017 (interview published fully in Smaranda Vultur (coord.) Germans from Banat through their stories, second edition revised and added, 2018. Polirom, Iasi)
Viorica Adriana Reus
[...]
(How was it with the operetta?) After we came to the refuge ( from Bucovina n. n.), the Opera from Cluj came as well, and the Conservatory from Cernăuţi, which turned into the Academy of Music and Dramatic Arts, here in Timisoara. So I had no financial possibility. We were all very poor, so the Operetta Lyric Theater was founded. Different people came here, just like today, to make "shops", different people came to lead us. The first one was a pharmacist, called Octavian Hrabal. All cultural activity started because of him. He stayed for two months, collected the money from the shows and quit. The second one came, an innkeeper, his name was Savu. He also had a bit of a voice, he was a bit of a tenor. He also took the money and left. Then we got a swine herd. (Where was the headquarters?) We didn't have an actual headquarters. We held rehearsals at the Conservatory, on Ungureanu Street. The performances were held at the Opera House. We didn't have decorations there, we got them from the City Hall. The town hall, once upon a time, in 1800 or so, had a municipal theater that also had sets and costumes and we took what we needed from there. We had three premieres, "Polish blood", "House with three girls" and one more.
It was then Cornel Trăilescu who was then a student at the Conservatory. Now he is the first conductor at the Bucharest Opera. He took the six of us. There was a lady and a gentleman, who during the war made a French magazine around the premises. His name was Stănescu, and her name was Eviţchi, a very beautiful voice. In the beginning, we were just a bunch of people with a big soul. I had my role, I was the child of the street, nobody's child and I sold newspapers. The other two were tapping and singing. They were the main actors. Trăilescu was with the music, he played the piano and made our songs. After stabilization, we managed to give performances in a commune, Pecica, but they told us that they could not receive us because they had no money. The ticket was 27 lei. Then I came up with a great idea, the first row should give us a chicken, the second row eggs and flour, everyone would bring a gift from home, instead of paying for the ticket. It was very difficult. Then the Opera was established, with the decree of King Mihai and with the presidency of Minister Groza and with Aca de Barbu who was a soloist, an emeritus artist, and a director. Rehearsals have begun. They slept in cabins, on straws. They had nowhere to eat. There was only one oil lamp and food was cooked on it - boiled potatoes, beans. This was done in the corridor, at the booths and all that smell came into the hall, so everyone always knew what the artists were eating.
One time, a soloist told me to bring him a fork and a spoon from home. The artists were eating at the station, in the basement, where the mite canteen was. There was a long wooden table on which the metal plates were nailed. From these plates, there was a spoon on a chain and the cook came with a vailing and a cloth and washed the plates, then the spoons, from one to the other. On the day I went there, they had tomato soup on the menu, which was only slightly reddened, and some macaroni thrown in there. After he came with the cloth, the second course was macaroni with marmalade. And that's where the artists were eating. There was great mourning… great mourning.
The director, Aca de Barbu, was amazing. In order to help the artists, there was a law, if someone saved the show, when someone else was sick, they would receive 500 lei, which was almost half a leaf. The headmistress once told the prop cook, the one who takes care of the details, to tell his wife to make a big bowl of potato dumplings, with cheese and well buttered. This is in the play "House with three girls". In the role, Kupelwieser was a great philosopher. I was Schani, picolo, and I had to help at that table. In the play it said, "Kupelwieser, isn't that chop coming anymore?" and he says, "It's coming, it's coming, it's hot."
I went ahead of him, took the bowl, but there were some nails under the stage carpet and I tripped over them and the bowl fell and the dumplings fell all over the stage.
All the soloists were prepared with plates and forks, because they had something to eat that evening, and they said to me: "What have you done Schani, you spilled our dumplings!" I was very ashamed and sorry that they lost a dinner like that. I collected the dumplings and went out.
Master Georgescu did not let you change a word in the role you had. My text was, on the way out: "Bon appetite!" but why say "Bon appetite" when all the food was on the floor. They had to take the line from me and say: "Hooray, good appetite, let's eat and drink!" I was sitting backstage and watching what they were doing on stage. Two were left on stage, the tenor and the soprano, Hamerl and Schubert. She asked Schubert, who was a composer, to give her singing lessons. She was one of the three daughters of a large bottle manufacturer. She was sitting with an umbrella, and when she was about to leave, she opened the umbrella, and there was a dumpling on top of it. Everyone laughed so hard at this. In the tram and everywhere, until I got home, they told me: "Be careful not to lose the dumplings like Schani did."
I was about 14-15 years old back then. These were the adventures we had at the Opera House. It was very difficult.
Viorica Reus (n. ) interviewed by by Adrian Onica in February and March 2002 in Timişoara, fully published in Bessarabians and Bukovinians in Banat. Life stories ( Smaranda Vultur, Adrian Onica editors), Marineasa 2010, Brumar 2011.
I went to the Theater because I liked it a lot. I went to the Opera every Sunday. I went, I liked it...I saw a lot. (Were the actors from Timişoara?) They were from Timişoara, from here, a very good team. "The Prince of the Gypsies", it was so beautiful, in Romanian language!
Maria Zettel (b. 1913) Interviewed by Roxana Pătraşcu Onica in 1999 in Timişoara (Third European Archive, BCUT)
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The Opera and Theatre Building means more to me than what it is historically: a symbol of change. My story begins in my childhood, when my father, a composer, and I used to visit the building, which was one of my second homes. Over time, I began to unravel more and more of the rooms of the opera: from the preparation and rehearsal rooms, to the emotions behind the scenes, to those of the artistic moment. But it's not just the inside that I'm very familiar with, but the outside as well. The outside, however, knows me as a different kind of performer. So, for me, the inside of the Opera is the formal, classical world of theatre and opera that I have loved since I started remembering things from my childhood, but the outside knows me a little less formally, as a fire-juggling performer, a man of historical re-enactment and so on. So, symbol of change, duality, and different memories for everyone.
Raluca Goia, UPT Student, 2023
"Grigore Moisil" Theoretical High School Timișoara
- Wake up, baby! The train's leaving without you!
Paul opened his eyes, looking at the scarlet clock on his bedside table. The train to Romania was leaving in an hour, so he jumped out of bed and hurried to the kitchen, where his mother was preparing breakfast.
Soon, well tucked in by his mother and Auntie Linda, he was kissed sweetly on the top of his head by both of them.
- Alas, my baby, all alone in the big world! sighs mom.
- He can manage, it's his grandmother! said his father, standing in the doorway and casually smoking a cigar.
The boy was sent by his family to visit relatives in Romania. Specifically in Timișoara. His grandmother lived there with his cousin Miruna. However, Paul didn't understand why his mother and his aunt were so scared, only they had insisted that he visit his grandmother.
Before long, Paul and his father were walking through the snowy city streets to the train station. The snow lay gently on the dark streets. At a quarter past five, the train left London with a screech of wheels. Paul watched through the steamed window of the sleeper. My father waved goodbye.
On the way, Paul took a book about Timisoara out of his suitcase. He leafed through it lying on the narrow bed. One building caught his eye: the National Opera. He admired the pictures of it, carefully reading the paragraphs describing it. He would like to visit it.
After long hours of traveling, Paul finally arrived in Timisoara where his grandmother, accompanied by Pa Paws, his grandmother's dog, and Miruna, were waiting for him with a warm smile on their lips.
- Dear Grandma, welcome! said Grandma in a gentle voice.
- He replied, kissing her hand respectfully, as he had been brought up to do. His grandmother, in turn, kissed him firmly on the top of his head and helped him with his luggage.
- And how are you? asked Miruna, the talkative one.
- Good! he replied dryly and turned to his grandmother.
- Grandma, can we visit the city center?
- Want to see the Center? Visit the Center!
- Now?
- Take it easy! Get something to eat, get some rest. Yeah, why do you want to see the Center so bad?
Paul shrugs and looks left, then right. The city was a true splendor. The narrow streets dressed in their ice-white robes. The leaden clouds, close overhead, followed them wherever they went. His grandmother led him along a road beside a muddy river, lined on either side by scrubby trees. The cold air blew mercilessly, ruffling Grandma's bonnet.
- Great, what do you know! said Grandma.
But Paul caught the cap on the fly.
Arrived at his grandmother's tiny apartment, Paul had to put up with his cousin's chatter. She talked about everything from her favorite books to how the grass is green and the sky is blue. But the wait was worth it, for at noon they finally set off for the Center and he would see the Opera House, the one that had fascinated him for some time.
Accompanied only by his grandmother this time, Paul enters the Opera House, admiring its beautifully decorated interior.
- Grandma, can you tell me something about Opera?
- Well, dear Grandma, this Opera has endured a lot over the years!
- What do you mean?
- He's been in fires, darling!
- Fires?
- Not one, but two!
Grandma sat on one of the long wooden benches. It was completely empty around them. Paul looked around the huge room, looking intently at the organ in front of him. This place seemed to conceal a mystery that no one had yet revealed.
All evening he thought about the National Opera and its past. From what his grandmother said, the first director of the Opera was Aca de Barbu. He sat with his nose in his sightseeing book and read about the building. He read and skimmed, but nowhere was more told about the two mysterious fires, so he drifted off to sleep, disappointed.
A warm breeze caresses his face, waking him up. As he opened his eyes, he was greeted by the starry sky. He got out of bed realizing he was in front of the Opera House. But how could that be? Where did the frost and snow disappear? I'll tell you where. Visa!
Tiptil, Paul approaches the door of the Opera House, the music inside shattering the oppressive silence of the night. He stepped inside. The bright light from inside almost blinded him, but the music urged him to enter. Led by the pleasant sound of the instruments, he sat down on a nearby bench next to a beautifully cooked lady. He blinked. He looked around. Finally, he turned his gaze, admiring the sumptuous hall.
The next instant, a burning smell invaded all his senses and he looked around in alarm. The building was on fire!
- Fire! cried a frightened voice from the crowd. And instantly panic seized the world. Ladies, gentlemen, and children were crowding outside. The alarms drowned out the music, and the crowd pushed Paul outside, desperate to find out what was happening.
Outside, the audience melted into darkness, disappearing, their desperate voices carried on the wind. He turned toward the Opera House, now fire-scorched walls. The side wings were intact, but the facade was knocked to the ground. In the sea of stone and bricks, a tall silhouette picked them up one by one, trying hard to bring the glorious building to its feet. Suddenly the mysterious figure turned toward him.
- That happens sometimes. But, dreams can't be grounded! I will rebuild it!
Paul looked puzzled in the direction of the voice. How was he going to rebuild the Opera on his own?
- Brick by brick, I'll raise it up again, came the sequel, as if reading the boy's thoughts.
And the silhouette approaches him, revealing a young man. He whispered to Paul, placing a cool hand on his shoulder.
- And so should you, while you're still young! Otherwise you'll regret not following your dreams. And the figure becomes translucent, disappearing with the remains of the Opera.
He woke up in a daze. He jumped out of bed and quickly grabbed his coat.
- Where are you going, darling? asked Grandma.
- The Opera, Grandma!
Fairy of Timișoara
by Sarah-Michaela Spiridon, 6th grade
"Grigore Moisil" Theoretical High School Timișoara
Near a distant town lived two little girls, Ana and Maria. They were two sisters, apparently different, but very curious. Ana, the older, nine, was passionate about nature, while Maria, just seven, dreamed of magical fairy-tale worlds filled with mythical creatures. Together, they explored the woods near their home, where Ana always tried to show Maria the real beauty of nature, even though Maria still dreamed of fairies and magical flowers.
One day, the two of them were in the Green Forest and were saying to each other that they would love to go and explore the center of Timișoara, the city they had only heard about as the Cultural Capital of Europe. Their first stop was to be the Opera House, but before they could set off, a majestic figure appeared. It was a fairy, the Fairy of Timișoara, but the girls didn't know it.
- Who are you, fair fairy? they asked in chorus.
- I am the fairy of Timișoara and I am delighted to meet you!
- So are we, the sisters replied.
- I hear you want to go hiking, huh?
- That's right.
- Aren't you too young to go hiking on your own?
- Well, we're nine and seven, respectively. We're a little young and we could use some help.
- Why don't you come with me?
The sisters talked for a while and decided to go with her.
Timisoara's fairy, a delicate presence with blue-green hair and eyes in all the colors of the rainbow, asked them where they wanted to go, and the girls told her that they would like to visit the center of Timisoara for the first time. So, the fairy summoned a giant butterfly to help them get there. First, they visited Romanian National Opera in Timisoara where they saw the play "Salt in the Cookery". The girls were amazed and happy.
After the show was over, the fairy suggested that they visit the Brâncuși Exhibition at the Art Museum. There they saw many sculptures and discovered the sculptor's diary, his drawings and various sketches.
The sisters then said that they also wanted to visit the high church in the center of Timișoara, so the Fairy of Timișoara did not refuse them and introduced them to the Metropolitan Cathedral. When they came out of the Cathedral, they found that it was getting dark, so the Fairy suggested that they sleep together in a grove, the Green Forest, and made three magical hammocks herself. The night was a real spectacle under the open sky: crickets sang music like they had never heard before, fireflies flew in the sky glowing like candles, competing with the stars. The moon, which looked like a big piece of cheese, smiled friendly smiles at the sisters.
In the morning, the girls woke up with a squirrel by their side, who gave them a giant strawberry, and after enjoying it, they went back to the center, admiring the colorful houses and blocks. What a joy to discover, as they walked down an alleyway, over their heads, illuminated butterflies of all colors! The girls were mesmerized by the beauty of the city.
But they realized it was time to return home. The Timisoara fairy led them to the door of their home, promising to return next spring for new adventures.
With tears in their eyes, the sisters embraced her and the Fairy left, knowing that their friendship would last a lifetime. Every spring, the sisters would find her in the Green Forest, where they would set off together on new journeys through Timișoara, a friendship that would last into old age.
–
Fragments of a thought
by Anca Napău, 10th grade
"Grigore Moisil" Theoretical High School Timișoara
I have appropriated my soul with its places, which seen from above, from the Great Universe, are almost invisible, but essential for me, when each street, building or park in this city betrays unique experiences, from childhood to now in adolescence.
It has the scent of roses mixed with the joviality of everyday life that you read on people's faces. Every spring, the city breathes again after the burden of winter. A play by Caragiale is being staged at the National Theater, tulips have bloomed in the Central Park, and the cathedral bells will ring at noon. The tram I'm on has just passed the school where I go to school and the maternity hospital where I was born.
Behind people and places lie untold stories, some told, some untold. I know that to get to know Timisoara, it is enough for my steps to measure the grandeur of its history, following its streets, seeing its museums and art galleries. As an individual, the city connects me forever with all things cultural and civilized. I was ten years old when I experienced the joy of seeing the crowds gathered in the Opera House, listening to George Enescu's "Romanian Rhapsody" with the same devotion with which you listen to church services.
To feel its pulse, it is enough to observe its summer spectacle. The music from the open-air concerts drifts into the ether. Then you see its present, for a future that will always rejuvenate it.
As such, you can't remain a dissident in happiness when you live here in Timișoara.
–
Artwork by Ștefania Roibu, 8th grade A student General School No 19 "Avram Iancu" and exposed to UPT Library within the exhibition "Timisoara's Stories - A Visual Journey through Timisoara" - within the Creative Schools Project - Timisoara's Stories - a continuation of the Spotlight Heritage Timisoara project, part of the cultural program of the Timisoara Cultural Capital 2023 - project that brought together over 1600 children and teenagers and more than 60 teachers from Timisoara's schools, in over 50 interactive activities.
Artwork by Malina Boldea, 9th grade B student "Grigore Moisil" Theoretical High School in Timișoara and exposed to UPT Library within the exhibition "Timisoara's Stories - A Visual Journey through Timisoara" - within the Creative Schools Project - Timisoara's Stories - a continuation of the Spotlight Heritage Timisoara project, part of the cultural program of the Timisoara Cultural Capital 2023 - project that brought together over 1600 children and teenagers and more than 60 teachers from Timisoara's schools, in over 50 interactive activities.
Artwork by Anca Napău, 9th grade D student "Grigore Moisil" Theoretical High School in Timișoara and exposed to UPT Library within the exhibition "Timisoara's Stories - A Visual Journey through Timisoara" - within the Creative Schools Project - Timisoara's Stories - a continuation of the Spotlight Heritage Timisoara project, part of the cultural program of the Timisoara Cultural Capital 2023 - project that brought together over 1600 children and teenagers and more than 60 teachers from Timisoara's schools, in over 50 interactive activities.
Artwork by Mara Petcu, 9th grade C student "Grigore Moisil" Theoretical High School in Timișoara and exposed to UPT Library within the exhibition "Timisoara's Stories - A Visual Journey through Timisoara" - within the Creative Schools Project - Timisoara's Stories - a continuation of the Spotlight Heritage Timisoara project, part of the cultural program of the Timisoara Cultural Capital 2023 - project that brought together over 1600 children and teenagers and more than 60 teachers from Timisoara's schools, in over 50 interactive activities.
Artwork by Maya Gogoriță, 8th grade B student General School No 19 "Avram Iancu" and exposed to UPT Library within the exhibition "Timisoara's Stories - A Visual Journey through Timisoara" - within the Creative Schools Project - Timisoara's Stories - a continuation of the Spotlight Heritage Timisoara project, part of the cultural program of the Timisoara Cultural Capital 2023 - project that brought together over 1600 children and teenagers and more than 60 teachers from Timisoara's schools, in over 50 interactive activities.
