{"id":12678,"date":"2025-04-07T14:35:11","date_gmt":"2025-04-07T11:35:11","guid":{"rendered":"https:\/\/revistafamilia.ro\/?p=12678"},"modified":"2025-04-07T14:36:08","modified_gmt":"2025-04-07T11:36:08","slug":"valize-si-sunete-de-ape-prin-tevi","status":"publish","type":"post","link":"https:\/\/revistafamilia.ro\/?p=12678","title":{"rendered":"Valize \u0219i sunete de ape prin \u021bevi"},"content":{"rendered":"<div class=\"wp-block-image\">\n<figure class=\"aligncenter size-large is-resized\"><img loading=\"lazy\" decoding=\"async\" width=\"1024\" height=\"683\" src=\"https:\/\/revistafamilia.ro\/wp-content\/uploads\/2025\/04\/elif-1024x683.jpg\" alt=\"\" class=\"wp-image-12679\" style=\"width:500px\" srcset=\"https:\/\/revistafamilia.ro\/wp-content\/uploads\/2025\/04\/elif-1024x683.jpg 1024w, https:\/\/revistafamilia.ro\/wp-content\/uploads\/2025\/04\/elif-300x200.jpg 300w, https:\/\/revistafamilia.ro\/wp-content\/uploads\/2025\/04\/elif-768x512.jpg 768w, https:\/\/revistafamilia.ro\/wp-content\/uploads\/2025\/04\/elif-1536x1024.jpg 1536w, https:\/\/revistafamilia.ro\/wp-content\/uploads\/2025\/04\/elif-720x480.jpg 720w, https:\/\/revistafamilia.ro\/wp-content\/uploads\/2025\/04\/elif-480x320.jpg 480w, https:\/\/revistafamilia.ro\/wp-content\/uploads\/2025\/04\/elif.jpg 2048w\" sizes=\"auto, (max-width: 1024px) 100vw, 1024px\" \/><\/figure>\n<\/div>\n\n\n<p>Premiera finalului de an 2024 la Teatrul Regina Maria din Oradea: <em>Elif \u0219i ploaia<\/em> de Sami Ibrahim, \u00een regia lui Alex Ian\u0103\u0219i. Un text despre condi\u021bia imigrantului mereu \u201eilegal\u201d, care valoreaz\u0103 doar at\u00e2t c\u00e2t poate munci, \u00eentr-un sistem birocratic perfid. Elif e o femeie care ajunge \u00eentr-o dictatur\u0103 economic\u0103, prefer\u00e2nd tendin\u021be utopice,&nbsp; care s-o \u00eendep\u0103rteze de col\u021bii realit\u0103\u021bii. Fiica sa, Lily, are o alt\u0103 perspectiv\u0103, dincolo de pove\u0219tile mamei, reu\u0219ind s\u0103 priceap\u0103 crudul adev\u0103r \u0219i condi\u021bia lor precar\u0103, cu un cinism specific v\u00e2rstei ei.<\/p>\n\n\n\n<p>Sami Ibrahim e un t\u00e2n\u0103r scriitor londonez, \u00een plin\u0103 ascensiune artistic\u0103. Regizorul Alex Ian\u0103\u0219i, proasp\u0103t absolvent cu specializarea Regie de Teatru, are deja un crez estetic \u0219i artistic. \u00ce\u0219i dore\u0219te ca spectatorii \u201es\u0103 se conecteze emo\u021bional cu problema lui Elif, s\u0103 se dezbrace de zidurile vie\u021bii de zi cu zi \u0219i, la fel ca actorii de pe scen\u0103, s\u0103 fie oameni sensibili, vulnerabili\u201d. Scenografia e semnat\u0103 de Tinatin Gobejishvili (originar\u0103 din Georgia). Un decor auster, unde domin\u0103 valizele multifunc\u021bionale, simbol al plec\u0103rilor multiple. Ele pot deveni un perete, pe care se proiecteaz\u0103 imagini, dar pot fi \u0219i cl\u0103diri slab luminate. Uneori se poate deschide o fereastr\u0103, s\u0103pat\u0103 \u00een trupul blocurilor miniaturale.<\/p>\n\n\n\n<p>La \u00eenceput apare un grup de&#8230; pelerini. Mantii \u0219i glugi, valize \u0219i umbrele. Grupuri statuare. La cele dou\u0103 extremit\u0103\u021bi ale scenei exist\u0103 microfoane pentru cei care povestesc. Naratori omniscien\u021bi, empatici. De altfel, \u00eentregul spectacol e construit \u00een stil brechtian, cu un fel de naratori\/regizori, care uneori spun \u201estop\u201d, \u201erelu\u0103m\u201d, \u201ef\u0103r\u0103 spoilere\u201d, \u201erepeta\u021bi\u201d. Aceast\u0103 tent\u0103 de&nbsp; metateatru e prezent\u0103 de la \u00eenceput p\u00e2n\u0103 la sf\u00e2r\u0219it, \u00eenl\u0103tur\u00e2nd orice posibilitate de melodram\u0103. Exist\u0103, a\u0219adar, adresarea direct\u0103 c\u0103tre public, plus o recunoa\u0219tere a faptului c\u0103 oamenii care interpreteaz\u0103 sunt actori \u0219i&#8230; nu personajele pe care le joac\u0103. R\u00e2nd pe r\u00e2nd, ei dezbrac\u0103 mantiile \u0219i devin alte \u0219i alte personaje. Excelent\u0103 scena cu m\u0103r\u0219\u0103luirea \u00een cerc, cu coada la&#8230; programare. Kafka e mereu prezent: se caut\u0103 ore \u00een \u0219ir \u201eregistratorul registratorului\u201d. Regele, birocra\u021bia, taxe, h\u00e2rtii, am\u00e2n\u0103ri, \u00eentr-o crud\u0103 a\u0219teptare. De la aparteuri se ajunge la dialog. O replic\u0103 trece adesea de la un personaj la altul. Muzica lui Ovidiu Iloc include \u0219i sunete de ape prin \u021bevi. Curgerea epic\u0103 adopt\u0103 solu\u021bii minimaliste. O scen\u0103 memorabil\u0103: confruntarea dintre mam\u0103 \u0219i fiic\u0103. Anda T\u0103m\u0103\u0219anu (Elif) e credibil\u0103, \u00eentre curaj, demnitate, fragilitate, speran\u021b\u0103. Carina Bunea (Lily) transmite la \u00eenceput o inocen\u021b\u0103 a copil\u0103riei, repede invadat\u0103 de revela\u021bia condi\u021biei marginale. George Dometi (fiul proprietarei) reu\u0219e\u0219te s\u0103 redea \u00een diferite registre timiditate, la\u0219itate, resemnare, compasiune. Mereu sigur\u0103 pe sine, magnetic\u0103 \u0219i adesea vulcanic\u0103 e Ioana Drago\u0219 Gajdo (proprietara).<\/p>\n\n\n\n<p>Un spectacol din sfera socialului, cu accente satirice, extrem de narativ, cu tablouri vizuale reu\u0219ite, dar pu\u021bin prea lung. La aplauze, spectatorii mi se p\u0103reau deruta\u021bi. Probabil din cauza stilului metateatral. Pentru mine a \u00eensemnat \u00eens\u0103 un experiment bine articulat, care poten\u021beaz\u0103 versatilitatea stilistic\u0103.<\/p>\n","protected":false},"excerpt":{"rendered":"<p>Cronic\u0103 de teatru de Alexandru Jurcan<\/p>\n","protected":false},"author":208,"featured_media":12679,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_jetpack_memberships_contains_paid_content":false,"footnotes":""},"categories":[51,2404],"tags":[1417,2405,2384],"coauthors":[1416],"class_list":["post-12678","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-arte","category-cronica-de-teatru","tag-alexandru-jurcan","tag-cronica-de-teatru","tag-nr-1-2025"],"jetpack_featured_media_url":"https:\/\/revistafamilia.ro\/wp-content\/uploads\/2025\/04\/elif.jpg","jetpack_sharing_enabled":true,"_links":{"self":[{"href":"https:\/\/revistafamilia.ro\/index.php?rest_route=\/wp\/v2\/posts\/12678","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/revistafamilia.ro\/index.php?rest_route=\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/revistafamilia.ro\/index.php?rest_route=\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/revistafamilia.ro\/index.php?rest_route=\/wp\/v2\/users\/208"}],"replies":[{"embeddable":true,"href":"https:\/\/revistafamilia.ro\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=12678"}],"version-history":[{"count":1,"href":"https:\/\/revistafamilia.ro\/index.php?rest_route=\/wp\/v2\/posts\/12678\/revisions"}],"predecessor-version":[{"id":12680,"href":"https:\/\/revistafamilia.ro\/index.php?rest_route=\/wp\/v2\/posts\/12678\/revisions\/12680"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/revistafamilia.ro\/index.php?rest_route=\/wp\/v2\/media\/12679"}],"wp:attachment":[{"href":"https:\/\/revistafamilia.ro\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=12678"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/revistafamilia.ro\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=12678"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/revistafamilia.ro\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=12678"},{"taxonomy":"author","embeddable":true,"href":"https:\/\/revistafamilia.ro\/index.php?rest_route=%2Fwp%2Fv2%2Fcoauthors&post=12678"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}