{"id":16065,"date":"2026-08-26T13:49:27","date_gmt":"2026-08-26T10:49:27","guid":{"rendered":"https:\/\/revistafamilia.ro\/?p=16065"},"modified":"2026-08-26T13:49:35","modified_gmt":"2026-08-26T10:49:35","slug":"ayckbourn-si-acreala-cuplurilor","status":"publish","type":"post","link":"https:\/\/revistafamilia.ro\/?p=16065","title":{"rendered":"Ayckbourn \u0219i acreala cuplurilor"},"content":{"rendered":"<div class=\"wp-block-image\">\n<figure class=\"aligncenter size-large is-resized\"><img loading=\"lazy\" decoding=\"async\" width=\"1024\" height=\"682\" src=\"https:\/\/revistafamilia.ro\/wp-content\/uploads\/2026\/08\/Cum_iubeste_cealalta_jumatate-1024x682.jpg\" alt=\"\" class=\"wp-image-16066\" style=\"width:600px\" srcset=\"https:\/\/revistafamilia.ro\/wp-content\/uploads\/2026\/08\/Cum_iubeste_cealalta_jumatate-1024x682.jpg 1024w, https:\/\/revistafamilia.ro\/wp-content\/uploads\/2026\/08\/Cum_iubeste_cealalta_jumatate-300x200.jpg 300w, https:\/\/revistafamilia.ro\/wp-content\/uploads\/2026\/08\/Cum_iubeste_cealalta_jumatate-768x512.jpg 768w, https:\/\/revistafamilia.ro\/wp-content\/uploads\/2026\/08\/Cum_iubeste_cealalta_jumatate-1536x1024.jpg 1536w, https:\/\/revistafamilia.ro\/wp-content\/uploads\/2026\/08\/Cum_iubeste_cealalta_jumatate-2048x1365.jpg 2048w, https:\/\/revistafamilia.ro\/wp-content\/uploads\/2026\/08\/Cum_iubeste_cealalta_jumatate-720x480.jpg 720w, https:\/\/revistafamilia.ro\/wp-content\/uploads\/2026\/08\/Cum_iubeste_cealalta_jumatate-480x320.jpg 480w\" sizes=\"auto, (max-width: 1024px) 100vw, 1024px\" \/><\/figure>\n<\/div>\n\n\n<p>Alan Ayckbourn are 87 de ani \u0219i peste 90 de piese de teatru scrise. Dramaturg \u0219i regizor britanic, a fost \u0219i director artistic al Teatrului Stephen Joseph din Scarborough, unde aproape toate piesele sale au avut premiera. Tema b\u0103t\u0103torit\u0103 a c\u0103sniciilor aflate \u00een dificultate are o sorginte autobiografic\u0103.<\/p>\n\n\n\n<p>La Teatrul Regina Maria Oradea se joac\u0103 acum una din piesele sale: <em>Cum iube\u0219te cealalt\u0103 jum\u0103tate\/How the Other Half Loves<\/em> \u2013 \u00een regia lui Victor Ol\u0103hu\u021b. E o fars\u0103 scris\u0103 \u00een 1969, cu \u0219ase personaje: Frank, Fiona, Bob, Teresa, William, Mary. O aventur\u0103 adulterin\u0103 \u00eentre un b\u0103rbat c\u0103s\u0103torit \u0219i so\u021bia \u0219efului s\u0103u d\u0103 na\u0219tere unor <em>quiproquo<\/em>-uri hilare, bazate pe confuzii nea\u0219teptate. Apeluri telefonice tainice, rela\u021bii disfunc\u021bionale, infidelitate. Decorul semnat de Oana Cernea e multifunc\u021bional, colorat, familial. Culori diferite, cupluri diferite. Surpriza total\u0103 instaurat\u0103 de scriitor \u0219i servit\u0103 impecabil de regizor \u00eenseamn\u0103 a\u0219ezarea pe acela\u0219i platou scenic a dou\u0103 familii. Vorbesc c\u00e2nd unii, c\u00e2nd al\u021bii. Spectatorii accept\u0103 rapid conven\u021bia celor dou\u0103 cupluri \u00een salturi ubicue. \u0218tim c\u0103 sunt case diferite, timp diferit, dar se realizeaz\u0103 o economie de mijloace scenice. Nu se schimb\u0103 decorul pentru scena urm\u0103toare. \u00cen acela\u0219i spa\u021biu, concomitent, dou\u0103 cupluri se unesc conven\u021bional. Invita\u021bii la cin\u0103, \u00een seri succesive, \u00eempart aceea\u0219i mas\u0103. Cina unu \u0219i cina doi, at\u00e2t de inventiv combinate! Actorii s-au descurcat de minune \u00een trecerile rapide, f\u0103r\u0103 a crea confuzii. Joac\u0103 excelent Elvira R\u00eembu, \u0218erban Borda, Lucia Rogoz, Sebastian Lupu, Alexandru Rusu \u0219i Ioana Drago\u0219 Gajdo \u2013 de nerecunoscut, \u00eentr-un rol de compozi\u021bie. O actri\u021b\u0103 polimorf\u0103, care poate trece de la personaje vijelioase, agitate, la \u2013 ca acum \u2013&nbsp; o so\u021bie \u0219tears\u0103, supus\u0103, bleag\u0103.<\/p>\n\n\n\n<p>Publicul se recunoa\u0219te perfect \u00een tribula\u021biile frenetice ale cuplurilor. U\u0219i matinale, \u201eperiu\u021ba de din\u021bi e pe duc\u0103\u201d, aluzii, replici contondente, stresuri ridicole, fric\u021biuni, vorbe de duh, gaguri. Domina\u021bia b\u00e2rfologiei. ticuri \u0219i lan\u021bul minciunilor nocive. Cum s-a ajuns acolo? Pentru c\u0103 \u00een c\u0103snicie \u201ese instaleaz\u0103 acreala\u201d. Sfatul suprem: \u201erezista\u021bi!\u201d. Dar cum ? Exist\u0103 mici solu\u021bii subversive, care, de obicei, redefinesc \u201eacreala\u201d. Finalul (demn de o comedie) m-a trimis cu g\u00e2ndul la <em>O noapte furtunoas\u0103<\/em>, c\u00e2nd mai este ceva neclar, de tipul \u201etoate le-am l\u0103murit, dar s\u0103 v\u0103 ar\u0103t ce am g\u0103sit pe pernele patului dumneaei\u2026\u201d<\/p>\n\n\n\n<p>\u00cen timpul spectacolului se r\u00e2de des, copios, puternic. E o nevoie acut\u0103 de comedie. Panem et circenses. Iar aici e un umor rafinat, f\u0103r\u0103 vulgarit\u0103\u021bi gratuite, care transcende facilul. Riscul de a regiza comedii e mare, deoarece, dac\u0103 nu se r\u00e2de la situa\u021biile scontate, intervine e\u0219ecul regizoral. Dac\u0103 lumea se distreaz\u0103, feedback-ul e acolo, spontan \u0219i cov\u00e2r\u0219itor. A\u0219adar Victor Ol\u0103hu\u021b poate fi mul\u021bumit: se r\u00e2de! E meritul s\u0103u de a fi \u0219lefuit situa\u021biile scenice, de a fi sudat trupa, de a fi trasat demersul narativ \u00een volute comice.&nbsp;&nbsp;&nbsp;<\/p>\n","protected":false},"excerpt":{"rendered":"<p>Cronica de teatru de Alexandru Jurcan<\/p>\n","protected":false},"author":208,"featured_media":16066,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_jetpack_memberships_contains_paid_content":false,"footnotes":""},"categories":[51,2404],"tags":[1417,2405,2866],"coauthors":[1416],"class_list":["post-16065","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-5-2026"],"jetpack_featured_media_url":"https:\/\/revistafamilia.ro\/wp-content\/uploads\/2026\/08\/Cum_iubeste_cealalta_jumatate.jpg","jetpack_sharing_enabled":true,"_links":{"self":[{"href":"https:\/\/revistafamilia.ro\/index.php?rest_route=\/wp\/v2\/posts\/16065","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=16065"}],"version-history":[{"count":1,"href":"https:\/\/revistafamilia.ro\/index.php?rest_route=\/wp\/v2\/posts\/16065\/revisions"}],"predecessor-version":[{"id":16068,"href":"https:\/\/revistafamilia.ro\/index.php?rest_route=\/wp\/v2\/posts\/16065\/revisions\/16068"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/revistafamilia.ro\/index.php?rest_route=\/wp\/v2\/media\/16066"}],"wp:attachment":[{"href":"https:\/\/revistafamilia.ro\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=16065"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/revistafamilia.ro\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=16065"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/revistafamilia.ro\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=16065"},{"taxonomy":"author","embeddable":true,"href":"https:\/\/revistafamilia.ro\/index.php?rest_route=%2Fwp%2Fv2%2Fcoauthors&post=16065"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}