{"id":5420,"date":"2022-08-27T17:43:31","date_gmt":"2022-08-27T14:43:31","guid":{"rendered":"https:\/\/revistafamilia.ro\/?p=5420"},"modified":"2022-09-01T16:27:41","modified_gmt":"2022-09-01T13:27:41","slug":"personaje-vs-piata-restauratiei","status":"publish","type":"post","link":"https:\/\/revistafamilia.ro\/?p=5420","title":{"rendered":"Personaje vs. Pia\u021ba restaura\u021biei"},"content":{"rendered":"
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Constant Korovine – Caf\u00e9 de la Paix (1939)<\/figcaption><\/figure>\n<\/div>\n\n\n

Binecunoscuta revist\u0103 The New Yorker<\/em> (m\u0103 r\u0103sf\u0103\u021b cu c\u00e2teva numere din anul trecut, mul\u021bumit\u0103 mai t\u00e2n\u0103rului meu prieten Mircea P., beneficiar al unui abonament anual de care, uite, m\u0103 bucur \u0219i eu acum!) are, \u00een sec\u021biunea Going on about Town,<\/em> o rubric\u0103 permanent\u0103 intitulat\u0103 Tables for Two<\/em>, semnat\u0103 de criticul culinar Hannah Goldfield, ale c\u0103rei incursiuni \u00een secretele gastronomilor din restaurantele newyorkeze reprezint\u0103 centre de interes semnificative pentru str\u0103ini sau consumatori locali, dispu\u0219i s\u0103 experimenteze meniuri \u0219i, mai ales, localuri noi de alimenta\u021bie public\u0103, dezv\u0103luind o pia\u021b\u0103 a restaura\u021biei aflat\u0103 \u00eentr-o dinamic\u0103 perpetu\u0103 \u0219i o diversitate sus\u021binut\u0103 prin toate mijloacele de care dispune industria hotelier\u0103 a locului \u0219i momentului de referin\u021b\u0103. C\u00e2teva invita\u021bii (selectate din numerele din mai \u0219i iulie ale publica\u021biei) \u2013 restaurantul indian Dharmaka, cel din Essex Market sau patiseria Partybus Bakeshop de pe Lower East Side sau cafeneaua Flatbush, deschis\u0103 de Michael Nicholas \u00een perimetrul Aunts et Uncles \u2013 dau via\u021b\u0103 spa\u021biului cultural al metropolei, afirm\u00e2ndu-se ca elemente de reper ale unui turism nou, \u201emotiva\u021bional, experimental, opera\u021bional\u201d (McKercher et al., 2002: 4), complet\u00e2nd cu gust(uri)<\/em> peisajul istoric sau agenda de evenimente speciale aflate \u00een oferta accesibil\u0103 amatorilor, vizitatori sau localnici. Majoritatea romancierilor \u00ee\u0219i \u00eenso\u021besc personajele \u00een restaurante, adic\u0103 \u00een localuri publice \u201ecare \u00eembin\u0103 activitatea de produc\u021bie \u0219i cea de servire, \u0219i care pun la dispozi\u021bia clien\u021bilor o gam\u0103 diversificat\u0103 de preparate culinare, produse de cofet\u0103rie-patiserie \u0219i b\u0103uturi\u201d (Nicula, 2019: 232), reale sau fic\u021bionale, pentru a le identifica \u0219i releva spa\u021biul cotidian, acel \u201e\u021besut conjunctiv\u201d care poate uni vie\u021bi, acel \u201eecran pe care societatea \u00ee\u0219i proiecteaz\u0103 luminile \u0219i umbrele, golurile \u0219i \u00eenc\u0103rc\u0103turile, puterea \u0219i sl\u0103biciunea\u201d (vezi Crawford, 2011: 345), elementul topologic care confer\u0103 \u0219i contureaz\u0103 tipologia uman\u0103 pentru care s-a optat.<\/p>\n\n\n\n

Incursiuni proxemice<\/strong><\/p>\n\n\n\n

\u00cen mod categoric, autorii intr\u0103 \u00een sfera psihologiei practice c\u00e2nd \u00ee\u0219i conecteaz\u0103 personajele la micro\/spa\u021biul, public \u00een exemplele alese, \u00een care acestea evolueaz\u0103, utiliz\u00e2ndu-l ca mijloc de investigare a comportamentului individual prin prisma unui exerci\u021biu de proxemic\u0103, adic\u0103 de observare a felului \u00een care umanul se insereaz\u0103 \u00een spa\u021biu \u0219i a formelor de \u201ecomunicare interpersonal\u0103\u201d, bazate pe \u201einterdependen\u0163a dintre spa\u0163iul fix\/comportamentul uman \/patternul cultural<\/em>\u201d (Prus, 2004: 14), asemenea prototipurilor caragialiene din ber\u0103riile Bucure\u0219tilor, sau, mai recent, protagoni\u0219tii lui Ioan T. Morar, Fratele Septimiu \u021aonca \u0219i Corneliu N\u0103d\u0103ban, experiment\u00e2nd un restaurant din Tel Aviv, \u00eendemn\u00e2ndu-se s\u0103 ia \u201eun vin din Galileea, ro\u0219u ca s\u00e2ngele M\u00eentuitorului (…). Era cel mai scump vin din list\u0103. Fostul m\u00eenc\u0103tor de pl\u0103cint\u0103 cu br\u00eenz\u0103 de la cofet\u0103ria Spicul evoluase \u0219i, odat\u0103 cu el, evoluaser\u0103 \u0219i gusturile culinare, iar acum aveam \u00een fa\u021b\u0103 reprezentantul unui curent nou: cre\u0219tinismul gurmand\u201d (Morar, 2016: 326), respectiv, mai modestul cuplu Cornel \u0219i Lena, poposind la un restaurant cu specific rom\u00e2nesc din acela\u0219i ora\u0219: \u201emasa era aranjat\u0103 (…), \u201aavea un platoua\u0219 rom\u00e2nesc\u2019, cu br\u00eenz\u0103, castrave\u021bi, ro\u0219ii, chiftelu\u021be, dou\u0103 felii de babik \u0219i m\u0103sline (…); s-au cerut vinuri scumpe (\u0219ampanii)\u201d (354).<\/p>\n\n\n\n

Cu o istorie mai lung\u0103 de 200 de ani, restaurantul continu\u0103 s\u0103 reprezinte un stabiliment public, unde se consum\u0103 m\u00e2nc\u0103ruri \u0219i b\u0103uturi contra cost, un reper intrat \u00een economia vie\u021bii diurne, organizat \u00een func\u021bie de spa\u021biu \u0219i timp, \u00een jurul unor itinerarii \u0219i ritmuri impuse de modul (\u0219i modelul) de activitate sau relaxare, zi de lucru sau de odihn\u0103 a fiec\u0103ruia (vezi Fainstein et al., 2011: 345), reu\u0219ind s\u0103 contureze identitatea noastr\u0103 de consumator, a\u0219a cum se poate citi din atitudinea profesorului craiovean Bazil Dumitrescu, care, odat\u0103 ajuns la Minerva<\/em>, \u201ea p\u0103truns \u00een salonul propriu-zis. Colegul Luca St\u0103noiu deja era acolo, instalat la o mas\u0103, \u00eel a\u0219tepta cu o halb\u0103 de bere \u00een fa\u021b\u0103 (..); bea \u0219i el o halb\u0103 de bere rece.(\u2026). Apoi au vrut s\u0103 m\u0103n\u00e2nce. Ca de obicei, ciorb\u0103 de peri\u0219oare \u0219i gr\u0103tar cu mur\u0103turi, a cerut St\u0103noiu (\u2026). Bazil Dumitrescu s-a mul\u021bumit cu ni\u0219te creier perpelit la tigaie (\u2026); la m\u00eencare mergea un vin (\u2026); au ales s\u0103 \u00eencerce o caraf\u0103 de vin alb.\u201d (Chifu, 2014: 234).<\/p>\n\n\n\n

Spa\u021bii de convivialitate<\/strong><\/p>\n\n\n\n

No\u021biunea de spa\u021biu reflect\u0103, \u00een via\u021b\u0103 \u0219i \u00een romane, totalitatea locurilor \u00een care se desf\u0103\u0219oar\u0103 ac\u021biunile protagoni\u0219tilor, reali sau fictivi, dup\u0103 reguli \u0219i norme comportamentale \u00eenscrise categoriilor culturale c\u0103rora ei le apar\u021bin, demonstr\u00e2nd modul \u00een care spa\u021biul poate \u201edetermina identitatea subiectului\u201d, c\u0103ci individul se \u201e(auto)construie\u015fte \u00een periplurile sale sociale, etice, politice etc.\u201d (Prus, 2004: 16), dup\u0103 exemplul Contelui Aleksandr Ilici Rostov, al c\u0103rui destin se \u00eentretaie cu cel al restaurantului Boiarski, din hotelul Metropol, din centrul Moscovei, \u201eamplasat discret, la etajul al doilea al hotelului, \u00een col\u021bul de nord-est \u2013 cel mai bun restaurant din Moscova, dac\u0103 nu din toat\u0103 Rusia. Cu tavanul lui boltit, cu pere\u021bii de un ro\u0219u-\u00eenchis, care amintea de refugiul boierilor,  Boiarski etala cel mai elegant decor din ora\u0219, cel mai sofisticat personal \u0219i cel mai subtil buc\u0103tar-\u0219ef\u201d (Towles, 2018: 39).<\/p>\n\n\n\n

\u00cen registrul Pie\u021bei restaura\u021biei, adic\u0103 a alimenta\u021biei publice, colective, cuprinz\u00e2nd\u201e \u201erestaurante, restaurante de spital, \u00eenchisori, armat\u0103, cantine \u0219colare, restaurante universitare, sate de vacan\u021b\u0103, colonii\u201d, precum \u0219i \u201erestauratori independen\u021bi \u0219i lan\u021buri integrate sau voluntare\u201d (Nicula, 2019: 48), restaurantul de la Cloche, frecventat de Manfred Baumann, ar apar\u021bine categoriei de restaurante specializate, care servesc \u201eun sortiment specific de preparate culinare \u0219i b\u0103uturi, care se afl\u0103 permanent \u00een lista de meniuri\u201d, cum ar fi \u201eun restaurant familial\/pensiune, cu meniuri complete\u201d (233), c\u0103ci aici \u201emeniul se repeta \u00een fiecare s\u0103pt\u0103m\u00e2n\u0103 \u0219i cuprindea dou\u0103 aperitive la alegere, dou\u0103 feluri principale \u0219i un preparat  special, urmate de desert sau cafea. Meniurile zilnice nu fuseser\u0103 schimbate de aproape dou\u0103zeci de ani. Joia felul special era pot-au-feu.<\/em>(…). Adele  repeta felurile pe care le comanda Manfred de obicei joia (sup\u0103 de ceap\u0103 pot-au-feu, cr\u00e8me br\u00fbl\u00e9e<\/em>)\u201d (Macrae Burnet, 2017: 39-40).<\/p>\n\n\n\n

Fiind unanim admis faptul c\u0103 \u201eromanul este spa\u0163ial at\u00e2t prin fond, c\u00e2t \u015fi \u00een formele sale\u201d (Prus, 2004: 18), inser\u021bia unei loca\u021bii precum Caf\u00e9 de la Paix, situat\u0103 \u00een Place de l’Op\u00e9ra, epitomiz\u00e2nd ethosul parizian de la deschiderea sa (1862) p\u00e2n\u0103 \u00een prezent \u201eunul dintre cele mai mari, mai luminoase \u0219i mai elegant decorate\u201d localuri (Simmons, 2015:  23), unde se serve\u0219te \u201eun sortiment diversificat de b\u0103uturi alcoolice \u0219i nealcoolice, precum \u0219i o gam\u0103 restr\u00e2ns\u0103 de produse culinare\u201d (Nicula, 2019: 234), nu este \u00eent\u00e2mpl\u0103toare. Este un atu bine speculat de Dan Simmons c\u00e2nd decide ca momentul de respiro al fictivilor s\u0103i, (Sherlock) Holmes \u0219i (Henry) James s\u0103 fie aici, l\u0103s\u00e2ndu-i s\u0103 se r\u0103sfe\u021be \u00een ambian\u021ba \u00eembietoare \u0219i elegant\u0103 a acestui a\u0219ez\u0103m\u00e2nt: \u201eHolmes avu neru\u0219inarea de a comanda pentru am\u00e2ndoi. Ceru o marc\u0103 destul de bun\u0103 de \u0219ampanie \u0219i, poate din cauza orei t\u00e2rzii, un supeu extrem de bogat: le li\u00e8vre en  civet (<\/em>tocan\u0103 picant\u0103 de iepure cu sm\u00e2nt\u00e2n\u0103), p\u00e2tes cr\u00e9meuses d\u2019\u00e9peautre <\/em>(pateuri din f\u0103in\u0103 de alac) \u00eenso\u021bite de un plateau de fromages affin\u00e9s<\/em> (platou cu br\u00e2nzeturi vechi) \u0219i o farfurie mare cu figues, abricots, pruneaux <\/em>(smochine, caise, prune uscate), marmelade des fruits secs au th\u00e9 Ceylon <\/em>(marmelad\u0103 din fructe confiate cu ceai de Ceylon), \u0219i biscuits speculos <\/em>(biscui\u021bi cu mirodenii), \u00eencheind cu mousse l\u00e9g\u00e8re chocolat<\/em> (spum\u0103 fin\u0103 de ciocolat\u0103\u201d (Simmons, 2015: 24).<\/p>\n\n\n\n

Crearea iluziei realit\u0103\u021bii printr-un loc(al) bine determinat geografic permite decuparea individualit\u0103\u021bii personajelor din vastul c\u00e2mp al experien\u021bei lor comportamentale fa\u021b\u0103 de ofertele adresate oric\u0103rui consumator, devenind parte bine conturat\u0103 a identit\u0103\u021bii acestora \u0219i permi\u021b\u00e2nd cititorului un moment de reflec\u021bie asupra propriilor op\u021biuni spa\u021biale, de inspira\u021bie, cum i se poate \u00eent\u00e2mpla particip\u00e2nd la periplul eroului lui Ishiguro, Stevens; acesta se opre\u0219te la o pensiune situat\u0103 \u201epe strada principal\u0103 din Taunton, foarte aproape de pia\u0163\u0103 \u015fi ceva mai retras\u0103, deosebindu-se prin b\u00e2rnele de lemn grele \u015fi \u00eenchise la culoare care o \u00eempodobesc pe dinafar\u0103\u201d, cu o ceain\u0103rie \u201espa\u0163ioas\u0103, lambrisat\u0103 cu lemn de stejar\u201d cu \u201eo tejghea care etaleaz\u0103 un sortiment  bogat de pr\u0103jituri \u015fi produse de patiserie (…); un loc \u201eexcelent pentru ceaiul de diminea\u0163\u0103\u201d (Ishiguro, 1994:133).<\/p>\n\n\n\n

Indiferent de tipul de restaurant \u2013 clasic, specializat sau cu specific, braserie sau ber\u0103rie, gr\u0103din\u0103 de var\u0103 sau bar (vezi Nicula, 2019: 233-4), acesta reprezint\u0103 un spa\u021biu simbolic, cultural, definitoriu pentru profilul individual, de grup, chiar na\u021bional (vezi ber\u0103riile din scrierile lui Caragiale!), comprim\u00e2nd structuri estetice, istorice, sociale care reprezint\u0103 piloni esen\u021biali \u00een turismul cultural dintotdeauna.<\/p>\n\n\n\n

Referin\u021be<\/strong><\/p>\n\n\n\n

Chifu, Gabriel, 2014, Punct \u0219i de la cap\u0103t,<\/em> Ia\u0219i: Polirom<\/p>\n\n\n\n

Crawford, Margaret, 2011, \u201eBlurring the  Boundaries. Public Space and Private Life\u201d, \u00een Fainstein, Susan, S., Campbell, Scott, editori, 2011, Reading  in Urban Theory, <\/em> Third edition, Chichester: Blackwell Publishing LTD (pp. 342-353)<\/p>\n\n\n\n

Ishiguro, Kazuo, 1994 (1989), R\u0103m\u0103\u015fi\u0163ele zilei,<\/em> Bucure\u015fti: Editura Univers (trad. Radu Paraschivescu)<\/p>\n\n\n\n

Macrae Burnet, Graeme,  2017 (2014), Dispari\u021bia lui Adele Bedeau de Raymond Brunet, <\/em>Bucure\u0219ti: Editura Art, Colec\u021bia Musai (trad. Tatiana Dragomir)<\/p>\n\n\n\n

McKercher, Bob, du Cross, Hilary, 2002, Cultural Tourism. The Partnership between Tourism and Cultural heritage Management, <\/em> Londra: Routledge<\/p>\n\n\n\n

Morar, Ioan T., 2016, S\u0103rb\u0103toarea corturilor, <\/em> Ia\u0219i: Polirom<\/p>\n\n\n\n

Nicula, Virgil,  2019, Tehnologie hotelier\u0103 \u0219i de restaurant, <\/em>Sibiu: Editura Universit\u0103\u021bii \u201eLucian Blaga\u201d<\/p>\n\n\n\n

Prus, Elena, 2004, Proxemica literar\u0103 ca personalizare a spa\u0163iului<\/em>, \u00een Revista Limba Rom\u00e2n\u0103,  nr. 12, anul XIV (pp. 12-20) ( accesare \u00een 30 mai, 2022)<\/p>\n\n\n\n

Simmons, Dan, 2015, A cincea cup\u0103, <\/em>Bucure\u0219ti: Nemira (trad. Ruxandra Toma)<\/p>\n\n\n\n

Towles, Amor, 2018 (2016), Un gentleman la Moscova, <\/em>Bucure\u0219ti: Nemira Publishing House (trad. Dana Ionescu)<\/p>\n","protected":false},"excerpt":{"rendered":"

Binecunoscuta revist\u0103 The New Yorker (m\u0103 r\u0103sf\u0103\u021b cu c\u00e2teva numere din anul trecut, mul\u021bumit\u0103 mai t\u00e2n\u0103rului meu prieten Mircea P., beneficiar al unui abonament anual de care, uite, m\u0103 bucur \u0219i eu acum!) are, \u00een sec\u021biunea Going on about Town, o rubric\u0103 permanent\u0103 intitulat\u0103 Tables for Two, semnat\u0103 de criticul culinar Hannah Goldfield, ale c\u0103rei incursiuni \u00een secretele gastronomilor din restaurantele newyorkeze reprezint\u0103 centre de interes semnificative pentru str\u0103ini sau consumatori locali, dispu\u0219i s\u0103 experimenteze meniuri \u0219i, mai ales, localuri noi de alimenta\u021bie public\u0103, dezv\u0103luind o pia\u021b\u0103 a restaura\u021biei aflat\u0103 \u00eentr-o dinamic\u0103 perpetu\u0103 \u0219i o diversitate sus\u021binut\u0103 prin toate mijloacele<\/p>\n","protected":false},"author":8,"featured_media":5421,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_jetpack_memberships_contains_paid_content":false,"footnotes":""},"categories":[52,58],"tags":[85,1315,86],"coauthors":[1239],"class_list":["post-5420","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-rubrici","category-save-as","tag-magda-danciu","tag-nr-6-2022","tag-save-as"],"jetpack_featured_media_url":"https:\/\/revistafamilia.ro\/wp-content\/uploads\/2022\/08\/Cafe_de_la_paix.jpg","jetpack_sharing_enabled":true,"_links":{"self":[{"href":"https:\/\/revistafamilia.ro\/index.php?rest_route=\/wp\/v2\/posts\/5420","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\/8"}],"replies":[{"embeddable":true,"href":"https:\/\/revistafamilia.ro\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=5420"}],"version-history":[{"count":2,"href":"https:\/\/revistafamilia.ro\/index.php?rest_route=\/wp\/v2\/posts\/5420\/revisions"}],"predecessor-version":[{"id":5424,"href":"https:\/\/revistafamilia.ro\/index.php?rest_route=\/wp\/v2\/posts\/5420\/revisions\/5424"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/revistafamilia.ro\/index.php?rest_route=\/wp\/v2\/media\/5421"}],"wp:attachment":[{"href":"https:\/\/revistafamilia.ro\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=5420"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/revistafamilia.ro\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=5420"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/revistafamilia.ro\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=5420"},{"taxonomy":"author","embeddable":true,"href":"https:\/\/revistafamilia.ro\/index.php?rest_route=%2Fwp%2Fv2%2Fcoauthors&post=5420"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}