Nu, nici viaţa nu bate filmul, nici filmul nu bate viaţa. Estetica asta echimotică, de caft şi de capete-n gură, bântuind visurile sudoripare ale fetelor de pension din toate vremile (şi pe ale băieţaşilor rămaşi până-n mormânt sub zodia acneei, ca să nu credeţi c-aş fi vreun macho), în folosul conturilor psihanalistului, în cel mai bun caz, nu ne ajută cu nimic. E drept, cuplul de forţe Arta & Viaţa nici nu se mângâie creştineşte pe creştete de câte ori vreuna dintre ele geme de plăcere, gâfâie de spleen ori urlă la lună de-amar (fie şi ca-n poezia lui Dinescu). Sunt şi ele doi cetăţeni mai mult sau mai puţin oneşti ai aceleiaşi paradigme. Atâta doar că nu onestitatea, ci acuitatea contează pe ecran, pe pânză, pe scândură etc. Acuitatea şi ingeniozitatea.
Din care m-am bucurat să regăsesc în cantităţi „încet gândite, gingaş cumpănite” în cele două spectacole ale tânărului regizor Horia Suru, pe de o parte în premiera de la Act cu „Cockoşi”, pe de alta în mai exersatul „LSD Theatre Show” de la Godot. Ce apropie şi ce desparte cele două experienţe neconvenţionale cel puţin locativ? Pe dramaturgi îi desparte cu certitudine Atlanticul, Mike Bartlett fiind un britanic de 34 de ani, Christopher Durang un american de 65. Exactitatea şi necesara infuzie de umor, însă, îi aduce în aceeaşi familie textuală. Şi mâna regizorului român care simte exact unde textul riscă să ajungă prea păstos în lipsa ironiei, drept pentru care îl face să penduleze între surâs tandru şi cinism bine temperat.
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