{"id":146971,"date":"2025-09-06T18:31:13","date_gmt":"2025-09-06T15:31:13","guid":{"rendered":"https:\/\/buletin.de\/bucuresti\/?p=146971"},"modified":"2025-09-08T15:03:49","modified_gmt":"2025-09-08T12:03:49","slug":"interviu-musicalul-romeo-si-julieta-revine-la-teatrul-de-opereta-cu-octavian-ene-revigorat-dupa-accidentul-din-primavara","status":"publish","type":"post","link":"https:\/\/buletin.de\/bucuresti\/interviu-musicalul-romeo-si-julieta-revine-la-teatrul-de-opereta-cu-octavian-ene-revigorat-dupa-accidentul-din-primavara\/","title":{"rendered":"INTERVIU | Musicalul \u201eRomeo \u0219i Julieta\u201d revine la Teatrul de Operet\u0103, cu Octavian Ene, revigorat dup\u0103 accidentul din prim\u0103var\u0103. \u201eRefacerea fizic\u0103 este mai scurt\u0103 dec\u00e2t refacerea emo\u021bional\u0103\u201d"},"content":{"rendered":"\n

Musicalul pop-rock \u201eRomeo \u0219i Julieta\u201d a creat \u00een prim\u0103var\u0103 trei \u0219tiri. Prima a vizat faptul c\u0103 a fost readus pe scena Teatrului Na\u021bional de Operet\u0103 \u0219i Musical \u201eIon Dacian\u201d <\/a>dup\u0103 15 ani. <\/strong><\/p>\n\n\n\n

A doua a fost legat\u0103 de faptul c\u0103 noua versiune este regizat\u0103 de titratul K\u00e9renyi Mikl\u00f3s G\u00e1bor (Kero), directorul, timp de 25 de ani, a Teatrului de Operet\u0103 \u015fi Musical din Budapesta.<\/strong><\/p>\n\n\n\n

\u00cen fine, a treia \u0219tire<\/a> l-a avut \u00een centru pe Octavian Ene, tenorul care joac\u0103 rolul lui Romeo, \u0219i care a avut un accident chiar la repeti\u021bii. A s\u0103rit de pe o platform\u0103 aflat\u0103 la aproximativ trei metri \u00een\u0103l\u021bime, conform scenariului, \u0219i s-a r\u0103nit la picior.<\/strong><\/p>\n\n\n\n

Octavian Ene a ratat premiera din prim\u0103var\u0103, fiind \u00eenlocuit. Acum, starea sa de s\u0103n\u0103tate este bun\u0103 \u0219i a redevenit Romeo, al\u0103turi de Tomer Weissbuch, cu care \u00eemparte rolul.<\/p>\n\n\n\n

Buletin de Bucure\u0219ti a discutat cu t\u00e2n\u0103rul tenor despre cum s-a readaptat la repeti\u021bii, cum este rela\u021bia sa cu celebrul regizor Kero \u0219i ce aduce nou spectacolul \u201eRomeo \u0219i Julieta\u201d fa\u021b\u0103 de varianta din 2009.<\/p>\n\n\n\n

Buletin de Bucure\u0219ti a devenit partener media al Teatrului Na\u021bional de Operet\u0103 \u0219i Musical \u201eIon Dacian\u201d .<\/mark><\/strong><\/p>\n\n\n\n

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Buletin de Bucure\u0219ti: A\u021bi f\u0103cut, f\u0103r\u0103 s\u0103 vre\u021bi, cea mai bun\u0103 reclam\u0103 musicalului \u201eRomeo \u0219i Julieta\u201d, care re\u00eencepe din 11 septembrie la Teatrul de Operet\u0103 din Bucure\u0219ti. Cum v\u0103 sim\u021bi\u021bi acum. Sunte\u021bi gata s\u0103 reveni\u021bi pe scen\u0103?<\/strong><\/p>\n\n\n\n

Octavian Ene: <\/strong>M\u0103 simt foarte bine \u0219i chiar le spuneam apropia\u021bilor c\u0103 m\u0103 simt mai bine dec\u00e2t \u00eenainte de accident. Culmea, a\u0219a cred c\u0103 sunt unele lucruri necesare \u00een via\u021ba noastr\u0103.<\/p>\n\n\n\n

Eu am avut nevoie de aceast\u0103 experien\u021b\u0103 \u0219i chiar discutam cu colegii de echip\u0103 \u0219i le spuneam c\u0103 diferen\u021ba dintre acum \u0219i atunci este c\u0103 atunci priveam premiera cu un soi de panic\u0103, cu un pic de stres, dar acum o v\u0103d cu foarte mult entuziasm \u0219i ca pe un moment pe care \u00eel a\u0219tept cu ner\u0103bdare.<\/p>\n\n\n\n

Ce aduce nou aceast\u0103 versiune a musicalului, pus\u0103 \u00een scen\u0103 \u00een 2025 de Kero? Din ce am \u00een\u021beles, la baz\u0103 st\u0103 spectacolul regizat la Paris, \u00een 2021, de Petric\u0103 Ionesco \u0219i care s-a jucat \u0219i la Teatrul de Operet\u0103 \u00een urm\u0103 cu aproape 15 ani.<\/strong><\/p>\n\n\n\n

Arta este vie \u0219i se afl\u0103 \u00eentr-un continuu proces de transformare, de evolu\u021bie. Prin urmare, automat vorbim de o diferen\u021b\u0103 fa\u021b\u0103 de anul 2009, c\u00e2nd a avut loc premiera lui \u201eRomeo \u0219i Julieta\u201d la Bucure\u0219ti.<\/p>\n\n\n\n

Mai mult dec\u00e2t at\u00e2t, fiecare artist \u00een parte este diferit, fiecare vine cu ceva nou, care se potrive\u0219te persoanei sale, pentru c\u0103 suntem temperamente foarte diferite.<\/p>\n\n\n\n

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Fiecare vine cu contribu\u021bia sa \u00een procesul de crea\u021bie, pentru c\u0103 orice personaj, p\u00e2n\u0103 la urm\u0103, dincolo de indica\u021biile regizorului, este \u0219i un proces de crea\u021bie al artistului.<\/p>\n<\/blockquote>\n\n\n\n

Fiecare vine cu propria lui interpretare \u0219i viziune at\u00e2t asupra personajului \u00een sine, c\u00e2t \u0219i asupra pove\u0219tii. \u015ei fiecare vede povestea diferit. Inclusiv eu \u0219i colegul meu, de\u0219i facem acela\u0219i rol.<\/strong><\/p>\n\n\n\n

\u0218i cred c\u0103 asta este toat\u0103 frumuse\u021bea, s\u0103 vedem ipostaze diferite ale aceluia\u0219i personaj \u0219i ale acelea\u0219i pove\u0219ti. De aceea, recomand publicului larg s\u0103 vin\u0103 s\u0103 m\u0103 vad\u0103 \u0219i pe mine, s\u0103 vin\u0103 s\u0103-l vad\u0103 \u0219i pe colegul meu, pentru c\u0103 este acela\u0219i rol, dar totu\u0219i at\u00e2t de diferit.<\/p>\n\n\n\n

CITE\u0218TE \u0218I: INTERVIU | Pianistul Evgeny Konnov revine la Festivalul Enescu cu interpretarea concertului care i-a adus anul trecut premiul publicului din Bucure\u0219ti<\/a><\/strong><\/p>\n\n\n\n

Fiecare punere \u00een scen\u0103 este, \u00eentr-adev\u0103r, individual\u0103, este unic\u0103, p\u00e2n\u0103 la urm\u0103, c\u0103 nu poate ie\u0219i totul identic de la un spectacol la altul. Dac\u0103 vezi de mai multe ori un spectacol, chiar observi lucruri noi, mici diferen\u021be, care \u00eembog\u0103\u021besc de fapt experien\u021ba.<\/strong><\/p>\n\n\n\n

Am v\u0103zut dintr-o prezentare care mi-a fost oferit\u0103 de colegii dumneavoastr\u0103 de la Teatrul de Operet\u0103 c\u0103 versiunea 2025 a regizorului Kero este cu 20 de b\u0103t\u0103i pe minut mai rapid\u0103 dec\u00e2t versiunea din 2009. Ce \u00eenseamn\u0103 acest lucru?<\/strong><\/p>\n\n\n\n

Noi trebuie s\u0103 ne g\u00e2ndim c\u0103 totu\u0219i este un fenomen firesc care se \u00eent\u00e2mpl\u0103 \u00een muzica cult\u0103. Dac\u0103 ne raport\u0103m la compozi\u021biile din muzica clasic\u0103, ceea ce vedem ast\u0103zi sunt tempouri mai rapide dec\u00e2t tempourile de acum 50-60 de ani, la fel cum \u0219i acordajul s-a ridicat din epoca baroc\u0103 \u0219i p\u00e2n\u0103 \u00een prezent.<\/p>\n\n\n\n

Vorbim de o diferen\u021b\u0103 de aproape un ton \u0219i jum\u0103tate fa\u021b\u0103 de epoca baroc\u0103. M\u0103 rog, lucrurile variaz\u0103, pentru c\u0103 \u0219i atunci acordajele nu erau egale \u00een toat\u0103 Europa. Aveam acordajul francez, acordajul german \u0219i tot a\u0219a.<\/p>\n\n\n\n

Ideea este c\u0103 lucrurile cumva se adapteaz\u0103 nevoilor societ\u0103\u021bii. <\/p>\n\n\n\n

Ridicarea acordajului \u0219i gr\u0103birea tempourilor au \u00een musicalul nostru \u0219i un scop artistic, pentru c\u0103 tensioneaz\u0103 cumva ac\u021biunea. Ceea ce simte publicul este cumva o presiune mai mare. Iar Romeo \u0219i Julieta asta presupune, este o poveste tensionat\u0103, o poveste dramatic\u0103.<\/p>\n\n\n\n

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\u0218i cred c\u0103 mai ales montarea actual\u0103 vorbe\u0219te despre o tensiune care cre\u0219te permanent. Exist\u0103 de la \u00eenceput, dar cre\u0219te permanent p\u00e2n\u0103 la final. Nu prea sunt momente de respiro, nu prea sunt momente \u00een care publicul s\u0103 fie l\u0103sat s\u0103 se relaxeze total.<\/p>\n<\/blockquote>\n\n\n\n

Gr\u0103birea tempourilor creeaz\u0103 tensiune \u0219i avem nevoie de treaba asta. Este o durere \u0219i cumva acest tempo oglinde\u0219te \u0219i tempoul inimilor celor doi \u00eendr\u0103gosti\u021bi, care totu\u0219i oscileaz\u0103 \u00eentre scene de agresivitate, de lupt\u0103, de du\u0219m\u0103nie \u0219i iubirea arz\u0103toare, nebuneasc\u0103.<\/p>\n\n\n\n

Deci, \u0219i muzica clasic\u0103 se modernizeaz\u0103, nu r\u0103m\u00e2ne la fel.<\/strong><\/p>\n\n\n\n

Cum \u0219i tehnica de interpretare evolueaz\u0103, \u0219i interpret\u0103rile evolueaz\u0103, totul este \u00eentr-o continu\u0103 transformare \u0219i \u00eembun\u0103t\u0103\u021bire.<\/p>\n\n\n\n

Rolul dumneavoastr\u0103 are multe provoc\u0103ri, inclusiv tehnice \u0219i de mi\u0219care scenic\u0103. Una a dus \u0219i la accidentul dumneavoastr\u0103 din prim\u0103var\u0103. Cum le-a\u021bi dep\u0103\u0219it pe cele mai grele?<\/strong><\/p>\n\n\n\n

Pentru toat\u0103 lumea, at\u00e2t pentru balet, c\u00e2t \u0219i pentru noi, soli\u0219tii, cred c\u0103 cea mai dificil\u0103 parte a fost efortul fizic, anduran\u021ba fizic\u0103.<\/p>\n\n\n\n

Eu personal am \u00eencercat s\u0103 m\u0103 antrenez c\u00e2t mai mult, tocmai pentru c\u0103 \u0219tiam ce se \u00eent\u00e2mpl\u0103. \u0218i \u00een cadrul Operetei am avut organizate sesiuni de antrenament, ca s\u0103 fim \u00een form\u0103.<\/p>\n\n\n\n

Dar, cred c\u0103 \u0219i muzica este provocare, chiar \u0219i pentru noi, cei care suntem c\u00e2nt\u0103re\u021bi de meserie. Este o muzic\u0103 destul de dificil\u0103. Dar este interesant\u0103, este o provocare care ne place.<\/p>\n\n\n\n

Ave\u021bi \u0219i c\u00e2teva elemente de scenografie interesante: trebuie s\u0103 schimba\u021bi costumele de patru, cinci ori, \u00een mare grab\u0103, \u00een culise. Ave\u021bi intr\u0103ri pe scen\u0103 din mai multe locuri, este \u0219i de acum celebra scen\u0103 a balconului, care v-a adus \u0219i accidentarea. Sunt foarte multe ruperi de ritm. Cum reu\u0219i\u021bi s\u0103 face\u021bi fa\u021b\u0103, dincolo de preg\u0103tirea fizic\u0103?<\/strong><\/p>\n\n\n\n

Sunt mul\u021bi oameni care spun c\u0103, pentru a-\u021bi p\u0103stra s\u0103n\u0103tatea bun\u0103 ca artist, trebuie ca \u00een secunda \u00een care ai ie\u0219it de pe scen\u0103, s\u0103 ie\u0219i din personaj.<\/p>\n\n\n\n

Din punctul meu de vedere, realitatea nu este chiar a\u0219a. R\u0103m\u00e2i \u00een personaj o perioad\u0103, r\u0103m\u00e2i cu adrenalina aia \u0219i cu starea pe care spectacolul \u021bi-o d\u0103, pentru c\u0103 tu tr\u0103ie\u0219ti la propriu \u00een acea poveste.<\/p>\n\n\n\n

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Dac\u0103 joc trei ore cu partenera de scen\u0103 care este Julieta, realitatea este c\u0103 \u00een alea trei ore chiar trebuie s-o iubesc, trebuie s\u0103 o iubesc \u00een realitate, nu s\u0103 m\u0103 fac\u0103 c\u0103 o iubesc. \u015ei atunci lucrurile astea r\u0103m\u00e2n, este greu s\u0103 te scindezi.<\/p>\n<\/blockquote>\n\n\n\n

Poate c\u0103 refacerea fizic\u0103 este mai scurt\u0103 dec\u00e2t refacerea emo\u021bional\u0103<\/mark><\/strong>. \u015ei atunci c\u00e2nd ai spectacole, cum avem noi, o zi da, o zi nu, r\u0103m\u00e2i \u00een starea aia p\u00e2n\u0103 termini setul.<\/p>\n\n\n\n

P\u00e2n\u0103 la finalul anului acesta vor fi deja 32 de reprezenta\u021bii cu musicalul \u201eRomeo \u0219i Julieta\u201d…<\/strong><\/p>\n\n\n\n

Da, vor fi 32 de spectacole \u00een total. Noi mai avem 12 spectacole de f\u0103cut.<\/p>\n\n\n\n

Este o munc\u0103 intens\u0103, totu\u0219i. Mai sunt 3-4 luni din acest an.<\/strong><\/p>\n\n\n\n

Bine, suntem dou\u0103 distribu\u021bii, a\u0219a c\u0103 fiecare va face c\u00e2te un spectacol pe r\u00e2nd, deci este mai simplu.<\/p>\n\n\n\n

\u0218i repeti\u021biile sunt intense, la fel ca \u0219i punerea \u00een scen\u0103. Regizorul v\u0103 alearg\u0103, ca s\u0103 zic a\u0219a colocvial, \u00een sensul c\u0103 repeti\u021biile sunt de diminea\u021b\u0103 p\u00e2n\u0103 seara. Cum v-a\u021bi adaptat acestui ritm foarte intens \u0219i care e rela\u021bia cu Kero?<\/strong><\/p>\n\n\n\n

Da, \u00eentr-adev\u0103r, Kero are un stil de lucru foarte intens. Mie mi-a pl\u0103cut. Recunosc, sunt genul de persoan\u0103 care trebuie s\u0103 aib\u0103 tensiunea asta \u00een spate \u0219i m-am adaptat cumva u\u0219or.<\/p>\n\n\n\n

Sigur c\u0103 uneori sunt momente \u00een care poate sim\u021bi c\u0103 nu faci ce trebuie sau c\u0103 ar trebui mai mult, dar tocmai chestia asta te face s\u0103 te autodep\u0103\u0219e\u0219ti \u0219i s\u0103 fii mai bun, nu r\u0103m\u00e2i la nivelul la care erai c\u00e2nd ai venit.<\/p>\n\n\n\n

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Eu mereu am spus c\u0103 lucrul cu Kero a fost \u0219coal\u0103, \u0219coal\u0103 la propriu. Din punctul meu de vedere, orice artist din Rom\u00e2nia, orice artist care face musical ar beneficia enorm dintr-o colaborare cu Kero, pentru c\u0103 el vine cu ni\u0219te lucruri cu care noi nu suntem obi\u0219nui\u021bi aici, pe care noi nu le cunoa\u0219tem, pe care regizorii rom\u00e2ni nu prea le fac, pentru c\u0103 nici nu mai exist\u0103 o \u0219coal\u0103 de regie muzical\u0103 la noi \u00een \u021bar\u0103.<\/p>\n<\/blockquote>\n\n\n\n

Exist\u0103 o sec\u021bie undeva la Cluj, dar nici acolo lucrurile nu sunt at\u00e2t de serioase.<\/p>\n\n\n\n

Prin urmare, Kero vine cu o experien\u021b\u0103 foarte mare de teatru muzical, cu un ritm de lucru occidental. Da, este \u0219coal\u0103, este \u0219coal\u0103. To\u021bi am evoluat, at\u00e2t din punct de vedere artistic, c\u00e2t \u0219i din punct de vedere uman.<\/p>\n\n\n\n

Un aspect interesant este legat de faptul c\u0103 o parte dintre cei care joac\u0103 acum \u00een musical au jucat \u0219i la precedenta punere \u00een scen\u0103, din 2009. Atunci erau mai tineri, sunt distribui\u021bi acum \u00een alte roluri de oameni maturi? Cum a\u021bi rela\u021bionat cu arti\u0219tii care au experien\u021ba anterioarei versiuni?<\/strong><\/p>\n\n\n\n

\u015ei ei ne-au ajutat cumva s\u0103 ne adapt\u0103m la stilul lui Kero, pentru c\u0103 ei deja \u00eel cuno\u0219teau. Doar Victor Bucur f\u0103cea Mercutio, \u0219i acum face Prin\u021bul Veronei. Dar Georgiana Mototolea este tot Lady Capulet, la fel ca Amelia Antoniu. Adina Sima este tot Lady Montague, Florin Butnaru este tot \u00een rolul lui Paris.<\/p>\n\n\n\n

Ernest Fazakas, care a realizat \u0219i traducerea, a jucat \u00een trecut Tybalt, iar acum face tot Paris.<\/p>\n\n\n\n

Cei care \u0219i-au p\u0103strat rolurile cumva au fost mai obi\u0219nui\u021bi, dar \u0219i pentru ei a fost o schimbare, pentru c\u0103, v-am spus, spectacolul este \u00eentr-o continu\u0103 evolu\u021bie \u0219i spectacolul de acum, cel pu\u021bin din punctul meu de vedere, \u0219i mi se pare c\u0103 este destul de diferit fa\u021b\u0103 de ce a fost \u00een 2009. Este mai bun.<\/p>\n\n\n\n

CITE\u0218TE \u0218I: Cafeneaua BdB | Constantin Grigore, dirijor \u0219i fondator al Cameratei Regale: Nu am fost niciodat\u0103 tentat s\u0103 r\u0103m\u00e2n \u00een str\u0103in\u0103tate. Dac\u0103 to\u021bi plec\u0103m, nu mai r\u0103m\u00e2ne nimic aici<\/a><\/strong><\/p>\n\n\n\n

\u00cens\u0103\u0219i selectarea dumneavoastr\u0103 \u00een acest spectacol a fost ca un examen foarte greu, pentru c\u0103 la audi\u021bii au fost \u00een jur de 200 de persoane, din care au fost alese circa 20.<\/strong><\/p>\n\n\n\n

A fost un casting \u00een dou\u0103 etape, ca s\u0103 spun a\u0219a. Am venit prima oar\u0103 la proba muzical\u0103 \u0219i am fost selecta\u021bi pentru a doua etap\u0103.<\/p>\n\n\n\n

A doua etap\u0103, din punctul meu de vedere, a fost un maraton. Cred c\u0103 a fost cel mai lung casting la care am participat vreodat\u0103. A \u00eenceput pentru noi, soli\u0219tii, pe la ora 3.00-4.00 dup\u0103 amiaza \u0219i am plecat acas\u0103 pe la 9.00-10.00 seara<\/p>\n\n\n\n

Am f\u0103cut \u0219i coregrafie, \u0219i prob\u0103 muzical\u0103, \u0219i prob\u0103 muzical\u0103 cu partener. A fost foarte interesant. <\/p>\n\n\n\n

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Dar ce mi s-a p\u0103rut special la acest casting, atunci nu mi-am dat seama, mult mai t\u00e2rziu am realizat treaba asta, a fost faptul c\u0103 Kero a stat s\u0103 analizeze rela\u021biile care se creeaz\u0103 \u00eentre noi, la casting.<\/p>\n<\/blockquote>\n\n\n\n

Mul\u021bi dintre noi nu ne cuno\u0219team, dar st\u00e2nd at\u00e2t de multe ore acolo, fiind totu\u0219i o tensiune, cumva s-au creat ni\u0219te prietenii, ni\u0219te leg\u0103turi.<\/p>\n\n\n\n

Am observat mai t\u00e2rziu c\u0103 am fost selecta\u021bi \u00een func\u021bie de aceste leg\u0103turi care se creeaser\u0103 \u00eentre noi \u0219i de felul \u00een care noi am rela\u021bionat.<\/p>\n\n\n\n

Inclusiv distribu\u021biile s-au f\u0103cut \u00een func\u021bie de cum am rela\u021bionat noi \u00eenc\u0103 de la \u00eenceput. \u0102sta este farmecul lui Kero, are o inteligen\u021b\u0103 \u0219i un fel de a lucra \u0219i un un spirit de observa\u021bie fantastic.<\/p>\n\n\n\n

\"Romeo
Octavian Ene \u0219i Dumitri\u021ba Sini\u021ba, la repeti\u021bii pentru Romeo \u0219i Julieta<\/figcaption><\/figure>\n\n\n\n

Interviul nostru are loc dup\u0103 repeti\u021bii. Ce mai este de finisat pentru urm\u0103torul spectacol, care are loc pe 11 septembrie la Teatrul de Operet\u0103 \u0219i Musical \u201eIon Dacian\u201d?<\/strong><\/p>\n\n\n\n

Pentru c\u0103 suntem doi Romeo proaspe\u021bi, accentul se pune pe noi \u0219i pe rela\u021bia cu partenerele noastre. Eu m\u0103 adaptez la lucrurile noi, care sunt diferite fa\u021b\u0103 de perioada \u00een care eu am repetat ini\u021bial, iar colegul meu cumva le ia de la zero. Deci noi suntem \u00een centrul aten\u021biei, ca s\u0103 spun.<\/p>\n\n\n\n

Sunt lucruri de detaliu, de fine\u021be, anumite mi\u0219c\u0103ri, anumite pozi\u021bii, s\u0103 spunem, anumite repere scenice sau gesturi care s-au schimbat fa\u021b\u0103 de ce \u0219tiam eu.<\/p>\n\n\n\n

Dar cred c\u0103 sunt lucruri bune, sunt lucruri mai adaptate la scena pe care o avem, \u0219i la ceea ce facem, \u0219i la noi.<\/p>\n\n\n\n

\n

Eu cred c\u0103 m\u0103 simt revigorat. Este o oboseal\u0103, dar m\u0103 simt foarte proasp\u0103t dup\u0103 ce termin \u0219i \u00een form\u0103, parc\u0103 a\u0219 mai vrea.<\/p>\n<\/blockquote>\n","protected":false},"excerpt":{"rendered":"

Musicalul pop-rock \u201eRomeo \u0219i Julieta\u201d a creat \u00een prim\u0103var\u0103 trei \u0219tiri. Prima a vizat faptul c\u0103 a fost readus pe scena Teatrului Na\u021bional de Operet\u0103 \u0219i Musical \u201eIon Dacian\u201d dup\u0103 15 ani. A doua a fost legat\u0103 de faptul c\u0103 noua versiune este regizat\u0103 de titratul K\u00e9renyi Mikl\u00f3s G\u00e1bor (Kero), directorul, timp de 25 de […]<\/p>\n","protected":false},"author":60,"featured_media":146976,"comment_status":"closed","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"inline_featured_image":false,"ngg_post_thumbnail":0,"footnotes":""},"categories":[6994,81,5762],"tags":[23652,19171,17010],"ppma_author":[22582],"class_list":["post-146971","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-stiri-2","category-cultura","category-main","tag-octavian-ene","tag-romeo-si-julieta","tag-teatrul-de-opereta"],"acf":[],"a3_pvc":{"activated":false,"total_views":0,"today_views":0},"yoast_head":"\nINTERVIU | Musicalul \u201eRomeo \u0219i Julieta\u201d revine la Teatrul de Operet\u0103, cu Octavian Ene, revigorat dup\u0103 accidentul din prim\u0103var\u0103. \u201eRefacerea 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A fost redactor-\u0219ef al PRESShub \u00eentre 2022 \u0219i iunie 2024. Anterior, a fost redactor-\u0219ef al Newsweek Rom\u00e2nia, din 2018 p\u00e2n\u0103 \u00een 2021, \u0219i al cotidianului Rom\u00e2nia liber\u0103, \u00eentre 2015 \u0219i 2017. Este absolvent de Jurnalism, \u00een cadrul Universit\u0103\u021bii \u201eAl.I.Cuza\u201d din Ia\u0219i, \u0219i a urmat un master \u00een Managementul institu\u021biilor mass-media (f\u0103r\u0103 diserta\u021bie) la Facultatea de Jurnalism \u0219i \u0218tiin\u021bele Comunic\u0103rii din cadrul Universit\u0103\u021bii din Bucure\u0219ti. \u0218i-a \u00eenceput cariera la Opinia studen\u021beasc\u0103, cunoscuta \u0219coal\u0103 de pres\u0103 din Ia\u0219i. A lucrat \u00een presa local\u0103, apoi a devenit corespondent pentru Ia\u0219i al cotidianului Evenimentul Zilei. Din 2004, a coordonat pentru \u0219ase luni sec\u021bia de coresponden\u021bi a Evenimentului Zilei. A mai lucrat la s\u0103pt\u0103m\u00e2nalul Prezent \u0219i a colaborat cu revistele Dilema Veche \u0219i Suplimentul de Cultur\u0103. Este co-autor \u00een volumele \u201eMass-media \u0219i democra\u021bia \u00een Rom\u00e2nia post-comunist\u0103\u201d (ed. a II-a), Ed. Institutul European, Ia\u0219i, 2013, \u0219i \u201eCOVID - 19. 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