by Andreea Tănase 
Directed by Diana Dragoș
at The North Theatre Satu Mare, Romania

Scenography concept: 
 

Jacques Derrida’s deconstructivism inspires the scenography — his insistence on understanding subjects through deconstruction, by revealing their nuances and contradictions rather than seeking a single truth. This idea is reflected in the black-and-white costumes, with one character dressed in grey, symbolising the in-between, the unresolved. The deconstructed table — a traditional symbol of the family — embodies this tension, questioning the stability of a concept that has become increasingly debated and polarised in contemporary society.
 

 

Context:
 

The phenomenon of “family rental” first appeared in Japan in the early 1990s, when Los Angeles Times reported on a Tokyo-based company offering paid companionship. To understand this, one must look back at Japan’s post-war transformation: between the 1950s and 1970s, industrialisation disrupted the patriarchal ie family structure. Urban migration and the decline of traditional households led to social isolation and a demographic crisis marked by low birth rates and an ageing population. In response, services emerged offering “surrogate” family members — rented parents, partners, or friends — to fill emotional and social voids. The concept has since spread to South Korea, China, the U.S., and parts of Europe, adapting to various forms of loneliness and social performance.
 

 

Plot:
 

A Western journalist investigates this curious social phenomenon in which people can rent surrogate family members or friends to fill roles in their lives. Originating in Japan in the 1970s–80s and now global, these services address loneliness, social pressure, and the need to maintain appearances. The performance opens a discussion about the performative nature of human relationships — love, friendship, and family — exposing how intimacy and belonging can become scripted, transactional, and even rentable.​

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