{"id":4208,"date":"2017-10-19T13:13:32","date_gmt":"2017-10-19T11:13:32","guid":{"rendered":"https:\/\/monitoring.patlevic.sk\/?p=4208"},"modified":"2023-01-26T13:14:55","modified_gmt":"2023-01-26T12:14:55","slug":"z-festivalu-divadlo-plzen-no-1-doba-sa-vymkla-z-klbov-a-z-nas-su-sialenci","status":"publish","type":"post","link":"https:\/\/monitoring.patlevic.sk\/?p=4208","title":{"rendered":"Z festivalu Divadlo Plze\u0148, No.1: Doba sa vymkla z k\u013abov. A z n\u00e1s s\u00fa \u0161ialenci"},"content":{"rendered":"
\n

Septembrov\u00e9 divadeln\u00e9 sl\u00e1vnosti \u2013 tak\u00fd by mohol by\u0165 podtitul festivalu, na ktor\u00fd, ak to okolnosti dovo\u013euj\u00fa, cestujem ka\u017ed\u00fd rok do Plzne. Z\u00e1rove\u0148 by sa festival mohol ozna\u010di\u0165 za prehliadku najlep\u0161ieho divadla kraj\u00edn Vy\u0161ehradskej \u0161tvorky. Okrem \u010desk\u00fdch inscen\u00e1ci\u00ed sa o\u00a0najv\u00e4\u010d\u0161ie z\u00e1\u017eitky aj tento rok postarali ma\u010farsk\u00e9, rumunsk\u00e9 a\u00a0po\u013esk\u00e9 divadl\u00e1. T\u00e9mou, ktor\u00e1 prepojila tieto inscen\u00e1cie, je \u0161ialenstvo ako v\u00fdraz (dne\u0161n\u00e9ho) sveta verzus \u0161ialenstvo v\u00a0n\u00e1s.<\/p>\n

V\u0161etko, len nie pokoj<\/strong><\/p>\n

Rom\u00e1n Attilu Bartisa\u00a0Pokoj<\/em>\u00a0bol pre m\u0148a ne\u010dakan\u00fdm zjaven\u00edm. Zohnala som si ho v\u00a0kni\u017enici po tom, ako som si pre\u010d\u00edtala program festivalu. Je to pr\u00edbeh o\u00a0nemo\u017enosti l\u00e1sky, o\u00a0patologick\u00fdch vz\u0165ahoch v\u00a0rodine. Hlavn\u00fd hrdina v\u00a0\u0148om pad\u00e1 a\u017e na dno svojej du\u0161e a\u00a0\u010ditate\u013e t\u00fa cestu absolvuje s\u00a0n\u00edm. Boles\u0165, tr\u00fdzniv\u00e1 potreba bl\u00edzkosti a\u00a0nekone\u010dn\u00e1 samota \u2013 to s\u00fa pocity, ktor\u00e9 s\u00a0n\u00edm zak\u00fa\u0161ame.<\/p>\n

Pr\u00edbeh rom\u00e1nu je krut\u00fd, deziluz\u00edvny, ve\u013emi ponur\u00fd a\u00a0zbaven\u00fd akejko\u013evek n\u00e1deje. Mlad\u00fd rumunsk\u00fd re\u017eis\u00e9r Radu Afrim uchopil t\u00fato temn\u00fa \u0161t\u00fadiu obdivuhodne \u2013 v\u010faka v\u00fdraznej hudobnej zlo\u017eke a\u00a0za\u013eudneniu javiska pitoreskn\u00fdmi postavami sa z\u00a0int\u00edmnej dr\u00e1my st\u00e1va \u0161ir\u0161ia v\u00fdpove\u010f o\u00a0patologickej dobe a\u00a0diagn\u00f3zach spolo\u010dnosti. Re\u017eis\u00e9r z\u00e1rove\u0148 ve\u013emi citlivo pracoval s\u00a0humorom a\u00a0absurditou, v\u010faka \u010domu inscen\u00e1cia neuviazla v\u00a0monot\u00f3nnosti melancholick\u00fdch t\u00f3nov, ktor\u00e9 prevl\u00e1daj\u00fa v predlohe. Sc\u00e9nograf vytvoril priamo v\u00a0strede sc\u00e9ny ak\u00e9si jazero \u2013 herci do\u0148 neraz vstupuj\u00fa, tento vodn\u00fd element m\u00f4\u017ee by\u0165 ich \u00fato\u010diskom, alebo v\u00a0\u0148om chc\u00fa za\u017ei\u0165 ak\u00e9si o\u010distenie. \u017diadna \u00fa\u013eava pre postavy pr\u00edbehu ani pre div\u00e1ka v\u0161ak a\u017e do konca neprich\u00e1dza. Ako tu\u0161\u00edme, \u017eiadna z\u00a0post\u00e1v nen\u00e1jde v\u00a0\u017eivote pokoj, ich \u017eivoty kon\u010dia smr\u0165ou, samovra\u017edou alebo hospitaliz\u00e1ciou na psychiatrii.<\/p>\n

Attila Bartis sa narodil v\u00a0Sedmohradsku, ale dnes sa pova\u017euje za ma\u010farsk\u00e9ho spisovate\u013ea (p\u00ed\u0161e v\u00a0ma\u010far\u010dine). Rumunsk\u00e9 N\u00e1rodn\u00e9 divadlo Targu Mures s\u00a0inscen\u00e1ciou\u00a0Pokoja<\/em>\u00a0vyhralo cenu divadeln\u00fdch kritikov za najlep\u0161iu ma\u010farsk\u00fa inscen\u00e1ciu sez\u00f3ny. Do Plzne okrem inscena\u010dn\u00e9ho t\u00edmu pricestoval aj s\u00e1m Bartis. Diskusia s\u00a0nimi na konci predstavenia sa t\u00fdkala nielen divadla a\u00a0sama osebe bola nev\u0161edn\u00fdm z\u00e1\u017eitkom. Dotkla sa aj spolo\u010denskej situ\u00e1cie v\u00a0Rumunsku \u2013 ot\u00e1zka doopatrovania rodi\u010dov, ktor\u00ed s\u00fa v\u00a0starobe bezvl\u00e1dni, tematizovan\u00e1 v\u00a0Pokoji<\/em>\u00a0iba okrajovo, je v\u00a0Rumunsku ve\u013ek\u00fdm probl\u00e9mom. Ve\u013ea oblast\u00ed tejto krajiny m\u00e1 mno\u017estvo star\u00fdch \u013eud\u00ed na vidieku, ku ktor\u00fdm zohna\u0165 o\u0161etrovate\u013ea je takmer nemo\u017en\u00e9. Mlad\u00e1 a\u00a0stredn\u00e1 gener\u00e1cia odch\u00e1dza do miest a\u00a0star\u00ed \u013eudia ost\u00e1vaj\u00fa na perif\u00e9rii \u2013 geograficky i spolo\u010densky.<\/p>\n

Rasko\u013enikov ako Jozef K. alebo ako Hamlet<\/strong><\/p>\n

Spolupr\u00e1ca ma\u010farsk\u00e9ho s\u00faboru V\u00edgsz\u00ednh\u00e1z a\u00a0\u010desk\u00e9ho re\u017eis\u00e9ra Michala Do\u010dekala vytvorila \u010fal\u0161\u00ed z\u00a0nadpriemern\u00fdch z\u00e1\u017eitkov festivalu. Dramatiz\u00e1cia rom\u00e1nu\u00a0Zlo\u010din a trest<\/em>, o\u00a0ktor\u00fa sa postarali Do\u010dekal a\u00a0Iva Klestilov\u00e1, sa propor\u010dne spravodlivo zameriava na \u00fastredn\u00fd pr\u00edbeh \u0161tudenta Rasko\u013enikova, ale db\u00e1 aj na nezjednodu\u0161en\u00e9 stv\u00e1rnenie ostatn\u00fdch v\u00fdzna\u010dn\u00fdch post\u00e1v rom\u00e1nu a\u00a0ich \u017eivotn\u00fdch pr\u00edbehov. Hor\u00fa\u010dkovit\u00e9 pre\u017e\u00edvanie Rasko\u013enikova, ktor\u00e9 hr\u00e1 herec akoby v\u00a0polosne, v\u00a0stave podobnom tranzu, pos\u00fava pr\u00edbeh protagonistu a\u017e k\u00a0\u00fatrap\u00e1m Hamleta, no pripom\u00edna aj Kafkovho hrdinu z\u00a0rom\u00e1nu\u00a0Proces<\/em>. Okrem neho sledujeme otrasn\u00e9 rozpolo\u017eenie Marmeladova (v\u00fdstredn\u00fd hereck\u00fd v\u00fdkon K\u00e1rolyho Hajduka, ktor\u00fd sa pribli\u017euje akejsi choreografii alkoholick\u00e9ho \u0161ialenca), Katar\u00edny Ivanovny, Sone Marmeladovej i\u00a0Rasko\u013enikovej sestry Dune. Napriek ve\u013ekolep\u00fdm starosvetsk\u00fdm kost\u00fdmom sledujeme pr\u00edbehy \u013eud\u00ed, ktor\u00ed si nevedia n\u00e1js\u0165 v\u00a0spolo\u010dnosti miesto, nikomu ned\u00f4veruj\u00fa, ni\u010d nedok\u00e1\u017eu a\u00a0nenach\u00e1dzaj\u00fa zmysel \u017eivota. Odcudzenie najbli\u017e\u0161\u00edch a\u00a0pasca ch\u00fdbaj\u00facich finan\u010dn\u00fdch prostriedkov sa nevyhli nikomu \u2013 otr\u00e1vili v\u0161etk\u00fdch od najvy\u0161\u0161\u00edch vrstiev a\u017e po posledn\u00fa \u017eobraj\u00facu chudobu. Je to obraz vych\u00fdlenej doby, ktor\u00e1 sa v mnohom podob\u00e1 \u010dasom, ktor\u00e9 \u017eijeme.<\/p>\n

Umelec cel\u00fdm svoj\u00edm byt\u00edm<\/strong><\/p>\n

Pohnut\u00fd \u017eivot i\u00a0nejasn\u00fd tragick\u00fd koniec po\u013esk\u00e9ho skladate\u013ea Tomeka Szikorsk\u00e9ho je n\u00e1metom inscen\u00e1cie\u00a0Holzwege<\/em>. Komponovanie a\u00a0h\u013eadanie absol\u00fatneho, presn\u00e9ho zaznamenania zvuku pomocou hudby, bolo pre Szikorsk\u00e9ho \u017eivot \u00fastredn\u00fdm bodom. \u010clovek \u017eij\u00faci v\u00a0samote bytu, ktor\u00e9ho myslenie sa pohybovalo na tenkej hranici medzi \u0161ialenstvom a\u00a0genialitou, je pre divadlo atrakt\u00edvnou l\u00e1tkou. Inscen\u00e1cia pracuje s\u00a0postupmi dokudr\u00e1my, sumarizuje fakty zo \u017eivota skladate\u013ea a\u00a0uva\u017euje o\u00a0hypot\u00e9zach dodnes neobjasnenej smrti. Sprievodcom tejto zvl\u00e1\u0161tnej antiiluz\u00edvnej inscen\u00e1cie je Zygmunt Krauze, zn\u00e1my po\u013esk\u00fd skladate\u013e, osobn\u00fd priate\u013e Szikorsk\u00e9ho. S\u00fa\u010das\u0165 predstaven\u00ed je aj Krauzeho interpret\u00e1cia Tomekov\u00fdch skladieb na klav\u00edri, ako aj odohratie zn\u00e1mej skladby Johna Cagea\u00a04\u00b433\u00b4\u00b4<\/em>.<\/p>\n

Gogo\u013e ve\u010dne \u017eiv\u00fd?<\/strong><\/p>\n

Osobn\u00fd v\u00fdber ukon\u010d\u00edm\u00a0Bl\u00e1znov\u00fdmi z\u00e1piskami<\/em>\u00a0v\u00a0r\u00e9\u017eii Viktora Bod\u00f3a. Monodr\u00e1ma je zauj\u00edmav\u00e1 predov\u0161etk\u00fdm strhuj\u00facim v\u00fdkonom Tam\u00e1sa Kerestesza, ktor\u00fd s\u00a0nad\u013eudsk\u00fdm nasaden\u00edm nap\u013a\u0148a 90 min\u00fat mont\u00e1\u017eou \u010dinohern\u00fdch a\u00a0performat\u00edvnych v\u00fdstupov, ktor\u00e9 miestami hrani\u010dia s\u00a0hudobn\u00fdm koncertom. Ka\u017ed\u00fd obraz je starostlivo skon\u0161truovan\u00fd, prostredn\u00edctvom minuci\u00f3znych prvkov herec krok za krokom zostavuje dokonal\u00fa premenu \u00faradn\u00edka na \u0161panielskeho kr\u00e1\u013ea, oby\u010dajn\u00e9ho \u010dloveka na \u0161ialenca. P\u00f4vodcom \u0161ialenstva je pritom od\u013eud\u0161ten\u00fd, neempatick\u00fd a\u00a0nehostinn\u00fd svet, v\u00a0ktorom si jednotlivec nedok\u00e1\u017ee pom\u00f4c\u0165 s\u00e1m. Ot\u00e1znik v\u00a0mojom podnadpise v\u0161ak napoved\u00e1, \u017ee toto dielo m\u00e1 i\u00a0svoje limity. Akoko\u013evek m\u00f4\u017eeme vidie\u0165 aktu\u00e1lnos\u0165 v\u00a0Gogo\u013eovej ot\u00e1zke: \u201eZo\u0161aleli sme my, alebo svet okolo n\u00e1s?\u201c \u2013 Bod\u00f3ova inscen\u00e1cia je predov\u0161etk\u00fdm do seba uzavret\u00fdm artistn\u00fdm k\u00faskom, ktor\u00e9mu ch\u00fdbaj\u00fa presahy k\u00a0dne\u0161ku a\u00a0uchy\u013euje sa sk\u00f4r ku konzervovaniu atmosf\u00e9ry predlohy.<\/p>\n

 <\/p>\n

\u010cl\u00e1nok vznikol pre\u00a0MLOKi – internetov\u00fd magaz\u00edn o kult\u00fare (www.mloki.sk<\/a>).<\/p>\n

 <\/p>\n

Mezin\u00e1rodn\u00ed festival DIVADLO, Plze\u0148, \u010cesk\u00e1 republika
\n25. ro\u010dn\u00edk
\n13. \u2013 21. september 2017
\nwww.festivaldivadlo.cz\/cs\/<\/a><\/p>\n<\/div>\n

\n
\n
Z verejn\u00fdch zdrojov podporil Fond na podporu umenia<\/div>\n<\/div>\n<\/div>\n","protected":false},"excerpt":{"rendered":"

Septembrov\u00e9 divadeln\u00e9 sl\u00e1vnosti \u2013 tak\u00fd by mohol by\u0165 podtitul festivalu, […]<\/p>\n","protected":false},"author":240,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":"","_links_to":"","_links_to_target":""},"categories":[115],"tags":[],"class_list":["post-4208","post","type-post","status-publish","format-standard","hentry","category-zahranicne-aktivity"],"_links":{"self":[{"href":"https:\/\/monitoring.patlevic.sk\/index.php?rest_route=\/wp\/v2\/posts\/4208","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/monitoring.patlevic.sk\/index.php?rest_route=\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/monitoring.patlevic.sk\/index.php?rest_route=\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/monitoring.patlevic.sk\/index.php?rest_route=\/wp\/v2\/users\/240"}],"replies":[{"embeddable":true,"href":"https:\/\/monitoring.patlevic.sk\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=4208"}],"version-history":[{"count":1,"href":"https:\/\/monitoring.patlevic.sk\/index.php?rest_route=\/wp\/v2\/posts\/4208\/revisions"}],"predecessor-version":[{"id":4209,"href":"https:\/\/monitoring.patlevic.sk\/index.php?rest_route=\/wp\/v2\/posts\/4208\/revisions\/4209"}],"wp:attachment":[{"href":"https:\/\/monitoring.patlevic.sk\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=4208"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/monitoring.patlevic.sk\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=4208"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/monitoring.patlevic.sk\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=4208"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}