{"id":4229,"date":"2016-05-05T13:25:17","date_gmt":"2016-05-05T11:25:17","guid":{"rendered":"https:\/\/monitoring.patlevic.sk\/?p=4229"},"modified":"2023-01-26T13:25:51","modified_gmt":"2023-01-26T12:25:51","slug":"nie-vsetko-sa-blysti-co-je-nove","status":"publish","type":"post","link":"https:\/\/monitoring.patlevic.sk\/?p=4229","title":{"rendered":"Nie v\u0161etko sa bly\u0161t\u00ed, \u010do je nov\u00e9"},"content":{"rendered":"<div class=\"news-text-wrap\">\n<p>V\u00a0slovenskom kontexte mo\u017eno pra\u017esk\u00fd festival Mal\u00e1 inventura prirovna\u0165 k \u017eilinsk\u00e9mu Kiosku, ktor\u00fd u\u017e od svojich za\u010diatkov zastre\u0161uje nemainstreamov\u00fa divadeln\u00fa produkciu. Obe podujatia sa na seba pon\u00e1\u0161aj\u00fa aj probl\u00e9mom, na ktor\u00fd nar\u00e1\u017eaj\u00fa vo vlastnom podn\u00e1zve &#8211; festival nov\u00e9ho divadla. \u010co presne je ono \u201enov\u00e9\u201c? Nekonven\u010dn\u00e9, nev\u00eddan\u00e9 a in\u0161pirat\u00edvne?<\/p>\n<p>Iste\u017ee. Snaha prekra\u010dova\u0165 hranice (ako napokon uk\u00e1zal aj tento ro\u010dn\u00edk Malej inventury) sa nie v\u017edy stretne s \u00faspechom. Ale ani v tom pr\u00edpade nie je tak\u00e1to tvorba jednozna\u010dne na \u0161kodu. Vznikaj\u00fa tak ot\u00e1zky pre dramaturgick\u00fa radu \u010di kur\u00e1torov podobne orientovan\u00fdch festivalov\u00fdch programov: Nako\u013eko maj\u00fa tieto podujatia by\u0165 prezent\u00e1ciou spektra r\u00f4znorod\u00fdch pr\u00edstupov a pod\u00f4b s\u00fa\u010dasn\u00e9ho divadla? Alebo naopak \u2013 nako\u013eko maj\u00fa tla\u010di\u0165 na kvalitu a \u201evychyta\u0165\u201c najm\u00e4 \u010dere\u0161ni\u010dky? S terminologick\u00fdm purizmom \u010di bez neho je potrebn\u00e9 poznamena\u0165, \u017ee 14. ro\u010dn\u00edk festivalu Mal\u00e1 inventura a jeho febru\u00e1rov\u00e9 vydanie (22. \u2013 29. 2. 2016) pon\u00fakol nieko\u013eko sc\u00e9nick\u00fdch diel, ktor\u00e9 v \u0165a\u017een\u00ed za dan\u00fdmi neur\u010dit\u00fdmi pr\u00edvlastkami skuto\u010dne uspeli.<\/p>\n<p>&nbsp;<\/p>\n<p><strong>\u010co je tanec (pohyb), to sa po\u010d\u00edta<\/strong><\/p>\n<p>Festivalov\u00fd program mal nieko\u013eko rov\u00edn. Uk\u00e1zalo sa, \u017ee kvalitat\u00edvne najkonzistentnej\u0161ou l\u00edniou bol showcase tane\u010dn\u00e9ho a pohybov\u00e9ho divadla. Ideovo zastre\u0161il \u0161irok\u00fd r\u00e1mec od abstraktn\u00fdch filozofuj\u00facich \u00favah o byt\u00ed, cez v\u00fdsostne aktu\u00e1lne in\u0161pir\u00e1cie s politizuj\u00facim podtextom, a\u017e k sebaironickej snahe vystihn\u00fa\u0165 esenciu prchav\u00fdch rodov\u00fdch kateg\u00f3ri\u00ed. Pri \u201etanci&#8220; st\u00e1l program festivalu na ve\u013emi dobre preb\u00e1danej p\u00f4de zaveden\u00fdch umelcov a\u00a0zoskupen\u00ed. Pon\u00fakol silov\u00fa choreografiu tematizuj\u00facu vz\u0165ahy a\u00a0kontakty, ktor\u00e1 vznikla koprodukciou zoskupen\u00ed ME-SA, BOD.Y a\u00a0choreografa Renana Martinsa de Oliveiru (<em>Let Me Die in My Footsteps<\/em>), vy\u010derp\u00e1vaj\u00face \u010di energick\u00e9 a vynaliezav\u00e9 vari\u00e1cie pod\u00f4b pravej \u201emu\u017eskosti\u201c Mareka Zelinku a Martina Talagu (<em>Synovial<\/em>), apelat\u00edvnu mut\u00e1ciu behu do pohybov\u00e9ho jazyka ute\u010dencov z\u00a0produkcie Spitfire company (<em>Sniper\u2019s Lake<\/em>) aj vysoko estetizovan\u00fa baladick\u00fa komunik\u00e1ciu telom Andrey Miltnerovej (<em>Tranzmutace<\/em>).<\/p>\n<p>&nbsp;<\/p>\n<p><strong>Ani ryba, ani rak<\/strong><\/p>\n<p>Ak\u00fdmsi prechodom medzi v\u00fdsostne pohybov\u00fdm vyjadrovan\u00edm a \u010dinohern\u00fdm jazykom bola autorsk\u00e1 dokument\u00e1rna produkcia Petry Tejnorovej a kolekt\u00edvu pod n\u00e1zvom\u00a0<em>Uhozen\u00e9 kv\u011btinou<\/em>. Jej tvorkyne, podobne ako tvorcovia inscen\u00e1cie\u00a0<em>Synovial,<\/em>\u00a0na\u010dreli do toho, \u010do poznaj\u00fa najlep\u0161ie \u2013 \u017eivot, postavenie, vn\u00edmanie svojho pohlavia okol\u00edm a\u00a0s nekone\u010dnom pridru\u017een\u00fdch stereotypov. N\u00e1pad, ktor\u00fd pote\u0161\u00ed nejedno emancipovan\u00e9 srdce, m\u00f4\u017ee by\u0165, ako sa uk\u00e1zalo aj v tomto pr\u00edpade, z\u00e1rove\u0148 zradn\u00fdm, ke\u010f\u017ee vzbura vo\u010di stereotypom u\u017e nie je n\u00f3vum.\u00a0<em>Uhozen\u00e9 kv\u011btinou,<\/em>\u00a0ako tri r\u00f4zne, ale prel\u00ednaj\u00face sa \u017eensk\u00e9 svety, s\u00fa z ve\u013ekej \u010dasti pertraktovan\u00edm u\u017e zn\u00e1meho \u2013 ned\u00f4very vo\u010di dobrovo\u013ene nevydat\u00fdm a bezdetn\u00fdm \u017een\u00e1m \u010di slobodn\u00fdm matk\u00e1m, ako aj \u00fazkoprs\u00e9ho dikt\u00e1tu m\u00f3dy a skostnatenej spolo\u010dnosti. V pozit\u00edvnom zmysle vyt\u0155\u010da najm\u00e4 s\u00f3lo Terezy Ondrovej, \u017eeny s kr\u00e1tkymi vlasmi. S\u00fa pln\u00e9 od\u013eah\u010denej sebair\u00f3nie, ktor\u00e9 nesk\u013azne k prehnanej seba\u013e\u00fatosti a koloto\u010du s\u0165a\u017enost\u00ed. Celok zaujme, ak ho vn\u00edmame ako int\u00edmnu v\u00fdpove\u010f trojice \u017eien, nie ako generalizuj\u00facu spr\u00e1vu o ka\u017edej z n\u00e1s. V takom pr\u00edpade vedie inscen\u00e1cia, ako u\u017e dom\u00e1ca kritika viackr\u00e1t trefne poznamenala, op\u00e4\u0165 iba k nov\u00fdm stereotypom.<\/p>\n<p>Na pomedz\u00ed t\u00fdchto kateg\u00f3ri\u00ed, no s absenciou verb\u00e1lneho prejavu, uviedli op\u00e4\u0165 \u017eeny tvorkyne v zoskupen\u00ed Ryba \u0159vouc\u00ed aj inscen\u00e1ciu\u00a0<em>Pr\u00e1ce<\/em>. Ide o nen\u00fatene vtipn\u00fa asociat\u00edvnu sc\u00e9nick\u00fa \u00favahu o pr\u00e1ci ako aktivite, o jej vy\u010derp\u00e1vaj\u00facom predstieran\u00ed \u010di o \u00faspe\u0161nom vyh\u00fdban\u00ed sa dosiahnutiu uspokojiv\u00e9ho, hoci nen\u00e1ro\u010dn\u00e9ho, v\u00fdsledku. V zapratanej dielni ml\u010dky za\u010d\u00ednaj\u00fa aktivitu dve mlad\u00e9 a \u00fatle, \u201ena \u0165a\u017ek\u00fa pr\u00e1cu prikrehk\u00e9&#8220; \u017eeny. Vykon\u00e1vaj\u00fa bizarn\u00e9 aktivity bez za\u010diatku a konca, ktor\u00e9 pod\u010diarkuje sl\u00e1vnostn\u00e1 atmosf\u00e9ra takmer dokon\u010denej \u00falohy. Bez snahy nie\u010do skuto\u010dne urobi\u0165 hromadia v\u00fdstupy zalo\u017een\u00e9 na situa\u010dnej komike, pohybovom prejave, ktor\u00fd nach\u00e1dza svoj z\u00e1klad v be\u017enom pracovnom \u010di akomko\u013evek nevyhnutnom pohybe tela a ten estetizuj\u00fa a povy\u0161uj\u00fa miestami a\u017e na tane\u010dn\u00fd krok. St\u00e1le v\u0161ak s vtipom a neskr\u00fdvanou (op\u00e4\u0165!) sebair\u00f3niou robotn\u00ed\u010dok-performeriek. Aj divadlo je robota.<\/p>\n<p>Po boku Ryby \u0159vouc\u00ed preh\u013abila tematiku pr\u00e1ce, tentoraz exaktnej (alebo aspo\u0148 exaktne vyzeraj\u00facej) minuci\u00f3znej pr\u00e1ce alchymistov, st\u00e1lica nez\u00e1vislej a netradi\u010dnej divadelnej sc\u00e9ny zoskupenie Handa Gote Research &amp; Development. V\u00a0<em>Mutus Liber<\/em>, v Nemej knihe, ktor\u00e1 by mala obsahova\u0165 n\u00e1vod na v\u00fdrobu b\u00e1jneho kame\u0148a mudrcov, listuj\u00fa divadeln\u00edci op\u00e4\u0165 s l\u00e1skavo ironick\u00fdm \u00fasmevom. Vy\u017e\u00edvaj\u00fa sa v zd\u013ahav\u00fdch pomal\u00fdch obrazoch (vedeck\u00e1 pr\u00e1ca sa samozrejme ned\u00e1 ur\u00fdchli\u0165), drobn\u00fdch opakuj\u00facich sa \u00fakonoch, ktor\u00e9 div\u00e1kovi pribli\u017euje \u010diastkov\u00e1 projekcia in\u0161pirovan\u00e1 vizu\u00e1lom p\u00f4vodnej knihy (\u010dasto ide o video \u010di foto interpret\u00e1cie p\u00f4vodn\u00fdch ilustr\u00e1ci\u00ed). Jeho (ne)trpezlivos\u0165 testuj\u00fa paralelne prebiehaj\u00facou pr\u00edpravou jedla, a k\u00fdm sa ved\u00e1tori posun\u00fa k svojmu v\u00fdsledku o pia\u010f, stihn\u00fa kuch\u00e1ri navari\u0165 pre cel\u00fa s\u00e1lu. Tvorcovia z Handa Gote predv\u00e1dzaj\u00fa na javisku premenu surov\u00edn na plnohodnotn\u00e9 jedlo, snahu o premenu nezrozumite\u013en\u00fdch miniat\u00farnych \u00fakonov na mystick\u00e9 ve\u013edielo a to v\u0161etko zaobalen\u00e9 do autentickej dobovej hudobno-zvukovej kulisy. Sledovanie\u00a0<em>Mutus Liber<\/em>\u00a0je sk\u00f4r fajn\u0161mekersk\u00fdm z\u00e1\u017eitkom, ktor\u00fd, aby vyznel, mus\u00ed by\u0165 sk\u00f4r voyeursk\u00fdm pote\u0161en\u00edm z vy\u017e\u00edvania sa v tajomnej atmosf\u00e9re starosvetsk\u00fdch laborat\u00f3rnych \u00fakonov, ne\u017e snahou o racion\u00e1lne uchopenie viden\u00e9ho.<\/p>\n<p>&nbsp;<\/p>\n<p><strong>Nie v\u0161etko sa bly\u0161t\u00ed<\/strong><\/p>\n<p>Honba za originalitou v\u0161ak nieko\u013ekokr\u00e1t skon\u010dila aj v nefunk\u010dnom a formalisticky vypr\u00e1zdnenom sc\u00e9nickom tvare. Na chvoste programu sa v\u010faka tomu ocitla trojica umeleck\u00fdch zoskupen\u00ed: Depresivn\u00ed deti tou\u017e\u00edci po pen\u011bz\u00edch so zastaralo interakt\u00edvnou produkciou\u00a0<em>Kabaret de Sade<\/em>, Ani\u010dka a letad\u00fdlko s inscen\u00e1ciou\u00a0<em>Pi\u010dus nen\u00ed kret\u00e9n<\/em>\u00a0\u010di Wariot Ideal s nepochopenou a navy\u0161e repetit\u00edvnou nudou mravou\u010dn\u00e9ho moryt\u00e1tu\u00a0<em>Pir\u00e1t a L\u00e9karn\u00edk<\/em>.<\/p>\n<p>&nbsp;<\/p>\n<p><em>Mal\u00e1 inventura<br \/>\nFestival nov\u00e9ho divadla<br \/>\n22. &#8211; 29. febru\u00e1r 2016, Praha<br \/>\n<a href=\"http:\/\/www.malainventura.cz\/\" target=\"_blank\" rel=\"noopener\">www.malainventura.cz<\/a><\/em><\/p>\n<p>&nbsp;<\/p>\n<p>Aktualizovan\u00e9: 22.3.2018<\/p>\n<\/div>\n<div id=\"c265\">\n<div>\n<div>Z verejn\u00fdch zdrojov podporil Fond na podporu umenia<\/div>\n<\/div>\n<\/div>\n","protected":false},"excerpt":{"rendered":"<p>V\u00a0slovenskom kontexte mo\u017eno pra\u017esk\u00fd festival Mal\u00e1 inventura prirovna\u0165 k \u017eilinsk\u00e9mu [&hellip;]<\/p>\n","protected":false},"author":242,"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-4229","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\/4229","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\/242"}],"replies":[{"embeddable":true,"href":"https:\/\/monitoring.patlevic.sk\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=4229"}],"version-history":[{"count":1,"href":"https:\/\/monitoring.patlevic.sk\/index.php?rest_route=\/wp\/v2\/posts\/4229\/revisions"}],"predecessor-version":[{"id":4230,"href":"https:\/\/monitoring.patlevic.sk\/index.php?rest_route=\/wp\/v2\/posts\/4229\/revisions\/4230"}],"wp:attachment":[{"href":"https:\/\/monitoring.patlevic.sk\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=4229"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/monitoring.patlevic.sk\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=4229"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/monitoring.patlevic.sk\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=4229"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}