{"id":4231,"date":"2016-02-12T13:26:09","date_gmt":"2016-02-12T12:26:09","guid":{"rendered":"https:\/\/monitoring.patlevic.sk\/?p=4231"},"modified":"2023-01-27T09:51:13","modified_gmt":"2023-01-27T08:51:13","slug":"divadelna-turistika-v-irane","status":"publish","type":"post","link":"https:\/\/monitoring.patlevic.sk\/?p=4231","title":{"rendered":"Divadeln\u00e1 turistika v Ir\u00e1ne"},"content":{"rendered":"<div class=\"fusion-fullwidth fullwidth-box fusion-builder-row-1 fusion-flex-container nonhundred-percent-fullwidth non-hundred-percent-height-scrolling\" style=\"background-color: rgba(255,255,255,0);background-position: center center;background-repeat: no-repeat;border-width: 0px 0px 0px 0px;border-color:#e2e2e2;border-style:solid;\" ><div class=\"fusion-builder-row fusion-row fusion-flex-align-items-flex-start\" style=\"max-width:1248px;margin-left: calc(-4% \/ 2 );margin-right: calc(-4% \/ 2 );\"><div class=\"fusion-layout-column fusion_builder_column fusion-builder-column-0 fusion_builder_column_1_1 1_1 fusion-flex-column\"><div class=\"fusion-column-wrapper fusion-flex-justify-content-flex-start fusion-content-layout-column\" style=\"background-position:left top;background-repeat:no-repeat;-webkit-background-size:cover;-moz-background-size:cover;-o-background-size:cover;background-size:cover;padding: 0px 0px 0px 0px;\"><div class=\"fusion-text fusion-text-1\"><div class=\"news-text-wrap\">\n<p><em>\u010co za\u010dalo ako prost\u00fd cestovate\u013esk\u00fd z\u00e1mer, sa s\u00fahrou n\u00e1hod a nepl\u00e1novanou zhodou d\u00e1tumov zmenilo na cestu spojen\u00fa s \u00fa\u010das\u0165ou na najv\u00e4\u010d\u0161om ir\u00e1nskom divadelnom podujat\u00ed \u2013 medzin\u00e1rodnom festivale Fadjr. Pred odletom do Teher\u00e1nu sa mi v\u00a0mysli vynorila spomienka na jedin\u00e9 ir\u00e1nske divadlo, ktor\u00e9 som dovtedy za\u017eila. Bolo to na medzin\u00e1rodnom \u0161tudentskom festivale Istropolitana Projekt a hoci predstavenie. Posledn\u00e1 ve\u010dera vtedy z\u00edskalo cenu div\u00e1ka, mne najviac v pam\u00e4ti utkveli pokyny organiz\u00e1torov, pod\u013ea ktor\u00fdch bolo na verejnosti potrebn\u00e9 udr\u017ea\u0165 dostato\u010dn\u00fd odstup medzi ir\u00e1nskou a izraelskou skupinou \u0161tudentov a tie\u017e medzi mlad\u00fdmi slovensk\u00fdmi divadeln\u00ed\u010dkami a ir\u00e1nskymi mlad\u00edkmi. Absurditu t\u00fdchto nariaden\u00ed po skon\u010den\u00ed programu odha\u013eovali spolo\u010dn\u00e9 ve\u010dery v priestoroch bratislavskej Cvernovky.<\/em><\/p>\n<p>T\u00e1to spomienka je pre m\u0148a d\u00f4kazom, \u017ee skuto\u010dne plat\u00ed \u2013 lep\u0161ie raz za\u017ei\u0165, ako stokr\u00e1t po\u010du\u0165. Inform\u00e1cie, ktor\u00e9 sa aktu\u00e1lne objavili aj v slovensk\u00fdch m\u00e9di\u00e1ch v s\u00favislosti s\u00a0Ir\u00e1nom a kult\u00farou \u2013 o zvy\u0161ovan\u00ed odmeny za fatvou posv\u00e4ten\u00fa vra\u017edu spisovate\u013ea Salmana Rushdieho \u010di o zaha\u013eovan\u00ed antick\u00fdch s\u00f4ch po\u010das n\u00e1v\u0161tevy prezidenta R\u00fah\u00e1n\u00edho v Taliansku \u2013 rozhodne nevytv\u00e1raj\u00fa obraz Ir\u00e1nu ako krajiny, s\u00a0ktorou mo\u017eno jednoducho zdie\u013ea\u0165 kult\u00farne hodnoty. O opaku v\u0161ak sved\u010d\u00ed napr\u00edklad v\u00fdborn\u00e1 tamoj\u0161ia kinematografia, ktorej v\u00fdsledky sa zhodou okolnost\u00ed slovenskej verejnosti predstavili po prv\u00fdkr\u00e1t na festivale ir\u00e1nskych filmov v\u00a0janu\u00e1ri tohto roka. A pokia\u013e ide o n\u00e1v\u0161tevu ir\u00e1nskeho divadeln\u00e9ho festivalu, ke\u010f si cudzinec privykne na zvl\u00e1\u0161tny systematick\u00fd chaos (\u010di chaotick\u00fd syst\u00e9m) charakteristick\u00fd pre cel\u00fa krajinu i\u00a0pre ofici\u00e1lne medzin\u00e1rodn\u00e9 podujatie, m\u00f4\u017ee sa pripravi\u0165 na vzru\u0161uj\u00faci interkult\u00farny z\u00e1\u017eitok.<\/p>\n<\/div>\n<div id=\"c251\">\n<h3 class=\"first-headline\">M\u00e1lo zn\u00e1my ve\u013ek\u00fd festival<\/h3>\n\n\t\t<style type=\"text\/css\">\n\t\t\t#gallery-1 {\n\t\t\t\tmargin: auto;\n\t\t\t}\n\t\t\t#gallery-1 .gallery-item {\n\t\t\t\tfloat: left;\n\t\t\t\tmargin-top: 10px;\n\t\t\t\ttext-align: center;\n\t\t\t\twidth: 50%;\n\t\t\t}\n\t\t\t#gallery-1 img {\n\t\t\t\tborder: 2px solid #cfcfcf;\n\t\t\t}\n\t\t\t#gallery-1 .gallery-caption {\n\t\t\t\tmargin-left: 0;\n\t\t\t}\n\t\t\t\/* see gallery_shortcode() in wp-includes\/media.php *\/\n\t\t<\/style>\n\t\t<div id='gallery-1' class='gallery galleryid-4231 gallery-columns-2 gallery-size-full'><dl class='gallery-item'>\n\t\t\t<dt class='gallery-icon landscape'>\n\t\t\t\t<a data-rel=\"iLightbox[postimages]\" data-title=\"Crime and Punishment Crime and Punishment\" data-caption=\"Crime and Punishment\" href='https:\/\/monitoring.patlevic.sk\/wp-content\/uploads\/2016\/02\/csm_3__1__5e911eb412.jpg'><img decoding=\"async\" width=\"570\" height=\"380\" src=\"https:\/\/monitoring.patlevic.sk\/wp-content\/uploads\/2016\/02\/csm_3__1__5e911eb412.jpg\" class=\"attachment-full size-full lazyload\" alt=\"\" aria-describedby=\"gallery-1-4572\" srcset=\"data:image\/svg+xml,%3Csvg%20xmlns%3D%27http%3A%2F%2Fwww.w3.org%2F2000%2Fsvg%27%20width%3D%27570%27%20height%3D%27380%27%20viewBox%3D%270%200%20570%20380%27%3E%3Crect%20width%3D%27570%27%20height%3D%27380%27%20fill-opacity%3D%220%22%2F%3E%3C%2Fsvg%3E\" data-orig-src=\"https:\/\/monitoring.patlevic.sk\/wp-content\/uploads\/2016\/02\/csm_3__1__5e911eb412.jpg\" data-srcset=\"https:\/\/monitoring.patlevic.sk\/wp-content\/uploads\/2016\/02\/csm_3__1__5e911eb412-200x133.jpg 200w, https:\/\/monitoring.patlevic.sk\/wp-content\/uploads\/2016\/02\/csm_3__1__5e911eb412-300x200.jpg 300w, https:\/\/monitoring.patlevic.sk\/wp-content\/uploads\/2016\/02\/csm_3__1__5e911eb412-400x267.jpg 400w, https:\/\/monitoring.patlevic.sk\/wp-content\/uploads\/2016\/02\/csm_3__1__5e911eb412.jpg 570w\" data-sizes=\"auto\" \/><\/a>\n\t\t\t<\/dt>\n\t\t\t\t<dd class='wp-caption-text gallery-caption' id='gallery-1-4572'>\n\t\t\t\tCrime and Punishment\n\t\t\t\t<\/dd><\/dl>\n\t\t\t<br style='clear: both' \/>\n\t\t<\/div>\n\n<div class=\"image-intext-right image-intext\">\n<div class=\"text\">\n<p>Ir\u00e1nske divadlo m\u00e1 svoju pevn\u00fa oporu v perzskej trad\u00edcii, ktorej rozmanitos\u0165 je rovnako ve\u013ek\u00e1 ako rozmanitos\u0165 samotnej krajiny. Aj dne\u0161n\u00e9 modern\u00e9 podoby tohto divadla \u010dasto vych\u00e1dzaj\u00fa z tradi\u010dn\u00fdch \u017e\u00e1nrov ako Ta\u2019zieh (\u0161i\u00edtske mart\u00fdrske hry), Kheimeh shab bazi (b\u00e1bkov\u00e9 divadlo), niektor\u00fdch aj ve\u013emi \u0161pecifick\u00fdch, ako Pahlavan kachal (kom\u00e9dia s klaunskou postavou ple\u0161at\u00e9ho mu\u017ea) \u010di Baghal bazi (kom\u00e9dia, ktor\u00e1 sa odohr\u00e1va v obchode s potravinami) \u2013 a mnoh\u00fdch in\u00fdch. Hist\u00f3ria i s\u00fa\u010dasn\u00e1 existencia ir\u00e1nskeho divadla maj\u00fa v\u0161ak aj svoje komplikovan\u00e9 z\u00e1kutia, \u010doho d\u00f4kazom je aj rozporuplnos\u0165 samotn\u00e9ho festivalu Fadjr.<\/p>\n<p>S\u00fa\u010dasn\u00fd festival je pokra\u010dovan\u00edm predrevolu\u010dn\u00e9ho Medzin\u00e1rodn\u00e9ho festivalu umenia (International Art Festival), ktor\u00e9ho jeden\u00e1s\u0165 ro\u010dn\u00edkov sa od 70. rokov minul\u00e9ho storo\u010dia konalo p\u00f4vodne v meste \u0160iraz (niektor\u00e9 z produkci\u00ed sa hrali napr\u00edklad aj v ne\u010falek\u00fdch ruin\u00e1ch sl\u00e1vneho Perzepolisu). Podujatie v tom \u010dase prin\u00e1\u0161alo multikult\u00farnu zmes tradi\u010dn\u00e9ho a\u00a0avantgardn\u00e9ho umenia, hostilo tvorcov z kraj\u00edn od Afganistanu cez Rwandu po Filip\u00edny a z\u00fa\u010dastnili sa ho aj tak\u00e9 osobnosti divadla ako Jerzy Grotowski, Tadeusz Kantor, Peter Brook, Bob Wilson \u010di John Cage, pri\u010dom nepochybne doch\u00e1dzalo k\u00a0obojsmern\u00e9mu in\u0161pira\u010dn\u00e9mu pr\u00fadeniu, pod\u013ea odborn\u00edkov cite\u013en\u00e9mu v ir\u00e1nskom divadle dodnes. Islamsk\u00e1 revol\u00facia v roku 1979 hist\u00f3riu festivalu na \u010das preru\u0161ila, av\u0161ak od roku 1983 sa jeho obnoven\u00e1 verzia kon\u00e1 ka\u017edoro\u010dne v Teher\u00e1ne, paradoxne pri pr\u00edle\u017eitosti v\u00fdro\u010dia v\u00ed\u0165azstva revol\u00facie, o\u00a0\u010dom sved\u010d\u00ed aj n\u00e1zov Fadjr, ozna\u010duj\u00faci desa\u0165d\u0148ov\u00e9 obdobie osl\u00e1v n\u00e1vratu ajatoll\u00e1ha Chomejn\u00edho do vlasti. A tak k\u00fdm v minulosti niektor\u00ed tvorcovia bojkotovali festival na protest proti represi\u00e1m b\u00fdval\u00e9ho \u0161\u00e1ha Pahlav\u00edho vo\u010di jeho politick\u00fdm oponentom (medzi ktor\u00fdmi boli aj r\u00f4zni umelci), dnes sa mu viacer\u00ed vyh\u00fdbaj\u00fa pr\u00e1ve pre nov\u00e9 prepojenie s politick\u00fdm kontextom krajiny.<\/p>\n<p>Na druhej strane je pre v\u00e4\u010d\u0161inu tvorcov \u00fa\u010das\u0165 na festivale c\u0165ou a jeho 34. ro\u010dn\u00edk po\u010das dvan\u00e1stich dn\u00ed pon\u00fakol v\u00fdber viac ne\u017e stovky inscen\u00e1ci\u00ed. Len v hlavnom ir\u00e1nskom programe bolo uveden\u00fdch 44 inscen\u00e1ci\u00ed z celej krajiny, \u010fal\u0161\u00edch desa\u0165 bolo zaraden\u00fdch do sekcie \u201enajnov\u0161ie kre\u00e1cie\u201c, osem do sekcie \u201enov\u00e1 gener\u00e1cia\u201c, p\u00e4tn\u00e1s\u0165 do \u0161peci\u00e1lneho off-programu hos\u0165uj\u00facich nez\u00e1visl\u00fdch divadiel a pribli\u017ene 30 participovalo v pouli\u010dnom programe. Spomedzi \u0161estn\u00e1stich zahrani\u010dn\u00fdch produkci\u00ed bol zrejme najv\u00e4\u010d\u0161\u00edm l\u00e1kadlom berl\u00ednsky s\u00fabor Schaub\u00fchne s inscen\u00e1ciou\u00a0<em>Hamlet<\/em>\u00a0v r\u00e9\u017eii Thomasa Ostermeiera (t\u00e1 napokon aj z\u00edskala cenu poroty), nech\u00fdbali hostia z Ma\u010farska, \u0160panielska, Japonska, Iraku, Gruz\u00ednska, Belgicka, Franc\u00fazska \u010di Po\u013eska, ktor\u00e9mu bol venovan\u00fd aj samostatn\u00fd fokus. S\u00fa\u0165a\u017en\u00fa sekciu programu, viac ne\u017e dvadsiatku produkci\u00ed, hodnotila aj medzin\u00e1rodn\u00e1 porota, ktorej \u010dlenmi boli napr\u00edklad programov\u00fd riadite\u013e Wiener Westwochen 2015 Stefan Schmidtke, jeden zo zakladate\u013eov festivalu Zlat\u00e1 maska Oleg Loevskij \u010di po\u013esk\u00fd shakespearol\u00f3g Jerzy Limon. A vz\u00e1cne nebolo ani stretn\u00fa\u0165 v divadelnom foyer niektor\u00e9ho zo zahrani\u010dn\u00fdch \u201epozorovate\u013eov\u201c \u2013 dramaturgov, teoretikov \u010di festivalov\u00fdch selektorov. Svoj\u00edm rozsahom a\u00a0sp\u00f4sobom organiz\u00e1cie sa teda Fadjr m\u00f4\u017ee smelo porovn\u00e1va\u0165 s viacer\u00fdmi renomovan\u00fdmi eur\u00f3pskymi festivalmi.<\/p>\n<\/div>\n<\/div>\n<\/div>\n<div id=\"c252\">\n<h3>Rozpr\u00e1vky tis\u00edc a jednej noci (alebo aspo\u0148 troch)<\/h3>\n\n\t\t<style type=\"text\/css\">\n\t\t\t#gallery-2 {\n\t\t\t\tmargin: auto;\n\t\t\t}\n\t\t\t#gallery-2 .gallery-item {\n\t\t\t\tfloat: left;\n\t\t\t\tmargin-top: 10px;\n\t\t\t\ttext-align: center;\n\t\t\t\twidth: 50%;\n\t\t\t}\n\t\t\t#gallery-2 img {\n\t\t\t\tborder: 2px solid #cfcfcf;\n\t\t\t}\n\t\t\t#gallery-2 .gallery-caption {\n\t\t\t\tmargin-left: 0;\n\t\t\t}\n\t\t\t\/* see gallery_shortcode() in wp-includes\/media.php *\/\n\t\t<\/style>\n\t\t<div id='gallery-2' class='gallery galleryid-4231 gallery-columns-2 gallery-size-full'><dl class='gallery-item'>\n\t\t\t<dt class='gallery-icon landscape'>\n\t\t\t\t<a data-rel=\"iLightbox[postimages]\" data-title=\"I was king Richard I was king Richard\" data-caption=\"I was king Richard\" href='https:\/\/monitoring.patlevic.sk\/wp-content\/uploads\/2016\/02\/csm_2__3__0c0e57fef3.jpg'><img decoding=\"async\" width=\"570\" height=\"380\" src=\"https:\/\/monitoring.patlevic.sk\/wp-content\/uploads\/2016\/02\/csm_2__3__0c0e57fef3.jpg\" class=\"attachment-full size-full lazyload\" alt=\"\" aria-describedby=\"gallery-2-4573\" srcset=\"data:image\/svg+xml,%3Csvg%20xmlns%3D%27http%3A%2F%2Fwww.w3.org%2F2000%2Fsvg%27%20width%3D%27570%27%20height%3D%27380%27%20viewBox%3D%270%200%20570%20380%27%3E%3Crect%20width%3D%27570%27%20height%3D%27380%27%20fill-opacity%3D%220%22%2F%3E%3C%2Fsvg%3E\" data-orig-src=\"https:\/\/monitoring.patlevic.sk\/wp-content\/uploads\/2016\/02\/csm_2__3__0c0e57fef3.jpg\" data-srcset=\"https:\/\/monitoring.patlevic.sk\/wp-content\/uploads\/2016\/02\/csm_2__3__0c0e57fef3-200x133.jpg 200w, https:\/\/monitoring.patlevic.sk\/wp-content\/uploads\/2016\/02\/csm_2__3__0c0e57fef3-300x200.jpg 300w, https:\/\/monitoring.patlevic.sk\/wp-content\/uploads\/2016\/02\/csm_2__3__0c0e57fef3-400x267.jpg 400w, https:\/\/monitoring.patlevic.sk\/wp-content\/uploads\/2016\/02\/csm_2__3__0c0e57fef3.jpg 570w\" data-sizes=\"auto\" \/><\/a>\n\t\t\t<\/dt>\n\t\t\t\t<dd class='wp-caption-text gallery-caption' id='gallery-2-4573'>\n\t\t\t\tI was king Richard\n\t\t\t\t<\/dd><\/dl>\n\t\t\t<br style='clear: both' \/>\n\t\t<\/div>\n\n<div class=\"image-intext-right image-intext\">\n<div class=\"text\">\n<p>Zatia\u013e nevedno, ako bude tamoj\u0161ie umeleck\u00e9 prostredie reagova\u0165 na aktu\u00e1lne zmeny geopolitickej situ\u00e1cie, ktor\u00e9 maj\u00fa potenci\u00e1l uvo\u013eni\u0165 nap\u00e4tie medzi Ir\u00e1nom a z\u00e1padn\u00fdmi krajinami a\u00a0umo\u017eni\u0165 okrem in\u00e9ho slobodnej\u0161ie cestovanie i\u00a0interkult\u00farnu v\u00fdmenu. Ist\u00e9 (a pozit\u00edvne) v\u0161ak je, \u017ee festival, ktor\u00e9ho program zostavuje prim\u00e1rne kontroln\u00e1 komisia \u2013 de facto rada cenzorov dohliadaj\u00faca na mravn\u00fa sp\u00f4sobilos\u0165 prezentovan\u00fdch diel \u2013 sa za\u010dal mo\u017eno opatrne, no predsa cite\u013ene liberalizova\u0165. Pre n\u00e1hodn\u00e9ho div\u00e1ka, ktor\u00fd navy\u0161e dobre nepozn\u00e1 miestne pomery, by sa v\u0161etko mohlo zda\u0165 celkom norm\u00e1lne, ale znalci dom\u00e1ceho divadeln\u00e9ho kontextu \u013eahko rozpoznaj\u00fa zmeny. N\u00f3vom je napr\u00edklad fyzick\u00e9 divadlo interpretovan\u00e9 \u017eenami, o ktorom prekvapene hovoria t\u00ed, \u010do vedia, \u017ee doned\u00e1vna by \u010dosi tak\u00e9 bolo nemyslite\u013en\u00e9 \u2013 tane\u010dn\u00e9 divadlo je v krajine zak\u00e1zan\u00e9 a u\u017e v\u00f4bec by ho nemali predv\u00e1dza\u0165 \u017eeny pred zmie\u0161an\u00fdm publikom. E\u0161te pred p\u00e1r rokmi by sa do programu s\u00a0ve\u013ekou pravdepodobnos\u0165ou nedostala ani inscen\u00e1cia s kontroverzn\u00fdm n\u00e1zvom\u00a0<em>Du sexe de la femme comme champs de bataille dans la guerre en Bosnie<\/em>\u00a0(Pohlavie \u017eeny ako vojnov\u00e9 pole v\u00a0bosnianskej vojne). Obsahovo \u010di form\u00e1lne provokat\u00edvne divadlo sa v\u0161ak m\u00f4\u017ee skr\u00fdva\u0165 aj za menej explicitn\u00fdm n\u00e1zvom \u2013 pre na\u0161inca by bolo napr\u00edklad ur\u010dite zauj\u00edmav\u00e9 vidie\u0165, ako ir\u00e1nski tvorcovia pre svoj kontext spracovali hru\u00a0<em>Van\u011bk\u00a0<\/em>V\u00e1clava Havla.<\/p>\n<p>Vybra\u0165 si z pres\u00fdten\u00e9ho programu, v\u00a0ktorom sa \u010dasto prekr\u00fdvaj\u00fa aj tri \u010di \u0161tyri predstavenia naraz, takmer bez znalosti dom\u00e1cich tvorcov (a bez objemn\u00e9ho katal\u00f3gu, v ktorom sa listuje odzadu a dostala som ho k dispoz\u00edcii a\u017e tesne pred moj\u00edm odchodom), nebolo jednoduch\u00e9. V\u017edy je v\u0161ak napor\u00fadzi niekto z miestnych \u010di z pravideln\u00fdch host\u00ed, kto dok\u00e1\u017ee dobre poradi\u0165. Napokon sa mi po\u010das troch dn\u00ed podarilo vidie\u0165 a\u017e prekvapivo vyv\u00e1\u017een\u00fa vzorku piatich inscen\u00e1ci\u00ed, medzi ktor\u00fdmi bolo autorsk\u00e9 divadlo, inscen\u00e1cia ruskej klasiky, v\u00fdpravn\u00e1 historick\u00e1 dr\u00e1ma na ve\u013ekom javisku, komorn\u00e1 monodr\u00e1ma v\u00a0nez\u00e1vislom undergroundovom priestore aj b\u00e1bkov\u00e1 opera.<\/p>\n<p>Nev\u00fdhodou by sa mohla zda\u0165 absencia titulkov (ob\u010das nahraden\u00fdch aspo\u0148 anglickou synopsou na papieri), aj vzh\u013eadom na to, \u017ee v\u0161etky inscen\u00e1cie boli napriek silnej v\u00fdtvarnosti postaven\u00e9 na slove. Inscen\u00e1cia, kde sa tento probl\u00e9m prejavil asi najvypuklej\u0161ie, bol Dostojevsk\u00e9ho\u00a0<em>Crime and Punishment<\/em>\u00a0(Zlo\u010din a trest). Hoci tvorcovia spracovali zn\u00e1mu predlohu, v\u010faka \u010domu jazykov\u00e1 bari\u00e9ra nebr\u00e1nila porozumeniu, bolo by zauj\u00edmav\u00e9 vedie\u0165, ako presne nar\u00e1bali s textom \u2013 jedin\u00e9, \u010do sa d\u00e1 poveda\u0165 s istotou, je, \u017ee ho v\u00fdrazne zredukovali do podoby hodinu a pol trvaj\u00faceho predstavenia. Pr\u00edbeh vra\u017ediaceho Rasko\u013enikova umocnili expres\u00edvne nadsadenou \u0161tyliz\u00e1ciou, v\u00fdtvarne pod\u010diarknutou kost\u00fdmami a\u00a0v\u00fdrazn\u00fdm l\u00ed\u010den\u00edm, pripom\u00ednaj\u00facim postavi\u010dky z\u00a0<em>Rocky Horror Show<\/em>. Inscen\u00e1cia, ktor\u00e1 m\u00e1 spo\u010diatku n\u00e1dych insitnej naivity ako v rozpr\u00e1vke o Mr\u00e1zikovi, sa r\u00fdchlo uk\u00e1\u017ee ako remeselne vydaren\u00e1 ironizuj\u00faca adapt\u00e1cia, ktorej silnou str\u00e1nkou boli najm\u00e4 textov\u00e9 pas\u00e1\u017ee upraven\u00e9 na piesne a koncentrovan\u00e9, priam fyzick\u00e9 herectvo.<\/p>\n<p>\u010eal\u0161ou inscen\u00e1ciou, v pr\u00edpade ktorej titulky napokon neboli a\u017e tak\u00e9 potrebn\u00e9 a\u00a0plnohodnotn\u00fdm divadeln\u00fdm z\u00e1\u017eitkom bolo u\u017e len pozorova\u0165 form\u00e1lny pr\u00edstup s\u00faboru, bola b\u00e1bkov\u00e1 opera re\u017eis\u00e9ra Behrooza Gharibpoura. Jeho meno sa sp\u00e1ja s autorstvom minuloro\u010dn\u00e9ho posolstva k Svetov\u00e9mu d\u0148u b\u00e1bkov\u00e9ho divadla a ide o\u00a0v s\u00fa\u010dasnosti zrejme najzn\u00e1mej\u0161ieho b\u00e1bkara v krajine, ktorej b\u00e1bkov\u00e1 trad\u00edcia siaha 5\u00a0000 rokov dozadu. Inscen\u00e1cia\u00a0<em>Mawlawi Puppet Opera<\/em> (Mawlawiho b\u00e1bkov\u00e1 opera) \u010derp\u00e1 n\u00e1met z\u00a0obdobia mongolsk\u00e9ho dobytia \u00fazemia teraj\u0161ieho Ir\u00e1nu, jej hlavn\u00fd hrdina Mawlawi je synom zavra\u017eden\u00e9ho sult\u00e1na, ktor\u00fd h\u013ead\u00e1 zmysel svojho \u017eivota na zemi. Jeho pr\u00edbeh v\u0161ak v o\u010diach cudzokrajn\u00e9ho div\u00e1ka zatie\u0148uje jedine\u010dn\u00e1 forma, pri ktorej s\u00fa b\u00e1bkovodi\u010di a opern\u00fd zbor celkom skryt\u00ed nad sc\u00e9nou a na javisku sa pohybuj\u00fa len \u201espievaj\u00face\u201c marionety. B\u00e1bky s\u00fa tu realistick\u00fdmi miniat\u00farami \u013eud\u00ed, av\u0161ak ich vodenie nie je nato\u013eko minuci\u00f3zne v gest\u00e1ch a pohyboch. Tradi\u010dn\u00e9 orient\u00e1lne mel\u00f3die a podmaniv\u00fd spev vytv\u00e1raj\u00fa autentick\u00fa atmosf\u00e9ru perzsk\u00fdch rozpr\u00e1vok pre dospel\u00fdch, s \u010d\u00edm kontrastuje modern\u00e1 pr\u00e1ca so svetlom a projekciou, v na\u0161ich zemepisn\u00fdch \u0161\u00edrkach v b\u00e1bkovom divadle nie ve\u013emi obvykl\u00e1.<\/p>\n\n\t\t<style type=\"text\/css\">\n\t\t\t#gallery-3 {\n\t\t\t\tmargin: auto;\n\t\t\t}\n\t\t\t#gallery-3 .gallery-item {\n\t\t\t\tfloat: left;\n\t\t\t\tmargin-top: 10px;\n\t\t\t\ttext-align: center;\n\t\t\t\twidth: 50%;\n\t\t\t}\n\t\t\t#gallery-3 img {\n\t\t\t\tborder: 2px solid #cfcfcf;\n\t\t\t}\n\t\t\t#gallery-3 .gallery-caption {\n\t\t\t\tmargin-left: 0;\n\t\t\t}\n\t\t\t\/* see gallery_shortcode() in wp-includes\/media.php *\/\n\t\t<\/style>\n\t\t<div id='gallery-3' class='gallery galleryid-4231 gallery-columns-2 gallery-size-full'><dl class='gallery-item'>\n\t\t\t<dt class='gallery-icon landscape'>\n\t\t\t\t<a data-rel=\"iLightbox[postimages]\" data-title=\"The catastrophe of the mine Kushiro The catastrophe of the mine Kushiro\" data-caption=\"The catastrophe of the mine Kushiro\" href='https:\/\/monitoring.patlevic.sk\/wp-content\/uploads\/2016\/02\/csm_1__1__afca48e9a7.jpg'><img decoding=\"async\" width=\"570\" height=\"380\" src=\"https:\/\/monitoring.patlevic.sk\/wp-content\/uploads\/2016\/02\/csm_1__1__afca48e9a7.jpg\" class=\"attachment-full size-full lazyload\" alt=\"\" aria-describedby=\"gallery-3-4575\" srcset=\"data:image\/svg+xml,%3Csvg%20xmlns%3D%27http%3A%2F%2Fwww.w3.org%2F2000%2Fsvg%27%20width%3D%27570%27%20height%3D%27380%27%20viewBox%3D%270%200%20570%20380%27%3E%3Crect%20width%3D%27570%27%20height%3D%27380%27%20fill-opacity%3D%220%22%2F%3E%3C%2Fsvg%3E\" data-orig-src=\"https:\/\/monitoring.patlevic.sk\/wp-content\/uploads\/2016\/02\/csm_1__1__afca48e9a7.jpg\" data-srcset=\"https:\/\/monitoring.patlevic.sk\/wp-content\/uploads\/2016\/02\/csm_1__1__afca48e9a7-200x133.jpg 200w, https:\/\/monitoring.patlevic.sk\/wp-content\/uploads\/2016\/02\/csm_1__1__afca48e9a7-300x200.jpg 300w, https:\/\/monitoring.patlevic.sk\/wp-content\/uploads\/2016\/02\/csm_1__1__afca48e9a7-400x267.jpg 400w, https:\/\/monitoring.patlevic.sk\/wp-content\/uploads\/2016\/02\/csm_1__1__afca48e9a7.jpg 570w\" data-sizes=\"auto\" \/><\/a>\n\t\t\t<\/dt>\n\t\t\t\t<dd class='wp-caption-text gallery-caption' id='gallery-3-4575'>\n\t\t\t\tThe catastrophe of the mine Kushiro\n\t\t\t\t<\/dd><\/dl>\n\t\t\t<br style='clear: both' \/>\n\t\t<\/div>\n<\/div>\n<\/div>\n<\/div>\n<div id=\"c253\">\n<div class=\"image-intext-left image-intext\">\n<div class=\"text\">\n<p>Rovnako esteticky p\u00f4sobiv\u00e1 ako predo\u0161l\u00e9 dve je aj inscen\u00e1cia\u00a0<em>The memories and the Nightmares of a dress man from the Life and the Murder of Mirza Taghi Khan Farahani<\/em>\u00a0(Spomienky a no\u010dn\u00e9 mory komorn\u00edka zo \u017eivota a\u00a0zavra\u017edenia Mirzu Taghiho Khana Farahaniho) v\u00a0r\u00e9\u017eii renomovan\u00e9ho Aliho Rafieho, ktor\u00fd vy\u0161tudoval divadlo na par\u00ed\u017eskej Sorbonne. Ve\u013ekov\u00fdpravn\u00fd tragick\u00fd pr\u00edbeh n\u00e1rodn\u00e9ho hrdinu Amira Kabira, ktor\u00fd bol v 19. storo\u010d\u00ed sl\u00e1vnym ir\u00e1nskym politikom a ve\u013ek\u00fdm reform\u00e1torom, sa odohr\u00e1va na ve\u013ekom javisku, na ktorom vynikn\u00fa najm\u00e4 synchronizovan\u00e9 skupinov\u00e9 v\u00fdstupy. Jednotliv\u00e9 mizansc\u00e9ny p\u00f4sobia ako pohybliv\u00fd obraz, v ktorom do seba v\u0161etko pasuje, av\u0161ak vizu\u00e1lna dokonalos\u0165 nedok\u00e1\u017ee zakry\u0165 mnoh\u00e9 hereck\u00e9 kli\u0161\u00e9, afekt a celkov\u00fd pocit, \u017ee inscen\u00e1cia vyznieva vo svojej ve\u013ekoleposti obstaro\u017ene a g\u00fd\u010dovo.<\/p>\n<p>Omnoho umiernenej\u0161ia a\u00a0\u00faspornej\u0161ia v inscena\u010dn\u00fdch prostriedkoch bola polodokument\u00e1rna dr\u00e1ma\u00a0<em>Catastrophe of the Mine Kushiro<\/em>\u00a0(Katastrofa bane Kushiro), ktor\u00e1 vznikla pod\u013ea skuto\u010dnej udalosti. Jej hrdinami s\u00fa traja ir\u00e1nski ban\u00edci uv\u00e4znen\u00ed v zasypanej japonskej bani, ktor\u00ed v hrani\u010dnej situ\u00e1cii rekapituluj\u00fa svoje \u017eivoty. Sc\u00e9nografia je minimalistick\u00e1, o to markantnej\u0161ia je a\u017e ritu\u00e1lna pr\u00e1ca s rekvizitou ako symbolom. T\u00e1 je mo\u017eno a\u017e prehnan\u00e1, najm\u00e4 vo vyu\u017e\u00edvan\u00ed \u010dervenej farby ako \u010dasom r\u00fdchlo opotrebovanej metafory. Temnej atmosf\u00e9re utrpenia a z\u00fafalstva mu\u017eov by azda prospelo viac civilnosti a menej p\u00e1tosu.<\/p>\n<p>Osvie\u017euj\u00facim \u201ealternat\u00edvnym\u201c z\u00e1\u017eitkom popri inscen\u00e1ci\u00e1ch, ktor\u00e9 maj\u00fa svoje in\u0161titucion\u00e1lne z\u00e1zemie, bola monodr\u00e1ma\u00a0<em>I was king Richard<\/em>\u00a0(Bol som kr\u00e1\u013e Richard). V\u00fdsostne s\u00fa\u010dasn\u00e1 inscen\u00e1cia, vo\u013ene in\u0161pirovan\u00e1 zn\u00e1mou Shakespearovskou postavou Richarda II., odohr\u00e1vaj\u00faca sa v\u00a0pivni\u010dnom priestore, je aktu\u00e1lnym podobenstvom politika, ktor\u00e9ho z tr\u00f3nu vyp\u00edskal nespokojn\u00fd \u013eud a\u00a0mus\u00ed sa spoveda\u0165 zo svojho konania v poz\u00edcii moci. Politick\u00e9 nar\u00e1\u017eky na situ\u00e1ciu na Strednom v\u00fdchode v monol\u00f3gu civiln\u00e9ho a\u00a0herecky presved\u010div\u00e9ho protagonistu umoc\u0148uje p\u00f4sobiv\u00fd videoart, na ktorom s re\u017eis\u00e9rom Mohammadom Aghebatim spolupracoval austr\u00e1lsky umelec \u017eij\u00faci v New Yorku. Pr\u00e1ve t\u00e1to inscen\u00e1cia pod\u00e1va obraz o ir\u00e1nskom divadle ako o\u00a0modernom umeleckom pr\u00faden\u00ed, ktor\u00e9 reflektuje svet okolo seba a dok\u00e1\u017ee prekona\u0165 aj prek\u00e1\u017eky cenz\u00fary \u010di nedostatku podpory zo strany \u0161t\u00e1tu.<\/p>\n<\/div>\n<\/div>\n<\/div>\n<div id=\"c254\">\n<h3>Ir\u00e1n, nov\u00e1 divadeln\u00e1 destin\u00e1cia?<\/h3>\n<p>V s\u00favislosti so zru\u0161en\u00edm z\u00e1padn\u00fdch sankci\u00ed vo\u010di Ir\u00e1nu sa v m\u00e9di\u00e1ch takmer okam\u017eite objavili \u010dl\u00e1nky, predikuj\u00face krajine \u2013 ktorej pr\u00edrodn\u00e9 i kult\u00farne bohatstvo je naozaj fascinuj\u00face \u2013 bud\u00facnos\u0165 novej dovolenkovej destin\u00e1cie. Mo\u017eno v\u0161ak okrem turistov pril\u00e1ka aj nov\u00fdch nad\u0161encov divadla, napr\u00edklad na 35. ro\u010dn\u00edk festivalu Fadjr. V kulo\u00e1roch sa \u0161epk\u00e1, \u017ee sa na\u0148 chyst\u00e1 aj Richard Schechner. A ja sa s rados\u0165ou prid\u00e1m tie\u017e. \u00f8<\/p>\n<p><em>Fadjr International Theatre Festival<br \/>\n34. ro\u010dn\u00edk medzin\u00e1rodn\u00e9ho divadeln\u00e9ho festivalu<br \/>\n21. janu\u00e1r \u2013 1. febru\u00e1r, Teher\u00e1n, Ir\u00e1n<br \/>\n<a href=\"http:\/\/www.fadjrtheaterfestival.com\/\" target=\"_blank\" rel=\"noopener\">www.fadjrtheaterfestival.com<\/a><\/em><\/p>\n<p>\u010cl\u00e1nok vznikol pre \u010dasopis\u00a0k\u00f8d &#8211; konkr\u00e9tne o divadle a bol uverejnen\u00fd v \u010d\u00edsle 3\/2016.\u00a0<a href=\"https:\/\/www.aict.sk\/fileadmin\/aict\/cesty\/pdf\/iran-clanok-kod.pdf\">Stiahnu\u0165 v PDF<\/a><\/p>\n<\/div>\n<div id=\"c259\">\n<div>\n<div>Z verejn\u00fdch zdrojov podporil Fond na podporu umenia<\/div>\n<\/div>\n<\/div>\n<\/div><\/div><style type=\"text\/css\">.fusion-body .fusion-builder-column-0{width:100% !important;margin-top : 0px;margin-bottom : 0px;}.fusion-builder-column-0 > .fusion-column-wrapper {padding-top : 0px !important;padding-right : 0px !important;margin-right : 1.92%;padding-bottom : 0px !important;padding-left : 0px !important;margin-left : 1.92%;}@media only screen and (max-width:1024px) {.fusion-body .fusion-builder-column-0{width:100% !important;}.fusion-builder-column-0 > .fusion-column-wrapper {margin-right : 1.92%;margin-left : 1.92%;}}@media only screen and (max-width:640px) {.fusion-body .fusion-builder-column-0{width:100% !important;}.fusion-builder-column-0 > .fusion-column-wrapper {margin-right : 1.92%;margin-left : 1.92%;}}<\/style><\/div><\/div><style type=\"text\/css\">.fusion-body .fusion-flex-container.fusion-builder-row-1{ padding-top : 0px;margin-top : 0px;padding-right : 0px;padding-bottom : 0px;margin-bottom : 0px;padding-left : 0px;}<\/style><\/div>\n","protected":false},"excerpt":{"rendered":"","protected":false},"author":245,"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-4231","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\/4231","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\/245"}],"replies":[{"embeddable":true,"href":"https:\/\/monitoring.patlevic.sk\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=4231"}],"version-history":[{"count":3,"href":"https:\/\/monitoring.patlevic.sk\/index.php?rest_route=\/wp\/v2\/posts\/4231\/revisions"}],"predecessor-version":[{"id":4576,"href":"https:\/\/monitoring.patlevic.sk\/index.php?rest_route=\/wp\/v2\/posts\/4231\/revisions\/4576"}],"wp:attachment":[{"href":"https:\/\/monitoring.patlevic.sk\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=4231"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/monitoring.patlevic.sk\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=4231"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/monitoring.patlevic.sk\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=4231"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}