{"id":4235,"date":"2015-11-17T13:28:32","date_gmt":"2015-11-17T12:28:32","guid":{"rendered":"https:\/\/monitoring.patlevic.sk\/?p=4235"},"modified":"2023-01-27T09:52:27","modified_gmt":"2023-01-27T08:52:27","slug":"prelet-nad-festivalovym-avignonom-2015","status":"publish","type":"post","link":"https:\/\/monitoring.patlevic.sk\/?p=4235","title":{"rendered":"Prelet nad festivalov\u00fdm Avignonom 2015"},"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>N\u00e1v\u0161teva festivalov\u00e9ho Avignonu predstavuje pre na\u0161inca (bez predo\u0161lej sk\u00fasenosti) vstup do paralelnej divadeln\u00edckej reality. Ani obozn\u00e1menie sa so v\u0161etk\u00fdmi superlat\u00edvnymi pr\u00edvlastkami, ktor\u00e9 u\u017e roky sprev\u00e1dzaj\u00fa najm\u00e4 Festival d\u2019Avignon, nepom\u00f4\u017ee odhadn\u00fa\u0165, \u010do v\u00e1s \u010dak\u00e1. Mo\u017eno nezaujm\u00fa v\u0161etky sprostredkovan\u00e9 divadeln\u00e9 z\u00e1\u017eitky, prvon\u00e1v\u0161tevn\u00edkov v\u0161ak zaru\u010dene pohlt\u00ed atmosf\u00e9ra a nev\u00eddan\u00fd ruch meste\u010dka, ktor\u00e9 v j\u00fali doslova \u017eije divadlom. Prekvap\u00ed a u\u010dar\u00ed aj vz\u00e1cna symbi\u00f3za, v\u00a0ktorej tu koexistuj\u00fa dva zna\u010dne odli\u0161n\u00e9 festivaly. Sofistikovan\u00e9mu elitn\u00e9mu Festivalu d\u2019Avignon kontruje Le festival OFF d\u2019Avignon, o 19 rokov mlad\u0161ie podujatie pre skuto\u010dne otvoren\u00fdch teatrofilov.<\/p>\n<h4><em>NOTALLWHOWANDERARELOST<\/em>\u00a0 alebo frankof\u00f3nia je v\u00fdhoda, nie nevyhnutnos\u0165<\/h4>\n<p>Zaiste, divadlo nekomunikuje iba verb\u00e1lne. No orient\u00e1cia v programe festivalov je pre nefrankof\u00f3nneho div\u00e1ka do istej miery oklie\u0161ten\u00e1. Pr\u00edvlastok medzin\u00e1rodn\u00fd, ktor\u00fd v\u00a0dom\u00e1cich podmienkach ch\u00e1peme aj ako jazykovo pr\u00edstupn\u00fd (najv\u00e4\u010d\u0161ie slovensk\u00e9 a\u00a0\u010desk\u00e9 festivaly s\u00a0t\u00fdmto pr\u00edvlastkom titulkuj\u00fa\/tlmo\u010dia predstavenia do n\u00e1rodn\u00e9ho jazyka aj angli\u010dtiny, ale samozrejme \u0165a\u017eko ich budeme porovn\u00e1va\u0165) sa v\u00a0pr\u00edpade avignonsk\u00fdch festivalov via\u017ee sk\u00f4r na zlo\u017eenie programu, ktor\u00fd zdru\u017euje divadl\u00e1 a\u00a0divadeln\u00e9 zoskupenia z\u00a0r\u00f4znych kraj\u00edn. Av\u0161ak podobne ako geograficky bli\u017e\u0161\u00ed Wiener Festwochen, aj Avignon je orientovan\u00fd najm\u00e4 na dom\u00e1cich (a frankof\u00f3nnych) div\u00e1kov a kritikov.<\/p>\n<p>St\u00e1le v\u0161ak plat\u00ed, \u017ee probl\u00e9my jazykovej zrozumite\u013enosti dok\u00e1\u017ee r\u00fdchlo potla\u010di\u0165 divadeln\u00e1 m\u00e1gia. Na 69. ro\u010dn\u00edku Festivalu d\u2019Avignon bol u\u010debnicov\u00fdm pr\u00edkladom tohto pravidla Ostermeierov\u00a0<em>Richard III.,\u00a0<\/em>ktor\u00fd zb\u00faral nielen bari\u00e9ry franc\u00fazskych titulkov, ale aj \u0165a\u017eko zrozumite\u013enej \u201eshakespearovskej\u201c nem\u010diny.<\/p>\n<p>Pod\u013ea nad\u0161en\u00fdch ohlasov sa\u00a0<em>Richard III.<\/em>\u00a0z\u00a0berl\u00ednskej Schaub\u00fchne stal nevyhl\u00e1sen\u00fdm v\u00ed\u0165azom tohto nes\u00fa\u0165a\u017en\u00e9ho festivalu. Niet divu, re\u017eis\u00e9r Thomas Ostermeier predviedol nielen \u0161t\u00fadiu zla s\u00fastreden\u00fa na t\u00e9mu a\u00a0postavy Shakespearovej dr\u00e1my, ale navy\u0161e rozohral d\u00f4myseln\u00fa manipulat\u00edvnu hru s\u00a0div\u00e1kom. O\u00a0Richardovej vine \u0161pekuluje, zv\u00e1dza div\u00e1kov na cestu mor\u00e1lneho alibizmu. Sugest\u00edvny Lars Eidinger v\u00a0hlavnej \u00falohe a\u017e n\u00e1padne \u013eahko z\u00edskava div\u00e1kov na stranu z\u00e1kern\u00e9ho Richarda. Dok\u00e1\u017ee presved\u010di\u0165 nato\u013eko, \u017ee je st\u00e1le \u013eah\u0161ie ospravedlni\u0165 zloducha a\u00a0jeho \u010diny naivitou jeho obet\u00ed, ktor\u00e9 s\u00fa mo\u017eno a\u017e spoluvinn\u00edkmi (ak aj nie samotn\u00fdmi vinn\u00edkmi) vlastn\u00fdch pr\u00edkor\u00ed. Richardovo alibi m\u00e1 prap\u00f4vod u\u017e v\u00a0jeho v\u00fdzore. Mrz\u00e1k, ktor\u00e9ho okato \u0161patia telesn\u00e9 hendikepy, vyvol\u00e1va s\u00facit a\u00a0ist\u00e9 porozumenie. Aj pozit\u00edvna diskrimin\u00e1cia mrz\u00e1ka je prvok, ktor\u00fd div\u00e1kov zv\u00e1dza k odobreniu Richardov\u00fdch \u010dinov. Elektrizuj\u00faci z\u00e1\u017eitok vy\u00fasti do v\u00fdstredn\u00e9ho konca. Richard sa nenech\u00e1 zabi\u0165, ale p\u00e1cha samovra\u017edu &#8211; alebo ju iba finguje?. V\u00fdstredn\u00e9 je aj jej predvedenie \u2013 Ostermeier Eidingera \u201eobes\u00ed\u201c za nohu, ten na chv\u00ed\u013eu odvisne v\u00a0pr\u00edtm\u00ed, oklaman\u00ed div\u00e1ci ost\u00e1vaj\u00fa so zatajen\u00fdm dychom a\u00a0vz\u00e1p\u00e4t\u00ed ho odmenia z\u00fariv\u00fdm potleskom.<\/p>\n<p>Dosiahnu\u0165 podobn\u00fd \u00faspech sa u\u017e \u017eia\u013e nepodarilo \u010fal\u0161ej shakespearovskej jazde, inscen\u00e1cii\u00a0<em>Le Roi Lear\u00a0<\/em>(<em>Kr\u00e1\u013e Lear)<\/em>\u00a0v\u00a0r\u00e9\u017eii riadite\u013ea festivalu Oliviera Pyho. K hlavn\u00e9mu chodu v\u00a0prest\u00ed\u017enom Cour d&#8217;Honneur v priestoroch P\u00e1pe\u017esk\u00e9ho pal\u00e1ca naserv\u00edroval aj priliehav\u00fd \u201eamuse bouche\u201c v\u00a0podobe grotesknej\u00a0<em>Lear miniature (Miniat\u00fara Lear).\u00a0<\/em>Kr\u00e1tka inscen\u00e1cia je miniat\u00farna\u00a0 v\u00a0zmysle skratky, ktorou prelet\u00ed dejom dr\u00e1my, aj ve\u013ekos\u0165ou jej \u013eahko prenosnej sc\u00e9ny rozlo\u017eenej uprostred n\u00e1mestia. Miniat\u00fare vl\u00e1dne nadh\u013ead a\u00a0vtip, pripom\u00edna komediantov, ktor\u00ed si z\u00a0<em>Hamleta<\/em>\u00a0odsko\u010dili k\u00a0<em>Learovi<\/em>, nazna\u010di\u0165 mu, ko\u013eko pochabosti sa skr\u00fdva aj v\u00a0jeho pr\u00edbehu.<\/p>\n<p>Hlavn\u00fd chod na outdoorovom javisku v\u00a0P\u00e1pe\u017eskom pal\u00e1ci bol najm\u00e4 divadlom v\u00fdtvarn\u00fdch metafor. Spo\u010diatku sledujeme tie n\u00e1paditej\u0161ie (Learovo kr\u00e1\u013eovstvo je tu zhmotnen\u00e9 kusom papiera trhan\u00e9ho na franforce), postupne ich v\u0161ak nahr\u00e1dzaj\u00fa samo\u00fa\u010delnej\u0161ie obrazy. Technici, ktor\u00ed naru\u0161ia divadeln\u00fa il\u00faziu (tie\u017e prvok, ktor\u00fd Py vyu\u017e\u00edva viackr\u00e1t), postupne rozlo\u017eia dovtedy pou\u017e\u00edvan\u00e9 javisko. Odn\u00e1\u0161aj\u00fa panely, pod ktor\u00fdmi sa ukr\u00fdva hlinou pokryt\u00fd elipsovit\u00fd priestor \u2013 priepas\u0165, do ktorej Lear upadne svoj\u00edm neuv\u00e1\u017een\u00fdm konan\u00edm, v\u00a0ktorej bl\u00fazni a\u00a0napokon sa i str\u00e1ca. Zasype ho h\u0155ba kost\u00ed m\u0155tvych, ktor\u00fdch m\u00e1 na svedom\u00ed, a\u00a0on, tak ako postupne v\u0161etky umieraj\u00face postavy, zmizne v\u00a0prepadlisku \u2013 akejsi diere zabudnutia. Pomp\u00e9zny priestor vyu\u017eil Olivier Py najm\u00e4 ako podlo\u017eie vertik\u00e1lnej sc\u00e9nografie, ktorej dominuje sveteln\u00fd n\u00e1pis na prie\u010del\u00ed\u00a0<em>Ton silence est une machine de guerre<\/em>\u00a0(<em>Tvoje ticho je n\u00e1strojom vojny<\/em>) a\u00a0Kord\u00e9liin odmietav\u00fd postoj a\u00a0neskor\u0161ie ml\u010danie symbolizuj\u00faci n\u00e1pis\u00a0<em>Rien (Ni\u010d)<\/em>. V\u00a0z\u00e1vere k\u00a0n\u00e1pisom prib\u00fadaj\u00fa aj kli\u0161\u00e9ovit\u00e9, k\u00a0zemi zvesen\u00e9 \u010derven\u00e9 stuhy \u2013 rany krv\u00e1caj\u00facej krajiny, pomedzi ktor\u00e9 sa tack\u00e1 podlomen\u00fd Lear.<\/p>\n<p>Aj vo svojej \u010fal\u0161ej r\u00e9\u017eii, v monodr\u00e1me\u00a0<em>Hacia la alegr\u00eda (Cesta za \u0161\u0165ast\u00edm)<\/em>, ktor\u00fa uviedol hlavn\u00fd program festivalu, sa Olivier Py prejavil najm\u00e4 ako rozpr\u00e1va\u010d a ilustr\u00e1tor pr\u00edbehu. Insomnick\u00fd monol\u00f3g mestsk\u00e9ho architekta odsudzuje povrchnos\u0165 s\u00fa\u010dasnej spolo\u010dnosti, hovor\u00ed o\u00a0\u013eu\u010foch ako o utopencoch vo vlastn\u00fdch smetiach. Pr\u00e1zdnej sc\u00e9ne dominuje kubus zn\u00e1zor\u0148uj\u00faci interi\u00e9r ponurej izby, ktor\u00fd sa n\u00e1hle rozdel\u00ed na dva panely. Ich pohybom a\u00a0premiest\u0148ovan\u00edm v\u00a0priestore symbolizuje re\u017eis\u00e9r rupt\u00faru a\u00a0rozpad, v\u00a0syst\u00e9me sc\u00e9nografie funguj\u00fa ako priestorov\u00e9 obmedzenia, ohrani\u010duj\u00fa pomyseln\u00fd exteri\u00e9r, s pomocou svietenia vytv\u00e1raj\u00fa cestu, po ktorej postava putuje nocou. Op\u00e4\u0165 v\u0161ak platilo, \u017ee k\u00fdm spo\u010diatku pracuje v\u00fdtvarn\u00e9 rie\u0161enie inscen\u00e1cie s\u00a0momentom prekvapenia, obrazy s\u00fa nov\u00e9 a\u00a0n\u00e1padit\u00e9, \u010doskoro sa princ\u00edp obohr\u00e1.<\/p>\n<p>V\u00a0p\u00e4tici viden\u00fdch titulov z hlavn\u00e9ho programu sa na\u0161li aj v\u00e4\u010d\u0161ie form\u00e1lne experimenty. Exteri\u00e9rov\u00e1 inscen\u00e1cia\u00a0<em>Fugue\u00a0<\/em>a\u00a0minimalistick\u00e1\u00a0<em>NOTALLWHOWANDERARELOST\u00a0<\/em>sa sebaironicky pohr\u00e1vali s\u00a0formou, ale aj s\u00a0div\u00e1kom, ktor\u00e9mu nemali amb\u00edciu prinies\u0165 jasne \u010ditate\u013en\u00e9 dielo. Naopak, obe v\u00fdrazne nar\u00e1baj\u00fa s\u00a0absurdnou komikou. Tvorcovia inscen\u00e1cie\u00a0<em>Fugue<\/em>\u00a0odkazuj\u00fa na in\u0161pir\u00e1cie v\u00a0hudbe, u\u017e n\u00e1zov odvodili od rovnomennej kompozi\u010dnej techniky. Ak opomenieme hudobn\u00fd mot\u00edv, je\u00a0<em>Fugue<\/em>\u00a0kom\u00e9diou o\u00a0v\u00fdskumn\u00edkoch, ktor\u00ed kdesi v\u00a0zasne\u017eenej krajine ne\u00faspe\u0161ne h\u013eadaj\u00fa jazero. Dej v\u0161ak nespeje k\u00a0rozuzleniu, charakterizuje ho sk\u00f4r cyklenie vtipn\u00fdch situ\u00e1ci\u00ed, dial\u00f3gov, bizarn\u00fdch stretov re\u00e1lneho a\u00a0nere\u00e1lneho sveta a gagov. Hereck\u00e9 party striedaj\u00fa hudobn\u00e9 a\u00a0spev\u00e1cke, celok ale nem\u00f4\u017eeme prirovna\u0165 k\u00a0muzik\u00e1lu, mo\u017eno sk\u00f4r k absurdnej opere s\u00a0hovoren\u00fdm slovom. Benjamina Verdoncka predstavil festival ako \u201em\u00e1ga divadla objektu\u201c. Aj v\u00a0produkcii\u00a0\u00a0<em>NOTALLWHOWANDERARELOST\u00a0<\/em>pracuje najm\u00e4 s\u00a0objektom, in\u0161pir\u00e1cie h\u013ead\u00e1 v oblasti abstraktn\u00e9ho v\u00fdtvarn\u00e9ho umenia, hl\u00e1si sa k maliarovi Kazimirovi Malevi\u010dovi a\u00a0soch\u00e1rovi Alexandrovi Calderovi. Verdonck je na javisku pr\u00edtomn\u00fd najm\u00e4 ako obsluha mohutnej drevenej kon\u0161trukcie pripom\u00ednaj\u00facej krosn\u00e1, ktor\u00fa ovl\u00e1da preva\u017ene nitkami. Vo ve\u013ekom objekte uv\u00e1dza do pohybu geometrick\u00e9 \u00fatvary (zv\u00e4\u010d\u0161a trojuholn\u00edky), kde-tu spust\u00ed z\u00a0vrchnej \u010dasti kon\u0161trukcie dreven\u00fa do\u0161ti\u010dku s textom. V\u0161etko sa odohr\u00e1va v\u00a0pokojnom kontemplat\u00edvnom tempe, Verdonck je m\u013akvym, ale vtipn\u00fdm bizarn\u00fdm koment\u00e1torom, ktor\u00fd do\u0161iroka otv\u00e1ra dvere mo\u017en\u00fdm interpret\u00e1ci\u00e1m svojho diela. Ve\u010f nie v\u0161etci, ktor\u00ed bl\u00fadia, s\u00fa aj skuto\u010dne straten\u00ed.<\/p>\n<h4>Pre teatrofilov bez predsudkov<\/h4>\n<p>Programov\u00e1 bro\u017e\u00fara mas\u00edvneho Le festival OFF d\u2019Avignon m\u00e1 rozmery \u201ezlat\u00fdch str\u00e1nok\u201c. Ani z toho sa v\u0161ak ned\u00e1 odhadn\u00fa\u0165\u00a0mno\u017estvo podujat\u00ed, ktor\u00e9 zah\u0155\u0148a. Popisky k\u00a0jednotliv\u00fdm produkci\u00e1m s\u00fa \u00fatle, nieko\u013ekoriadkov\u00e9 anot\u00e1cie a z\u00e1\u017eitok preto \u010dasto z\u00e1vis\u00ed od div\u00e1kovej intu\u00edcie \u010di doslova n\u00e1hody. N\u00e1v\u0161teva predstaven\u00ed OFF festivalu je hop alebo trop. V\u00a0programe nezvy\u010dajne symbioticky na\u017e\u00edvaj\u00fa diela v\u00fdrazne zav\u00e1\u0148aj\u00face za\u010diato\u010dn\u00edctvom a\u00a0ambici\u00f3zne svojbytn\u00e9 inscen\u00e1cie. N\u00e1jdeme v \u0148om multi\u017e\u00e1nrov\u00e9 kre\u00e1cie, divadlo anga\u017eovan\u00fdch t\u00e9m a progres\u00edvnych postupov, inscenovan\u00fd koncert, ale aj \u0161kol\u00e1cky p\u00e1tos, prefilozofovan\u00e9 \u00favahy. Div\u00e1cka cesta vedie od n\u00e1v\u0161tevy komorn\u00fdch monodr\u00e1m, na ktor\u00fdch po\u010det div\u00e1kov takmer neprev\u00fd\u0161i po\u010det tvorcov, po vopred z\u00fafalo vypredan\u00e9 s\u00e1ly.<\/p>\n<p>Zvl\u00e1\u0161tnos\u0165ou OFF festivalu je jeho neust\u00e1ly boj o\u00a0mo\u017enos\u0165ami pres\u00fdten\u00e9ho div\u00e1ka. Hra\u0165 mimo \u201eve\u013ek\u00e9ho\u201c Festivalu d\u2019Avignon znamen\u00e1 v\u00a0j\u00fali v historickom centre mesta za\u010d\u00edna\u0165 de\u0148 ok\u00e1zal\u00fdmi (\u010dasto a\u017e dotierav\u00fdmi) promoakciami od sam\u00e9ho r\u00e1na a\u017e k\u00a0\u00faspe\u0161n\u00e9mu zav\u0155\u0161eniu sna\u017eenia uveden\u00edm repr\u00edzy inscen\u00e1cie, ktorej aj napriek mas\u00edvnej reklame hroz\u00ed div\u00e1cka podv\u00fd\u017eivenos\u0165. A\u00a0postupne sa aj uk\u00e1\u017ee, \u017ee treba \u201e\u00eds\u0165 s\u00a0davom\u201c, lebo tie najzauj\u00edmavej\u0161ie miesta b\u00fdvaj\u00fa pln\u00e9.<\/p>\n<p>Tak\u00fdmto bodom sa uk\u00e1zalo by\u0165 tane\u010dn\u00e9 divadlo Les Hivernales. Divadlo resp. kult\u00farny priestor, ktor\u00fd nesie podn\u00e1zov Centre de d\u00e9veloppement chor\u00e9graphique (Centrum pre v\u00fdskum choreografie) pravidelne v\u00a0j\u00fali organizuje jednu z\u00a0mnoh\u00fdch podmno\u017e\u00edn festivalu OFF. L&#8217;\u00e9t\u00e9 danse au CDC #4 (Tane\u010dn\u00e9 leto v\u00a0CDC #4) predstavilo produkcie, ktor\u00e9 sa pohr\u00e1vali s\u00a0mo\u017enos\u0165ami s\u00fa\u010dasn\u00e9ho tane\u010dn\u00e9ho a pohybov\u00e9ho vyjadrovania, s\u00a0prec\u00edznou pr\u00e1cou tela a\u00a0na druhej strane s\u00a0implement\u00e1ciou technick\u00fdch vymo\u017eenost\u00ed do tane\u010dn\u00e9ho jazyka (inscen\u00e1cia\u00a0<em>Das Kino<\/em>\u00a0choreografky Isidy Micani, ktor\u00e1 pracuje s\u00a03D projekciou).<\/p>\n<p>Vrcholom OFF festivalu bola dokument\u00e1rna inscen\u00e1cia\u00a0<em>Nourrir l\u2019humanit\u00e9 c\u2019est un m\u00e9tier (K\u0155mi\u0165 \u013eudstvo je povolanie).\u00a0<\/em>Mlad\u00ed tvorcovia a herci Charles Culot a Val\u00e9rie Gimenez sa zamerali na po\u013enohospod\u00e1rstvo ako opom\u00ednan\u00e9 a \u010dasto zazn\u00e1van\u00e9 odvetvie, ktor\u00e9 nie je formou ob\u017eivy iba pre farm\u00e1rov, ale \u017eiv\u00ed vlastne cel\u00e9 n\u00e1rody. Culot a\u00a0Gimenez pracuj\u00fa s\u00a0dokument\u00e1rnym z\u00e1kladom. Kombinuj\u00fa hran\u00fa akciu s\u00a0videoprojekciou z\u00e1berov, ktor\u00e9 vytvorili pri rozhovoroch s\u00a0farm\u00e1rmi o ich pr\u00e1ci a\u00a0\u017eivote. Javisko je pokryt\u00e9 slamou v bal\u00edkoch, ale aj\u00a0roztr\u00fasenou po zemi, v\u00a0pozad\u00ed vid\u00edme projek\u010dn\u00e9 pl\u00e1tno a\u00a0v\u00a0pravom rohu d\u00f4sledne \u0161tylizovan\u00fd v\u00fdrez kuchyne \u2013 st\u00f4l a\u00a0dve stoli\u010dky stojace na k\u00fasku podlahy. Dokumentom nie s\u00fa iba premietan\u00e9 z\u00e1bery, ale \u010derp\u00e1 z\u00a0neho aj hereck\u00e1 akcia. T\u00e1 vych\u00e1dza z techniky verbatim, ktor\u00e1 sprostredk\u00fava prehovory farm\u00e1rov, zv\u00e4\u010d\u0161a dvoj\u00edc a\u00a0p\u00e1rov. Hovoria o\u00a0ka\u017edodennom \u017eivote, o\u00a0procese ich pr\u00e1ce, ale aj o\u00a0tlaku na v\u00fdrobu, zhor\u0161ovan\u00ed podmienok, komplik\u00e1ci\u00e1ch a nepr\u00edjemnostiach potravin\u00e1rskeho priemyslu. Sna\u017eia sa pouk\u00e1za\u0165 na stav tohto odvetvia a\u00a0rozpr\u00fadi\u0165 debatu. Anga\u017eovan\u00e1 inscen\u00e1cia preto nekon\u010d\u00ed jeho odohran\u00edm, ale m\u00e1 amb\u00edciu pokra\u010dova\u0165 v\u00a0diskusi\u00e1ch s\u00a0publikom, do ktor\u00fdch sa v\u00a0z\u00e1vere prirodzene pretav\u00ed.<\/p>\n<p>Predstavenia oboch festivalov sa a\u017e na p\u00e1r v\u00fdnimiek delia o miesto za m\u00farmi \u00fatleho historick\u00e9ho centra Avignonu, ktor\u00fd na mesiac v\u00a0roku \u00faplne zmen\u00ed svoj be\u017en\u00fd chod. Na hlavn\u00fdch uliciach sa pohybuj\u00fa davy n\u00e1v\u0161tevn\u00edkov, miestami vznikaj\u00fa tla\u010denice, ak\u00e9 m\u00f4\u017eu na\u0161inci pozna\u0165 z\u00a0hudobn\u00fdch \u010di \u0161portov\u00fdch podujat\u00ed. Na festivalovom dian\u00ed sa pri\u017eivuj\u00fa mnoh\u00ed pouli\u010dn\u00ed umelci a\u00a0komedianti, ale prajn\u00e1 atmosf\u00e9ra rozhor\u00fa\u010den\u00fdch ul\u00edc aj t\u00fdm najmenej \u0161ikovn\u00fdm mnoh\u00e9 odpust\u00ed.<\/p>\n<p>Cestu na festival podporili Slovensk\u00e9 centrum AICT (s finan\u010dnou podporou Ministerstva kult\u00fary SR), Divadeln\u00fd \u00fastav Bratislava a Liter\u00e1rny fond.<\/p>\n<p>Aktualizovan\u00e9: 22.3.2018<\/p>\n<\/div>\n<div id=\"c248\">\n<div class=\"image-center image-above\">\n<div class=\"image-wrap\">\n<div class=\"image-center-outer\">\n<div class=\"image-center-inner\">\n\n\t\t<style>\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: 100%;\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-4235 gallery-columns-1 gallery-size-full'><dl class='gallery-item'>\n\t\t\t<dt class='gallery-icon portrait'>\n\t\t\t\t<a data-rel=\"iLightbox[postimages]\" data-title=\"\" data-caption=\"\" href='https:\/\/monitoring.patlevic.sk\/wp-content\/uploads\/2015\/11\/logo-litfond-s.jpg'><img decoding=\"async\" width=\"150\" height=\"198\" src=\"data:image\/svg+xml,%3Csvg%20xmlns%3D%27http%3A%2F%2Fwww.w3.org%2F2000%2Fsvg%27%20width%3D%27150%27%20height%3D%27198%27%20viewBox%3D%270%200%20150%20198%27%3E%3Crect%20width%3D%27150%27%20height%3D%27198%27%20fill-opacity%3D%220%22%2F%3E%3C%2Fsvg%3E\" class=\"attachment-full size-full lazyload\" alt=\"\" data-orig-src=\"https:\/\/monitoring.patlevic.sk\/wp-content\/uploads\/2015\/11\/logo-litfond-s.jpg\" \/><\/a>\n\t\t\t<\/dt><\/dl><br style=\"clear: both\" \/>\n\t\t<\/div>\n\n<\/div>\n<\/div>\n<\/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":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-4235","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\/4235","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=4235"}],"version-history":[{"count":3,"href":"https:\/\/monitoring.patlevic.sk\/index.php?rest_route=\/wp\/v2\/posts\/4235\/revisions"}],"predecessor-version":[{"id":4579,"href":"https:\/\/monitoring.patlevic.sk\/index.php?rest_route=\/wp\/v2\/posts\/4235\/revisions\/4579"}],"wp:attachment":[{"href":"https:\/\/monitoring.patlevic.sk\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=4235"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/monitoring.patlevic.sk\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=4235"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/monitoring.patlevic.sk\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=4235"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}