{"id":860,"date":"2018-03-17T16:46:02","date_gmt":"2018-03-17T15:46:02","guid":{"rendered":"http:\/\/www.mzone.cz\/?p=860"},"modified":"2018-04-17T21:14:15","modified_gmt":"2018-04-17T19:14:15","slug":"hlupi-bieli-muzi","status":"publish","type":"post","link":"https:\/\/www.mzone.cz\/en\/hlupi-bieli-muzi\/","title":{"rendered":"Hl\u00fapi bieli mu\u017ei"},"content":{"rendered":"

W. Shakespeare: N\u011bco za n\u011bco<\/span><\/h3>\n

Divadlo pod Palmovkou<\/strong><\/p>\n

R\u00e9\u017eia Jan Klata<\/strong><\/p>\n

Pre koho je mor\u00e1lka? Pre pr\u00e1vnikov a\u00a0sudcov, nov\u00fdch k\u0148azov, ktor\u00fd opakovane nanovo definuj\u00fa dobro a\u00a0zlo? Z\u00e1kon odvety, ktor\u00fd je akoby \u00fastrednou t\u00e9mou Shakespearovej hry nach\u00e1dzame v\u00a0staroz\u00e1konn\u00fdch knih\u00e1ch Exodus a\u00a0Levitikus. Toto tvrd\u00e9 pravidlo bolo ak\u00fdmsi usmernen\u00edm pre sudcov, nie v\u0161ak pre s\u00fakromn\u00e9 osoby. Ak malo d\u00f4js\u0165 k\u00a0odplate, vy\u017eadovalo sa riadne ob\u017ealovanie.<\/em><\/p>\n

Ak\u00fd je n\u00e1\u0161 androcentrick\u00fd svet? Dominuje v\u00a0\u0148om predov\u0161etk\u00fdm rebr\u00ed\u010dek vypr\u00e1zdnen\u00fdch hodn\u00f4t mu\u017eskej pr\u00e1zdnej identity. Ten stoto\u017e\u0148uje najvy\u0161\u0161ie stupne dosiahnutia maxim\u00e1lne mo\u017en\u00e9ho v\u00a0moci, peniazoch a\u00a0sexe. Re\u017eis\u00e9r inscen\u00e1cie Jan Klata inscenuje toto nad\u010dasov\u00e9 posolstvo Shakesperovej\u00a0 hry prostredn\u00edctvom viacvrstevnatej divadelnej kol\u00e1\u017ee. Sklad\u00e1 ju predov\u0161etk\u00fdm z\u00a0v\u00fdnimo\u010dnej atmosf\u00e9rotvornej hudobnej zlo\u017eky, minimalistickej sc\u00e9nografie, v\u00fdraznej pohybovej \u0161tyliz\u00e1cie, v\u00fdznamovo nas\u00fdten\u00fdm v\u00fdtvarn\u00fdm rie\u0161en\u00edm kost\u00fdmov.\u00a0 Vn\u00fatorn\u00fa bohatos\u0165 inscen\u00e1cie podporuje tie\u017e kombin\u00e1ciou\u00a0v\u00fdrazn\u00fdch emocion\u00e1lnych poryvov, chladn\u00fdm neraz cynick\u00fdm nadh\u013eadom, odstupom hercov od stv\u00e1r\u0148ovanej postavy.<\/p>\n

Osobit\u00fa javiskov\u00fa v\u00fdpove\u010f podporil tie\u017e v\u00fdtvarn\u00e9 rie\u0161enie sc\u00e9ny. Je minimalistick\u00e1 dominuje jej vyv\u00fd\u0161en\u00e9 javisko \u2013 \u00fastredn\u00fd hrac\u00ed priestor, na oboch jeho stran\u00e1ch i\u00a0vzadu sa nach\u00e1dza akoby derav\u00fd priestupn\u00fd plot, ktor\u00fdm sa m\u00f4\u017eu postavy slobodomyse\u013ene vstupova\u0165 i\u00a0odch\u00e1dza\u0165 z\u00a0javiska. Vzadu sa nach\u00e1dza\u00a0 jednoduch\u00fd n\u00e1znak v\u00fdchodnej stavby br\u00e1ny, ktor\u00e1 vedie do chr\u00e1mu, na nejak\u00e9 posv\u00e4tn\u00e9 miesto.<\/p><\/blockquote>\n

Prec\u00edzne a\u00a0systematicky mixovanej divadelnej kol\u00e1\u017ei dominovali tie\u017e hereck\u00e9 v\u00fdkony. Svojou podmanivos\u0165ou div\u00e1ka uchv\u00e1tili nielen protagonisti, ale aj zdanlivo men\u0161ie postavy. Ich vz\u00e1jomn\u00e9 prestupovanie \u010dast\u00e9 zv\u00fdznam\u0148ovanie t\u00fdch akoby menej nosn\u00fdch prirodzene otv\u00e1rali mo\u017enosti javiskovej interpret\u00e1cie. Hereck\u00e9 kre\u00e1cie J\u00e1na tepl\u00e9ho (Angelo) a\u00a0Terezy Do\u010dkalovej (Isabela) boli vn\u00fatorne \u010dlenit\u00e9 bohato \u0161trukt\u00farovan\u00e9. \u00a0V Do\u010dkalovej Izabele uchvacovala a\u00a0rezonoval takmer prirodzen\u00e1 sugestivita s\u00a0akou mlad\u00e1 novicka\u00a0 v\u00fdraznou \u0161tyliz\u00e1ciou pohybu, gest, hlasu spr\u00edtomnila v\u00a0prvej \u010dasti podporen\u00e1 aj hudbou zv\u00fdraznen\u00fd emocion\u00e1lne naplnen\u00fd duchovn\u00fd extatick\u00fd z\u00e1\u017eitok. V\u00a0tejto sc\u00e9ne sa dostala do pomyseln\u00e9ho tranzu a\u00a0ok\u00fasila ext\u00e1zu z\u00a0bo\u017eieho dotyku. Javiskov\u00e1 sugestivita tohto v\u00fdstupu p\u00f4sobila nato\u013eko sugest\u00edvne, podmanivo, priam opojne \u010di a\u017e nepatri\u010dne drasticky a\u017e obludne. Div\u00e1k nemiestne s\u00a0\u00fasmevom zapochyboval pod ak\u00fdm vplyvom podporn\u00fdch stimulov hmotnej a\u00a0\u010di duchovnej povahy, ke\u010f neovl\u00e1da svoje telo. Taktie\u017e Plach\u00e9ho Angelo bol strhuj\u00faci najm\u00e4 v\u00a0dvoch v\u00fdstupoch. Boli to chv\u00edle ke\u010f kreoval svoju postavu prirodzene, nen\u00faten\u00fdm , ale presn\u00fdm gestom, em\u00f3ciou, nadh\u013eadom i\u00a0\u0161tylizovan\u00fdm pohybom. V\u00a0decentn\u00fdch nuans\u00e1ch\u00a0 sugest\u00edvne vytvoril obludnos\u0165\u00a0 toho, \u010do s\u00a0\u010dlovekom\u00a0 sprav\u00ed nesp\u00fatan\u00e1 a neukojen\u00e1 moc sexu\u00e1lnej t\u00fa\u017eby. \u00a0T\u00e1 stimuluje \u013eudsk\u00e9 ego do v\u00fdbuchu pripom\u00ednaj\u00faceho \u0161tiepenie at\u00f3mov\u00e9ho jadra. Mohli by sme sn\u00e1\u010f poveda\u0165, \u017ee v\u00a0takej chv\u00edli padaj\u00fa libanonsk\u00e9 c\u00e9dra, ako prach vo vetre sa rozplyn\u00fa v\u0161etky mor\u00e1lne pravidl\u00e1 a\u00a0z\u00e1sady. Rovnako aj\u00a0 star\u0161iu gener\u00e1ciu reprezentuj\u00faci Jan Vlas\u00e1k (Knie\u017ea) s\u00a0nadh\u013eadom, ironickou hravos\u0165ou turbulentne preskakoval do svojich rozli\u010dn\u00fdch \u00faloh- raz knie\u017ea inokedy ctihodn\u00fd priam m\u00fadry mn\u00edch. Vytvoril v\u00a0inscen\u00e1cii svojr\u00e1zny portr\u00e9t bezcharaktern\u00e9ho str\u00e1\u017ecu z\u00e1konov, ktor\u00fd r\u00e1d sk\u00fa\u0161a , s\u00fadi, vyslovuje verdikty, kladie nehor\u00e1zne mor\u00e1lne imperat\u00edvy, po\u0165ahuje pomyseln\u00e9 nitky osudu , aby sa na z\u00e1ver odkryl v\u00a0celej svojej mor\u00e1lnej knie\u017eacej nahote. Hrav\u00fa\u00a0 interpret\u00e1ciu vlo\u017eili tvorcovia\u00a0 tie\u017e do postavy Claudia (Jan Hu\u0161ek). Spo\u010d\u00edvala predov\u0161etk\u00fdm v\u00a0strohosti a\u00a0v\u00fdsti\u017enosti jeho kost\u00fdmu. Metaforicky celou svojou vonkaj\u0161kovos\u0165ou odkazoval na hlavn\u00e9ho hrdinu zo seri\u00e1lu Baywatch \u2013 Pobre\u017en\u00e1 hliadka. Po javisku sa neraz \u0161tylizovane pohyboval s\u0165aby behal po pl\u00e1\u017e\u00ed alebo rozr\u00e1\u017eal morsk\u00e9 vlny. T\u00e1to \u0161tylizovanos\u0165 z\u00e1rove\u0148 definovala jeho \u013eahkov\u00e1\u017eny, povrchn\u00fd a\u00a0nezodpovedn\u00fa bezvz\u0165ahovos\u0165 k\u00a0druh\u00e9mu pohlaviu, ktor\u00e1 sa orientuje na okam\u017eit\u00e9 naplnenie sexu\u00e1lnej t\u00fa\u017eby. Popri hlavn\u00fdch postav\u00e1ch\u00a0v\u00a0kontexte javiskov\u00e9ho diela zarezonovali tie\u017e v\u00fdstupy elegantn\u00e9ho transvestitu v\u00a0mini\u0161at\u00e1ch, ktor\u00fd je prev\u00e1dzkovate\u013eom najstar\u0161ieho remesla na svete. Obhajoba jeho slobodn\u00e9ho podnikania zarezonovala vo v\u00fdrazovom tanci podporenom skvelou hudbou a\u00a0pr\u00e1cou so svetlom.<\/p>\n

Sc\u00e9nick\u00e9 rie\u0161enie bolo s\u00edce minimalistick\u00e9, chcelo spredmetni\u0165 na ka\u017edom kroku pr\u00edtomn\u00e9 n\u00e1stroje mu\u010denia, ktor\u00e9 sa v\u00a0jednom zo z\u00e1vere\u010dn\u00fdch v\u00fdstupoch, ke\u010f si oklaman\u00fd Angelo \u201eu\u017e\u00edva\u201c sex tie\u017e ako n\u00e1siln\u00fd n\u00e1stroj moci mu\u017ea nad \u017eenou. V\u0161etky n\u00e1stroje mu\u010denia sa nach\u00e1dzaj\u00fa umiestnen\u00e9 v\u00a0otvoroch na vyv\u00fd\u0161enom javisku jednoduch\u00e9 mechanick\u00e9 ovl\u00e1danie razom vytv\u00e1ra \u010fal\u0161iu mu\u010diare\u0148. Nevedno pre\u010do, ale vo viacer\u00fdch v\u00fdstupoch hereck\u00e1 pr\u00e1ca s\u00a0t\u00fdmito mechanizmami mu\u010denia p\u00f4sobila viac ako \u0165a\u017ekop\u00e1dne, miestami ne\u00fanosne pre dramatick\u00fa situ\u00e1ciu zd\u013ahavo. P\u00f4sobilo to a\u017e retarduj\u00faco na temporytmus dan\u00e9ho v\u00fdstupu. Dynamika inak rytmicky presved\u010divej inscen\u00e1cie akoby v\u00a0t\u00fdchto okamihoch haprovala.<\/p><\/blockquote>\n

Vo v\u00fdtvarnom rie\u0161en\u00ed kost\u00fdmov zaujali jedine\u010dn\u00e9 \u010dierne futbalov\u00e9 \u0161tucne, ktor\u00e9 mala na noh\u00e1ch navle\u010den\u00e9 Isabela. Zdanlivo nepatrn\u00fd detail, ak\u00fdm tvorcovia nazna\u010duj\u00fa, \u017ee skoro\u00a0 v\u0161etko \u00a0aj skuto\u010dnosti duchovnej povahy v\u00a0zmaterializovanom svete dne\u0161ka odvodzuje svoje opr\u00e1vnenie na jestvovanie takmer od \u0161portov\u00e9ho v\u00fdkonu. Akoby n\u00e1m kdesi z\u00a0minulosti vyvolali tie\u017e my\u0161lienku b\u00fdval\u00e9ho \u0161\u00e9fa svetov\u00e9ho olympijsk\u00e9ho hnutia, \u017ee \u0161port je jedin\u00e1 alternat\u00edva, ktor\u00e1 dok\u00e1\u017ee nahradi\u0165 \u013eudsk\u00fa potrebu n\u00e1bo\u017eenstva.<\/p>\n

V\u00a0Shakespearovej hre i\u00a0v\u00a0divadelnej inscen\u00e1cii je najv\u00e4\u010d\u0161\u00edm deliktom sexu\u00e1lna nezdr\u017eanlivos\u0165, bez oh\u013eadu na to, \u010di je doty\u010dn\u00fd za \u201en\u00e1sledky\u201c svojho konania vzia\u0165 zodpovednos\u0165. Zaznievaj\u00fa tu viacer\u00e9 nar\u00e1\u017eky spojen\u00e9 s\u00a0t\u00fdmto fenom\u00e9nom. S\u00fa v\u0161ak primerane a\u00a0decentne\u00a0votkan\u00e9 do jazyka, ktor\u00fd akoby sa pohyboval na tenkej hrane ironicky d\u00e1vkovanej hravosti vytv\u00e1raj\u00facej erotick\u00e9 nap\u00e4tie, ktor\u00e9 v\u0161ak\u00a0nekon\u010d\u00ed vo vulg\u00e1rnosti ani v\u00a0obsc\u00e9nnosti.<\/strong><\/p>\n

N\u00e1dhern\u00fd obraz prameniaci z\u00a0poznania s\u00fa\u010dasnej spolo\u010dnosti vytv\u00e1ra re\u017eis\u00e9r Klata vo chv\u00edli, ke\u010f sa rozhoduje Claudiovom \u017eivote a\u00a0smrti. Z\u00a0ni\u010doho ni\u010d sa na javisku ako morsk\u00fd pr\u00edboj vyhupne masa neindividualizovan\u00fdch bytost\u00ed. S\u00fa oble\u010den\u00ed do be\u017en\u00fdch \u0161iat na\u0161ich s\u00fa\u010dasn\u00edkov. Tento dav sa vehementne hl\u00e1si o\u00a0slovo a\u00a0svoj\u00edm \u201en\u00e1zorom\u201c zban\u00e1l\u0148uje dan\u00fa hrani\u010dn\u00fa situ\u00e1ciu. Nemenn\u00ed z\u00a0davu s\u00fa n\u00e1zorovo flexibiln\u00fd raz presvied\u010daj\u00fa o\u00a0smrti ako o\u00a0najlep\u0161ej mo\u017enosti, vz\u00e1p\u00e4t\u00ed ich nejak\u00fd mn\u00ed\u0161sky t\u00e1raj presved\u010d\u00ed o\u00a0opaku.<\/p><\/blockquote>\n

\u010c\u00edm je divadeln\u00e1 inscen\u00e1cia N\u011bco za n\u011bco strhuj\u00faca? S\u00e9mantick\u00fdm gestom, ktor\u00e9 spr\u00edtom\u0148uje z\u00e1va\u017en\u00fa skuto\u010dnos\u0165, \u017ee s\u00fa\u010dasn\u00e1 spolo\u010dnos\u0165 bez mor\u00e1lky rada stavia priam barik\u00e1dy pre bezmenn\u00fd dav sudcov z\u00a0\u013eudu. V\u00fdrazne z\u00a0nej zaznieva tie\u017e\u00a0 posolstvo o\u00a0svete, kde je neust\u00e1le spredmet\u0148ovan\u00e1 \u017eena, m\u00f4\u017ee by\u0165 len sv\u00e4ticou alebo neviestkou. Jedno i\u00a0druh\u00e9 svoju identitu bezprostredne \u010derpalo zo z\u00e1kladn\u00fdch hodn\u00f4t hl\u00fapych bielych mu\u017eov. Z\u00e1vere\u010dn\u00fd akord inscen\u00e1cie m\u00e1 frapuj\u00facu\u00a0 i\u00a0irituj\u00facu silu. V\u00a0\u0148om najv\u00e4\u010d\u0161\u00ed \u013eahtik\u00e1r a\u00a0bezcharaktern\u00fd hunc\u00fat Knie\u017ea sa postupne vyzle\u010die z\u00a0kr\u00e1snych snehobielych \u0161iat a\u00a0parochne. Pret\u0155\u010da sa pred Isabelou len vo svojich luxusn\u00fdch boxerk\u00e1ch. Na ich prednej strane je n\u00e1pis AMOR a\u00a0na zadnej ROMA. Mal\u00fd detail, ale v\u00a0\u0148om tie\u017e p\u00f4sobiv\u00e1 metafora o\u00a0p\u00e1de demoralizovan\u00e9ho r\u00edmskeho imp\u00e9ria. Knie\u017ea sa usala\u0161\u00ed na podlahe do takmer sen\u00e1torskej p\u00f3zy a\u00a0chlipne si premeriava i\u00a0zv\u00e1dza oproti stojacu Isabelu. Ona v\u00a0tom okamihu vybuchne do miestami\u00a0a\u017e z\u00fariv\u00e9ho n\u00e1reku i v\u00fdkriku. Pla\u010de nad skazen\u00fdm svetom, kde jej vari neost\u00e1va ni\u010d in\u00e9, len pokloni\u0165 sa zlat\u00e9mu te\u013ea\u0165u \u2013 moci, sexu a\u00a0peniazom…<\/p>\n

Martin Timko<\/p>\n

 <\/p>\n

 <\/p>","protected":false},"excerpt":{"rendered":"

W. Shakespeare: N\u011bco za n\u011bco Divadlo pod Palmovkou R\u00e9\u017eia Jan Klata Pre koho je mor\u00e1lka? Pre pr\u00e1vnikov a\u00a0sudcov, nov\u00fdch k\u0148azov, ktor\u00fd opakovane nanovo definuj\u00fa dobro a\u00a0zlo? Z\u00e1kon odvety, ktor\u00fd je akoby \u00fastrednou t\u00e9mou Shakespearovej hry nach\u00e1dzame v\u00a0staroz\u00e1konn\u00fdch knih\u00e1ch Exodus a\u00a0Levitikus. Toto tvrd\u00e9 pravidlo bolo ak\u00fdmsi usmernen\u00edm pre sudcov, nie v\u0161ak pre s\u00fakromn\u00e9 osoby. Ak malo […]<\/p>\n","protected":false},"author":2,"featured_media":861,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"kk_blocks_editor_width":"","_kiokenblocks_attr":"","_kiokenblocks_dimensions":"","footnotes":""},"categories":[71],"tags":[335,337,333,338,334,125,238,336,20],"class_list":["post-860","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-kultura","tag-bieli","tag-divadlo","tag-divadlo-pod-palmovkou","tag-exodus","tag-hlupi","tag-hra","tag-muzi","tag-shakespeare","tag-zabava"],"yoast_head":"\nHl\u00fapi bieli mu\u017ei - Mzone<\/title>\n<meta name=\"description\" content=\"Internetov\u00fd magaz\u00edn nejen pro mu\u017ee. 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