{"id":3177,"date":"2021-11-09T10:55:16","date_gmt":"2021-11-09T09:55:16","guid":{"rendered":"https:\/\/www.cozynotes.cz\/?p=3177"},"modified":"2021-11-09T15:37:02","modified_gmt":"2021-11-09T14:37:02","slug":"recke-pasije-napotreti","status":"publish","type":"post","link":"https:\/\/www.cozynotes.cz\/index.php\/2021\/11\/09\/recke-pasije-napotreti\/","title":{"rendered":"\u0158eck\u00e9 pa\u0161ije napot\u0159et\u00ed"},"content":{"rendered":"\n

Do t\u0159etice v\u0161eho dobr\u00e9ho\u2026 No ehm, ne tak \u00fapln\u011b, ale za\u010dn\u011bme popo\u0159ad\u011b. N\u00e1rodn\u00ed divadlo Brno v\u011bnuje velkou pozornost opern\u00edmu odkazu Bohuslava Martin\u016f. A to je dob\u0159e. Martin\u016f je vynikaj\u00edc\u00ed, mysl\u00edm, \u017ee nepr\u00e1vem opom\u00edjen\u00fd. Po Hr\u00e1ch o Marii a Gilgame\u0161ovi p\u0159ich\u00e1z\u00ed \u0158eck\u00e9 pa\u0161ije. Napot\u0159et\u00ed. Prvn\u00ed dv\u011b snahy o uveden\u00ed t\u00e9to velk\u00e9 opery Bohuslava Martin\u016f v Brn\u011b p\u0159ekazila koronakrize. <\/p>\n\n\n\n\n\n\n\n

Dv\u011b t\u00e9mata, jeden p\u0159\u00edb\u011bh<\/strong><\/h2>\n\n\n\n

\u0158eck\u00e9 pa\u0161ije jsou tak\u00e9 o krizi, krizi uprchlick\u00e9, a tak\u00e9 o tom, jak\u00fd je rozd\u00edl mezi povrchn\u00edm ch\u00e1p\u00e1n\u00edm v\u00edry a skute\u010dnou hlubinou. No a v neposledn\u00ed \u0159ad\u011b jsou p\u0159\u00edb\u011bhem o ka\u017ed\u00e9m z n\u00e1s. Ostatn\u011b stejn\u011b jako Hry o Marii nebo Gilgame\u0161.<\/p>\n\n\n\n

N\u00e1m\u011bt pa\u0161ij\u00ed nenapsal nikdo men\u0161\u00ed ne\u017e Nikos Kazantzakis. P\u0159edlohou byl jeho Kristus znovu uk\u0159i\u017eovan\u00fd. Martin\u016f obsah zjednodu\u0161il, ale podstatn\u00e9 a univerz\u00e1ln\u011b sd\u011bln\u00e9 z\u016fstalo. Jde vlastn\u011b o dva p\u0159\u00edb\u011bhy, jedn\u00edm je p\u0159\u00edb\u011bh o uprchl\u00edc\u00edch, kte\u0159\u00ed hledaj\u00ed nov\u00fd domov pot\u00e9, co byla jejich rodn\u00e1 vesnice vyplen\u011bna Turky. Druh\u00fdm, kter\u00fd se odehr\u00e1v\u00e1 soub\u011b\u017en\u011b s touto trag\u00e9di\u00ed, je p\u0159\u00edb\u011bh prom\u011bny n\u011bkolika vesni\u010dan\u016f pot\u00e9, co jsou vybr\u00e1ni k velk\u00e9mu \u00fakolu. Ztv\u00e1rnit v pa\u0161ijov\u00fdch hr\u00e1ch postavy apo\u0161tol\u016f a pochopiteln\u011b i Je\u017e\u00ed\u0161e. Ano, ten p\u0159\u00edb\u011bh, kter\u00fd v\u0161ichni zn\u00e1me, ale po p\u0159e\u010dten\u00ed jej zpravidla odlo\u017e\u00edme a jedeme d\u00e1l ve star\u00fdch kolej\u00edch. <\/p>\n\n\n\n

\"\"<\/a><\/figure>\n\n\n\n

\u201cPl\u00e1\u010dete nad p\u0159\u00edb\u011bhem m\u00e9ho uk\u0159i\u017eov\u00e1n\u00ed, a pak jdete spokojen\u011b sp\u00e1t. Tak mne milujete?\u201d  <\/em><\/p>\n\n\n\n

—Manolios, 3. d\u011bjstv\u00ed, \u0158eck\u00e9 pa\u0161ije<\/p>\n\n\n\n

\"\"<\/a><\/figure>\n\n\n\n

„Mus\u00edme si p\u0159e\u010d\u00edst evangelium<\/strong>“ (Michelis) <\/h2>\n\n\n\n

Jen\u017ee takhle by to ne\u0161lo. Je\u017e\u00ed\u0161e a apo\u0161toly\/ku nem\u016f\u017eete hr\u00e1t jen tak a v klidu sp\u00e1t. Tyhle role v\u00e1s prom\u011bn\u00ed, nebo alespo\u0148 mohou prom\u011bnit (mimochodem na podobn\u00e9m principu funguje bibliodrama). Probl\u00e9m nastane, kdy\u017e v\u00e1m prom\u011bna otev\u0159e o\u010di a vy pak u\u017e nem\u016f\u017eete odm\u00edtnout nata\u017een\u00e9 ruce pot\u0159ebn\u00fdch, a to ani kdy\u017e duchovn\u00ed autorita obce vel\u00ed opak, proto\u017ee \u201cmy p\u0159ece m\u00e1me sv\u00e9 tradice, sv\u00e9 probl\u00e9my a kdov\u00ed, co jsou ti nov\u011b p\u0159\u00edchoz\u00ed za\u010d.\u201d Zkr\u00e1tka n\u011bkdo m\u016f\u017ee probl\u00e9my interpretovat jako Bo\u017e\u00ed trest, a odb\u00fdt to konstatov\u00e1n\u00edm, \u017ee si tedy doty\u010dn\u00fd za v\u0161e m\u016f\u017ee s\u00e1m a dob\u0159e mu tak, nebo m\u016f\u017eete probl\u00e9my interpretovat jako Bo\u017e\u00ed p\u0159\u00edle\u017eitost. Zkr\u00e1tka v\u011b\u010dn\u00e1 ot\u00e1zka: kde je B\u016fh, kdy\u017e se lidem d\u011bj\u00ed \u0161patn\u00e9 v\u011bci?<\/p>\n\n\n\n

Ne, ani postavy \u0158eck\u00fdch pa\u0161ij\u00ed v tom nemaj\u00ed hned jasno, klop\u00fdtaj\u00ed a chybuj\u00ed. N\u011bkter\u00e9 dokonce vid\u00ed \u00fapln\u011b jin\u00e9 p\u0159\u00edle\u017eitosti. V\u0161ichni do toho prom\u00edtaj\u00ed i sv\u00e9 trable a touhy, ale nakonec padnou siln\u00e1 a odv\u00e1\u017en\u00e1 rozhodnut\u00ed, a\u0165 pro jednu nebo druhou mo\u017enost.<\/p>\n\n\n\n

Martin\u016f \u0158eck\u00e9 pa\u0161ije jsou \u017eivou a \u017eitou v\u00edrou, kter\u00e1 hled\u00e1 odpov\u011bdi. Jsou hled\u00e1n\u00edm pramene, hled\u00e1n\u00edm ko\u0159en\u016f, kter\u00e9 ov\u0161em nejsou zahrab\u00e1ny jen v zemi, ale mus\u00ed d\u00e1vat r\u016fst kmeni i v\u011btv\u00edm a p\u0159in\u00e1\u0161et plody.<\/p>\n\n\n\n

Brn\u011bnsk\u00e9 pa\u0161ije<\/strong><\/h2>\n\n\n\n

Brn\u011bnsk\u00e9 nastudov\u00e1n\u00ed \u010derp\u00e1 dob\u0159e z p\u0159\u00edb\u011bhu a vypr\u00e1v\u00ed jej ve velk\u00fdch, mystikou prosycen\u00fdch obrazech. V podstat\u011b v neust\u00e1l\u00e9m \u0161eru a mlze, kterou prostupuj\u00ed paprsky sv\u011btla a ohn\u011b v\u00e1\u0161n\u00ed se odehr\u00e1v\u00e1 velk\u00fd p\u0159\u00edb\u011bh. Jen\u017ee je t\u0159eba p\u0159iznat, \u017ee cel\u00e9 nastudov\u00e1n\u00ed klop\u00fdt\u00e1, bloud\u00ed a pad\u00e1 v\u0161ude tam, kde tuhle linku opust\u00ed.<\/p>\n\n\n\n

Velk\u00e1 sc\u00e9na r\u00e1movan\u00e1 jakousi chladnou betonovou zd\u00ed je skv\u011bl\u00fdm vyj\u00e1d\u0159en\u00edm toho mraziv\u011b p\u0159\u00edtomn\u00e9ho rozd\u011blen\u00ed, kter\u00e9 m\u016f\u017ee p\u0159ekonat jen tu a tam prostupuj\u00edc\u00ed sv\u011btlo. A a\u010dkoli se sv\u011btlo uchopuje h\u016f\u0159e ne\u017e k\u00e1men, kter\u00fd m\u016f\u017eete hodit po n\u011bkom, kdo si to podle v\u00e1s zaslou\u017e\u00ed, v Brn\u011b sv\u011btlo uchopili v\u00fdborn\u011b. Sv\u011btlo je nejsiln\u011bj\u0161\u00edm prvkem cel\u00e9ho proveden\u00ed. Zdatn\u011b mu sekunduje z\u00e1kladn\u00ed r\u00e1mec velk\u00e9 sc\u00e9ny, kter\u00fd je v prvn\u00ed p\u016fli p\u0159edstaven\u00ed dopln\u011bn\u00fd o vodn\u00ed plochu v pat\u0159i\u010dn\u00fd \u010das. Bohu\u017eel zbytek sc\u00e9ny je samo\u00fa\u010deln\u00fd balast. A\u0165 u\u017e jsou to podivn\u011b spou\u0161t\u011bn\u00e9 stoly, stromy obr\u00e1cen\u00e9 korunami dol\u016f (\u017ee by znamen\u00ed vyko\u0159en\u011bn\u00ed?) nebo dome\u010dky jako z modelov\u00e9 \u017eeleznice \u010di znovu vodn\u00ed plocha vecpan\u00e1 nucen\u011b a zbyte\u010dn\u011b na sc\u00e9nu (kdy\u017e u\u017e jsme to tedy napustili, \u017ee). <\/p>\n\n\n\n

M\u00e9 up\u0159\u00edmn\u00e9 zd\u011b\u0161en\u00ed vyvol\u00e1v\u00e1 v tomto nastudov\u00e1n\u00ed ply\u0161ov\u00fd osel, veletrapn\u00e1 ply\u0161ov\u00e1 ove\u010dka a naprosto zbyte\u010dn\u00fd trakt\u016frek, kter\u00fd sv\u00fdm hloup\u00fdm klaksonem a blik\u00e1n\u00edm ni\u010d\u00ed celou atmosf\u00e9ru d\u00edla. Tahle vypr\u00e1zdn\u011bn\u00e1 p\u0159epl\u00e1canost a pot\u0159eba plnit prostor sc\u00e9ny v\u011bcmi mi sed\u00ed k Danielu Dvo\u0159\u00e1kovi a jeho inscenac\u00edm. U t\u00fdmu Ji\u0159\u00edho He\u0159mana jsem byl dosud zvykl\u00fd na um\u011b\u0159enost, magi\u010dnost a mystiku obrazu. Se sc\u00e9nou Dragana Stoj\u010devskiho v\u0161ak tahle mystika dost\u00e1v\u00e1 bolestiv\u00e9 r\u00e1ny. Dal\u0161\u00ed ranou jsou kost\u00fdmy Alexandry Gruskov\u00e9. Opravdu jsou to kost\u00fdmy pro \u0158eck\u00e9 pa\u0161ije? Nebo je to, nikoli poprv\u00e9 vid\u011bn\u00e1, snaha obl\u00e9knout p\u0159edstaven\u00ed stylem – dojdi si do \u0161atny a n\u011bco na sebe ho\u010f. Aby nedo\u0161lo k m\u00fdlce, nepo\u017eaduji ani rustik\u00e1ln\u00ed od\u011bv \u0159eck\u00e9ho venkova, ani mi nevad\u00ed p\u0159edstaven\u00ed s obleky, ryze soudob\u00e1 nebo zvl\u00e1\u0161tn\u011b bez\u010das\u00e1. Po\u017eaduji ale styl a jasn\u00fd v\u00fdraz. To bohu\u017eel v brn\u011bnsk\u00e9 inscenaci chyb\u00ed, resp. kost\u00fdmy jsou pelmel bez v\u00fdrazu a co h\u016f\u0159, p\u016fsob\u00ed necht\u011bn\u00e9 a ne\u017e\u00e1douc\u00ed zmatky v identifikaci jednotliv\u00fdch postav.<\/p>\n\n\n\n

Jako pozn\u00e1mku pod \u010darou je zaj\u00edmav\u00e9 zm\u00ednit, \u017ee Alexandra Gruskov\u00e1 je podepsan\u00e1 pod kost\u00fdmy z p\u0159edchoz\u00edch v\u00fdborn\u00fdch adaptac\u00ed d\u00edla Martin\u016f a to jak pod Hrami o Marii, tak pod Gilgame\u0161em. Stejn\u011b tak Dragan Stoj\u010devski st\u00e1l za p\u016fsobivou sc\u00e9nou pr\u00e1v\u011b v Gilgame\u0161ovi. <\/p>\n\n\n\n

V neposledn\u00ed \u0159ad\u011b je pak t\u0159eba zm\u00ednit nepoveden\u011b naroubovan\u00e9 r\u00e1doby komick\u00e9 hereck\u00e9 momenty do meziher. Jakkoli m\u016f\u017ee b\u00fdt pochopiteln\u00e1 snaha odleh\u010dit na chv\u00edli v\u00e1\u017enost a dramati\u010dnost cel\u00e9ho d\u00edla, karikovat postavy motivovan\u00e9 n\u00edzk\u00fdmi pudy a v\u00e1\u0161n\u011bmi, tak takto p\u0159\u00e1tel\u00e9 ne. Tohle pitvo\u0159en\u00ed v brn\u011bnsk\u00fdch pa\u0161ij\u00edch vyvol\u00e1v\u00e1 sp\u00ed\u0161 pocit trapnosti, nam\u00edsto prostoru pro trefnou kritiku z\u00e1por\u00e1k\u016f nebo vydechnut\u00ed z vypjatosti cel\u00e9 opery.<\/p>\n\n\n\n

Na\u0161t\u011bst\u00ed cel\u00e9 p\u0159edstaven\u00ed zachra\u0148uje hudebn\u00ed slo\u017eka. Orchestr pod veden\u00edm Roberta Kru\u017e\u00edka je v\u00fdborn\u00fd, stejn\u011b jako v\u011bt\u0161ina p\u011bveck\u00fdch p\u0159edstavitel\u016f a sbor\u016f. Zvl\u00e1\u0161t\u011b pak je t\u0159eba zm\u00ednit v\u00fdkony Petera Bergera (Manolios\/Kristus), Pavly Vykopalov\u00e9 (Kate\u0159ina\/M\u00e1\u0159\u00ed Magdalena) a obou p\u0159edstavitel\u016f duchovn\u00edch v\u016fdc\u016f Jana \u0160\u0165\u00e1vy a Davida Szendiucha (otec Grigoris, otec Fotis). Velmi rozpa\u010dit\u00fd, hlavn\u011b po str\u00e1nce hereck\u00e9, m\u00e1m dojem z Petra Lev\u00ed\u010dka (Panait\/Jid\u00e1\u0161), kter\u00fd hraje k\u0159e\u010dovit\u011b a nep\u0159esv\u011bd\u010div\u011b p\u0159ehr\u00e1v\u00e1. Na sborov\u00e9m herectv\u00ed je pak zn\u00e1t dlouh\u00e1 covidov\u00e1 pauza, proto\u017ee v Brn\u011b jsem zvykl\u00fd na lep\u0161\u00ed v\u00fdkony.  Ale to budi\u017e sbor\u016fm prominuto, proto\u017ee v tomhle p\u0159edstaven\u00ed maj\u00ed hodn\u011b pr\u00e1ce a re\u017eie ne\u0161et\u0159\u00ed s n\u00e1ro\u010dn\u00fdmi p\u0159esuny, v\u010detn\u011b t\u011bch mezi jevi\u0161t\u011bm a hledi\u0161t\u011bm.<\/p>\n\n\n\n

Shrnuto podtr\u017eeno, i p\u0159esto\u017ee Brnu pat\u0159\u00ed velk\u00fd d\u00edk za popularizaci Martin\u016f a p\u0159esto, \u017ee Ji\u0159\u00ed He\u0159man je m\u016fj re\u017eis\u00e9rsk\u00fd favorit, mysl\u00edm, \u017ee na \u0158eck\u00fdch pa\u0161ij\u00edch si v Brn\u011b vyl\u00e1mali zuby. Za m\u011b je velk\u00e9 zklam\u00e1n\u00ed. Pravda, v\u00fdsledek je snesiteln\u00fd a v n\u011bkolika ohledech dokonce velmi dobr\u00fd (st\u00e1le si vybavuji no\u010dn\u00ed m\u016fru v podob\u011b tragick\u00e9ho proveden\u00ed \u0158eck\u00fdch pa\u0161ij\u00ed z Olomouce), le\u010d celkov\u011b je vyzn\u011bn\u00ed brn\u011bnsk\u00e9 inscenace velmi rozpa\u010dit\u00e9. Stejn\u011b rozpa\u010dit\u00e9 jako ned\u011bln\u00ed d\u011bkova\u010dka, kdy n\u011bkte\u0159\u00ed div\u00e1ci p\u0159istoupili na standing ovation nikoli po dozn\u011bn\u00ed posledn\u00edch t\u00f3n\u016f, ale a\u017e p\u0159i odchodu protagonist\u016f a to je\u0161t\u011b po dosti k\u0159e\u010dovit\u00e9m a um\u011bl\u00e9m protahov\u00e1n\u00ed d\u011bkova\u010dky, kter\u00e1 zprvu \u017e\u00e1dn\u00fd strhuj\u00edc\u00ed potlesk nevyvovala. <\/p>\n\n\n\n

<\/p>\n\n\n\n

\u0158eck\u00e9 pa\u0161ije | Bohuslav Martin\u016f | ND Brno, 7.11.2021<\/strong><\/p>\n\n\n\n

hudebn\u00ed nastudov\u00e1n\u00ed: Robert Kru\u017e\u00edk<\/p>\n\n\n\n

re\u017eie: Ji\u0159\u00ed He\u0159man<\/p>\n\n\n\n

sc\u00e9na: Dragan Stoj\u010devski<\/p>\n\n\n\n

kost\u00fdmy: Alexandra Gruskov\u00e1<\/p>\n\n\n\n

sv\u011bteln\u00fd design: Ji\u0159\u00ed He\u0159man<\/p>\n","protected":false},"excerpt":{"rendered":"

Do t\u0159etice v\u0161eho dobr\u00e9ho\u2026 No ehm, ne tak \u00fapln\u011b, ale za\u010dn\u011bme popo\u0159ad\u011b. N\u00e1rodn\u00ed divadlo Brno v\u011bnuje velkou pozornost opern\u00edmu odkazu Bohuslava Martin\u016f. A to je dob\u0159e. Martin\u016f je vynikaj\u00edc\u00ed, mysl\u00edm, \u017ee nepr\u00e1vem opom\u00edjen\u00fd. Po Hr\u00e1ch o Marii a Gilgame\u0161ovi p\u0159ich\u00e1z\u00ed \u0158eck\u00e9 pa\u0161ije. Napot\u0159et\u00ed. Prvn\u00ed dv\u011b snahy o uveden\u00ed t\u00e9to velk\u00e9 opery Bohuslava Martin\u016f v Brn\u011b … <\/p>\n

Pokra\u010dovat ve \u010dten\u00ed „\u0158eck\u00e9 pa\u0161ije napot\u0159et\u00ed“<\/span><\/a><\/p>\n","protected":false},"author":2,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[51,50],"tags":[],"_links":{"self":[{"href":"https:\/\/www.cozynotes.cz\/index.php\/wp-json\/wp\/v2\/posts\/3177"}],"collection":[{"href":"https:\/\/www.cozynotes.cz\/index.php\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.cozynotes.cz\/index.php\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.cozynotes.cz\/index.php\/wp-json\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/www.cozynotes.cz\/index.php\/wp-json\/wp\/v2\/comments?post=3177"}],"version-history":[{"count":8,"href":"https:\/\/www.cozynotes.cz\/index.php\/wp-json\/wp\/v2\/posts\/3177\/revisions"}],"predecessor-version":[{"id":3189,"href":"https:\/\/www.cozynotes.cz\/index.php\/wp-json\/wp\/v2\/posts\/3177\/revisions\/3189"}],"wp:attachment":[{"href":"https:\/\/www.cozynotes.cz\/index.php\/wp-json\/wp\/v2\/media?parent=3177"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.cozynotes.cz\/index.php\/wp-json\/wp\/v2\/categories?post=3177"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.cozynotes.cz\/index.php\/wp-json\/wp\/v2\/tags?post=3177"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}