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[title] => Prepletanje fluidnih priča bez radnje Itala Calvina i eksperimentlna režija učinile su da ‘Teške ljubavi‘ podsjećaju na probu u ranoj fazi
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Splitsko je ljeto doživjelo i svoju drugu dramsku premijeru od predviđene tri; na Sustipanu su održane "Teške ljubavi" nastale prema zbirci priča Itala Calvina u dramatizaciji Ivana Penovića i režiji Aleksandra Švabića.
Male, fino izbrušene priče, od kojih svaka u naslovu ironično spominje avanturu, isječci su iz svakodnevnih života, smješteni između drugih, jamačno upečatljivijih i pamtljivijih događaja. One ne hvataju presudne trenutke, nema u njima velikih lomova, teških odluka, pa ni teških ljubavnih zapleta. Time su bogatije za susret sa samim sobom.
Calvinovi likovi nešto očekuju, uživaju u već proživljenom, u njihovim se mislima odvijaju priče, prošle i buduće, a u prostoru realiteta ne zbiva se gotovo ništa. Zatvoreni u čvrstoj opni svojih proživljavanja, niti pravo komuniciraju s okolinom niti s objektom svoje ljubavi. Kontakti su u Calvinovim pričama ili neostvareni ili pogrešno tempirani ili pogrešno shvaćeni. Ljudi, bili oni ljubavnici ili ne, veoma teško prodiru do tuđe biti ili razotkrivaju svoju – sami su.
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Predstava "Teške ljubavi", koprodukcija dvaju splitskih kazališta, splitskog HNK i Gradskog kazališta mladih Split, slabo je srastao spoj različitih ideja i pristupa članova autorskog tima. Redatelj, sklon eksperimentalnom teatru, dobiva već gotovu dramatizaciju i u nju upisuje svoj interes prema ostavljanju kazališnog procesa otvorenim, prema poništavanju kazališnih trikova i čarolija. Često izvedba podsjeća na probu u ranoj fazi, još je sirova, s ciljem, valjda, da publiku uključi u kazališni proces i da se izbjegne oponašanje stvarnosti. Zbog toga su u samu izvedbu uključena povremeno i ometanja, zapreke, poput iritantnih zvukova starog kasetofona – kao da sam Calvino nije dovoljno svoje junake omeo i zbunio.
Fellini u vlaku
Nekoliko priča je dramaturg povezao, dok je neke ostavio kao zasebne cjeline. Duh i obilježje Mediterana imale bi predstavljati brijačnica i kavana u koje će glumci, inače stalno prisutni na sceni, povremeno nabasati i u njima se uz površnu komunikaciju – ne razumijevati.
"Teške ljubavi" uhvatile su mrvicu felinijevskog ugođaja – osobito se to odnosi na scenu u vlaku s vojnikom i udovicom, a najbliža Calvinovoj ideji je priča čovjeka koji je proveo veoma lijepu ljubavnu noć. On je i ujutro još proživljava, navire mu na usta, no drugi ga ovlaš slušaju ili ne razumiju; i on je zarobljen u svojoj samoći i najbolje je da u njoj i ostane.
Jer, kako je zapisao Milan Kundera u svojim "Smiješnim ljubavima", u radosti zbog prisutnosti voljena čovjeka može se najbolje uživati u samoći. Kad bi njegova prisutnost bila neprekidna, čovjek bi je, zapravo, doživljavao samo kroz njezinu stalnu prolaznost.
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U komadu su sudjelovali glumci Vanda Boban Jurišić, Lidija Florijan, Ana Gruica Uglešić, Nada Kovačević, Luka Čerjan, Pere Eranović i Mijo Jurišić. Unatoč angažiranim nastupima i, povremeno, veoma uspjelim prezentacijama glumačke vještine, koncept predstave išao je na štetu svima.
Prepletanje vrlo fluidnih, intimnih i plutajućih priča rezultiralo je nekakvim pokušajem objedinjavanja novela u cjelinu koja obećava radnju, a radnje, kao što je poznato – nema. Otupljena je vrsnoća Calvinove jasnoće i jednostavnosti, a čitav koncept otvorene pozornice i nekoliko vizualno privlačnih efekata i nije uvukao publiku u zbivanja na sceni. "Teške ljubavi" ostale su nekako udaljene, neemotivne, i, napokon, prilično naporne.
Glazbenik Goran Cetinić, stalno na sceni, kvalitetnom je glazbom popratio čitavu izvedbu, a prisutna je bila i inspicijentica Tina Munivrana Novković u cipelama u kojima bi teško kojemu glumcu "priskočila" u pomoć. Kostimi Jane Letilović nose dašak šezdesetih godina u kojima su priče i nastajale. Sustipanski ambijent u kojem se igralo sam po sebi je očaravajući, s predstavom ili bez nje.
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[1] => stdClass Object
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Splitsko je ljeto doživjelo i svoju drugu dramsku premijeru od predviđene tri; na Sustipanu su održane "Teške ljubavi" nastale prema zbirci priča Itala Calvina u dramatizaciji Ivana Penovića i režiji Aleksandra Švabića.
Male, fino izbrušene priče, od kojih svaka u naslovu ironično spominje avanturu, isječci su iz svakodnevnih života, smješteni između drugih, jamačno upečatljivijih i pamtljivijih događaja. One ne hvataju presudne trenutke, nema u njima velikih lomova, teških odluka, pa ni teških ljubavnih zapleta. Time su bogatije za susret sa samim sobom.
Calvinovi likovi nešto očekuju, uživaju u već proživljenom, u njihovim se mislima odvijaju priče, prošle i buduće, a u prostoru realiteta ne zbiva se gotovo ništa. Zatvoreni u čvrstoj opni svojih proživljavanja, niti pravo komuniciraju s okolinom niti s objektom svoje ljubavi. Kontakti su u Calvinovim pričama ili neostvareni ili pogrešno tempirani ili pogrešno shvaćeni. Ljudi, bili oni ljubavnici ili ne, veoma teško prodiru do tuđe biti ili razotkrivaju svoju – sami su.
---
---
Predstava "Teške ljubavi", koprodukcija dvaju splitskih kazališta, splitskog HNK i Gradskog kazališta mladih Split, slabo je srastao spoj različitih ideja i pristupa članova autorskog tima. Redatelj, sklon eksperimentalnom teatru, dobiva već gotovu dramatizaciju i u nju upisuje svoj interes prema ostavljanju kazališnog procesa otvorenim, prema poništavanju kazališnih trikova i čarolija. Često izvedba podsjeća na probu u ranoj fazi, još je sirova, s ciljem, valjda, da publiku uključi u kazališni proces i da se izbjegne oponašanje stvarnosti. Zbog toga su u samu izvedbu uključena povremeno i ometanja, zapreke, poput iritantnih zvukova starog kasetofona – kao da sam Calvino nije dovoljno svoje junake omeo i zbunio.
Fellini u vlaku
Nekoliko priča je dramaturg povezao, dok je neke ostavio kao zasebne cjeline. Duh i obilježje Mediterana imale bi predstavljati brijačnica i kavana u koje će glumci, inače stalno prisutni na sceni, povremeno nabasati i u njima se uz površnu komunikaciju – ne razumijevati.
"Teške ljubavi" uhvatile su mrvicu felinijevskog ugođaja – osobito se to odnosi na scenu u vlaku s vojnikom i udovicom, a najbliža Calvinovoj ideji je priča čovjeka koji je proveo veoma lijepu ljubavnu noć. On je i ujutro još proživljava, navire mu na usta, no drugi ga ovlaš slušaju ili ne razumiju; i on je zarobljen u svojoj samoći i najbolje je da u njoj i ostane.
Jer, kako je zapisao Milan Kundera u svojim "Smiješnim ljubavima", u radosti zbog prisutnosti voljena čovjeka može se najbolje uživati u samoći. Kad bi njegova prisutnost bila neprekidna, čovjek bi je, zapravo, doživljavao samo kroz njezinu stalnu prolaznost.
---
---
U komadu su sudjelovali glumci Vanda Boban Jurišić, Lidija Florijan, Ana Gruica Uglešić, Nada Kovačević, Luka Čerjan, Pere Eranović i Mijo Jurišić. Unatoč angažiranim nastupima i, povremeno, veoma uspjelim prezentacijama glumačke vještine, koncept predstave išao je na štetu svima.
Prepletanje vrlo fluidnih, intimnih i plutajućih priča rezultiralo je nekakvim pokušajem objedinjavanja novela u cjelinu koja obećava radnju, a radnje, kao što je poznato – nema. Otupljena je vrsnoća Calvinove jasnoće i jednostavnosti, a čitav koncept otvorene pozornice i nekoliko vizualno privlačnih efekata i nije uvukao publiku u zbivanja na sceni. "Teške ljubavi" ostale su nekako udaljene, neemotivne, i, napokon, prilično naporne.
Glazbenik Goran Cetinić, stalno na sceni, kvalitetnom je glazbom popratio čitavu izvedbu, a prisutna je bila i inspicijentica Tina Munivrana Novković u cipelama u kojima bi teško kojemu glumcu "priskočila" u pomoć. Kostimi Jane Letilović nose dašak šezdesetih godina u kojima su priče i nastajale. Sustipanski ambijent u kojem se igralo sam po sebi je očaravajući, s predstavom ili bez nje.
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16. svibanj 2024 21:44
