{"id":701,"date":"2015-06-05T12:19:21","date_gmt":"2015-06-05T11:19:21","guid":{"rendered":"http:\/\/www.teatar.hr\/blogeri\/?p=701"},"modified":"2015-08-24T17:04:55","modified_gmt":"2015-08-24T15:04:55","slug":"becki-dnevnik-kako-je-doista-odjeknuo-galeb-i-zasto-je-medijima-tesko-vjerovati","status":"publish","type":"post","link":"https:\/\/www.teatar.hr\/blogeri\/hrvoje-korbar\/becki-dnevnik-kako-je-doista-odjeknuo-galeb-i-zasto-je-medijima-tesko-vjerovati\/","title":{"rendered":"Be\u010dki dnevnik: Kako je doista odjeknuo ‘Galeb’ i za\u0161to je medijima te\u0161ko vjerovati"},"content":{"rendered":"

Prilikom posje<\/span>\u0107<\/span>ivanja festivala bilo koje vrste, a posebno kazali<\/span>\u0161<\/span>nih, vrlo je te<\/span>\u0161<\/span>ko napraviti selekciju onog <\/span>\u0161<\/span>to <\/span>\u0107<\/span>ete pogledati, posebno u slu<\/span>\u010d<\/span>aju kad na festivalu mo<\/span>\u017e<\/span>ete prisustvovati tek dvije ve<\/span>\u010d<\/span>eri. U <\/span>\u0161<\/span>umi medijskih objava (koje i u inozemstvu obiluju preuveli<\/span>\u010d<\/span>avanju ili barem uljep<\/span>\u0161<\/span>avanju istine), kritika pro<\/span>\u0161<\/span>lih radova kazali<\/span>\u0161<\/span>nih autora i informacija s terena lako se prevariti <\/span>\u2013 <\/span>i upravo mi se to dogodilo u slu<\/span>\u010d<\/span>aju Jona Gabriela Borkmana<\/em>, koji je u koprodukciji festivala s Theater Basel re<\/span>\u017e<\/span>irao Simon Stone.<\/span><\/p>\n

Simon Stone australski je redatelj koji se posljednjih godina intenzivno bavi re<\/span>\u017e<\/span>ijama Shakespearea, pa je tako s Divljom patkom gostovao u Barbicanu povodom International Ibsen Season, ali i na Wiener Festwochen gdje je pokupio barem prosje<\/span>\u010d<\/span>ne slu<\/span>\u017e<\/span>bene kritike i prili<\/span>\u010d<\/span>no dobre reakcije publike. Na<\/span>\u017e<\/span>alost, njegova adaptacija Jona Gabriela Borkmana<\/em> izvedena u Akademietheateru (drugoj sceni be<\/span>\u010d<\/span>kog Burgtheatera) nije odu<\/span>\u0161<\/span>evila kritiku, pa tako ni potpisnika ovih redova.<\/span><\/p>\n

Naime, Borkman kojeg je Stone u najavnim tekstovima najavio kao komad putem kojeg se bavi financijskom krizom u Europi, <\/span>\u0161<\/span>to je <\/span>\u010d<\/span>itatelju tih najava, ali i gledateljima te predstave, nagovjestilo da <\/span>\u0107<\/span>e se Stone baviti ozbiljnom problematikom. Na<\/span>\u017e<\/span>alost, izvedba me prili<\/span>\u010d<\/span>no uspje<\/span>\u0161<\/span>no razuvjerila <\/span>\u2013 <\/span>tekst je adaptiran u suvremeno doba, i u ve<\/span>\u0107<\/span>em se dijelu suvremenom problematikom bavi kroz pitanje medija, koje se mo<\/span>\u017e<\/span>e smatrati zna<\/span>\u010d<\/span>ajnim i relevantnim za trenutak u kojem <\/span>\u017e<\/span>ivimo.<\/span><\/p>\n

Ali posebno je upitan upravo na<\/span>\u010d<\/span>in na koji se bavi medijima <\/span>\u2013 <\/span>naime, bavi se time koliko tko vremena provodi na Facebooku, a koliko tko igraju<\/span>\u0107<\/span>i Call of Duty ili gledaju<\/span>\u0107<\/span>i pornografiju. Iz toga se mo<\/span>\u017e<\/span>e zaklju<\/span>\u010d<\/span>iti kako je problem dru<\/span>\u0161<\/span>tvenih mre<\/span>\u017e<\/span>a samo njihovo postojanje ili <\/span>\u010d<\/span>injenica da oduzimaju mnogo vremena, dok u komadu postoje motivi koji bi se mnogo dublje mogli promi<\/span>\u0161<\/span>ljati kroz perspektivu dru<\/span>\u0161<\/span>tvenih mre<\/span>\u017e<\/span>a.<\/span><\/p>\n

Zbog jezi<\/span>\u010d<\/span>ne barijere i nepoznavanja rada glumaca koji su igrali, nije mi bilo u potpunosti jasno je li glumcima zadan izrazito neposredan i spontan stil glume nalik svakodnevnom <\/span>\u017e<\/span>ivotu ili su neki dijelovi igre proiza<\/span>\u0161<\/span>li iz improvizacija s glumcima, iako bi se, s obzirom na ton <\/span>\u010d<\/span>itave predstave, moglo presuditi za prvu opciju.<\/span><\/p>\n

\u010c<\/span>itava pozornica prekrivena je snijegom koji ina<\/span>\u010d<\/span>e pada od po<\/span>\u010d<\/span>etka do kraja predstave bez razlike, bez promjene u dinamici, bez pauze, a igra se uglavnom kao da taj snijeg ne pada, <\/span>\u0161<\/span>to <\/span>\u010d<\/span>itavu stvar dovodi do apsurda. Snijegu se pritom ne mo<\/span>\u017e<\/span>e upisati niti jedno iole suvislo zna<\/span>\u010d<\/span>enje, osim <\/span>\u0161<\/span>to se mo<\/span>\u017e<\/span>emo prisjetiti toga da u ponekoj didaskaliji u samom komadu pi<\/span>\u0161<\/span>e da snijeg <\/span>\u2013 <\/span>pada. Vizualna atraktivnost snijega, kao i neo<\/span>\u017e<\/span>bukanih kazali<\/span>\u0161<\/span>nih zidova koji su nudili metateatarski potencijal, nije dostatna da bi privukla pa<\/span>\u017e<\/span>nju gledatelja na du<\/span>\u017e<\/span>e vrijeme.<\/span><\/p>\n

\"Birgit<\/a>
Birgit Minichmayr (Gunhild Borkman), Martin Wuttke (John Gabriel Borkman)<\/figcaption><\/figure>\n

Dok se o<\/span>\u010d<\/span>ito inzistiralo na humoru u govoru, nije se inzistiralo na nekom neverbalnom humoru, pa je tako be<\/span>\u010d<\/span>ka publika uglavnom dobro reagirala na <\/span>\u0161<\/span>ale, iako nije potpuno jasno kako je Jon Gabriel Borkman, ina<\/span>\u010d<\/span>e prili<\/span>\u010d<\/span>no mra<\/span>\u010d<\/span>an komad, do<\/span>\u017e<\/span>ivio tranziciju u komediju i to prili<\/span>\u010d<\/span>no banalnu. Der Standard je tako objavio tekst pod naslovom Ibsen je postao bulevarska komedija. Iako me predstava naizgled razo<\/span>\u010d<\/span>arala, s druge me strane i uvjerila kako ne treba biti previ<\/span>\u0161<\/span>e kriti<\/span>\u010d<\/span>an prema doma<\/span>\u0107<\/span>em kazali<\/span>\u0161<\/span>tu ili previ<\/span>\u0161<\/span>e glorificirati ono inozemno <\/span>\u2013 <\/span>svakom se mo<\/span>\u017e<\/span>e dogoditi gre<\/span>\u0161<\/span>ka, pitanje je samo <\/span>\u0161<\/span>to se iz takve gre<\/span>\u0161<\/span>ke mo<\/span>\u017e<\/span>e nau<\/span>\u010d<\/span>iti.<\/span><\/p>\n

No, vratimo se svijetlijim temama. Od subote do utorka u Be<\/span>\u010d<\/span>u je igrao i Galeb<\/em> Bobe Jel<\/span>\u010d<\/span>i<\/span>\u0107<\/span>a u produkciji ZKM-a, o <\/span>\u010d<\/span>emu su izvjestili svi vode<\/span>\u0107<\/span>i doma<\/span>\u0107<\/span>i mediji. Iako smo predstavu ve<\/span>\u0107 <\/span>gledali, i iako sam uvjeren kako bih vi<\/span>\u0161<\/span>e u<\/span>\u017e<\/span>ivao u njoj ponovno nego li u ovakvoj inscenaciji Ibsenovog Borkmana, gostovanje ZKM-a na<\/span>\u017e<\/span>alost smo izbjegli pod motom kako Galeba<\/em> mo<\/span>\u017e<\/span>emo ponovno pogledati i u Zagrebu. S druge strane, u svijetloj tradiciji hrvatskog novinarstva, prenesene su isklju<\/span>\u010d<\/span>ivo agencijske vijesti o izvanrednom uspjehu Galeba<\/em> koje ne bi bile uvjeriljive da nismo popratili austrijske medije i njihove kritike Jel<\/span>\u010d<\/span>i<\/span>\u0107<\/span>evog rada s kojim su dobro upoznati. Der Standard tako navodi kako je be<\/span>\u010d<\/span>ka publika ve<\/span>\u0107 <\/span>upoznata s kompleksnim radovima Bobe Jel<\/span>\u010d<\/span>i<\/span>\u0107<\/span>a koji se bave obiteljskom tematikom (S druge strane<\/em>) i da se Bobo Jel<\/span>\u010d<\/span>i<\/span>\u0107<\/span>, koriste<\/span>\u0107<\/span>i prvi i tre<\/span>\u0107<\/span>i <\/span>\u010d<\/span>in <\/span>\u010c<\/span>ehovljeva Galeba<\/em>, ne zanima za klasi<\/span>\u010d<\/span>an pristup dramskom tekstu, ve<\/span>\u0107 <\/span>da na zadovoljstvo publike uspjeva u nastojanju da na<\/span>\u0111<\/span>e novi pristup tekstu. Kriti<\/span>\u010d<\/span>arka posebno hvali radikalno razotkrivanje kazali<\/span>\u0161<\/span>nih mehanizama, upotrebu slapstick humora i na<\/span>\u010d<\/span>in na koji fragmenti <\/span>\u010c<\/span>ehovljevih scena funkcioniraju u cjelini predstave.<\/span><\/p>\n

\"Galeb<\/a>
Galeb (Bobo Jel\u010di\u0107)<\/figcaption><\/figure>\n

Zanimljivo je promatrati i na\u010din na koji austrijski mediji, odnosno kazali\u0161ni kriti\u010dari prate rad festivala, \u0161to bi tako\u0111er mogla biti lekcija doma\u0107oj kazali\u0161noj kritici. Kazali\u0161ne kritike koje sam pratio (a prvenstveno sam pratio one objavljivane u Der Standardu, ali i nekim manje tira\u017enim tiskovinama) pomno analiziraju razne aspekte predstave, daju svoj donekle objektivan sud i ni u kojem trenutku ne ulaze u polemiku na osobnoj razini s autorom predstave, niti daju svoj subjektivni sud o dramskom tekstu u obliku omanjeg eseja, \u0161to se kod nas \u010desto vi\u0111a. Iscrpni tekstovi otkrivaju da su kriti\u010dari prili\u010dno upu\u0107eni u ono \u0161to komentiraju, pa se pozivaju na druge radove autora o kojima pi\u0161u, na pro\u0161la izdanja festivala, a sude\u0107i prema kritikama predstava koje sam gledao vrlo kvalitetno analiziraju i same predstave. Takav profesionalan pristup kazali\u0161noj kritici, li\u0161en osobnih prepirki i temeljne neinformiranosti onih koji kritiku pi\u0161u, mogao bi biti uzor i ponekim doma\u0107im kazali\u0161nim kriti\u010darima.<\/span><\/p>\n","protected":false},"excerpt":{"rendered":"

Kompleksan odnos medija i kazali\u0161ta, na analizi odjeka Jel\u010di\u0107evog ‘Galeba’ u Be\u010du, ali i najavama predstave ‘Jon Gabriel Borkman’, opisuje novi nastavak dnevnika s festivala Wiener Festwochen.<\/p>\n","protected":false},"author":1561,"featured_media":705,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[4],"tags":[62,57],"vrsta":[],"datum-premijere":[],"godina-premijere":[],"produkcija":[],"koprodukcija":[],"class_list":["post-701","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-hrvoje-korbar","tag-hrvoje-korbar","tag-wiener-festwochen"],"acf":[],"yoast_head":"\nBe\u010dki dnevnik: Kako je doista odjeknuo 'Galeb' i za\u0161to je medijima te\u0161ko vjerovati - Teatar.hr Blogeri<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link 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