{"id":739,"date":"2015-08-18T17:42:35","date_gmt":"2015-08-18T15:42:35","guid":{"rendered":"http:\/\/www.teatar.hr\/blogeri\/?p=739"},"modified":"2015-08-24T21:34:24","modified_gmt":"2015-08-24T19:34:24","slug":"giro-ditalia-biennale-teatro-college-2015","status":"publish","type":"post","link":"https:\/\/www.teatar.hr\/blogeri\/hrvoje-korbar\/giro-ditalia-biennale-teatro-college-2015\/","title":{"rendered":"Giro d&#8217;Italia: Biennale Teatro College 2015"},"content":{"rendered":"<p>U sklopu Venecijanskog biennalea, jedne od najstarijih i najuglednijih umjetni\u010dkih izlo\u017ebi, odr\u017eava se i niz festivala me\u0111u kojima je najpoznatiji onaj filmski, dok su ne\u0161to manjeg dosega glazbeni, plesni i \u2013 kazali\u0161ni festival.<br \/>\nJo\u0161 je manje poznato da se u sklopu tog festivala odr\u017eava i program <strong>Biennale Teatro College<\/strong>,  na kojem razne kazali\u0161ne radionice vode neka od vode\u0107ih imena europskog kazali\u0161ta poput <strong> <a href=\"http:\/\/www.teatar.hr\/osobe\/thomas-ostermeier\/\" target=\"_blank\">Thomasa Ostermeiera<\/a><\/strong>, <strong><a href=\"http:\/\/www.teatar.hr\/osobe\/christoph-marthaler\/\" target=\"_blank\">Christopha Marthalera<\/a><\/strong>,<strong><a href=\"http:\/\/www.teatar.hr\/osobe\/oskaras-korsunovas\/\" target=\"_blank\">Oskara Kor\u0161unovasa<\/a><\/strong>, <strong><a href=\"http:\/\/www.teatar.hr\/osobe\/romeo-castellucci\/\" target=\"_blank\">Romea Castelluccija<\/a><\/strong> i <strong><a href=\"http:\/\/www.teatar.hr\/osobe\/jan-lauwers\/\" target=\"_blank\">Jana Lauwersa<\/a><\/strong>. Za okupljanje ovog zvjezdanog dru\u0161tva zaslu\u017ean je, ka\u017eu venecijanski kuloari, prvenstveno <strong>Alex Rigola<\/strong>, katalonski redatelj i\u00a0 umjetni\u010dki direktor Biennale Teatro, profesor na barcelonskoj akademiji koji je me\u0111unarodni proboj ostvario u Schaub\u00fchne adaptacijom Bolanovog romana <strong><em>2666<\/em><\/strong>.<\/p>\n<p>Sre\u0107om, na Akademiji dramske umjetnosti nas je o tom programu informirala asistentica <strong><a href=\"http:\/\/www.teatar.hr\/osobe\/helena-petkovic\/\" target=\"_blank\">Helena Petkovi\u0107<\/a><\/strong>, koja je pro\u0161le godine sudjelovala na radionici Oskara Kor\u0161unovasa, a kolegica <strong><a href=\"http:\/\/www.teatar.hr\/osobe\/arija-rizvic\/\" target=\"_blank\">Arija Rizvi\u0107<\/a><\/strong> i ja kao ve\u0107 poznati skitnice u potrazi za kazali\u0161tem odlu\u010dlili smo se prijaviti te smo (na na\u0161e veliko iznena\u0111enje) me\u0111u 1800 prijavljenih primljeni na radionicu <strong><a href=\"http:\/\/www.teatar.hr\/osobe\/falk-richter\/\" target=\"_blank\">Falka Richtera<\/a><\/strong>, njema\u010dkog dramaturga i redatelja, koji je radionicu vodio u timu s <strong>Nirom de Volffom<\/strong>, koreografom izraelskog podrijetla i vo\u0111om trupe <strong>TOTAL BRUTAL<\/strong> i <strong>Nilsom Haarmanom<\/strong>, jednim od trojice ku\u0107nih dramaturga u berlinskom kazali\u0161tu Schaub\u00fchne am Lehniner Platz. Arija je pak poha\u0111ala i radionicu Thomasa Ostermeiere, kojeg valjda nije potrebno dodatno predstavljati.<\/p>\n<p>Osim upoznavanja s voditeljima radionica, najzna\u010dajniji dio ovog doga\u0111aja je upoznavanje s kolegama iz svih dijelova svijeta, od kojih mnogi ve\u0107 imaju zna\u010dajno iskustvo u kazali\u0161nom radu \u2013 na radionicama uglavnom sudjeluju ljudi koji su ve\u0107 zavr\u0161ili neke kazali\u0161ne \u0161kole, a radionice im slu\u017ee kao prostor za osobni napredak. Zanimljivo je i da je ve\u0107ina studija u inozemstvu multidisciplinarno ustrojena, pa se tako malo tko od njih bavi \u201esamo\u201c glumom\/re\u017eijom\/dramaturgijom, ve\u0107 su \u0161kolovani za razna podru\u010dja ili se njima kasnije odlu\u010de baviti. Takvo \u0161to je u Hrvatskoj jo\u0161 uvijek svojevrsni \u2013 tabu, a posebno vrijedi za one koji za kazali\u0161te nisu profesionalno \u0161kolovani, \u0161to u inozemstvu o\u010dito nije toliko velika prepreka.<\/p>\n<p>Novina ovogodi\u0161njeg Biennalea je \u010dinjenica da su radionice okupljene pod zajedni\u010dkom temom <strong><em>La terra trema<\/em><\/strong> (Zemlja se trese), svojevrsnim hommageom istoimenom Viscontijevom filmu iz 1948.<\/p>\n<p><iframe title=\"La terra trema- Luchino Visconti 1948\" width=\"800\" height=\"600\" src=\"https:\/\/www.youtube.com\/embed\/owGXEG9i53A?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; encrypted-media; gyroscope; picture-in-picture\" allowfullscreen><\/iframe><\/p>\n<p>Pod tim krovnim naslovom, razli\u010diti redatelji vodili su radionice koje su se bavile konkretnim mjestima \u2013 <strong>Antonio Latella<\/strong> tako je vodio radionicu koja se bavila Vatikanom i onime \u0161to je o Vatikanu pisao <strong><a href=\"http:\/\/www.teatar.hr\/osobe\/pier-paolo-pasolini\/\" target=\"_blank\">Pier Paolo Pasolini<\/a>.<\/strong>\u00a0<strong>Milo Rau<\/strong> bavio se, kao \u0161to to \u010dini i u svom kazali\u0161nom radu, socio-ekonomskim problemima Konga; <strong>Fabrice Murgia<\/strong> za temu je odabrao poznato \u0161panjolsko sveti\u0161te Santiago de Campostela do kojeg vodi jedan od najdu\u017eih hodo\u010dasni\u010dkih puteva, <em>Agrupacion Senor Seranno<\/em> deltom Nigera;\u00a0<strong>Jan Lauwers<\/strong> Europom u svom prepoznatljivom stilom, dok je tema radionice <strong>Falka Richtera<\/strong> bio Dresden, grad koji je u Drugom svjetskom ratu sru\u0161en do temelja, jedan od gradova u kojem je zapo\u010dela revolucija 1989. pod sloganom <em>Wir sind das Volk, <\/em>i\u00a0 jedan od gradova koji su trenuta\u010dno vode\u0107i u prosvjedima <em>protiv islamizacije zapadnog svijeta.<\/em><\/p>\n<p><a href=\"http:\/\/www.teatar.hr\/blogeri\/files\/739.jpg\"><img fetchpriority=\"high\" decoding=\"async\" class=\"alignnone size-full wp-image-742\" src=\"http:\/\/www.teatar.hr\/blogeri\/files\/739.jpg\" alt=\"739\" width=\"927\" height=\"618\" srcset=\"https:\/\/www.teatar.hr\/blogeri\/files\/739.jpg 927w, https:\/\/www.teatar.hr\/blogeri\/files\/739-400x267.jpg 400w, https:\/\/www.teatar.hr\/blogeri\/files\/739-800x534.jpg 800w\" sizes=\"(max-width: 927px) 100vw, 927px\" \/><\/a><\/p>\n<p>&nbsp;<\/p>\n<p>Radionica se, kao i ve\u0107i dio opusa Falka Richtera, bavila stvaranjem izvedbenog materijala iz osobnih iskustava izvo\u0111a\u010da i spoju istog s fizi\u010dkim teatrom. S podnaslovom <em><strong>U potrazi za europskim identitetom<\/strong>, <\/em>Falk Richter kroz razgovore s izvo\u0111a\u010dima odlu\u010dio se fokusirati na neke od tema koje su se u\u010destalo pojavljivale\u00a0 \u2013 probleme obitelji, fluidnosti pojma doma (radni naslov kojeg je bio \u201e<em><strong>Airbnb generation<\/strong><\/em>\u201c) i fluidnosti samog identiteta, koji izvo\u0111a\u010di nisu htjeli ili nisu mogli odrediti jednozna\u010dno, a \u0161to se sve \u010de\u0161\u0107e zahtjevaju konzervativni dru\u0161tveni pokreti.<\/p>\n<p>Uz rad s koreografom na pokretu za koji je impuls disanje, potragu za organskim na\u010dinima kretanja i izra\u017eavanjima egzistencijalnih napetosti kroz fizi\u010dke napetosti u pokretu i rad s Falkom Richterom na nekim od njegovih napisanih tekstova koji su postali dio izvedbe, dio rada na radionici bio je vezan i uz teorijske \u010dlanke iz raznih podru\u010dja, a kao jedan od najzanimljivijih istaknuo se tekst <strong>Giorgia Agambena<\/strong> koji je nai\u0161ao na \u017eestoke reakcije diljem Europe \u2013 <em>Latin imperium against the Germanic domination in Europe. <\/em>Doma\u0107e snage zastupili smo tekstovima <strong><a href=\"http:\/\/www.teatar.hr\/osobe\/dubravka-ugresic\/\" target=\"_blank\">Dubravke Ugre\u0161i\u0107<\/a><\/strong> i <strong><a href=\"http:\/\/www.teatar.hr\/osobe\/slavenka-drakulic\/\" target=\"_blank\">Slavenke Drakuli\u0107<\/a><\/strong>, te ulomcima iz <strong>Hemonove<\/strong> zbirke <em>Knjiga mojih \u017eivota. <\/em>Fluidan i intenzivan proces rezultirao je dvadesetominutnom izvedbom u prostorima pokusne dvorane venecijanskog <strong>La Fenicea<\/strong>.<\/p>\n<p>Biennale Teatro svake godine dodjeljuje i <em>Zlatnog lava <\/em>za \u017eivotno djelo i <em>Srebernog lava <\/em>za inovativnost u kazali\u0161tu. <em>Zlatni lav<\/em> ove je godine dodijeljen Christophu Marthaleru, zagreba\u010dkoj publici poznat po sjajnim predstavama <em><a href=\"http:\/\/www.teatar.hr\/145239\/king-size\/\" target=\"_blank\">King Size<\/a> <\/em>i <em><a href=\"http:\/\/www.teatar.hr\/22218\/vocna-musica\/\" target=\"_blank\">Vo\u0107na mu\u0161ica<\/a><\/em>, s posebnim naglaskom na specifi\u010dan odnos izme\u0111u glazbe i govorenog teksta u njegovom kazali\u0161nom svijetu, a nagrada za inovativnost dodijeljena je \u0161panjolskom kolektivu Agrupacion Senor Serrano, \u010dija je predstava <em>A House in Asia<\/em> zatvorila festival, a o kojoj \u0107ete vi\u0161e mo\u0107i pro\u010ditati u nastavku ovog bloga.<\/p>\n<p>Svake ve\u010deri na festivalu su izvo\u0111ene predstave svih voditelja radionica (a radi se o najuglednijim i najzanimljivijim imenima europskog kazali\u0161ta dana\u0161njice), a u popodnevnim satima u festivalskom centru odr\u017eavaju se razgovori s redateljima, u kojima se razgovara o predstavama koje smo prethodno pogledali, ali i njihovom radu op\u0107enito. Jan Lauwers tako se opse\u017eno referirao i na izlo\u017ebu koja se odr\u017eava u Arsenaleu i Giardinima, a koja je ove godine pod novim vodstvom (Okwui Enwezor izlo\u017ebu je naslovio <em>All the World's Futures<\/em>) izrazito politi\u010dki orijentirana, dok je Romeo Castellucci poku\u0161avao demantirati uobi\u010dajene zablude vezane uz svoj rad. Da bi do\u017eivljaj bio potpun, svi sudionici Collegea imaju priliku posjetiti i izlo\u017ebu likovne umjetnosti te imaju ulaznice za sve izvedbe koje se odr\u017eavaju tijekom odr\u017eavanja njihove radionice i popust za one koje se odr\u017eavaju prije.<\/p>\n<p>Prva predstava koju sam pogledao, <em><strong>Hamlet<\/strong> <\/em>Oskara Kor\u0161unovasa \/naslovna fotografija\/ izveden u Teatru Goldoni, jedina je predstava u programu koja se bavila dramskim tekstom i to na vrlo interesantan na\u010din. Jezi\u010dna barijera u ovom slu\u010daju je doista nepremostiva, unato\u010d titlovima na engleskom jeziku, budu\u0107i da iz jezika koji nam je toliko nepoznat doista ne mo\u017eemo dobiti nikakvu informaciju, \u0161to je djelomi\u010dno ote\u017ealo i razumijevanje Kor\u0161unovasovog kompleksnog promi\u0161ljanja Hamleta. Dominantan scenski element su gluma\u010dke garderobe, kroz koje Kor\u0161unovas u prvi plan stavlja metateatarski aspekt Hamleta, borbu izme\u0111u realnosti i zbilje i intimnu Hamletovu potragu za istinom, a ne za osvetom. U trosatnoj predstavi, Kor\u0161unovas je odlu\u010dio pojedine prizore spojiti ili preslo\u017eiti, pa tako predstava zavr\u0161ava Hamletom koji ponovno izgovara svoj najpoznatiji monolog. Promjenama pozicija gluma\u010dkih garderoba\u00a0 \u010ditavi prizori oblikovani su kao svojevrsne <em>mi\u0161olovke<\/em>, a Kor\u0161unovas inteligentno spaja elemente raznih kazali\u0161nih izri\u010daja, suprotstavljaju\u0107i primjerice commediju dell'arte japanskom teatru, u ovom Hamletu li\u0161enog politi\u010dkog konteksta i lika Fortinbrasa.<\/p>\n<p>O predstavama Falka Richtera, Romea Castelluccija, Jana Lauwersa, Antonia Latelle, Fabricia Murgie i Agrupacion Senor Serrano mo\u0107i \u0107ete \u010ditati u nastavku bloga, a ovaj tekst zavr\u0161it \u0107emo informacijom kako se u sklopu Collegea u Veneciji odr\u017eavala i radionica kazali\u0161ne kritike i novinarstva pod vodstvom <strong>Andrea Porcheddua<\/strong> i <strong>Anne Perez Pages<\/strong>, \u010diji je zadatak bio dokumentirati rad svih radionica, ali i program \u010ditavog Biennalea. Uz rijetke iznimke kao \u0161to je bio ciklus radionica <em>Critize this!<\/em> u zemlji u kojoj je kritika toliko marginalizirana, ovakvo \u0161to je gotovo nemogu\u0107e zamisliti.<\/p>\n","protected":false},"excerpt":{"rendered":"<p>O kazali\u0161nom programu Venecijanskog biennala, redateljskim metodama Falka Richtera, &#8216;Hamletu&#8217; Oskara Kor\u0161unovasa i jo\u0161 mnogo \u010demu u novom nastavku teatarskog &#8216;\u0111ira po Italiji&#8217;.<\/p>\n","protected":false},"author":1561,"featured_media":743,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[4],"tags":[62,64],"vrsta":[],"datum-premijere":[],"godina-premijere":[],"produkcija":[],"koprodukcija":[],"class_list":["post-739","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-hrvoje-korbar","tag-hrvoje-korbar","tag-venecijanski-biennale"],"acf":[],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v27.5 - 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