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Eseji K a Za Lišn a K Ritik a D a N a S MANFRED PFISTER

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Eseji K a Za Lišn a K Ritik a D a N a S MANFRED PFISTER MANFRED PFISTER eseji eseji Kazališna kritika danas I. lako sam redoviti posjetitelj kazališta, nisam novinar i eseju Of Dramatic Poesie (O dramskoj poeziji, 1668). novinski kazališni kritičar. Moj posao je za jedan stupanj Povremene rasprave o pojedinačnim dramama ili izved­ udaljen od posla novinskoga kritičara: akademski sam bama također se je moglo naći u novima “moralnim tjed­ teoretičar i predavač, stručnjak za englesku dramu i nicima" te u dnevnicima i pismima iz toga razdoblja, kazalište renesanse, te za dramu s prelaska stoljeća i napose onima koje su napisali strani posjetitelji - prim­ današnjice. U ovoj ulozi proizvod sam povijesnog proce­ jerice njemački filozof Lichtenberg. Zahvaljujući njemu sa funkcionalne i institucionalne diferencijacije prakse, imamo detaljne opise Gamckove glume i londonskoga teorije i kritike, koji se, za Englesku, može sažeti u priču glumišta općenito. koja se sastoji od (otprilike) triju faza: • Posljednja faza, što obuhvaća razdoblje od 19. stol­ • U prvoj fazi, renesansi, programatske teorije o kaza­ jeća do danas, bila je svjedokom stvaranja i ustrojavanja lištu i drami pisali su uglavnom dramatičari (npr. Ben sadašnjeg sustava četverostruke podjele kritičarskog Johnson u prolozima i epilozima svojih drama, posla - sustava s četirima zasebnim ali interaktivnim Shakespeare u drami unutar drame kao u Hamletu) - ili metarazinama osvrta na drame: puritanci koji su prema kazalištu bili neprijateljski 0) drame i njihove izvedbe; raspoloženi, te su ga napadali kao nemoralnu instituciju. 1) programatski osvrti dramatičara i kazalištaraca; Tijekom toga razdoblja nije napisana nikakva kritika 2) svakodnevna novinarska kritika izvedbi (u bliskoj pojedinačnih drama ili izvedba, što bi bila vrijedna vezi s rasprostranjenim razvojem lokalnoga dnevnog spomena. Ta mala količina teorije i takvo odsustvo kri­ tiska u 19. stoljeću; od dvadesetih godina ovoga stoljeća tike možda su, paradoksalno, jedan od razloga za također i na radiju, a zatim od pedesetih godina na tele­ neviđeno brz i intezivan razvoj elizabetinske drame i viziji, te danas na Internetu); kazališta, jer su omogućili nesputanu slobodu eksperi­ 3) akademska kritika, povijesna istraživanja i teorije u menta i inovacije. bliskoj povezanosti s osnivanjem književnih i kazališnih • U drugoj fazi, tijekom kasnoga 17. te 18. stoljeća, studija kao sveučilišnih disciplina u kasnomu 19. sto­ programatsko teoretiziranje dramskih pisaca se nastavilo ljeću; (Dryden, Congreve, Steele i drugi); ponekad je razma­ 4) filozofsko, antropološko ili semiotičko teoretizira­ tralo pojedinačne drame kao pozitivne ili negativne nje koje povezuje oblike i funkcije izvedbenih umjetnos­ modele. To je bio slučaj, naprimjer, s Drydenovom ti sa širima kulturološkim pojmovima od Aristotela do kritičkom analizom Johnsonove Epicoene u njegovom Hegela, Benjamina i Bakhtina. 104 GLUMIŠTE 3/4 1999 Razlike tih četiriju metarazina, međutim, daleko su tike koja bi se bavila izuzetno važnim pitanjima kao što od stabilnih i vrlo ih je lako dekonstruirati. Akademska je relativna važnost kritičke ocjene drame i njezine kritika, na primjer, često se odvajala od novinarske kri­ izvedbe (gluma, osvjetljenje, scena, kostimi, glazba...) te tike smatrajući se povijesnom a ne aktualnom, vrijednost uporednih perspektiva određene izvedbe neke filološkom a ne fokusiranom na izvedbu, metodičnom, drame s prijašnjim postavama. Valjalo bi također odre­ sistematičnom i teoretskom a ne spontanom i subje­ diti mjeru do koje bi se reakcije publike uzimalo u obzir ktivnom. Kao što ćemo vidjeti, ipak je uvijek bilo i no­ ili ignoriralo, isto tako mjeru uključivanja ili isključiva­ vinarskih kritičara s akademskom pozadinom, koji su u nja širega, političkog konteksta kazališnoga događaja. obavljanju zadaće recenziranja izvedbi rabili svoje Trebalo bi se, svakako, pozabaviti i nimalo nevažnim akademsko-povijesno i teorijsko znanje. Također bi bilo pitanjem o tome kome bi se kritičar trebao obraćati - odveć pojednostavljeno razlučivati različite metarazine kazalištarcima ili publici, ili i jednima i drugima... na temelju odsutnosti ili nazočnosti teorije. Stoga je moj odgovor na pitanje o tome koliko i kakve Programatske izjave onoga koji se time bavi (1) imaju vrste teorije trebamo u kazališnoj kritici današnjice jest vlastite teorijske implikacije, čak i kad očigledno nisu osvrt na razdoblje kad je kazališna kritika osobito cvjeta­ iznesene. To možemo primijeniti na spontana i subjek­ la i kada su je i kazalištarci i publika smatrali izuzetno tivna razmišljanja novinskoga kritičara (2), ona su često značajnom. Možda je moj izbor pritom uvjetovan lokal- argumentirana nekom teorijom koje ni sam kritičar nije patriotizmom. Upozorit ću, naime, na situaciju u Berlinu (posve) svjestan. Pema tome, akademik-kritičar (3), u od prelaska stoljeća do ranih tridesetih godina, Berlinu uvjerenju da su njegova povijesna i filološka otkrića Kaiserreicha i Weimarske republike - razdoblja što je bjelodana, često je neprijateljski raspoložen prema općenito prihvaćeno kao klasično razdoblje kazališne kritike u Njemačkoj.1 otvorenom teoretiziranju. To uvjetuje paradoks da ne Ovdje se susrećemo s dvama međusobno povezanim možemo ne teoretizirati, budući da svako opažanje već pitanjima: Što je novinarsku kazališnu kritiku u tome pretpostavlja teorijske okvire, te nikad nije samo empir­ razdoblju učinilo tako izuzetno važnom i ključnom te ijsko ili pozitivističko. kakvu je ulogu imala teorija u svemu tome i kako je to Taj opći paradoks osobito je važan u našem kontek­ pridonijelo njezinu značaju? stu, budući da su kazalište i teorija naizgled u izuzetno Kad je posrijedi moje prvo pitanje: bliskoj vezi. To je očigledno već u etimologiji dviju riječi • Kazališna kritika toga razdoblja bila je te sreće da "teatar" i “teorija”. Obje potječu od grčkoga glagola “the­ slijedi i svojim kritičkim osvrtima prati jednu izuzetno orem’ koji znači vidjeti ili zamijetiti. Tako bi teorija onda bogatu, napetu i dramatičnu fazu u povijesti njemačkoga bila “umjetnost gledanja”, “metodizirano gledanje”, a kazališta, sve od borbe za utemeljenje naturalističke kazalište “institucija gledanja”, izlaganja da bi bilo viđeno drame Ibsena, Hauptmanna, Schlafa, Holza i ostalih na (usp. njemačku riječ Schaubühne - kazalište). njemačkoj pozornici, pa preko simbolističkih i ekspre­ sionističkih protustrujanja do zbunjena politiziranja II. kazališta u Piscatorovim revijama i Brechtovomu epskom Dopustite da se sada vratim pitanju koje sam zamol­ kazalištu. Kada kazalište nije ništa osobito i ništa izvan jen razmotriti: “Koliko teorije trebamo u novinskoj kaza­ uobičajenog, niti kazališna kritika ne može biti znatno lišnoj kritici?" U svjetlu onoga što sam dosad rekao, čini se da to nije naprosto pitanje o tome “koliko?” već “kakvu vrstu teorije?" i “trebamo li sada više teorije nego 1 Postoje dvije vrlo korisne antologije kazališne kritike koje pokri­ vaju to razdoblje: Jürgen Rühle (ur.), Theater für die Republik. inače?” 1917-1933 im Spiegel der Kritik, Fischer S. Verlag, Frankfurt am Nije lako odgovoriti na takvo pitanje s obzirom na Main, 1967, te Norbert Jaron, Renate Möhrmann, Hedwig Müller (ured .), Berlin - Theater der Jahrhundertwende. Bühnengeschichte der odsutnost povijesti kazališne kritike, koju tek valja Reichshauptstadt im Spiegel der Kritik (1889-1914), Max Niemeyer napisati, a što je još gore, odsutnost teorije kazališne kri­ Verlag, Tübingen, 1986. 3/4 1999 GLUMIŠTE 105 više od toga. U tome razdoblju razni anarhični te protu­ like dijelili kazalištarci, kritičari i publika. Politički i rječni modernizirajući potisci pokrenuli su jednako kazališni spektakli u Berlinu, izvođeni su i pokazivani raznolika, proturječna i konfliktna sučeljavanja u kao kazalište za ostatak nacije. Jedini je mogući suparnik kritičkim tekstovima koji su te događaje prenosili širem bio Beč koji je ipak ostao u bliskom kulturnom doticaju i nespecijaliziranom čitateljstvu dnevnih novina. Ta i suradnji s Berlinom. Max Reinhardt, na primjer, radio “Anarchie im Drama” (Anarhija u drami), kako ju je je naizmjence ili čak istodobno u oba grada. Ne smijemo 1920. nazvao Bernhard Diebold, jedan od najistaknutijih posve zapostaviti ni Frankfurt, Hamburg i München, koji kritičara toga razdoblja, stalno je izazivala sve tradi­ su zadržali stalnu razmjenu s Berlinom, ili su u njemu cionalne i unaprijed stvorene ideje o tome što drama i tražili orijentaciju. kazalište ustvari jesu, što je njihova bit i svrha. Poticala • Kazališni život, njegova “politika" i organizacija bili eseji eseji Kazališna kritika danas je kritičara da se smjesti unutar tog polja visoke napetosti su daleko od homogenog te su tako poticali daljnju i jasno izrazi svoje kritičke pretpostavke, svoje sustave “dramu” kroz suparništvo kazališta, glumačkih ansam­ vrijednosti, svoja stajališta o budućnosti drame i bala i redatelja. Najpoznatiji primjer bilo bi suparništvo kazališta. Deutsche Theatern Maxa Reinhardta i Staatstheater a • Nadalje, dramatičari, kazalištarci i kritičan dijelili su Leopolda Jeßnera. Znatan broj i velikih i marginalnih ozbiljan osjećaj da je u svakom kazališnom događaju na kazališta, tradicionalnih i avangardnih scena te stalnih i kocki mnogo više nego samo kazalište. Kazališne revolu­ “slobodnih” glumačkih ansambala bili su sučeljeni s obi­ cije odražavale su i reagirale na razdore u društvu i ljem novina, koje su najčešće pratile i kazališne politici. Ponekad su i intervenirale - od “Kulturkampfa" događaje. Kasnih dvadesetih godina bilo ih je otprilike Kaiserreicha, preko Prvoga
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