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Tanec V Židovských Dějinách Dance in the Jewish History

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Tanec V Židovských Dějinách Dance in the Jewish History Univerzita Karlova v Praze Husitská teologická fakulta Diplomová práce Tanec v židovských dějinách Dance in the Jewish History ÚSTAV ŽIDOVSKÝCH STUDIÍ OBOR HUSITSKÁ TEOLOGIE-JUDAISTIKA PREZENČNÍ STUDIUM Vedoucí práce: Doc. Bedřich Nosek Tereza Indráková Praha 2010 Prohlašuji, že jsem tuto diplomovou práci s názvem Tanec v židovských dějinách napsala samostatně a výhradně s použitím citovaných pramenů a literatury. Současně dávám svolení k tomu, aby tato diplomová práce byla umístěna v Ústřední knihovně UK a používána ke studijním účelům. V Praze, 30. června 2010 Tereza Indráková Děkuji doc. Bedřichu Noskovi za odborné vedení diplomové práce a doc. Daniele Stavělové za konzultace v oblasti teorie tance. Dále děkuji velvyslanectví státu Izrael v Praze - kulturnímu oddělení za poskytnutí cenných materiálů a jmenovitě panu Niv Zevo Kulmanovi za laskavou pomoc při vyhledávání odborné literatury. Dále děkuji Ing. Janě Indrákové za velkou podporu v těžkých chvílích při zrodu této práce Anotace Tato práce představuje přehled o tanci v proměnách židovských dějin. Postupuje chronologicky od starověku do současné doby. Sleduje, jakým způsobem se tanec vztahoval k židovskému náboženství. Rozděluje taneční obor na jednotlivé žánry - lidový, umělecký tanec a předkládá vývoj těchto žánrů v současném Izraeli. Velkou pozornost věnuji vývoji uměleckého tance v moderním státě Izrael, jeho zahraniční orientaci a významu tance v současné izraelské společnosti i ve světě. Anotation This work deals with a phenomenon of dance of the Jewish nation concerning the changes of the social and cultural context. Following the chronological view from the Ancient Israel up to modern state of Israel. I present the ways of how dance relates to the religion. I present the developement of folk and artistic dance in Israel. I focus specially on developement of the artistic dance in modern Israel while concerning the orientation of Israel in the world map and status in contemporary Israeli and world society. Klíčová slova tanec, židovský národ, dějiny tance, izraelský lidový tanec, národní identita, umělecký tanec, Batsheva Dance Company, Ohad Naharin, Gaga Key words dance, Jewish nation, history of dance, israeli folk dance, national identity, artistic dance, Batsheva Dance Company, Ohad Naharin, Gaga Seznam použitých zkratek: BHS - Biblia Hebraica Stuttgartensia, ed. R. Kittel, Württenbergische Bibelanstalt Stuttgart 1971 ČEP - Bible, Písmo svaté Starého a Nového zákona, včetně deuterokanonických knih, Český ekumenický překlad, Česká biblická společnost, Praha 2005 Zkratky jednotlivých biblických knih uvádím tak, jak jsou zavedeny v českém ekumenickém překladu Bible. EJ - Encyclopedia Judaica Jerusalem, Recorrected Edition, Keter Publishing House Jerusalem Ltd., Jerusalem 1996 Aldor, 2003 - Aldor, Gaby: The Borders of Contemporary Israeli Dance: Unvisible Unlessin Final Pain,Dance Research Journal, 35/1, Summer 2003, http://www.jstor.org/pss/1478480 Eshel, 2003 - Eshel, Ruth: Concert Dance in Israel, Dance Research Journal, 35/1, Summer 2003, http://www.jstor.org/pss/1478479 Friedhaber, 1994 - Friedhaber, Zvi: Jewish Dance Tradition, Israel Dance, vol. 4, November 1994 Ingber, 2005 - Ingber, Judith Brinn: Dancing Inspite the Scourge: Jewish Dancers during the Holocaust, http://www.jbriningber.com/Dancing_Despite_the_Scourge.pdf Oesterley, 2002 - Oesterley, W. O. E.: Sacred Dance in the Ancient World, Dover Publications, Inc. Mineola, New York, 1923 ed. 2002 Shiloah, 1992 - Shiloah, Amnon: Jewish Musical Traditions, Wayne State Universtity Press, Detroit 1992 Shulvass, 1973 - Shulvass, Moses A.: The Jews in The World of The Renaissance, Spertus College of Judaica Press, Chicago 1973 Ronen, 1994 - Ronen, Dan: 50 Years of Israeli Folk Dance, Israel Dance, vol. 4, November 1994 Pravidla transkripce hebrejských výrazů Používám velmi zjednodušená pravidla pro transkripci. Vyhýbám se přepisu dlouhých samohlásek, neboť v hebrejštině je funkce délky jiná. Nenaznačuji ševa apostrofem, avšak tam, kde je vyslovováno, například v prefixu nebo po laryngále, ho přepisuji samohláskou e. Nezdvojuji souhlásky se silným dageš. Nenaznačuji němé souhlásky. Transkripce se snaží držet toho, aby hebrejská slova a jména odrážela dnes běžnou hebrejskou výslovnost, jak ji lze zapsat pomocí české abecedy. Oproti anglickým přepisům využívám odpovídajících českých abecedních znaků (ch, h, c, š). Obsah: Úvod ........................................................................................................................ 11 1. Tanec ve starověkém Izraeli ................................................................................. 13 1. 1 Tance oslavující vítězství ....................................................................... 14 1. 2 Extatické tance........................................................................................ 15 1. 3 Procesionální tance ................................................................................ 17 1. 4 Přírodní tance - tance žní, vinobraní a jiných svátků.......................... 18 1. 5 Tance na vinicích - námluvy ................................................................. 19 1. 6 Svatební tance......................................................................................... 19 1. 7 Tance kolem posvátného předmětu…………………………………....20 2. Postavení tance a taneční projevy v době židovské diaspory ............................. 22 2. 1 Tanec ve střední a východní Evropě v období diaspory ...................... 22 2. 2 Rabínský postoj k tanci .......................................................................... 23 2. 3 Chasidské tance ...................................................................................... 25 2. 4 Tance jemenských židů.......................................................................... 27 2. 5 Tance kurdistánských židů .................................................................... 28 3. Vztah mezi křesťany a židy v době renesance..................................................... 30 3. 1 Vztah renesančních židů v Itálii k výtvarnému umění........................ 31 3. 2 Vztah židů k tanci a hudbě v renesanční Itálii ..................................... 33 4. Tanec a umělecké projevy v průběhu holocaustu ............................................... 38 4. 1 Varšavské ghetto .................................................................................... 40 4. 2 Koncentrační tábory............................................................................... 41 5. Vznik a vývoj izraelských lidových tanců........................................................... 44 5. 1 Zrod lidového tance v Izraeli................................................................. 45 5. 2 Vývoj a charakter lidového tance v Izraeli ........................................... 46 5. 3 Biblické vlivy.......................................................................................... 46 5. 4 Vliv socialistických a kolektivistických myšlenek............................... 47 5. 5 Vliv německého výrazového tance ....................................................... 47 5. 6 Styl a tvarosloví izraelských lidových tanců......................................... 48 5. 7 Izraelské lidového tance v současném státě Izrael ............................... 49 5. 8 Příklad vytváření izraelských lidových tanců...................................... 49 6. Vývoj uměleckého tance v Izraeli........................................................................ 51 6. 1 Průkopníci uměleckého tance v Palestině............................................ 51 6. 2 Zrod druhé generace izraelských tanečníků......................................... 54 6. 3 Období izolace během druhé světové války ......................................... 55 6. 4 Odklon od evropského tance - období krize......................................... 57 6. 5 První dotovaná skupina izraelského tance............................................ 60 6. 6 Příklon k americkému tanci - založení velkých tanečních souborů... 61 6. 7 Průlom nezávislého tance...................................................................... 64 6. 8 Opětovný příklon uměleckého tance k Evropě.................................... 66 7. 1 Batsheva Dance Company - zrod z lůna Spojených států................................ 68 7. 2 Osobnost choreografa Ohada Naharina a jeho dílo.............................. 70 7. 3. 1 Fenomén Gaga - pohybová metoda Ohada Naharina ...................... 74 7. 3. 2 Filozofie metody Gaga - zdroj zážitku tělesnosti a energie…..…… 75 7. 3. 3 Metoda Gaga v současné izraelské společnosti ................................. 76 8. Současná taneční scéna v Izraeli - instituce, školy, taneční soubory .............. 77 8. 1 Suzanne Dellal Centre for Dance and Theatre, Tel Aviv..................... 77 8. 2 Dance Library of Israel, Tel Aviv .......................................................... 79 8. 3 The Jerusalem Academy of Music and Dance, Jerusalem .................... 79 8. 4 Inbal Pinto Dance Company................................................................. 80 8. 5 Liat Dror and Nir Ben Gal Company..................................................... 81 8. 6 Vertigo Dance Company……………………………………………….82 Závěr………………………………………………………………...………………84 Summary…………………………………………………………………...….…… 86 Prameny a literatura……………………………………………………………….. 87 Příloha č. 1 - Současná taneční scéna v Izraeli………………………………….....90 Úvod Moje práce, nazvaná Tanec v židovských dějinách, si klade za cíl představit současnou taneční scénu v Izraeli a
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