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Jan Švankmajer Západo česká univerzita v Plzni Fakulta filozofická Bakalá řská práce Výrazná osobnost českého hraného filmu - Jan Švankmajer Klára Nováková Plze ň 2014 Západo česká univerzita v Plzni Fakulta filozofická Katedra filozofie Studijní program Humanitní studia Studijní obor Humanistika Bakalá řská práce Výrazná osobnost českého hraného filmu - Jan Švankmajer Klára Nováková Vedoucí práce: Mgr. Jan Kastner. Katedra filozofie Fakulta filozofická Západo české univerzity v Plzni Plze ň 2014 Prohlašuji, že jsem práci zpracovala samostatn ě a použila jen uvedených pramen ů a literatury. Plze ň, duben 2014 ……………………… Pod ěkování Ráda bych touto cestou pod ěkovala Mgr. Janu Kastnerovi za pomoc p ři řešení práce a svým blízkým za jejich podporu a trp ělivost. OBSAH 1. Úvod ........................................................................................................ 1 2. Surrealismus ............................................................................................ 2 2.1. Po čátky surrealismu ........................................................................................... 2 2.2. Surrealismus v Československu ......................................................................... 5 2.3. Surrealismus a filmová tvorba ........................................................................... 9 2.4. Avantgardní filmy 20. a 30. let 20. stol. a dadaismus ...................................... 10 2.5. Klasický surrealismus a film ............................................................................ 11 2.6. Odraz surrealismu v českém filmu .................................................................. 16 3. Jan Švankmajer ..................................................................................... 16 3.1. Životopis .......................................................................................................... 16 3.2. Surrealismus v díle Jana Švankmajera ............................................................. 18 4. Filmografie Jana Švankmajera .............................................................. 21 4.1. Poslední trik pana Schwarzewaldea a pana Edgara (1964) ............................. 21 4.2. Johann Sebastian Bach: Fantasia G-moll (1965) ............................................. 22 4.3. Hra s kameny (1965) ........................................................................................ 22 4.4. Rakvi čkárna (1966) .......................................................................................... 22 4.5. Et Cetera (1966) ............................................................................................... 23 4.6. Historia Naturae (Suita) (1967) ....................................................................... 23 4.7. Zahrada (1968) ................................................................................................. 23 4.8. Piknik s Weissmannem (1968) ........................................................................ 24 4.9. Byt (1968) ........................................................................................................ 24 4.10. Tichý týden v dom ě (1969) .......................................................................... 25 4.11. Kostnice (1970) ............................................................................................ 25 4.12. Don Šajn (1969) ........................................................................................... 25 4.13. Žvahlav aneb šati čky slam ěného Huberta (1971) ........................................ 26 4.14. Leonard ův deník 72 (1972) .......................................................................... 27 4.15. Otrantský zámek (1977) ............................................................................... 27 4.16. Zánik domu Usher ů (1980) .......................................................................... 27 4.17. Možnosti dialogu (1982) .............................................................................. 28 4.18. Do pivnice (1982)......................................................................................... 29 4.19. Něco z Alenky (1988) .................................................................................. 29 4.20. Mužné hry (1988) ......................................................................................... 32 4.21. Another kind of love (1988) ......................................................................... 32 4.22. Tma/Sv ětlo/Tma (1989) ............................................................................... 32 4.23. Zamilované maso (1989) .............................................................................. 32 4.24. Flora (1989) .................................................................................................. 33 4.25. Konec stalinismu v Čechách (1990)............................................................. 33 4.26. Jídlo (1992) .................................................................................................. 34 4.27. Lekce Faust (1993) ....................................................................................... 35 4.28. Spiklenci slasti (1996) .................................................................................. 36 4.29. Otesánek (2000) ........................................................................................... 37 4.30. Šílení (2005) ................................................................................................. 39 4.31. Přežít sv ůj život (2010) ................................................................................ 41 5. Záv ěr ..................................................................................................... 41 6. Seznam použité literatury: .................................................................... 43 7. Resumé .................................................................................................. 47 8. Seznam p říloh ....................................................................................... 48 1. Úvod Ve své bakalá řské práci „Výrazná osobnost českého hraného filmu – Jan Švankmajer“ se v ěnuji této velmi zajímavé postav ě naší um ělecké scény. Bakalá řskou práci o Janu Švankmajerovi jsem rozd ělila do dvou hlavních částí. V první části se zabývám surrealistickým hnutím, jeho ko řeny a vývojem a také zde představuji nejvýrazn ější p ředstavitele tohoto hnutí u nás i v cizin ě, a to p ředevším v oblasti filmové tvorby. Pro surrealismus je p řízna čná snaha o navrácení čistoty myšlení a jazyka. Hlavním tématem pak velmi často je imaginace a spojení s realitou a s jejím možným obohacením. Po tomto obecném úvodu následuje seznámení s osobností Jana Švankmajera a jeho životem. V této části práce se zmi ňuji o um ěleckých vzorech, které jej v mládí siln ě ovlivnily. Stru čně zde vysv ětluji také vliv surrealismu na české um ělecké prost ředí v 1. polovin ě 20. století. Popisuji zde ty znaky surrealistické tvorby, které jsou v tvorb ě Jana Švankmajera zastoupeny nejsiln ěji, a které jsou pro jeho díla charakteristické. Pro Švankmajerovu tvorbu je takovýmto znakem vnit řní model a inspirace prožitky z dětství a sen. V souvislosti s principem hry, který je spojen s již zmín ěnými prožitky z dětských let, se v práci zabývám také fenoménem loutky. Švankmajerova tvorba byla ovlivn ěna díly Giuseppa Arcimbolda, jeho zálibou je imaginace a inspirace rudolfínským manýrismem, dále se v ěnuje tvorb ě objekt ů a jejich filmové animaci. V práci se v ěnuji jeho filmové tvorb ě, p ředevším jeho celove černím hraným film ům. Hlavními zdroji pro moji bakalá řskou práci jsou samoz řejm ě filmy Jana Švankmajera, které znám všechny a kniha „Síla imaginace“ 1, protože kniha „Možnosti dialogu; Mezi filmem a volnou tvorbou“2 v dob ě, kdy jsem psala práci, ješt ě nebyla dostupná. V teoretickém úvodu se opírám o knihu surrealistických manifest ů Andrého Bretona „Manifesty surrealismu, 3 a o práci Tima Martina „Surrealisté .“4 Dále jsem využívala knihu 1ŠVANKMAJER, Jan a DRYJE, František, ed. Síla imaginace: režisér o své filmové tvorb ě. Vyd. 1. Praha: Dauphin, 2001. 2ŠVANKMAJER, Jan, DRYJE, František, ed. a SCHMITT, Bertrand, ed. Možnosti dialogu; Mezi filmem a volnou tvorbou . Vyd. 1. Řevnice: Arbor vitae, 2012. 508 s. 3BRETON, André. Manifesty surrealismu . 1. souborné vyd. Praha: Herrmann & synové, 2005. 4MARTIN, Tim. Surrealisté. Vyd. 1. [Praha]: Slovart, 2004. 1 „Surrealismus není umění,“ 5 kterou napsal František Dryje. Tento autor jako editor spole čně s Brunem Sola říkem a s Martinem Sou čkem uspo řádal také knihu o tvorb ě manžel ů Švankmajerových „Syrové um ění: sbírka Jana a Evy Švankmajerových.“.6 Další publikací, ze které jsem čerpala, je kniha Scenáristika animovaného filmu; Minimum z historie české animace 7 od Edgara Dutky a t řetí a čtvrtý díl publikace Bohumíra Mráze Dějiny výtvarné kultury. 8 Zdrojem inspirace p ři psaní bakalá řské práce byla pro mne návšt ěva výstavy „Možnosti dialogu /Mezi filmem a volnou tvorbou,“ od 16. kv ětna do 15. zá ří 2013 v Muzeu moderního um ění v Olomouci. Tato retrospektivní výstava ukazuje propojenost autorovy filmové tvorby s jeho výtvarnými díly. Z výstavy v Olomouci pochází v ětšina mých fotografií, které jsou sou částí této práce. 2. Surrealismus 2.1. Po čátky surrealismu Surrealismus se objevil po čátkem 20. století jako intelektuální hnutí, rozší řil se mezi válkami a v menší mí ře existoval ješt ě po 2. sv ětové válce. S jeho po čátky je spojena Francie, zejména Pa říž, odkud se rozší řil do celého sv ěta. Surrealismus navázal na hnutí dadaismu a oba tyto
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