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Závěrečné Práce JANÁČKOVA AKADEMIE MÚZICKÝCH UMĚNÍ V BRNĚ Divadelní fakulta Rozhlasová a televizní dramaturgie a scenáristika Obraz v obraze: životopisné filmy o výtvarných umělcích v současné evropské kinematografii Bakalářská práce Autor práce: Kateřina Hejnarová Vedoucí práce: doc. MgA. Hana Slavíková, Ph. D. Oponent práce: MgA. Eva Schulzová, Ph. D. Brno 2019 Bibliografický záznam HEJNAROVÁ, Kateřina. Obraz v obraze: Ņivotopisné filmy o výtvarných umělcích v současné evropské kinematografii (A Picture Inside a Picture: Biography of visual artists in contemporary European cinematography). Brno: Janáčkova akademie múzických umění v Brně, Divadelní fakulta, Ateliér rozhlasové a televizní dramaturgie a scenáristiky, 2019. Vedoucí práce: doc. MgA. Hana Slavíková, Ph.D. Anotace Tématem mé práce bude předevńím proces přenáńení poetiky výtvarného díla do filmové řeči, hledání vztahu mezi osobním ņivotem a tvorbou umělce, ale také míra a patřičnost interpretace, jíņ se reņisér ve vztahu k cizí tvorbě dopouńtí. Annotation This bachelor thesis focuses on the process of transferring the poetics of the specific artwork into the film language. It endeavours to search for the link between the personal life of the artist and his work, and also the extent and appropriateness of the director's interpretation in relation to others' lifework. Klíčová slova výtvarné umění, ņivotopis, obraz, poetika, filmový jazyk, Van Gogh, Beksiński, Strzemiński Keywords fine art, biography, picture, poetics, film language, Van Gogh, Beksiński, Strzemiński Prohlášení Prohlańuji, ņe jsem předkládanou práci zpracovala samostatně a pouņila jen uvedené prameny a literaturu. V Brně, dne 20. května 2019 Kateřina Hejnarová Poděkování Na tomto místě bych chtěla velmi poděkovat vedoucí mé práce Haně Slavíkové za cenné připomínky, za důvěru i psychickou podporu. Obsah ÚVOD .................................................................................................................... 0 1. SUBŅÁNR ŅIVOTOPISNÝCH FILMŮ O VÝTVARNÝCH UMĚLCÍCH .. 1.1 ANDREJ RUBLEV ......................................................................................... 5 1.2 BASQUIAT ..................................................................................................... 7 1.3 FRIDA .............................................................................................................. 8 1.4 GOYOVY PŘÍZRAKY ................................................................................. 10 1.5 MLÝN A KŘÍŅ .............................................................................................. 12 2. FILMOVÝ PORTRÉT VINCENTA VAN GOGHA .................................. 14 2.1 VINCENT VAN GOGH, JEDEN Z NEJČASTĚJI FILMOVANÝCH VÝTVARNÍKŮ ............................................................................................ 14 2.2 S LÁSKOU VINCENT ................................................................................. 18 2.3 U BRÁNY VĚČNOSTI ................................................................................ 22 2.4 DRAMATURGICKÉ DOPORUČENÍ ........................................................ 25 3. FILMOVÝ PORTRÉT ZDZISŁAWA BEKSIŃSKÉHO ............................ 25 3.1 ZDZISŁAW BEKSINŃSKI A JEHO SVÉRÁZNÉ FASCINACE .............. 25 3.2 POSLEDNÍ RODINA ................................................................................... 26 4. FILMOVÝ PORTRÉT WŁADYSŁAWA STRZEMIŃSKÉHO ................ 30 4.1 POWIDOKI V ŅIVOTĚ I DÍLE WŁADYSŁAWA STREZMIŃSKÉHO .. 30 4.2 MŅITKY ....................................................................................................... 34 ZÁVĚR ................................................................................................................ 41 POUŅITÉ INFORMAČNÍ ZDROJE ................................................................... 43 PŘÍLOHY ............................................................................................................ 46 Úvod „A nejste vy náhodou Andrej Rublev?“ ptá se věhlasný ikonopisec Theofan Grek mnicha Kirila, rozmlouvaje s ním poněkud nepatřičně k své důstojnosti, vleže na lavici pod klenbou téměř dokončeného chrámu. „Proč se díváte na mě? Podívejte se tam,“ ukazuje po stěnách, zatímco Kiril sotva nachází slova pro výraz okouzlení posvátnou jednoduchostí – ale čeho vlastně? Okem kamery stále sledujeme jen olysalého starce, s trochou nadsázky podobného spíš otci Nastěnky ze sovětské pohádky Mrazík. Kiril pak vypráví o svém spolubratru, chválí Rublevovu citlivost, ovšem nedostatek respektu, Boží bázně, kritizuje. Theofan Grek zpozorní, „Vidím, že jste moudrý muž.“ „Pokud ano, je to správně?“ namítá Kiril, „Není lepší být nevzdělaný a řídit se svým srdcem?“ Theofan Grek si postěžuje na zkaženou ikonu, kterou momentálně používá jako prkénko do kuchyně. „Ve velké učenosti je také mnoho smutku. A ten, kdo rozšiřuje své vědomosti, také zvětšuje svůj zármutek.“ Nakonec nabízí Kirilovi spolupráci, vzal by si jej jako pomocníka pro malbu Kostela Zvěstování v Moskvě. Kiril váhá anebo rozmýšlení alespoň umě předstírá, nicméně „pod jednou podmínkou“ souhlasí. Chtěl by peníze? Dostane klidně půlku Theofanovy odměny. „Ne. Budu pracovat zadarmo - pokud mě ty osobně přijdeš vyzvednout do Andronického kláštera. Přede všemi, metropolitou, mě požádáš, abych ti pomohl. Před bratrstvem, před Andrejem Rublevem. Potom ti budu sloužit jako otrok, jako pes až do své smrti.“ Theofanův posel později skutečně přijíždí. A ke Kirilově zděšení uctivě žádá o spolupráci právě Andreje Rubleva. Kiril, jehož jsme před nedávnem sledovali s blahosklonností duchovních moralizovat vesničany, najednou pozoruhodně lehce klášter opouští. Jen než se vydá vstříc světskému životu, uražená ješitnost jej přiměje ještě vyspílat mnichům do kupců s lacinými obrázky a hájit se přitom biblickým pojednáním o vyhnání trhovců z chrámu1. Tento příběh, jedna z dějových linií Tarkovského Andreje Rubleva natočeného roku 19662, se pro filmová vyprávění o výtvarných umělcích zdá být emblematickým. Skrze Theofanovu repliku „Proč se díváte na mě? Podívejte se 1 Mt 21 – 12,13 2 Andrej Rubljov [česky Andrej Rublev] Reņie Andrej TARKOVSKIJ. SSSR: Mosfilm, 1966 [schváleno 1969, premiéra distribuční verze 1971, premiéra autorského sestřihu v SSSR 1988] 0 tam.“3 poznáváme základní nutnost usilovat o pochopení vztahu mezi ņivotními peripetiemi umělce a jeho tvorbou, resp. nemoņnost natočit pouhý výčet biografických faktů s chybějící nebo vágní interpretací díla. Takový film by se zřekl originality, jeņ pramení z autorského rukopisu zobrazovaného, a vinou nezohlednění vzácně autentického odrazu osobní perspektivy, který do sebe tvůrčí činnost vtahuje, by ukrátil i své dokumentaristické kvality. Přičemņ dokumentární potenciál ņivotopisné fikce nespočívá v rekonstrukci nezaznamenané skutečnosti, ale v moņnosti zachytit vnitřní souvislosti a děje pomocí výrazových prostředků, jeņ by neinscenovaný příběh neměl k dispozici. Prostor hraného filmu se totiņ podobá divadelnímu jevińti: iluze reality je pro něj pouze jednou z metod vyprávění. Zrovna tak zde ale lze zpřítomnit sny, představy či metaforické děje – s onou realistickou částí třeba současně. Filmové Fridě Kahlo4 tak za barem opravdová Chavela Vargas zpívá o Llroně5, postavě z mexické lidové mytologie – ņeny osamocené v bolesti, jejíņ archetyp v sobě charaktery obou pijanek nesou; do bytu Zdzisława Beksińského6 přichází po smrti babiček, manņelky a syna bezpříznaková poslední rodina, aby uklidila zbytky tajných úzkostí a přání, bizarních přeludů zakořeněných hluboko v minulosti malíře, jeho blízkých, potaņmo rodné země; pouliční umělec Basquiat7 sleduje surfaře promítnutého nad mrakodrapy coby obraz vlastní bezelstné svobody i lehkováņnosti. Výstiņnost a působivost těchto scén přitom vzniká právě díky uņití nerealistických rovin jazyka fikce při práci s dokumentárním - biografickým námětem. Rozvíjení námětu – v případě této práce ņivota a díla výtvarného umělce – zároveň silně ovlivňuje schopnost upřímně kritické reflexe, nezkalené bázlivým obdivem ani přezíravostí. Cokoli nám brání vést se zobrazovaným rovný dialog, zvyńuje téņ nebezpečí nepochopení a následně jednostranné deformace obsahu filmu. Výkyvy, trefně ilustrované zuřivým obratem mnicha Kirila, můņeme asi nejzřetelněji 3 Andrej Rubljov [česky Andrej Rublev] Reņie Andrej TARKOVSKIJ. SSSR: Mosfilm, 1966 [schváleno 1969, premiéra distribuční verze 1971, premiéra autorského sestřihu v SSSR 1988] 4 Frida. Reņie Julie TAYMOR. USA, Kanada, Mexiko: Handprint Entertainment, Lions Gate Films, Miramax, Ventanarosa Productions, 2002. 5 PEREZ, Domino Renee. There was a woman: La Llorona from folklore to popular culture. Austin: University of Texas Press, 2008. ISBN isbn 978-0-292-71812-8. 6 Ostatnia rodzina. Reņie Jan P. MATUSZYNSKI. Polsko: Aurum Film, HBO Europe, Lightcraft, Maziowiecki Fundusz Filmowy, Universal Music Polska, 2016. 7 Basquiat. Reņie Julian SCHNABEL. USA: Eleventh Street Production, Jon Kilik, Miramax, 1996. 1 vysledovat na přístupu k osobnosti předexpresionistického malíře Vincenta van Gogha: Zatímco roku 1956 jej ve filmu Žízeň po životě8 poznáváme jako moudrého, vņdy důstojného pána, o třicet čtyři let později nám Vincent & Theo9 se záměrem poruńit do té doby zbytnělý vangoghovský mýtus představí nevyzpytatelného bohéma, stíhaného agresivními sklony. Autorská zaujatost je ovńem příčinou závaņného zkreslení faktů, ba předevńím rozporu mezi filmovým příběhem a obsahem výtvarného díla. Van Gogh – bouřlivák, ztvárněný Timem Rothem, výrazně opomíjí rozsáhlou korespondenční autobiografii van Gogha reálného,
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