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MASARYKOVA UNIVERZITA V BRNĚ Michelangelo Antonioni, Povrch MASARYKOVA UNIVERZITA V BRNĚ FILOZOFICKÁ FAKULTA Seminář estetiky Michelangelo Antonioni, povrch každodennosti Bakalářská práce Autor práce: Jan Kratochvil Vedoucí práce: prof. PhDr. Petr Osolsobě, PhD. Brno 2010 1 Bibliografický záznam KRATOCHVIL, Jan. Michelangelo Antonioni, povrch každodennosti. Brno: Masarykova univerzita, Filozofická fakulta, Seminář estetiky, 2010. 67 s. Vedoucí diplomové práce prof. PhDr. Petr Osolsobě, PhD. Anotace #Zájmem práce Michelangelo Antonioni, povrch každodennosti le$í v re$isérov" vrcholném díle z první poloviny 60. let, v tzv. tetralogii cit%, &tve!ici na sebe ideov" navazujících film% pronikající zeitgeist své doby. #Je nahlédnuto postavení Antonioniho ve sv"t", kter' sám kriticky hodnotí, respektive jeho$ odm"!enou deskripci p!iná(í, to ve sv"tle v'voje re$isérovy tvorby, postupného utvá!ení osobitého stylu vysv"tlené popisem v'voje jeho tv%r&í kariéry. #Kritika literatury p!edkládá sedm titul% relevantních k Antonionimu z &eského i zahrani&ního prost!edí, analytické práce, rozhovory, v&etn" sbírky vlastní prózy um"lce. V zájmu jsou publikace: Pierre Leprohon: Michelangelo Antonioni, Seymour Chatman: Antonioni, or the Surface of the World, od tého$ autora publikace The Complete Films, Interviews sestavené Bertem Cardullem, &eská publikace Itálie - režiséři Ljubomíra Olivy, aktuální Čtyřikrát dva Stanislavy P!adné a Antonioniho sbírka Kuželník u Tiberu s úvodem Evy Zaoralové. #Anal'za film% tetralogie je postavena na interpreta&ním rámci Aristotelovy Poetiky dle jednotliv'ch prvk% antické tragédie: d"je, postav, my(lení, !e&i, hudby a scénické v'pravy. P!idána je anal'za modelu diváka na základ" práce Umberta Eca. #Práce je dopln"na textem o aktuální dostupnosti Antonioniho film% na &eském trhu, filmografií a bibliografií. 2 Anotation % #The main interest of the thesis Michelangelo Antonioni, povrch každodennosti from director´s mature work from the first half sixties in so- called tetralogy of emotions was infiltration of zeitgeist from that period into ideologically coherent films. #It is looked at Antonioni´s status in the world which is critically judged by himself. #The critique of literature gives seven titles which are relevant to Antonioni. It is given from czech and foreign atmosphere, analytic works, interviews and it also includes the own artist´s garner. The publications which lies in interest are: Pierre Leprohon: Michelangelo Antonioni, Seymour Chatman: Antonioni, or the Surface of the World and from the same author is the publication Michelangelo Antonioni: The Complete Films, Interviews which is fixed-out by Bert Cardull. The Czech publication named Itálie – režiséři which is from Lubomír Oliva, the actuall Čtyřikrát dva from Stanislava P!ádná and Antonioni´s garner Kuželník u Tiberu with the introduction from Eva Zaoralová. #The analysis of the films of the tetralogy is set on interpretative skeleton Poetics from Aristoteles which is according to individual elements of antic tragedy: the plot, the personages, thinking, talking, music and scenic plot. It is added to the analysis of watcher´s type on the basis of Umberto Eco´s work. #The essay is added to the text about actual availability Antonioni´s films on the Czech field, filmography and bibliografy. Klí&ová slova Antonioni, film, kinematografie, moderní um"ní, vizualita, psychologie, moderní doba, odcizení, lidská du(e Keywords Antonioni, film, cinematography, modern art, visuality, psychology, modern times, alienation, human soul 3 Prohlá'ení Prohla(uji, $e jsem tuto bakalá!skou práci napsal zcela samostatn" s u$itím uveden'ch pramen% a literatury. Dávám zárove) svolení k jejímu ulo$ení v Úst!ední knihovn" FF MU, kde bude k dispozici pro studijní ú&ely. V Brn" dne 27. dubna 2010#### Jan Kratochvil 4 Pod(kování Cht"l bych tímto pod"kovat panu profesoru Petru Osolsob" za n"kolikam"sí&ní trp"livost v p!ijímání nezda!en'ch návrh% a nedomy(len'ch idejí vedoucích v záv"ru k tomuto v'slednému textu. 5 Obsah Úvod%.............................................................................................7 1. Hledání jednoho Antonioniho%.................................................9 2. Pr)*ez tvorbou%.......................................................................12 3. Kritika literatury%.....................................................................14 3. 1. Antonioni!.........................................................................................15 3. 2. Antonioni, or, the Surface of the World!........................................15 3. 3. Michelangelo Antonioni: The Complete Films!.............................18 3. 4. Michelangelo Antonioni: Interviews!.............................................19 3. 5. Re"isé#i - Itálie!.................................................................................24 3. 6. $ty#ikrát dva!....................................................................................26 3. 7. Ku"elník u Tiberu!............................................................................30 4. Poetika%....................................................................................32 4. 1. D%j!....................................................................................................32 4. 2. Postavy!............................................................................................34 4. 3. My&lenka!.........................................................................................37 4. 4. 'e(!...................................................................................................39 4. 5. Hudba!..............................................................................................39 4. 6. Scénická v)prava!...........................................................................42 5. Divák%.......................................................................................47 6. Aktuální dostupnost Antonioniho film)%...............................52 Záv(r%...........................................................................................53 Resumé%......................................................................................55 Summary%....................................................................................57 Filmografie%.................................................................................60 Bibliografie%.................................................................................62 6 Úvod #V rámci filmové teorie panují dva protich%dné názory stran &tení filmu. První, klasi&t"j(í !íká, $e vnímání filmového média není mo$né bez jisté vizuální gramotnosti, znalosti filmového jazyka, prost!edk% a metod filmového projevu, které jsou doslova acquired skill, comparable to fluency in reading or writing1. Oproti tomu se staví p!edstava, that the conventins of visual media can be analogues of informational cues that people use in making sense of unmediated, real-world experience2. #Dílo Michelangela Antonioniho je ve své esenci dominantn" vizuální, natolik, a$ p!ekra&uje pomyslné hranice filmu jako média se sm"!ováním k fotografii, malb" a architektu!e. Nahlédnout a pochopit Antonioniho bez znalosti filmového jazyka by bylo velice obtí$né. Jeho b"$né v'razové prost!edky jako extrémn" dlouhé záb"ry &i nutnost vn"j(í introspekce postav, p!i ní$ divák musí osobn" analyzovat pohnutky a motivy postav pouze na základ" vizuálních dojm% z gest, mimiky, ale i nálad a prom"n okolí, v n"m$ se postavy pohybují, to v(e a mnohé dal(í Antonioniho techniky by bez znalosti kontextu konven&n"j(ích filmov'ch po&in% mohly b't jen s obtí$í pochopeny. #Diskuze je v(ak ryze akademická, proto$e filmové médium je západní kultu!e familiérn" blízké, osoba nezasa$ená filmov'm médiem, je$ by cht"la zhlédnout Antonioniho, je vylo$en" modelov" vykonstruovaná. 1 MESSARIS, Paul. Film : Visual Literacy. In KELLY, Michael. Encyclopedia of Aesthetics. New York : Oxford University Press, 1998., str. 189 2 ibid., str. 189 7 #P!esto v(ak Antonioni není pouze vizuálním um"lcem, ale také psychologem &lov"ka zasa$eného povále&n'mi dozvuky poloviny minulého století, sociálních ztrát a následn'ch zisk%, vzep"tí dominance materiální hodnoty, &lov"ka emocionáln" vy&erpaného a neukotveného, k náhledu tohoto aspektu re$isérovy tvorby je t!eba „pouze” v'razná sensitivita v%&i nuancím lidské psychiky, nikoli znalost konkrétního jazyka moderního filmu. #Tato dualita Antonioniho tvorby - vizuáln"/psychologická - z n"j &iní nikoli pouze dal(ího z mnoh'ch kritik% dobové spole&nosti padesát'ch a (edesát'ch let a vytrácejících se klasick'ch hodnot, ale více um"lce p!edkládajícího univerzáln" aplikovateln' obraz &lov"ka moderního sv"ta s pozadím dynamick'ch fotografií lidské nadprodukující tvo!ivosti. # 8 1. Hledání jednoho Antonioniho #Antonioniho dílo stojí na dualit" vztahu v%&i moderní dob", kterou je Antonioni fascinován a ustavuje ji jedin'm a hlavním tématem celé své tvorby (pomineme-li Il Mistero di Oberwald [Tajemství Oberwaldu], 1981, je$ m%$eme pova$ovat spí(e za experiment s technologií videa a touhou nato&it film, to je jak'koli v jinak prázdném tv%r&ím období3). #Oproti tomu moderní doba a hlavn" filmov' pr%mysl vystaven na základech totální dominance materiálního uva$ování mohou b't nahlédnuty jako prav' d%vod Antonioniho tv%r&í stagnace, a to ze zcela prostého d%vodu. Styl, jen$ si v pr%b"hu svého v'voje re$isér osvojil, není za!aditeln' do kategorie v'd"le&né filmové tvorby. #P!esto$e Lʼavventura (Dobrodružství) &i Blow-up (Zvětšenina) dr$í vysoké pozice v $eb!í&cích nejlep(ích po&in% kinematografie 20. století (zdali mají takové $eb!í&ky smysl pro antonioniovského diváka,
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