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1. Polsko a Andrzej Wajda…………………………………………………………10 1 JANÁČKOVA AKADEMIE MÚZICKÝCH UMĚNÍ V BRNĚ Divadelní fakulta Ateliér Rozhlasové a televizní dramaturgie a scenáristiky Rozhlasová a televizní dramaturgie a scenáristika Andrzej Wajda: hrdinství, romantismus a polská historie Diplomová práce Autor práce: BcA. Iryna Shkaruba Vedoucí práce: prof. Pavel Švanda Oponent práce: MgA. Hana Slavíková, Ph.D. Brno 2011 Bibliografický záznam SHKARUBA, Iryna. Andrzej Wajda: hrdinství, romantismus a polská historie. [Andrzej Wajda: heroism, romanticism and Polish history]. Brno: Janáčkova akademie múzických umění v Brně, Divadelní fakulta, Ateliér rozhlasové a televizní dramaturgie a scenáristiky, 2011. 89 s. Vedoucí diplomové práce: prof. Pavel Ńvanda Anotace Práce se zabývá hrdiny Andrzeje Wajdy, které vzeńli z polských tradic, kulturního romantismu, mýtických hrdinských činů předků a vědomí tíhy vlastních dějin, kdy bylo Polsko děleno, okupováno, zneuņíváno, ale: i přes veńkeré křivdy a poráņky, neztratili hluboké patriotické cítění, víru ve spásu a naději, ņe Polsko – jakkoliv zneuctěné zásahy zvenčí, bude jednou svobodné. Prostřednictvím analyticko- esejistické analýzy postav z POKOLENÍ, KANÁLŮ, POPELU A DÉMANTU, LOTNY, KATYNĚ, VESELKY, ZEMĚ ZASLÍBENÉ, POPELŮ, SAMSONA, KRAJINY PO BITVĚ, ČLOVĚKA Z MRAMORU, ČLOVĚKA ZE ŅELEZA, DANTONA, VŃE NA PRODEJ je kaleidoskopicky vyobrazen svět Wajdových hrdinů. Ve snaze o komplexní uchopení tématu je přihlíņeno k historii Polska, symbolickým a náboņenským motivům. Annotation This thesis deals with the heroes of Andrzej Wajda, who came of the Polish traditions, cultural romanticism, mythical heroic deeds of ancestors and an awareness of heaviness of their own history, when Poland was divided, occupied, exploited, but: despite all the injustices and defeats, they didn’t lose the deep patriotic feelings, beliefs of salvation and hope that Poland - though defiled interventions from outside – will be one day free. Through an analytical-essayistic analysis of the characters from A GENERATION, KANAL, ASHES AND DIAMONDS, LOTNA, KATYN, THE WEDDING, THE PROMISED LAND, THE ASHES, SAMSON, LANDSCAPE AFTER THE BATTLE, MAN OF MARBLE, MAN OF IRON, DANTON, EVERYTHING FOR SALE kaleidoscopically illustrates the world of Wajda‘s heroes. In an effort to grasp issue in a complex way thesis takes into account the history of Poland, symbolic and religious motives. Klíčová slova Andrzej Wajda, Polsko, hrdinství, romantismus, Pokolení, Kanály, Popel a démant, Lotna, Katyň, Veselka, Země zaslíbená, Popely, Samson, Krajina po bitvě, Člověk z mramoru, Člověk ze ņeleza, Danton, Vńe na prodej Keywords Andrzej Wajda, Poland, heroism, romanticism, A Generation, Kanal, Ashes and Diamonds, Lotna, Katyn, The Wedding, The Promised Land, The Ashes, Samson, Landscape After the Battle, Man of Marble, Man of Iron, Danton, Everything for Sale Prohlášení Prohlańuji, ņe jsem předkládanou práci vypracovala samostatně a ņe jsem pouņila prameny, které uvádím v soupisu zdrojů. V Brně, dne 2. září 2011 Iryna Shkaruba Poděkování Děkuji prof. Pavlu Ńvandovi za podporu, připomínky a rady, porozumění, trpělivost i čas, strávený nad mými texty, a – Barboře Bártové za jazykovou korekturu. Obsah Úvod…………………………………………………………………………………. 8 1. Polsko a Andrzej Wajda…………………………………………………………10 1. 1 Polsko – země bez identity?..............................................................................10 1. 2 Andrzej Wajda, člověk……………………………………………………..... 16 2. Kaleidoskop mnoha podob hrdinství……………………………………………. 19 2. 1 Socialistický realismus: POKOLENÍ……………………………………….. 19 2. 1. 1 POKOLENÍ (Pokolenie, 1955)…………………………………………. 19 2. 2 Existenciální poválečná frustrace: KANÁLY, POPEL A DÉMANT………. 22 2. 2. 1 KANÁLY (Kanal, 1957)……………………………………………….. 22 2. 2. 2 POPEL A DÉMANT (Popiól i diament,1958)…………………………. 27 2. 3 Počátek a konec: LOTNA a KATYŇ……………………………………….. 30 2. 3. 1 LOTNA (Lotna, 1959)………………………………………………….. 30 2. 3. 2 KATYŇ (Katyń, 2007)…………………………………………………. 33 2. 4 Staré romantické Polsko: VESELKA, ZEMĚ ZASLÍBENÁ, POPELY ….... 36 2. 4. 1 VESELKA (Wesele, 1973)……………………………………………... 36 2. 4. 2 ZEMĚ ZASLÍBENÁ (Ziemia obiecana, 1975)………………………… 39 2. 4. 3 POPELY (Popioly, 1965)………………………………………………. 42 2. 5 Ņidovský aspekt: SAMSON, KRAJINA PO BITVĚ……………………….. 46 2. 5. 1 SAMSON (Samson, 1961)……………………………………………... 46 2. 5. 2 KRAJINA PO BITVĚ (Krajobraz po bitwie, 1970)……………………. 50 2. 6 Dva v jednom – minulost a budoucnost: ČLOVĚK Z MRAMORU a ČLOVĚK ZE ŅELEZA…………………………………………………………………. 53 2. 6. 1 ČLOVĚK Z MRAMORU (Czlowiek z marmuru, 1977)………………. 53 2. 6. 2 ČLOVĚK ZE ŅELEZA (Czlowiek z zelaza, 1981)…………………….. 58 2. 7 Francouzský revolucionář: DANTON………………………………………. 62 2. 7. 1 DANTON (1983)……………………………………………………….. 62 2. 8 Přebírání ńtafety budoucího hrdiny: VŃE NA PRODEJ…………………….. 66 2. 8. 1 VŃE NA PRODEJ (Wszystko na sprzedaz, 1969)……………………... 66 3. Společné a podstatné…………………………………………………………….. 71 3. 1 Utřídění hrdinství……………………………………………………………. 71 3. 2 Symboly, rituály, citace……………………………………………………... 75 3. 3 Postoj k náboņenství, spáse a zatracení ……………………………………... 77 Závěr……………………………………………………………………………….. 80 Poznámky k literatuře……………………………………………………………… 82 Pouņitá literatura…………………………………………………………………… 84 Citované filmy……………………………………………………………………... 87 Filmografie Andrzeje Wajdy………………………………………………………. 88 Úvod Soustava myńlenek – cíl zkoumání diplomové práce, je utvářena tematicky, územně, pocitově spřízněným okruhem postojů, zděděných dojmů a příběhů, které se navzájem dotýkají a mezi sebou, jako podivné ņivé sféry, se prolínají v hluboký svět, který si je vědom svých kořenů. U zrodu, nad mísou „polskosti“, stojí Andrzej Wajda a vypráví: o starém, kdysi existujícím, Polsku s jeho ńlechtou, hulány, bílými koňmi, o mýtických bojích a patriotických činech, o nocích před úsvitem, kdy se tančí, pije, doufá, o víře v podstatu romantismu a ve smysl iluze lepńích zítřků, ale i polemizuje – s výkladem národních dějin, patriotismem, hrdinstvím. Křehký kaleidoskop symbolů a obrazů, vńichni ti koně, svatby, pohřby a tanky jsou tenkými spoji, které spojují Wajdu se vńím, co jej kdysi utvářelo a formovalo, a co po léta formuje a utváří jeho hrdiny, vycházející z povahy polských dějin a literárního romantismu. Práce tedy není o Andrzeji Wajdovi, ale o Jeho hrdinech. Výběr filmů je jakýmsi reprezentativním vzorkem, jenņ odráņí témata, pochyby, otázky, věci, jeņ Wajdu trápí, pudí, zajímají. Napříč časem byl vykonán průřez, který vyjevil to, co tvoří výńe zmíněné sféry. Otázky starého hynoucího Polska zračí ZEMĚ ZASLÍBENÁ, kam vkráčel kapitalismus, POPELY se topí ve fanatickém boji za svobodu půdy, VESELKA sní sen jedné věčné polské noci. Spolu, Básník z KRAJINY PO BITVĚ i SAMSON, odráņejí světla světa pokřiveného, zneuctěného, zkaņeného, zaraņeného válkou: ani dņbán pálenky, symbolicky hořící, by nespasil tolik mrtvých. Zbytečně zemřelých. Těch z KANÁLŮ, POPELU A DÉMANTU i POKOLENÍ. Za Polsko jiné, lepńí, stále věřící a doufající, se přimlouvají Agnieszka a Tomczyk z ČLOVĚKA Z MRAMORU a ŅELEZA – objevují to, čím se dají prolomit vlny nesmyslu, nepravd, omezujících doktrín – pravdou, a vědomím pravdy o dějinných nespravedlnostech, kdy Poláky potkalo zlo v podobě několika dělení, okupací, lņí. Ryzím projevem filmu, jakoņto prostředku k dosaņení a vyjevení pravd, je filmování: o herci, který byl a není, je Wajdův výprodej VŃE NA PRODEJ. Uņ není, stejně jako staré Polsko, hulánské, Cybulski. Z důvodu filmovosti, jenņ je duchem VŃE NA PRODEJ, smyslem VŃE NA PRODEJ, byl navíc nevyhnutelnou realitou (reņiséra Andrzeje ve filmu i ve skutečnosti) přístup, optika, mnou vybraná pro hledání hrdiny tohoto filmu (spolu s ostatními hrdiny) téņ volnějńí – vņdyť 8 filmování je pro Wajdu základním prostředkem pro vyjádření neustálé a neúnavné demytizace polských dějin a lidí v nich. Cizokrajné postavy a příběhy, které Wajda kdysi realizoval mimo Polsko, jsou ve výběru zastoupené DANTONEM. Pohled na tento specifický útvar mnoha postav je analyticko-esejistický. Ten kromě pocitu svobody, o nějņ usilují vńichni Wajdovi hrdinové, dovoluje formu bytí rozevřenou a nakloněnou odbočkám a postřehům sensibilního původu, ale také předpokládá jistou míru subjektivity, bez níņ by oko esejisty, uviděvńí jemné nuance, popř. symboly, kterých je Wajdův svět plný, propadlo v pláč. Cílem tedy je: vyobrazit svět Wajdových bojovníků vzhledem k dějinným událostem, starým tradicím a literárním romantickým kořenům. Nanejvýń – odpovědět na otázku, zda se Polsko dá vůbec pochopit. 9 1. Polsko a Andrzej Wajda 1. 1 Polsko – země bez identity? Polsko, země plná komplexů, mýtů a legend, vyvstává v dějinách Evropy jako neustále atakovaná, hrdá, okupovaná „horká brambora“, která byla přehazována mezi sousedními mocnostmi, dělená, „čińtěná“, ničená. Metaforické vyjádření Polska jako brambory, která je „zasazená“ dynastií Piastovců v 9. století na severovýchodě Evropy, vyjadřuje obraz Polska, které bylo několikrát zbaveno kořenů, přesídleno, vyháněno a ideologicky zotročeno, aby uspokojilo mocenské chutě Ruska, Pruska, Rakouska, Mongolska, Francie, Ńvédska i Turecka. O vytvoření polského státu, na strategickém místě, na východ od Pruska, na západ od Ruska, poblíņ obchodních cest Baltského moře, se zasadil Meńek I., který v 10. století v Polsku provedl christianizaci. Později církev, mimořádný prvek polských dějin, byla polským národem ztvrzena jako instituce, která je úzce spjatá s existencí (a přeņitím) tzv. polské duńe, a v níņ se vzpomínka na tradice, legendy, zvyklosti a dějiny Polska řídí jakýmsi zvláńtním řádem: církev byla „jediná instituce, která přes vńechny dějinné perturbace, katastrofy,
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