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Lehman Brothers 1 2 3 STEFANO MASSINI Lehman Brothers Lehman Trilogy 2012 itaalia keelest tõlkinud MARGUS ALVER Mängivad → GUIDO KANGUR kolm vaatust: MAIT MALMSTEN I Kolm venda PRIIT VÕIGEMAST II Isad ja pojad III Surematud Muusikud → JOEL REMMEL (klaver) HEIKKO REMMEL või lavastaja → HENDRIK TOOMPERE JR MIHKEL MÄLGAND (kontrabass) kunstnik → LAURA PÄHLAPUU AHTO ABNER (löökpillid) kostüümikunstnik → KÄRT OJAVEE valguskunstnik → PRIIDU ADLAS videokunstnik → ALYONA MOVKO helikujundaja → LAURI KALDOJA liikumisjuht → ÜÜVE-LYDIA TOOMPERE etenduse juht → JOHANNES TAMMSALU Esietendus 9. septembril 2020 suures saalis. 4 5 Ronconi assistendina. Seal hakkas ta nii lavastama kui ka Ronconi julgustusel 2005. aastast alates aktiivselt teatrile kirjutama ja algusest peale saatis teda edu. Tema looming on praeguseks pälvinud kõik olulisemad itaalia teatri- ja kirjandusauhinnad, mitmed neist korduvalt. Massini tegutseb mitmel alal, ta on kirjutanud näidendeid ja proosat, õpeta- nud Itaalia kõrgkoolides, juhtinud erinevaid teat- riprojekte ja telesaateid, lavastanud. Tema teoseid on tõlgitud ligi paarikümnesse keelde ja näidendeid lavastatud mitmetes maailma kõrgetasemelistes teatrites. Ta on öelnud, et kirjanikuna ei huvita teda paarisu- hete lood, vaid ajaloolistes sündmustes kajastuvad põhimõttelised eetilised küsimused. Nii on ta kirju- tanud mõrvatud vene ajakirjaniku Anna Politkovs- kaja tekstide põhjal temast dokumentaalnäidendi, endise Itaalia peaministri Aldo Moro pantvangikrii- sist, eaka Iraagi naise ja tema lapselapse 5000- kilomeetrisest põgenemisteekonnast Mosulist Läänemereni, Hannah Arendti ja Adolf Eichmanni dialoogi, Juuda evangeeliumi jm. Stefano Massini on intervjuudes rääkinud oma eripärasest kirjutamisviisist. Ta on nimelt igapäe- vane rattasõitja, 30-40-kilomeetristel ringidel oma kodu ümbruses Firenze ja Prato vahel räägib ta vahel oma tekstid kõva häälega ette ning salvestab telefoniga, hiljem kirjutab maha. See lisavat teatri- Stefano Massini. tekstile kõne loomulikkust ja voolavust. 2008. aastal Lehman Brothersi panga kokkuvari- semisest doominoefektina vallandunud globaalne Itaalia kirjanik ja lavastaja Stefano Massini on sündi- majanduskriis ajendas Massinit kirjutama ta seni nud Firenzes 22. septembril 1975. Ta õppis Firenze kõige suurejoonelisemaks ja edukamaks osutunud ülikoolis antiikkirjandust, egüptoloogiat, arheoloo- näidendit „Lehmani triloogia“ („Lehman Trilogy“). giat, araabia keelt. Ülikoolis huvitus ta juudi kultuu- Ta kogus materjali arhiividest, raamatutest, aja- rist, süvenes selle ajalukku ja religiooni ning õppis kirjandusest, kohtumistelt ning kirjutas näidendit heebrea keelt. 24-aastasena jõudis ta teatri juurde. kolm aastat, 2009–2012. 2016. aastal avaldas ta ka Algul tegutses ta Firenze ooperiteatris Maggio näidendi põhjal kirjutatud värssromaani „Midagi Musicale Fiorentino vabatahtliku külalislavastaja- Lehmanite kohta“ („Qualcosa sui Lehman“). te assistendina, sajandivahetusest alates töötas Näidendi esmalavastus toimus 8. oktoobril 2013 juba kuulsas Milano Piccolo Teatros lavastaja Luca 6 7 Pietro Pizzuti tõlkes Prantsusmaal Saint-Étienne’is teatris Comédie de Saint-Étienne (lavastaja Arnaud saksaMaa ja Meunier). Itaaliakeelse algupärandi esmalavastus toimus 30. jaanuaril 2015 Itaalias Milanos Piccolo alaBama vereSt Teatro Grassis (lavastaja Luca Ronconi). Ilmselt rah- vusvaheliselt tuntuim lavastus esietendus 12. juulil nEw yorgi lasTeni 2018 Londonis National Theatre’is Mirella Chee- semani tõlkes ja Ben Poweri kohanduses (lavastaja di góldene medíne’s Margus Alver Sam Mendes). Seda lavastust oli Eestis võimalik vaadata 2019. a National Theatre Live’i vahendusel ning sedasama lavastust on National Theatre män- Näidendi „Lehman Brothers“ avastasin 14. mail ginud ka Broadwayl. 2016, mil nägin selle lavastust Saksamaal Schau- spiel Hannoveris Gerda Poschmann-Reichenau tõlkes. Hiljem õnnestus samuti päris teatrisaalist vaadata ka Brüsseli Théâtre du Rideau de Bruxel- les’i (Pietro Pizzuti tõlkes), Milano Piccolo Teatro ja Londoni National Theatre’i ning tänavu kevadel videosalvestuse vahendusel Espoon kaupungin- teatteri (Elina Suolahti tõlkes) lavastust. Brüsseli lavastus oli neist viiest ainuke, milles tekst kanti ette täismahus. Kolmeosalist tükki võis vaadata kas kol- mel õhtul eraldi või nädalavahetuseti järjepanu ühel pärastlõunal ja õhtul. Nagu ka tänaõhtune lavastus olid kõik ülejäänud lühendatud variandid, neist Piccolo Teatro lavastus minimaalsete tekstikärbete- ga (koos vaheaegadega umbes viis tundi pikk). Vabavärsis või pigem rütmilises proosas kirjutatud näidendi tõlkimisele, teksti sisse minekule ning eestikeelse lavarütmi ja poeesia otsimisele kulus mul aega umbes sama palju kui autoril algupärandi kirjutamiseks – ligi kolm aastat. Stefano Massini on „Lehman Brothersi“ kohta öelnud, et tegu on segu- ga jutustusest, romaanist, draamast, komöödiast, dokumentaalteatrist ja luulest. Kohati on teos üli- tehniline: nii näiteks kirjeldab Massini üksikasjalikult tekstiilitööstuse, autotööstuse ja trading’u ajalugu. Tõlkimisel tuli endale selgeks teha omajagu mõis- teid ning tolle ajastu eestikeelses aimekirjanduses ja vanades ajalehtedes tuhnides leida neile eesti- keelsed vasted, mida tihtipeale tänapäeval enam ei kasutatagi. Siinkohal olid suureks abiks erialaspet- sialistid, kes on loetletud kavalehe viimasel lehekül- 8 9 jel ja kellele kuulub mu suurim tänu. Heebreakeel- dokumentidesse eesnimeks skandinaaviapäraselt sed terminid, palved ja õnnistused kõlavad lavalt „Ingram”, mis on tänini jäänud mu tuttava ametli- näitlejate suust saksa aškenazi juutide häälduses, kuks eesnimeks. mis on võimalikult lähedane sellele, kuidas vennad Ameerikas kujuneb vendade lastel ja lastelastel Lehmanid neid ise suure tõenäosusega elu lõpuni ning isegi vendadel endil (lisaks saksa juudi pärit- hääldasid, sest tänapäeval levinud Iisraeli hääldust olule ning lapsepõlvekodust nende isikuomadusi polnud toona veel olemaski. tabavalt kokku võtvatele hüüdnimedele Pea, Käsi ja Mind isiklikult puudutasid esimesel vaatamisel Mugul) uus identiteet. Nii on Mayer kiindunud Ala- näidendis (ja puudutavad ka Hendriku lavastuses) bamasse, kust ta vanema venna nõudmisel üksnes kõige sügavamalt algus ja lõpp. vastu tahtmist New Yorki kolib ega harju selle linna- Näidendi alguses küsib immigratsiooniametnik 11. ga õigupoolest elu lõpuni. Ka New Yorgis kannab ta septembril 1844 New Yorgi sadama kail Hajum Leh- jalas triibulisi kedrisid. Mayeri poeg Herbert, nagu mannilt tolle ees- ja perekonnanime ning kuna ta ei tema onupoeg Philipki, on sündinud New Yorgis. saa aru juudi-saksa nimest Hajum Lehmann, paneb „Tema soontes ei voola / tilkagi / ei Saksamaa / ega ta sisserändajale ise uue nime: Henry Lehman. Alabama verd. / Herbert on uus. / Herbert on tut- (Algupärandis on see dialoog muide inglise keeles.) tuus. / Herbert on New Yorgi laps.“ Philipi meelest Jidiši ja saksa keelt kõnelevast saksa juudist saab „on see linn praegu kogu planeedil Maa / sama mis ameeriklane Ameerika sulatuskatlas, kus esimest Vana-Kreekas Olümpos: / ühtaegu jumalik ja inimlik korda ajaloos on juutidel ja kristlastel võrdsed õigu- paik“. Topelt- või lausa mitut identiteeti illustreerib sed, mängutoosis, kus elatise teenimiseks tuleb kii- imearmsalt Philipi kuueaastane poeg Robert, kes resti omandada inglise keel. Hajum omandab nagu järeldab isa jutust, et Rimpar asub Alabama osarii- tema vennad Mendel ja Maiergi justkui uue identi- gis. teedi. Peter Chapman kirjutab teoses „The Last of Näidendi lõpus peavad kolm venda, kes kohtuvad the Imperious Rich: Lehman Brothers, 1844–2008“ nüüd igavikus (või 2008. aastal – „aga aeg on siin / (2010), et Emanuel Lehman olevat oma emotsioone niikuinii / väga suhteline mõiste“), nüüd, kus Leh- väljendanud emakeeles. Kartes kodusõja tõttu pal- man Brothersi asutajatest on saanud legend, müüt, jude aastate töö viljad kaotada, öelnud ta emakee- jälle üksteise ning poja, pojapoja ja vennapojaga, les: „Alles ist beendet!“ („Kõik on läbi!“) kinni kõigist käskudest, mida ususeadus ette näeb, See stseen meenutab mulle tuntud juudi anekdoo- nagu neil oli kombeks kunagi ammu kaugel Sak- ti, mis seletab, kuidas perekonnanime Ferguson samaal Rimparis Baierimaal, kust nad tuhat aastat kandvad Ameerika juudid olla selle nime saanud. tagasi teele asusid. Nad ei ütle, et nad talitavad nii, Nimelt olla laevalt maha astunud juut küsimusele, sest nad on juudid. Nad ütlevad, et nad teevad nii, sest nii tehti Saksamaal Baierimaal Rimparis, kust “האב פארגעסן.„ :mis ta nimi on, vastanud jidiši keeles („Hob fargésn.“) („Mul pole meeles.“) See valesti nad pärit on ja kust nad välja rändasid. Kuulda seda kuuldud ja kirja pandud sõnapaar olevatki nime lauset Saksamaa teatri lavalt saksa keeles saksa Ferguson allikaks. näitlejate suust 2016. aastal, pärast holokausti, Lisaks ka üks tõestisündinud lugu. Mu tuttav juut, kriibib hinge ja toob klombi kurku. kelle eesnimed on Jitshak Abraham, ütles lapsena Kõrva hakkab, et kolmandas vaatuses asendab ,(bóruh hašém) ברוך השם Euroopast Ellis Islandile jõudes need immigrat- heebreakeelse väljendi siooniametnikule, kes leidis, et need nimed on liiga millega avaldatakse tänu Jumalale, ingliskeelne keerukad meelde jätta ja hääldada, ning märkis ta „Aitäh, mister Lehman“. Kui esimeses ja teises 10 11 vaatuses jäädakse venna ja isa surma puhul näda- on sõtta astunud. Nii tuli pahatihti pettuda paljudel laks ajaks koju, nagu usukombed ette näevad, siis Kesk- ja Ida-Euroopa juutidel, kes olid Ameerikat ,(ks (di góldene medíne’די גאלדענע מדינה kolmandas vaatuses mälestatakse Mayer Lehmanit pidanud üksnes kolme leinaminutiga,
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