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Metode Slučaja Cagea I Cunninghama U Umjetničko Pedagoškoj Praksi: Kontakte Mit Bewegung

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Metode Slučaja Cagea I Cunninghama U Umjetničko Pedagoškoj Praksi: Kontakte Mit Bewegung Metode slučaja Cagea i Cunninghama u umjetničko pedagoškoj praksi: Kontakte mit Bewegung Sažetak U radu se prikazuje specifičan odnos glazbe i pokreta kakav su uspostavili skladatelj John Cage i plesač i koreograf Merce Cunningham. Ova višeslojna suradnja ima mnogo aspekata s kojih se može promatrati, a mi smo odlučili izdvojiti jednu specifičnost: upotrebu metode operacija sa slučajem (skraćeno: metoda slučaja) pri kreiranju svojih djela. Metoda slučaja počiva na principima predsređenja građe (eng. precompositional aspect), a konačni rezultat prepušta slučaju. Po načelima suvremenih ideja reizvedbe (eng. re-enactment) pokušalo se napraviti djelo koje počiva na tim principima, ali stavljeno u drukčiji kontekst: u kontekst današnjeg vremena i europskog prostora. Tako je američki nedeterminizam Cagea i Cunninghama preveden u europsku aleatoriku i kao polaznu točka korištena je skladba Klavierstück XI skladatelja Karlheinza Stockhausena. Pri izvedbi djela specifična upotreba metode slučaja za instrumentalnu izvedbu ovog komada primijenjena je na pokret. Tako je kreirana koreografija koja počiva na principu predsređenja građe, a svaka izvedba je jedinstvena jer ovisi o slučaju. Ključne riječi: John Cage, Merce Cunningham, research-creation, a/r/tografija, Karlheinz Stockhausen, odnos glazbe i pokreta, metoda slučaja, nedeterminacija, aleatorika. 1. Uvod – povijesni okvir suradnje Cage-Cunningham John Cage (1912.-1992.) specifična je ličnost u povijesti glazbe. U svojoj dugoj karijeri dotakao se mnogih pojava u suvremenoj glazbi 20. stoljeća. U biografskoj natuknici o njemu u Hrvatskoj enciklopediji Leksikografskog zavoda Miroslav Krleža navodi se da je bio: „američki skladatelj, grafičar, izvođač, predavač i pisac“ (HELZ mrežno izdanje, 2019). Školovao se u Los Angelesu i Parizu kod eminentnih glazbenika Richarda Buhliga, Adolpha Weissa, Henrya D. Cowella i Arnolda Schönberga. Slavu i priznanja doživio je, međutim, tek šezdesetih godina 20. stoljeća. Danas ga se smatra „jednim od najsmjelijih inovatora u glazbi 20. st. Koji je iz temelja uzdrmao tradicionalni pojam umjetničkog glazbenog djela i uobičajeni odnos između skladanja, interpretacije i slušanja“ (HELZ mrežno izdanje, 2019.). Prve skladbe pisao je 12-tonskom tehnikom po uzoru na svog učitelja A. Schönberga, no kasnih tridesetih počinje eksperimentirati s netradicionalnim instrumentima i zvukovima, a jedan od rezultata tog eksperimentiranja je i nastanak prepariranog klavira1. Cage također eksperimentira s 1 Preparirani klavir je „klavir kod kojega se tijekom izvedbe među žice umeću i iz njih uklanjaju metalni, drveni, gumeni ili plastični predmeti različitih oblika i veličina, da bi se postigli neuobičajeni zvukovi i efekti. Prvi ga je 1938 upotrijebio američki kompozitor i pijanist J. Cage; 1954 on ga je prikazao na festivalu suvremene muzike u magnetofonima, snimačima i radio-uređajima u nastojanju da izađe iz okvira konvencionalne zapadnjačke glazbe i njezinih koncepata smislenog zvuka (The Editors of Encyclopaedia Britannica, 2019). U trenutku osobne i profesionalne krize okreće se zen-budizmu i drugim istočnjačkim filozofijama, što ga dovodi do upotrebe načela nedeterminizma u glazbi2, što posljedično dovodi u pitanje zapadnjačko poimanje autorstva u glazbi. Među njegova najpoznatija djela ubrajaju se skladbe: 1O1, 4′33, Sonate i interludiji za preparirani klavir, Koncert za klavir i orkestar i skladbu Music of Changes. Osim što se okušao u gotovo svim vrstama eksperimentalne glazbe, važno je i njegovo djelovanje u području suvremenih izvedbenih umjetnosti, osobito suvremenom glazbenom kazalištu te instrumentalnom kazalištu. Godine 1961. objavljuje vrlo utjecajnu zbirku tekstova pod naslovom Silence3. Merce Cunningham (1919. – 2009.) američki je plesač, koreograf i plesni pedagog. Studirao je na Mills Collegeu s plesačem i koreografom Lesterom Hortonom te na Bennington Collegeu, nakon čega ga je Martha Graham pozvala da se da se pridruži njezinoj trupi gdje je kao solist ostvario brojne važne uloge4. Nedugo nakon što je počeo surađivati s Johnom Cageom, napustio je trupu Marthe Graham te uskoro osnovao vlastitu. Kako navodi Sibila (2009), „Njegove su koreografije nastajale neovisno o glazbi, scenografiji ili tekstu, a s idejom da je glavna tema plesa ples, odnosno pokret sam. Ustrojio je geometrijski analitičku tehniku koja anatomski prati sve položaje kralježnice, a u radu nogu zahtijeva preciznost i virtuoznost koja spaja inovacije dotadašnjih inovatora modernog plesa, s onom klasičnog baleta.“ Kao i Cage, puno je vremena posvetio istraživanju nedeterminacije, odnosno metode slučaja u koreografiji. Bio je aktivan plesač do duboke starosti i smatra ga se jednim od najvećih plesnih inovatora 20. stoljeća. 1.1. Polazne točke istraživanja: supostojanje glazbe i pokreta kod Cagea i Cunninghama i primjena metode slučaja Donaueschingenu“ (Škunca, 1977: 126). U kontekstu ovog rada vrijedno je spomenuti i da je prva skladba koju je Cage napisao za preparirani klavir bila glazba za ples Bacchanale (Gligo, 1996, str. 218) jer podcrtava njegov angažman u području plesne glazbe. 2 Nedeterminacija „(engl. indeterminacy: neodredivost) je pojam što ga je u glazbenu teoriju i praksu uveo J. Cage. Skladbe mogu biti nedeterminirane načinom skladanja (operacije sa slučajem), odnosno izvedbom, kada konačni ishod uvelike ovisi o odlukama izvođača. Interpretacije takvih skladbi nužno su jednokratne i jedinstvene“ (HELZ mrežno izdanje, 2019). 3 Više o njegovom životu i radu može se pronaći u njegovoj „autobiografskoj izjavi“ koja je nastala 1990., te je objavljena na web stranici njegove Zaklade (https://johncage.org/autobiographical_statement.html). 4 Više o životu i djelu Mercea Cunninghama može se naći na web stranici njegove Zaklade (https://www.mercecunningham.org/about/history). Suradnja ovih dvaju umjetnika rezultirala je brojnim umjetničkim djelima, a detaljan prikaz te dugogodišnje i intenzivne umjetničke veze donosi nam dokumentarni film Cage/Cunningham iz 1991. godine kojeg je režirao Elliot Caplan. Osim tog filma, postoje i brojni intervjui koju dokumentiraju njihovu suradnju; izdvojit ćemo Chance Conversations: An Interview with Merce Cunningham and John Cage iz 1981. godine5. U njemu oba umjetnika jasno definiraju odnos glazbe i pokreta u njihovim zajedničkim projektima kao dva odvojena umjetnička entiteta koja zajednički supostoje u istom vremenu i prostoru. Iako su umjetnici naglasili autonomnost oba umjetnička izraza, u isto vrijeme priznaju da glazba i pokret, ipak, u određenim situacijama međusobno koreliraju na različite načine. Tretiranje glazbe i pokreta kao dvije autonomne pojave koje zajednički supostoje u istom vremenu i prostoru jedna je od polaznih točki ovog istraživanja. Druga polazna točka ovog istraživanja bila je istražiti primjenu metode slučaja u glazbi i pokretu. I Cage i Cunningham primjenjuju ovu metodu na različite načine6. Nedeterminacija u američkom, odnosno aleatorika u europskom kontekstu može se podijeliti na tri skupine: 1. glazba nastala korištenjem slučajnih postupaka za izradu određenog, fiksiranog rezultata, 2. glazba otvorene, varijabilne forme koja konačnu formu dobiva tek u trenutku izvedbe, i 3. glazba koja nastaje različitim tumačenjima nedeterminirane notacije koja može biti grafička, tekstualna ili slično (Griffiths, 2001). Kao primjer za prvu skupinu može nam poslužiti Cageova skladba Music of Changes: u toj skladbi skladatelj je pri skladanju koristio kinesku knjigu proricanja I Ching7. Kao najreprezentativniji primjer druge skupine (koju sam Cage smatra jedinom pravom nedeterminiranom glazbom) često se navodi skladba Klavierstück XI skladatelja Karlheinza Stockhausena: skladba se sastoji od 19 samostalnih glazbenih cjelina koje izvođač može izvoditi nasumičnim redoslijedom (vidi Sliku 2.). Skladbe iz treće skupine daju najviše slobode izvođačima, a kao primjer možemo navesti i skladbu Earla Browna December 1952 (O Connor, 2017). Skladba je zapisana grafičkom notacijom koju svaki izvođač može tumačiti na svoj način (vidi sliku 1.). Gligo (1996) upućuje na jasno razlikovanje pojmova nedeterminacija i aleatorika (str. 171; str. 6-7) te objašnjava da je nedeterminacija naziv za glazbu koja u potpunosti ovisi o slučaju, dok su ono što se u aleatoričkim skladbama spominje kao slučaj više formalne sheme permutacije. 5 Ovaj intervju objavio je Walker Art Centre na svojem youtube kanalu 2009. godine: https://www.youtube.com/watch?v=ZNGpjXZovgk. Ovaj intervju se simbolično zove Chance Conversations (hrv. Slučajni razgovori) jer u njemu oba umjetnika objašnjavaju brojne načine na koje upotrebljavaju metodu slučaja u svom radu. 6 Vidi prethodnu bilješku. 7 Otud i naziv skladbe: I Ching se na engleski prevodi kao Book of Changes(hrv. Knjiga promjena), pa je prema Book of Changes nastala skladba Music of Changes. Slika 1. Partitura skladbe December 1952, Earla Browna. Dok opisuju primjenu metode slučaja u glazbi i plesu, Cage i Cunningham naglašavaju da je ona specifična za svaki pojedini projekt i za svaku pojedinu izvedbu. Interesantno je da oba umjetnika izbjegavaju riječ improvizacija dok opisuju metodu slučaja, iako je i za improvizaciju specifična jedinstvenost svake izvedbe. Razlog tome je jednostavan – improvizacija se temelji na tome da izvođač svojevoljno kreira određeni umjetnički izraz u trenutku izvedbe, dok se metodom slučaja izbjegava odgovornost izvođača za krajnji rezultat koji se prepušta – slučaju. 2. Metodologija i tijek istraživanja Metode istraživanja u umjetnosti (tzv. art-based research) vrlo su specifične, jer su
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