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Bakalářská Diplomová Práce Masarykova univerzita Filozofická fakulta Katedra divadelních studií Bakalářská diplomová práce 2016 Eva Lietavová Masarykova univerzita Filozofická fakulta Katedra divadelních studií Teorie a dějiny divadla Eva Lietavová Lugné-Poe: Režisér a Théâtre de l'Œuvre v dobových kontextech Bakalářská diplomová práce Vedoucí práce: doc. MgA. David Drozd, Ph.D. 2016 Prohlašuji, že jsem diplomovou práci vypracovala samostatně s využitím uvedených pramenů a literatury. ............................................................... Podpis autora práce Chtěla bych poděkovat svému vedoucímu bakalářské práce doc. MgA. Davidu Drozdovi, Ph.D. za zpřístupnění odborné literatury, za cenné rady a připomínky, za korekci mých jazykových chyb a v neposlední řadě za jeho vstřícný a přátelský přístup. Dále bych chtěla poděkovat člověku, jehož skutečně zajímalo téma mé bakalářské práce a všechny radosti a problémy s ní spojené, a který opravoval mé chyby i s lingvisticko-stylistickým odborným výkladem. Ďakujem. 1. Obsah 1. Obsah ....................................................................................................................................... 5 2. Úvod ........................................................................................................................................ 7 3. Politický a kulturní kontext ve Francii před vznikem Théâtre de l'Œuvre ............................ 10 Naturalismus.............................................................................................................................. 10 Symbolismus - reakce (i) proti naturalismu .............................................................................. 11 4. Lugné-Poe před založením Théâtre de l'Œuvre ..................................................................... 14 Vzdělání, vlivy a inspirace ........................................................................................................ 14 Paní z moře................................................................................................................................ 16 5. Vznik Théâtre de l'Œuvre ...................................................................................................... 19 Pelleas a Melisanda .................................................................................................................. 19 Manifesty ................................................................................................................................... 21 Organizace divadla .................................................................................................................... 23 6. První sezona (1893/1894) ...................................................................................................... 25 Skandinávská dramata první sezony ......................................................................................... 25 Přednášky .................................................................................................................................. 28 Francouzská dramata první sezony ........................................................................................... 28 Francouzská kritika ................................................................................................................... 30 Skandinávská kritika ................................................................................................................. 31 První skandinávské turné .......................................................................................................... 32 7. Druhá sezona (1894/1895) ..................................................................................................... 35 Herci v Théâtre de l'Œuvre ....................................................................................................... 35 Théâtre de l'Œuvre inscenuje zapomenuté zahraniční hry ........................................................ 36 Théâtre de l'Œuvre a výtvarné umění ........................................................................................ 38 8. Třetí sezona (1895/1896) ....................................................................................................... 40 L'Œuvre mezinárodní ................................................................................................................ 40 Théâtre de l'Œuvre inscenuje zapomenuté zahraniční hry podruhé .......................................... 41 9. Čtvrtá sezona (1896/1897) ..................................................................................................... 43 Král Ubu .................................................................................................................................... 43 Změny v postoji francouzské kritiky v průběhu let................................................................... 45 10. Pátá sezona (1897/1898) .................................................................................................... 47 5 Problémy L'Œuvre v páté sezoně .............................................................................................. 48 Romain Rolland: Vlci ................................................................................................................ 49 11. Šestá sezona (1898/1899) .................................................................................................. 51 Inscenace poslední sezony ........................................................................................................ 51 12. Závěr .................................................................................................................................. 54 13. Literatura ............................................................................................................................ 56 14. Přílohy ................................................................................................................................ 57 Seznam inscenací Théâtre de l'Œuvre 1893 - 1899 .................................................................. 57 Litografie - programy Théâtre de l'Œuvre ................................................................................ 61 6 2. Úvod Pravda a sen, poezie a skutečnost, lidský soucit a symbol povinnosti, život v umění, smrt v kráse, to je L'Œuvre. (Henry Bauer)1 Kdybychom měli určit divadelní scény, které ovlivnily nejzřetelněji vývoj divadla 20. století, francouzské Théâtre de l'Œuvre by v seznamu chybět nesmělo. Stále rychleji se měnící myšlení o tom, co divadlo je a co by mohlo být, nové vnímání dramatu jako už ne primárně literárního díla, zrod režie v moderním slova smyslu. Při tom všem stálo i malé pařížské divadlo. Nenechávalo lhostejnými diváky ani kritiky, do bouřlivého kulturního dění se zapojilo jako divadlo nekonečně otevřené novým divadelním formám a podnětům. V českém prostředí známe Théâtre de l'Œuvre hlavně jako symbolistické divadlo na základě knih slovenského divadelního historika Františka Deáka2 a českého teatrologa Jana Hyvnara3. L'Œuvre ale nebylo ani zdaleka jen symbolistickým, a to dokonce ani v období, kdy se za něj oficiálně prohlašovalo. Tvořit podle pravidel a očekávání představitelů jednoho uměleckého směru se neslučovalo s povahou Lugné-Poea. Pochopit fungování l'Œuvre totiž znamená pochopit nejprve myšlení jeho zakladatele. A právě skrze něj bych chtěla nahlížet na tohle výjimečné a novátorské, i když ve své době velmi neúspěšné, divadlo. Lugného charakter, a rovněž i přístup k vedení divadla, se zdá být často rozporuplný a ne vždy směřuje jasně k úspěchu inscenace. Avšak jeho obrovská fantazie, cit pro novoty, dobrodružství i skandál, jeho radost z vysmívání se publiku, nedbalost a preciznost v jednom, manažerské schopnosti a nepopíratelný herecký talent se staly motorem divadla, jemuž šest let chyběly peníze, herci, autoři a v neposlední řadě příznivé kritiky či zájem publika. Bez jeho vytrvalé práce a podpory nejbližších by malé pařížské divadlo mělo jen jepičí život, tak jako většina jemu podobných, vznikajících v tomtéž období. Mezi ta divadla, jejichž jméno neupadlo v zapomnění ani dnes, se řadí především Théâtre Libre a Théâtre d'Art. Žádné z nich ale ve vedení nemělo Lugné-Poea. 1 Překlad citátu z plakátu Josefa Sattlera k sezoně 1895/1896. 2 František DEÁK, Symbolistické divadlo, Bratislava, TÁLIA-PRESS, 1996, 347 s. 3 Jan HYVNAR, Francouzská divadelní reforma : od Antoina k Artaudovi, Praha, Pražská scéna, 1996, 237 s. 7 Nesmíme ale zapomínat ani na vnější okolnosti. Na literární boje, na divadelní kritiku mající v té době mnohem větší vliv než dnes, na Dreyfusovu aféru, která neúprosně rozdělila Francii na dva tábory, na konkurenci dalších divadel a také na projevy francouzské xenofobie vůči literatuře jiných národů, která Lugného paradoxně tolik fascinovala. Cílem této práce je tedy představit činnost francouzského Théâtre de l'Œuvre v letech, kdy mělo největší vliv. Je to doba od jeho založení v roce 1893 do roku 1899, kdy režisér, herec, manažer i ředitel v jedné osobě, Lugné-Poe, ukončuje provoz divadla, hlavně kvůli nezvladatelným finančním potížím. Primárně ve své práci vycházím z publikace Symbolisme au théâtre francouzského divadelního historika Jacquesa Robicheza, který se podrobně zabýval Théâtre de l'Œuvrea. Z díla Gertrudy Rathbone Jasperové, jejíž kniha Adventure in the Theatre je staršího data a méně faktografická než Robichezova. Na jedné straně, Jasperová měla příležitost setkat se s Lugné- Poem a jeho manželkou Suzanne Després, což jí umožnilo vycházet z dostupných zdrojů i z autentických vzpomínek
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