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Ročníková Práce Univerzita Karlova Filozofická fakulta Katedra divadelní vědy Ročníková práce Nicola Škvarová Divadlo, které se nekoná a přece se koná. Inscenace Filmmakeři v kontextu divadla pro mládež v České republice Praha 2017 Vedoucí práce: doc. Mgr. Petr Christov, Ph.D. #2 Obsah ÚVOD DO DIVADLA PRO MLÁDEŽ .................................................................4 Literatura? ....................................................................................6 Analýza stávajícího repertoáru divadel pro děti a mládež ............................7 ANALÝZA INSCENACE FILMMAKEŘI .............................................................12 Hudba a herectví ..........................................................................14 FILM. DIVADLO. PARODIE .....................................................................15 Parodie filmu ................................................................................15 Odbočka – V zajetí filmu ..................................................................19 Zpět k Filmmakerům - parodie filmu divadlem ........................................21 ZÁVĚR? V ZAJETÍ DIVADLA .......................................................................22 POUŽITÁ LITERATURA ............................................................................24 PŘÍLOHY ...........................................................................................25 Příloha č. 1 .....................................................................................25 Příloha č. 2 .....................................................................................27 3 ÚVOD DO DIVADLA PRO MLÁDE$ Ve své ro%níkové práci se budu zab&vat divadlem pro mláde', tedy pro publikum ve v!ku od dvanácti (pota'mo jedenácti) do patnácti let.1 Mláde' je divácká skupina opomíjená. Existuje toti' z(ejm! názor, 'e takov& divák u' je schopn& a ochotn& vnímat inscenace z kategorie „divadlo pro dosp!lé“. Nepochybuji o tom, 'e 'ák deváté t(ídy doká'e vnímat nap(íklad Naše furianty2 v Národním divadle nebo Korespondenci V+W3 v Divadle Na zábradlí. Nakolik bude ale tématu a zpracování rozum!t a nakolik se ho bude inscenace dot&kat? Vehemence a demonstrativnost v projevovaném nezájmu teenager) na p(edstaveních inscenací podobného typu poukazují na to, 'e ne ka'dé divadlo pro dosp!lé je také vhodné pro mladé publikum. Divácká kategorie 12+ je velmi citlivá. V tomto v!ku lze jedince od divadla do'ivotn! (nebo alespo* dlouhodob!) odradit. Samoz(ejm! zále'í na mnoha faktorech, v%etn! inteligen%ní vysp!losti, rodinného zázemí, zájm) a preferencí. Lze ale také mladého diváka k divadlu p(itáhnout. Tím, 'e se budou tv)rci – tak, jak to d!lají v dramaturgii pro dosp!lé a jak by to m!li d!lat v dramaturgii pro d!tské publikum – zab&vat touto skupinou jako relevantní a plnohodnotnou, do ur%ité míry specifickou (stejn!, jako jsou specifické skupiny 3+, 20+, 60+,…). Zajímají ji jiné problémy ne' existenciální krize t(icátník), rozklad sv!ta a hodnot nebo národopisné muzeální inscenace. Tato divácká skupina 'ije ve stejném sv!t! jako v+ichni ostatní, p(em&+lí nad ním, ale vnímá ho jinak 1 Toto období je ozna%ováno jako pubescence. „Za statistické uzlové body tohoto období určujeme rok jedenáctý a patnáctý, jež toto období ohraničují. U většiny mládeže dochází kolem 11. roku k prvnímu zamilování, kolem 15. roku pak k možnosti prokreace.“ In P,ÍHODA, Václav. Ontogeneze lidské psychiky I. Vývoj člověka do patnácti let. Praha: Státní pedagogické nakladatelství, 1971. s 347. 2 Naši furianti. Národní divadlo Praha, prem. 17. 6. 2004, re'ie Jan Antonín Pitínsk&. [Dramaturgie Lenka Kolihová Havlíková, scéna Jan Hubínek, kost&my Kate(ina "tefková, hudba Petr Hromádka a citace.] 3 Korespondence V+W. Divadlo Na zábradlí, obnovená prem. 16. 9. 2013, re'ie Jan Mikulá+ek. [p(eneseno z Divadla Reduta ND Brno. Dramatizace a dramaturgie Dora Viceníková, scéna Svatopluk Sláde%ek, kost&my Marek Cpin, v&b!r hudby Jan Mikulá+ek.] #4 ne' %ty(icetilet& zku+en& jedinec.4 Ale p(esto ho vnímá. Tudí' pro ni nejsou 'ádná témata tabu – ani onen rozpad sv!ta a hodnot, ale je t(eba, aby byl pro p(edání takového tématu zvolen p(íslu+n& jazykov& a znakov& kód. Tak, jak se to d!lá i v divadle pro seniory.5 Divadla zam!(ená na dosp!lého diváka mají na svém repertoáru inscenace, které nabízejí Klubu mlad&ch divák),6 proto'e je pova'ují za vhodné pro tuto v!kovou skupinu. Bezpochyby se tam i takové najdou. Je také ov+em rozdíl mezi Klubem mlad&ch divák) na základní +kole a na st(ední +kole. St(edo+kolské studenty, tedy diváckou skupinu ve v!ku patnáct a' osmnáct let, nechci do této práce zahrnout úmysln!. Jedná se o skupinu, která si divadelní produkce vyhledává sama a sama je také m)'e nav+t!vovat. Zárove* pro ni stále platí, 'e pedagogové z r)zn&ch d)vod) studenty do divadla vodí v rámci v&uky. Pro tuto skupinu jsou inscenace ur%ené dosp!lému publiku p(ijateln!j+í, adolescent je dosp!lému jedinci v&vojov! a názorov! blí'e ne' pubescent. Pro anal&zu repertoáru divadel pro dosp!lé a jeho vhodnosti nebo nevhodnosti pro mladé publikum není v této práci místo, stejn! jako není prostor pro anal&zu Klubu mlad&ch divák), a%koli je to z hlediska vyty%ené v!kové kategorie velmi d)le'ité. 4 „Ještě k většímu posunu pak dochází v době dospívání, kdy mládež popuzují prefabrikáty dodávané dospělými. Chce si vytvořit svůj svět dle svého vkusu, oddělit se od rodičů, identifikovat se jako někdo jiný – odlišný. Nevadí, že ta odlišnost je masová, konformní s vrstevníky – v tom My je síla, bez které by mladý rebelant neměl dost odvahy k tomu obtížnému kroku opuštění hnízda. Je to doba, kdy dospívající člověk otřásá všemi dosud bezpečnými hodnotami, potřebuje podívat se na svět i z té druhé strany, kam byl vstup zakázán. Teď obdivuje recesi, ironii, znevažování vážných, fousatých hodnot. Potřebuje se vysmát svým dětským modlám, aby je mohl odložit, opustit…“ In VELTRUBSKÁ, Ivana. Díl 8.: Divadlo o%ima d!tí. In T&'. Dramatika pro děti. Praha: Artama, 1994. s 37. 5 Samoz(ejm! tu hrají velmi podstatnou (ne-li podstatn!j+í) roli pedagogové, rodi%e, Klub mlad&ch divák). Práv! ti vybírají pro své studenty nebo d!ti inscenace, zapojují je v rámci v&uky, atp. Jde o velmi obsáhl& problém, kter& by vydal na samostatnou práci, nebo- je – v rámci zaujetí nebo nezaujetí teenager) divadlem – klí%ov&. 6 Klub mlad&ch divák) je instituce, která vznikla v roce 1964 pod zá+titou Národního v&boru hlavního m!sta Prahy p(i Filmovém klubu. Od roku 2003 funguje pod Divadlem v Dlouhé. KMD zprost(edkovává na základ! komunikace s pedagogy náv+t!vu divadelních p(edstavení pro 'áky 2. stupn! základní +koly a st(edo+kolské studenty. #5 Literatura? Domn!lou specifi%nost a p(edev+ím problemati%nost divadla pro mláde' potvrzuje i fakt, 'e prakticky neexistuje 'ádná literatura, která by se zab&vala vztahem teenager) a divadla. Krom! obecn! zam!(ené psychologické, sociologické %i pedagogické literatury, kde jsou ale teenage(i jednou z mnoha skupin, se mláde'í zab&vá sociolog PhDr. Petr Sak, CSc.7 Pokud jsem se ale sna'ila vyhledávat literaturu (a- ji' monografie, studie, anal&zy, pr)zkumy, rozhovory), která by se zab&vala vztahem mláde'e a divadla, jak jej vnímají, co pro n! znamená, narazila jsem na mizivé mno'ství materiálu. Ing. Mgr. Irena $antovská, Ph.D., provedla d)kladn& pr)zkum divadelního publika8 (se zam!(ením na preference publika z hlediska v!ku, pohlaví a intenzity nav+t!vování divadla), +lo ale o publikum dosp!lé. Literatura, která se zab&vá vztahem divák – divadlo tedy dostupná je, nikoli v+ak literatura orientovaná na mladé diváky. Zárove* jsem se nepou+t!la do pátrání v zahrani%ní literatu(e. Moje práce je zam!(ená skrze konkrétní inscenaci na %eského diváka – %eského teenagera a domnívám se, 'e v&sledky v&zkum) publika ve Francii, Anglii %i v N!mecku by se zna%n! li+ily od v&sledk) potenciálních v&zkum) %eského mladého publika (vzhledem k rozdílné divadelní tradici, mí(e role divadla ve spole%nosti, odli+n&m systém)m +kolství, atp.). To neznamená, 'e by byl u nás v&zkum d!tského (a mladého) publika zcela opomíjen. V sou%asné dob! se jím zab&vá festival amatérského divadla Popelka Rakovník.9 D!ti ve skupinách podle v!ku (6 – 9, 9 – 12, 13+) rozebírají pod vedením lektor) jednotlivé inscenace, v&sledky rozbor) jsou potom prezentovány p(ed dosp!l&m publikem, festivalovou porotou a divadelními soubory. Na festivalu FEMAD v Libici nad Cidlinou10 vedla psycholo'ka a divadelnice PhDr. Ivana Veltrubská festivalové rozborové dílny s d!tsk&m publikem a krátk& %as je vedla s Mgr. Marií Poesovou i na 7 SAK, Petr. Proměny české mládeže. Praha: Petrklí%, 2000. SAK, Petr – SAKOVÁ, Karolína. Mládež na křižovatce. Praha: Svoboda Servis, 2004. 8 $ANTOVSKÁ, Irena. Divadlo jako komunikační médium. Praha: Nakladatelství Akademie múzick&ch um!ní, 2012. 9 Festival Popelka Rakovník po(ádá od roku 1981 IPOS/NIPOS-ARTAMA. 10 Festival mladého amatérského divadla. Festival se konal od roku 1972 do roku 1986 v Pod!bradech, v letech 1987 – 1989 se p(esunul do Libice nad Cidlinou jako Festival a dílna mladého divadla a v letech 1990 – 2000 byl koncipován jako Festival a dílna divadla pro d!ti. #6 rakovnické Popelce. Díky iniciativn! PhDr. Milana Strotzera své zku+enosti shrnula v knize Divadlo očima dětí,11 kde konkrétní poznatky z rozborov&ch seminá() na základ! asi osmiletého v&zkumu vztahuje k divadlu pro d!ti a mláde' obecn!. Nedostatek literatury není zase tak zará'ející. Pojmout, zhodnotit a zobecnit chování, názory, hodnoty a preference pubescent) je zna%n! problematické vzhledem k prom!nlivosti názor) díky prudk&m v&vojov&m zm!nám. MgA.
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