(nefinisat)
Andrei Rubliov: Mascaricii anului 1400  |
| "Mascaricii anului 1400" - primul capitol din filmul Andrei Rubliov |
In acea lume de cosmar a anului 1400, lumea pictorului Andrei Rubliov, cand parte din pamanturile rusesti erau sub stapanire sau jaf tataresc (mongol), cand cnezii se pierdeau in lupte fratricide si tradari, cand boierii aveau un trai sfidator fata de tarani, mascariciul era un personaj pozitiv. Aducea putina bucurie si veselie in inimile celor amarati, putina consolare prin batjocura sa fata de boieri si preotii ne-simtitori (calugarul Kiril il vede pe mascarici ca un trimis al diavolului).
Dar ce putem spune despre arta mascariciului? Era ceva simplu, usor de inteles, cu interpretare exagerata si bufa potrivita cu publicul sau nevoias.
Vom vedea mai tarziu in film doua alte feluri de creatie - pictura lui Teophan Grecul, clopotul tanarului Boriskasi la final "Sfanta Treime" a lui Andrei Rubliov.
 |
| "Sfanta Treime" a lui Andrei Rubliov: altfel de arta. |
Mascaricii celui de-al treilea mileniu - "Au prezentul nu ni-i mare?"
Suntem in vremea democratiei... dar din anumite punte de vedere in vremea nivelarilor, a "Revoltei Maselor", dupa cum zicea Jose Ortega Y Gasset. Cum se poate asta, nu suntem in nivelul maxim de civilizatie fata de tot ce a fost pana acum? NU! Iata ce zice Gasset "Inseamna ca omul dominant de azi este un primitiv, un Naturmensch ivit in mijlocul unei lumi civilizate. Lumea este civilizata si nu locuitorii ei, care nu vad in lume civilizatia, ci doar se folosesc de ea, ca si cum aceasta ar fi un prudus al naturii. Omul isi doreste un automobil si se bucura de el , dar il considera fructul spontan al unui copac edenic.[...] nu -si va exitende entuziasmul pe care il are pentru aparate pana la principiile care le fac posibile.[...] Omul-masa actual este un primitiv care s-astrecurat prin culise pe stravechea scena a civilizatiei" .
Ce legatura are asta cu ce spuneam mai devreme?
Avem acelasi public ca in 1400, dar cu alte pretentii...despre sine insusi. Si o "specie" noua de artisti. Forma lor de arta este aceeasi ca a mascaricilor din vechime, dar a disparut fondul care acestia il aveau... si in lipsa totala de fond ei pretind ca spun ceva foarte... foarte. Nu sunt de fapt decat "Hainele noi ale imparatului", iar imparatul este .. gol! Ei se fac ca spun ceva iar publicul lor se face ca pricepe. Si pricepe! Normal, forma care se adreseaza instinctelor si nu gandului: tipete, miscari bruste si exagerate, glume fara perdea, sau personaje fara perdea, toate acestea primitivul modern le poate intelege usor si este magulit in plus ca toata aceasta bufa i se prezinta drept arta culta si nobila.
Sa vedem parerea despre arta teatrului a lui ...Hamlet.
Hamlet... despre teatru
 |
| "Nor do not saw the air too much with your hand, thus, but use all gently" |
Hamlet Speak the speech, I pray you, as I pronounced it to you, trippingly on the tongue: but if you mouth it, as many of your players do, I had as lief the town-crier spoke my lines. Nor do not saw the air too much with your hand, thus [Hamlet gestures with an open hand], , but use all gently; for in the very torrent, tempest, and, as I may say, the whirlwind of passion, you must acquire and beget a temperance that may give it smoothness. O, it offends me to the soul to hear a robustious periwig-pated fellow tear a passion to tatters, to very rags, to split the ears of the groundlings [persons who paid a penny to stand in the open space in front of the stage], who for the most part are capable of nothing but inexplicable dumbshows and noise [The groundlings–also known as stinklings–were poor lower-class citizens who probably lacked the education and background to fully understand and appreciate a Shakespeare play.]: I would have such a fellow whipped for o'erdoing Termagant; it out-herods Herod: pray you, avoid it. [Termagant, a Saracen god, and Herod the Great, King of Judea from 37 to 4 B.C., are depicted in plays of Shakespeare’s time as raving tyrants.]
First Player I warrant your honour.
Hamlet Be not too tame neither, but let your own discretion be your tutor: suit the action to the word, the word to the action; with this special observance, that you o'erstep not the modesty of nature: for any thing so overdone is from the purpose of playing, whose end, both at the first and now, was and is, to hold, as 'twere, the mirror up to nature; to show virtue her own feature, scorn her own image, and the very age and body of the time his form and pressure. Now this overdone, or come tardy off, though it make the unskilful laugh, cannot but make the judicious grieve; the censure of the which one must in your allowance o'erweigh a whole theatre of others. O, there be players that I have seen play, and heard others praise, and that highly, not to speak it profanely, that, neither having the accent of Christians nor the gait of Christian, pagan, nor man, have so strutted and bellowed that I have thought some of nature's journeymen had made men and not made them well, they imitated humanity so abominably.
First Player I hope we have reformed that indifferently with us, sir.
Hamlet O, reform it altogether. And let those that play your clowns speak no more than is set down for them; for there be of them that will themselves laugh, to set on some quantity of barren spectators to laugh too; though, in the mean time, some necessary question of the play be then to be considered: that's villainous, and shows a most pitiful ambition in the fool that uses it. Go, make you ready.
First Player I warrant your honour.
Hamlet Be not too tame neither, but let your own discretion be your tutor: suit the action to the word, the word to the action; with this special observance, that you o'erstep not the modesty of nature: for any thing so overdone is from the purpose of playing, whose end, both at the first and now, was and is, to hold, as 'twere, the mirror up to nature; to show virtue her own feature, scorn her own image, and the very age and body of the time his form and pressure. Now this overdone, or come tardy off, though it make the unskilful laugh, cannot but make the judicious grieve; the censure of the which one must in your allowance o'erweigh a whole theatre of others. O, there be players that I have seen play, and heard others praise, and that highly, not to speak it profanely, that, neither having the accent of Christians nor the gait of Christian, pagan, nor man, have so strutted and bellowed that I have thought some of nature's journeymen had made men and not made them well, they imitated humanity so abominably.
First Player I hope we have reformed that indifferently with us, sir.
Hamlet O, reform it altogether. And let those that play your clowns speak no more than is set down for them; for there be of them that will themselves laugh, to set on some quantity of barren spectators to laugh too; though, in the mean time, some necessary question of the play be then to be considered: that's villainous, and shows a most pitiful ambition in the fool that uses it. Go, make you ready.
Mostenirea - Stanislavky, Strasberg, De Niro
Constantin Stanisvlaky - creatorul "sistemului" cu acelasi nume in domeniul interpretarii si realizarii teatrului - este un direct continuator al aceste viziuni din "SPEAK THE SPEACH" al lui Hamlet-Shakespeare. Desemenea a fost influentat de Gogol , care era impotriva interpretarii exagerate care voia sa obtina efectul cu orice pret (arta "moderrrrna" de azi si de ieri) si de Tolstoi. Foarte interesanta este colaborarea cu Cehov pentru care realizeaza si premierele unor piese ca "Unchiul Vania" si "Trei surori"...
La randul lui influenteaza realizatori si formatori americani: Elia Kazan sau Lee Strasberg. Acesta din urma a "crescut" actori precum Marlon Brando si De Niro.
Anti-Mostenirea - "Running" Cehov
"Au prezentul nu ni-i mare?"
Ce face un regizor roman ultra-modern, ultra-conectat (!?) la noile curente? Pune in scena Cehov... Saracul Cozorici in ultimele luni de viata, venea in fuga si pleca in fuga in prezentarea de la final a actorilor, la indicatia "maestrului". Nu e acesta efect cu orice pret? Sau in alta piesa de Cehov, toate personajele fac gesturi largi, vorbesc raspicat, tare si agitat in fiecare clipa...
Shakespeare, Gogol, Stanislavsky si Cehov ... ce stiu ei fata de noii maestrii?
Mascaricii noilor secole ...
Shakespeare, Gogol, Stanislavsky si Cehov ... ce stiu ei fata de noii maestrii?
Postări
