{"id":2316,"date":"2026-02-20T00:33:20","date_gmt":"2026-02-20T00:33:20","guid":{"rendered":"https:\/\/www.europesays.com\/cz\/2316\/"},"modified":"2026-02-20T00:33:20","modified_gmt":"2026-02-20T00:33:20","slug":"recenze-divadlo-na-zabradli-neomylne-odhadlo-potencial-romanu-casokryt","status":"publish","type":"post","link":"https:\/\/www.europesays.com\/cz\/2316\/","title":{"rendered":"Recenze: Divadlo Na z\u00e1bradl\u00ed neomyln\u011b odhadlo potenci\u00e1l rom\u00e1nu \u010casokryt"},"content":{"rendered":"

Recenzi si tak\u00e9 m\u016f\u017eete poslechnout v\u00a0audioverzi.<\/p>\n

Esejistick\u00fd rom\u00e1n<\/a> zkoumaj\u00edc\u00ed pam\u011b\u0165, vn\u00edm\u00e1n\u00ed \u010dasu a\u00a0identity v\u00a0roce 2023\u00a0z\u00edskal Bookerovu cenu. Sv\u011btovou premi\u00e9ru jeho adaptace tento m\u011bs\u00edc uvedlo pra\u017esk\u00e9 Divadlo Na z\u00e1bradl\u00ed v\u00a0re\u017eii Jana Mikul\u00e1\u0161ka.<\/p>\n

Reflexi duchovn\u00edch a\u00a0politick\u00fdch d\u011bjin Evropy na pozad\u00ed osobn\u00edch p\u0159\u00edb\u011bh\u016f se v\u00a0Divadle Na z\u00e1bradl\u00ed v\u011bnuj\u00ed des\u00edtky let: od titul\u016f jako Europeana, Zlat\u00e1 \u0161edes\u00e1t\u00e1 nebo \u0160ed\u00e1 sedmdes\u00e1t\u00e1 a\u017e po ned\u00e1vno uveden\u00fd Plechov\u00fd bub\u00ednek podle pr\u00f3zy G\u00fcntera Grasse, vracej\u00edc\u00ed se ke druh\u00e9 sv\u011btov\u00e9 v\u00e1lce. \u010casokryt, jeho\u017e \u201ehrdinou\u201c je unaven\u00fd star\u00fd kontinent, ztr\u00e1cej\u00edc\u00ed pam\u011b\u0165 a\u00a0podl\u00e9haj\u00edc\u00ed nostalgii po star\u00fdch zlat\u00fdch \u010dasech, do t\u00e9to dramaturgie skv\u011ble zapad\u00e1.<\/p>\n

Jak minulost ovl\u00e1dla sv\u011bt<\/p>\n

Je to p\u0159\u00edb\u011bh osobn\u00ed i\u00a0politick\u00fd. Autor znepokojen\u00fd ment\u00e1ln\u00edm stavem Evropy s\u00e1m na sob\u011b objevuje paradoxn\u00ed fungov\u00e1n\u00ed pam\u011bti a\u00a0\u010dasu. V\u00a0\u010casokrytu je jeho souputn\u00edkem \u010di alter egem tajemn\u00e1 postava, kter\u00e1 proch\u00e1z\u00ed i\u00a0dal\u0161\u00edmi Gospodinovov\u00fdmi d\u00edly: \u201eU\u017e si nevzpom\u00edn\u00e1m, zda jsem si j\u00e1 vymyslel Gaustina, \u010di on m\u011b\u2026 a\u00a0zda se to v\u0161echno s\u00a0p\u0159ich\u00e1zen\u00edm minulosti u\u017e stalo, nebo to za\u010dne z\u00edtra,\u201c p\u00ed\u0161e v\u00a0knize.<\/p>\n

Gaustin se voln\u011b pohybuje \u010dasem a\u00a0prostorem, podobn\u011b jako vzpom\u00ednky. Na klinice \u010dasu, kterou zalo\u017eil, vytv\u00e1\u0159\u00ed iluzi r\u016fzn\u00fdch desetilet\u00ed minul\u00e9ho stolet\u00ed. Lidem s\u00a0poruchou pam\u011bti nab\u00edz\u00ed uprost\u0159ed dobov\u00e9ho n\u00e1bytku, oble\u010den\u00ed a\u00a0drobnost\u00ed denn\u00ed pot\u0159eby mo\u017enost znovu pro\u017e\u00edvat dobu, v\u00a0n\u00ed\u017e byli mlad\u00ed a\u00a0\u0161\u0165astn\u00ed. Spokojen\u00fdch klient\u016f p\u0159ib\u00fdv\u00e1 a\u00a0Gaustin uva\u017euje o\u00a0zalo\u017een\u00ed cel\u00fdch m\u011bst minulosti.<\/p>\n

\u0160\u00ed\u0159\u00edc\u00ed se nostalgie vzbud\u00ed z\u00e1jem evropsk\u00fdch politik\u016f a\u00a0stane se programem. \u201eLid\u00e9 se boj\u00ed budoucnosti, l\u00e9pe \u0159e\u010deno\u00a0\u2013 u\u017e \u017e\u00e1dnou budoucnost Evropy ani nevid\u00ed. A\u00a0pokud existuje n\u011bjak\u00e1 jistota, pak je to minulost,\u201c zazn\u00edv\u00e1 v\u00a0divadeln\u00ed adaptaci. St\u00e1ty si v\u00a0referendu vol\u00ed, do jak\u00e9 doby se jejich ob\u010dan\u00e9 vr\u00e1t\u00ed, proto\u017ee shoda na jednotn\u00e9 minulosti je nemo\u017en\u00e1.<\/p>\n

Foto: KIVA<\/p>\n

N\u011bmci si vyberou z\u00e1padon\u011bmeck\u00e9 \u201eosmdes\u00e1tky\u201c s\u00a0v\u00fdchodon\u011bmeckou estr\u00e1dou Ein Kessel Buntes, v\u00a0Bulharsku zv\u00edt\u011bz\u00ed n\u00e1vrat socialismu, ve Francii za\u010d\u00e1tek 80.\u00a0let, ve \u0160v\u00e9dsku rok 1977\u00a0a\u00a0melodie skupiny ABBA, v\u00a0Polsku rok 1978, kdy byl Jan Pavel II. zvolen pape\u017eem, v\u00a0\u010cesku devades\u00e1tky, v\u00a0It\u00e1lii sladk\u00e1 60.\u00a0l\u00e9ta.<\/p>\n

Jen\u017ee m\u00edsto star\u00fdch zlat\u00fdch \u010das\u016f nast\u00e1v\u00e1 je\u0161t\u011b v\u011bt\u0161\u00ed chaos. \u201e\u010casy se sm\u00edchaly a\u00a0\u010dlov\u011bk u\u017e nev\u00ed, jestli to, co vypr\u00e1v\u00ed, se stalo, nebo m\u00e1 teprve p\u0159ij\u00edt,\u201c p\u00ed\u0161e Gospodinov. Posledn\u00ed \u010d\u00e1st knihy i\u00a0nyn\u011bj\u0161\u00ed inscenace p\u0159edkl\u00e1d\u00e1 obraz autorovy osobn\u00ed amn\u00e9zie. Tak\u00e9 on je pohlcen minulost\u00ed. Svou vlastn\u00ed. Na Gaustinov\u011b klinice p\u00ed\u0161e s\u00e1m o\u00a0sob\u011b.<\/p>\n

Z\u00edtra bylo 1.\u00a0z\u00e1\u0159\u00ed<\/p>\n

Jako znepokojiv\u00fd epilog rom\u00e1nu slou\u017e\u00ed mraziv\u00e1 vize 1.\u00a0z\u00e1\u0159\u00ed 1939, kde v\u00a0bitv\u011b o\u00a0polsk\u00fd poloostrov Westerplatte za\u010dala druh\u00e1 sv\u011btov\u00e1 v\u00e1lka. V\u00a0divadle ten moment p\u0159ich\u00e1z\u00ed d\u0159\u00edv, po groteskn\u00edch referendech, kdy se \u201eminulost rozb\u011bhla jako \u0159eka, kter\u00e1 se vylila z\u00a0b\u0159eh\u016f\u201c.<\/p>\n

P\u0159edstava n\u00e1vratu do toho oby\u010dejn\u00e9ho dne, kdy zazn\u011bly prvn\u00ed v\u00fdst\u0159ely nejni\u010div\u011bj\u0161\u00edho konfliktu v\u00a0d\u011bjin\u00e1ch, je natolik ot\u0159\u00e1saj\u00edc\u00ed, \u017ee ji vn\u00edm\u00e1me jako p\u0159irozen\u00fd konec inscenace. Av\u0161ak z\u00e1v\u011br p\u0159ich\u00e1z\u00ed trochu kodrcav\u011b a\u017e chv\u00edli pot\u00e9 a\u00a0dosp\u00edv\u00e1 k\u00a0\u00fat\u011b\u0161n\u011bj\u0161\u00ed osobn\u00ed point\u011b. Posledn\u00ed fle\u0161e autorova n\u00e1vratu do minulosti jsou z\u00a0d\u011btstv\u00ed: \u201eMus\u00ed mi b\u00fdt t\u0159i. Vysok\u00fd jako r\u016f\u017ee v\u00a0zahrad\u011b, stoj\u00edm bos\u00fd na tepl\u00e9 hl\u00edn\u011b, dr\u017e\u00edm maminku za ruku a\u00a0d\u00edv\u00e1m se jako u\u00a0vytr\u017een\u00ed na jednu r\u016f\u017ei.\u201c<\/p>\n

<\/a><\/p>\n

P\u0159i \u010dten\u00ed n\u00e1s Gospodinovovy obrazy, my\u0161lenkov\u00e9 smy\u010dky, hutn\u00e9 paradoxy a\u00a0vtipn\u00e9 koment\u00e1\u0159e hrav\u011b p\u0159esv\u011bd\u010d\u00ed, \u017ee p\u0159em\u00fd\u0161let o\u00a0n\u011b\u010dem tak abstraktn\u00edm, jako je pam\u011b\u0165 a\u00a0\u010das, m\u016f\u017ee b\u00fdt nap\u00ednav\u00e9, dokonce z\u00e1bavn\u00e9. P\u0159esto se zd\u00e1lo skoro nemo\u017en\u00e9 d\u00e1t jim p\u0159ita\u017elivou jevi\u0161tn\u00ed podobu. V\u00a0Divadle Na z\u00e1bradl\u00ed se to v\u0161ak poda\u0159ilo tak sugestivn\u011b, \u017ee pro ty, co inscenaci uvid\u00ed, u\u017e Gaustin mo\u017en\u00e1 nav\u017edy bude m\u00edt podobu Vojt\u011bcha Vondr\u00e1\u010dka. A\u00a0pokud po zhl\u00e9dnut\u00ed otev\u0159ou knihu, bude jim v\u00a0n\u00ed chyb\u011bt postava Sestry s\u00a0tv\u00e1\u0159\u00ed Simony Lewandowsk\u00e9 v\u00a0kost\u00fdmu z\u00a0disneyovsk\u00e9 Sn\u011bhurky.<\/p>\n

Autory adaptace jsou dramaturgyn\u011b Dora \u0160t\u011bdro\u0148ov\u00e1 a\u00a0re\u017eis\u00e9r Jan Mikul\u00e1\u0161ek. Esenci Gospodinovova postmodern\u00edho p\u0159el\u00e9t\u00e1n\u00ed v\u00a0\u010dase, mezi p\u0159\u00edb\u011bhy, \u017e\u00e1nry a\u00a0existenci\u00e1ln\u00edmi \u00favahami, dok\u00e1zali vt\u011bsnat do necel\u00fdch 30\u00a0stran divadeln\u00edho sc\u00e9n\u00e1\u0159e a\u00a0n\u011bco p\u0159es hodinu a\u00a0p\u016fl trvaj\u00edc\u00ed inscenace bez z\u00e1sadn\u00ed ztr\u00e1ty obsahu.<\/p>\n

Jevi\u0161tn\u00ed potenci\u00e1l rom\u00e1nu odhadli neomyln\u011b, kdy\u017e se soust\u0159edili na autor\u016fv a\u00a0Gaustin\u016fv p\u0159\u00edb\u011bh, bizarn\u00ed d\u011bn\u00ed na klinice \u010dasu a\u00a0vzpom\u00ednky klient\u016f nebo divadeln\u011b vd\u011b\u010dn\u00e9 politick\u00e9 rozhodov\u00e1n\u00ed o\u00a0n\u00e1vratu do dob minul\u00fdch.<\/p>\n

Herci v\u00a0Divadle Na z\u00e1bradl\u00ed jsou zvykl\u00ed s\u00a0lehkost\u00ed, skrze hrav\u00e9 minimalistick\u00e9 akce tlumo\u010dit i\u00a0pom\u011brn\u011b abstraktn\u00ed my\u0161lenky, nav\u00edc s\u00a0rafinovan\u00fdm intelektu\u00e1ln\u00edm humorem, co\u017e se v\u00a0tomto p\u0159\u00edpad\u011b velice hod\u00ed. Roli autora ale v\u00a0novince re\u017eis\u00e9r Mikul\u00e1\u0161ek p\u0159ekvapiv\u011b sv\u011b\u0159il hostuj\u00edc\u00edmu Kry\u0161tofu Barto\u0161ovi. \u010casokryt tak z\u00edskal p\u0159esv\u011bd\u010div\u00e9ho, v\u011bcn\u00e9ho a\u00a0p\u0159itom zaujat\u00e9ho vyprav\u011b\u010de, kter\u00fd n\u00e1s spolehliv\u011b prov\u00e1d\u00ed komplikovan\u00fdm fik\u010dn\u00edm sv\u011btem.<\/p>\n

Vojt\u011bch Vondr\u00e1\u010dek obda\u0159il Gaustina a\u00a0jeho hypnotickou, divnou, nap\u016fl surre\u00e1lnou osobnost po\u0165ouchl\u00fdm humorem. Tak\u00e9 jej obest\u0159el tajemstv\u00edm, je\u017e od za\u010d\u00e1tku do konce vzbuzuje na\u0161i zv\u011bdavost.<\/p>\n

Foto: KIVA<\/p>\n

Vojt\u011bch Vondr\u00e1\u010dek obda\u0159il Gaustina a\u00a0jeho hypnotickou, divnou, nap\u016fl surre\u00e1lnou osobnost po\u0165ouchl\u00fdm humorem.<\/p>\n

Postava Sestry je divadeln\u011b vd\u011b\u010dn\u00fdm n\u00e1padem scen\u00e1rist\u016f a\u00a0nep\u0159\u00edli\u0161 v\u00fd\u0159e\u010dn\u00fdm, zato nep\u0159ehl\u00e9dnuteln\u00fdm Gaustinov\u00fdm spole\u010dn\u00edkem. V\u00fdraz Simony Lewandowsk\u00e9 osciluje mezi lhostejnou p\u0159\u00edtomnost\u00ed, lehce provokuj\u00edc\u00edm t\u00f3nem koment\u00e1\u0159\u016f, \u017eenskou koketeri\u00ed a\u00a0frackovsk\u00fdmi \u00fa\u0161klebky. Here\u010dka se s\u00a0kost\u00fdmy prom\u011b\u0148uje jako chameleon, p\u0159i\u010dem\u017e ten sn\u011bhurkovsk\u00fd p\u0159in\u00e1\u0161\u00ed porci iracionality, kter\u00e1 l\u00e1tce slu\u0161\u00ed.<\/p>\n

Brilantn\u00ed hereck\u00e9 form\u011b a\u00a0vylad\u011bn\u00e9 souh\u0159e pom\u00e1h\u00e1 v\u00fdtvarn\u00e1 podoba, o\u00a0kterou se tradi\u010dn\u011b postaral Marek Cpin. Op\u011bt velkoryse a\u00a0vizu\u00e1ln\u011b ne\u010dekan\u011b prom\u011bnil miniaturn\u00ed jevi\u0161t\u011b. Modr\u00fd prostor je v\u00a0pop\u0159ed\u00ed zar\u00e1movan\u00fdm obd\u00e9ln\u00edkem, v\u00a0n\u011bm\u017e se postupn\u011b objevuj\u00ed obrazy charakterizuj\u00edc\u00ed r\u016fzn\u00e9 \u010dasy a\u00a0ment\u00e1ln\u00ed prost\u0159ed\u00ed. \u201eZa sc\u00e9nou\u201c vznikly v\u00a0patrech na \u017eelezn\u00e9 konstrukci \u201epokoj\u00ed\u010dky\u201c kliniky \u010dasu domy\u0161len\u00e9 do nejmen\u0161\u00edch detail\u016f.<\/p>\n

Ne n\u00e1hodou je Divadlo Na z\u00e1bradl\u00ed \u010desk\u00fdmi kritiky \u010derstv\u011b nominov\u00e1no<\/a> na ocen\u011bn\u00ed za hereck\u00e9 v\u00fdkony i\u00a0v kategori\u00edch inscenace a\u00a0divadlo roku.<\/p>\n

Inscenace: Georgi Gospodinov\u00a0\u2013 \u010casokryt<\/p>\n

Hraj\u00ed: Dita Kaplanov\u00e1, Ane\u017eka Kub\u00e1tov\u00e1, V\u00e1clav Va\u0161\u00e1k, Vojt\u011bch Vondr\u00e1\u010dek, Michal Bedn\u00e1\u0159, David Petr\u017eelka, Simona Lewandowska a\u00a0Kry\u0161tof Barto\u0161<\/p>\n

Divadlo Na z\u00e1bradl\u00ed, Praha, premi\u00e9ra 6.\u00a0\u00fanora, nejbli\u017e\u0161\u00ed repr\u00edzy 23.\u00a0\u00fanora a\u00a04.\u00a0b\u0159ezna.<\/p>\n","protected":false},"excerpt":{"rendered":"Recenzi si tak\u00e9 m\u016f\u017eete poslechnout v\u00a0audioverzi. Esejistick\u00fd rom\u00e1n zkoumaj\u00edc\u00ed pam\u011b\u0165, vn\u00edm\u00e1n\u00ed \u010dasu a\u00a0identity v\u00a0roce 2023\u00a0z\u00edskal Bookerovu cenu. Sv\u011btovou…\n","protected":false},"author":2,"featured_media":2317,"comment_status":"","ping_status":"","sticky":false,"template":"","format":"standard","meta":{"footnotes":"","_share_on_mastodon":"0"},"categories":[30],"tags":[2097,1172,2095,2096,2098,2099,98,99],"class_list":["post-2316","post","type-post","status-publish","format-standard","has-post-thumbnail","category-praha","tag-adaptace","tag-divadelni-predstaveni","tag-divadelni-recenze","tag-divadlo-na-zabradli","tag-georgi-gospodinov","tag-jan-mikulasek","tag-prague","tag-praha"],"share_on_mastodon":{"url":"","error":""},"_links":{"self":[{"href":"https:\/\/www.europesays.com\/cz\/wp-json\/wp\/v2\/posts\/2316","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.europesays.com\/cz\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.europesays.com\/cz\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.europesays.com\/cz\/wp-json\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/www.europesays.com\/cz\/wp-json\/wp\/v2\/comments?post=2316"}],"version-history":[{"count":0,"href":"https:\/\/www.europesays.com\/cz\/wp-json\/wp\/v2\/posts\/2316\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.europesays.com\/cz\/wp-json\/wp\/v2\/media\/2317"}],"wp:attachment":[{"href":"https:\/\/www.europesays.com\/cz\/wp-json\/wp\/v2\/media?parent=2316"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.europesays.com\/cz\/wp-json\/wp\/v2\/categories?post=2316"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.europesays.com\/cz\/wp-json\/wp\/v2\/tags?post=2316"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}