V d\u011bjin\u00e1ch \u010desk\u00e9 kultury existuj\u00ed rozhodnut\u00ed, kter\u00e1 v\u00a0danou chv\u00edli p\u016fsob\u00ed nen\u00e1padn\u011b, ale s\u00a0odstupem \u010dasu odhaluj\u00ed hlubok\u00e9 vnit\u0159n\u00ed prom\u011bny cel\u00e9 spole\u010dnosti. Jedn\u00edm z\u00a0takov\u00fdch moment\u016f byl odchod Josefa Abrh\u00e1ma a\u00a0Libu\u0161e \u0160afr\u00e1nkov\u00e9 z\u00a0\u010dinohern\u00edho souboru N\u00e1rodn\u00edho divadla v\u00a0polovin\u011b devades\u00e1t\u00fdch let. Nebyl doprov\u00e1zen hlasit\u00fdmi skand\u00e1ly ani teatr\u00e1ln\u00edmi gesty, p\u0159esto v\u00a0divadeln\u00edch kruz\u00edch vyvolal tich\u00e9 pnut\u00ed. Pro\u010d se tehdy nejsledovan\u011bj\u0161\u00ed hereck\u00fd p\u00e1r zem\u011b rozhodl opustit instituci, kter\u00e1 je v\u00a0o\u010d\u00edch ve\u0159ejnosti i\u00a0odborn\u00edk\u016f pova\u017eov\u00e1na za absolutn\u00ed vrchol kari\u00e9ry?<\/p>\n
Ko\u0159eny v\u00a0\u010cinohern\u00edm klubu<\/p>\n
Abychom pochopili jejich odchod, mus\u00edme se vr\u00e1tit k\u00a0jejich um\u011bleck\u00fdm ko\u0159en\u016fm. Josef Abrh\u00e1m i\u00a0Libu\u0161e \u0160afr\u00e1nkov\u00e1 byli po desetilet\u00ed pil\u00ed\u0159i \u010cinohern\u00edho klubu. Tato sc\u00e9na v\u00a0pra\u017esk\u00e9 ulici Ve Sme\u010dk\u00e1ch nebyla jen divadlem, ale specifick\u00fdm tv\u016fr\u010d\u00edm mikrokosmem. Pod veden\u00edm re\u017eis\u00e9r\u016f jako Ladislav Smo\u010dek nebo Jan Ka\u010der se zde p\u011bstovalo herectv\u00ed postaven\u00e9 na detailu, civiln\u00edm projevu a\u00a0schopnosti sd\u011blit ty nejpodstatn\u011bj\u0161\u00ed v\u011bci mimo text.<\/p>\n
V \u010cinohern\u00edm klubu byli oba zvykl\u00ed na prost\u0159ed\u00ed, kde se ka\u017ed\u00e1 postava brousila jako drahokam a\u00a0kde mezi herci a\u00a0re\u017eis\u00e9rem panovala absolutn\u00ed d\u016fv\u011bra. Tento \u201erodinn\u00fd\u201c zp\u016fsob tvorby se stal jejich vnit\u0159n\u00ed normou. V\u00a0roce 1992\u00a0se v\u0161ak situace zm\u011bnila. N\u00e1rodn\u00ed divadlo pod veden\u00edm \u0161\u00e9fa \u010dinohry Ivana Rajmonta proch\u00e1zelo transformac\u00ed a\u00a0Rajmont m\u011bl ambici vtisknout \u201ezlat\u00e9 kapli\u010dce\u201c modern\u011bj\u0161\u00ed tv\u00e1\u0159. P\u0159estup Abrh\u00e1ma a\u00a0\u0160afr\u00e1nkov\u00e9 byl vn\u00edm\u00e1n jako presti\u017en\u00ed ud\u00e1lost, kter\u00e1 m\u011bla spojit tradici prvn\u00ed sc\u00e9ny s\u00a0modern\u00edm psychologick\u00fdm herectv\u00edm.<\/p>\n
Co na to tehdej\u0161\u00ed kritika?<\/p>\n
O\u010dek\u00e1v\u00e1n\u00ed byla obrovsk\u00e1, ale kritick\u00e9 ohlasy z\u00a0let 1992\u20131994\u00a0nazna\u010dovaly, \u017ee spojen\u00ed t\u011bchto dvou sv\u011bt\u016f nebude bezprobl\u00e9mov\u00e9. Kritika si v\u0161\u00edmala p\u0159edev\u0161\u00edm faktu, \u017ee subtiln\u00ed herectv\u00ed obou akt\u00e9r\u016f, postaven\u00e9 na mikromimice a\u00a0tichu, se v\u00a0obrovsk\u00e9m prostoru historick\u00e9 budovy ob\u010das ztr\u00e1celo.<\/p>\n
Kdy\u017e Libu\u0161e \u0160afr\u00e1nkov\u00e1 ztv\u00e1rnila Hermionu v\u00a0Shakespearov\u011b Zimn\u00ed poh\u00e1dce, dobov\u00e9 recenze vyzdvihovaly jej\u00ed cit pro tragiku, ale z\u00e1rove\u0148 se objevovaly hlasy, \u017ee jej\u00ed projev je \u201ep\u0159\u00edli\u0161 jemn\u00fd pro tak monument\u00e1ln\u00ed sc\u00e9nu\u201c. Divadeln\u00ed v\u011bdci poukazovali na to, \u017ee zat\u00edmco v\u00a0\u010cinohern\u00edm klubu sta\u010dilo \u0160afr\u00e1nkov\u00e9 mrknut\u00ed oka, v\u00a0N\u00e1rodn\u00edm divadle musela bojovat s\u00a0akustikou a\u00a0vzd\u00e1lenost\u00ed k\u00a0posledn\u00edmu balkonu. Podobn\u011b byl hodnocen i\u00a0Josef Abrh\u00e1m . Kritika sice oce\u0148ovala jeho eleganci a\u00a0inteligenci, s\u00a0n\u00ed\u017e roli uchopil, ale n\u011bkte\u0159\u00ed recenzenti mu vy\u010d\u00edtali ur\u010ditou odta\u017eitost a\u00a0nedostatek \u201edivadeln\u00edho gesta\u201c, kter\u00e9 velk\u00e1 sc\u00e9na vy\u017eaduje.<\/p>\n
St\u0159et s\u00a0kolosem a\u00a0ztr\u00e1ta radosti<\/p>\n
N\u00e1rodn\u00ed divadlo je kolos s\u00a0obrovsk\u00fdm administrativn\u00edm apar\u00e1tem a\u00a0slo\u017eit\u00fdm provozem. Pro um\u011blce, kte\u0159\u00ed ke sv\u00e9 pr\u00e1ci pot\u0159ebuj\u00ed pocit bezpe\u010d\u00ed a\u00a0klidu, bylo prost\u0159ed\u00ed tak velk\u00e9 sc\u00e9ny od po\u010d\u00e1tku cizorod\u00e9. Nam\u00edsto soust\u0159ed\u011bn\u00e9ho tv\u016fr\u010d\u00edho dialogu se \u010dasto dostavoval pocit, \u017ee jsou sou\u010d\u00e1st\u00ed stroje na um\u011bn\u00ed, kter\u00fd mus\u00ed plnit n\u00e1ro\u010dn\u00fd pl\u00e1n premi\u00e9r.<\/p>\n
Josef Abrh\u00e1m se pozd\u011bji v\u00a0rozhovorech vyjad\u0159oval k\u00a0divadlu obecn\u011b s\u00a0jistou skeps\u00ed, kter\u00e1 v\u00a0t\u00e9to dob\u011b pravd\u011bpodobn\u011b kulminovala. \u201eZ divadla u\u017e nem\u00e1m takovou radost. Ka\u017ed\u00fd \u010dlov\u011bk m\u00e1 v\u00a0sob\u011b dobro a\u00a0zlo, jde o\u00a0to, na kter\u00e9 struny hraje,\u201c uvedl kdysi pro m\u00e9dia. V\u00a0N\u00e1rodn\u00edm divadle m\u011bl pocit, \u017ee se hraje na struny, kter\u00e9 mu nejsou vlastn\u00ed. C\u00edtil se b\u00fdt sp\u00ed\u0161e \u201e\u010d\u00edslem v\u00a0rozd\u011blovn\u00edku\u201c ne\u017e spolutv\u016frcem um\u011bleck\u00e9ho d\u00edla.<\/p>\n
Kontext drav\u00fdch devades\u00e1t\u00fdch let<\/p>\n
Po odchodu z\u00a0N\u00e1rodn\u00edho divadla se man\u017eel\u00e9 nakr\u00e1tko vydali cestou p\u0159ed\u00e1v\u00e1n\u00ed zku\u0161enost\u00ed nastupuj\u00edc\u00ed generaci a\u00a0p\u0159ijali pedagogick\u00e9 p\u016fsoben\u00ed na Pra\u017esk\u00e9 konzervato\u0159i. Nakonec se v\u0161ak naplno vr\u00e1tili k\u00a0tomu, co jim bylo nejbli\u017e\u0161\u00ed\u00a0\u2013 k\u00a0filmu a\u00a0k vybran\u00e9mu hostov\u00e1n\u00ed na sc\u00e9n\u00e1ch, kde c\u00edtili lidsk\u00e9 i\u00a0um\u011bleck\u00e9 souzn\u011bn\u00ed.<\/p>\n
Pr\u00e1v\u011b v\u00a0t\u00e9to \u00e9\u0159e vznikla n\u011bkter\u00e1 z\u00a0jejich nejv\u00fdrazn\u011bj\u0161\u00edch d\u011bl, kter\u00e1 definovala jejich polistopadovou kari\u00e9ru. Libu\u0161e \u0160afr\u00e1nkov\u00e1 z\u00edskala \u010cesk\u00e9ho lva za roli v\u00a0oscarov\u00e9m sn\u00edmku Kolja, zat\u00edmco Josef Abrh\u00e1m prok\u00e1zal sv\u016fj nadhled v\u00a0kultovn\u00edm filmu Davida Ond\u0159\u00ed\u010dka \u0160eptej nebo v\u00a0rozs\u00e1hl\u00e9m seri\u00e1lov\u00e9m projektu N\u00e1hrdeln\u00edk.<\/p>\n
Uk\u00e1zalo se, \u017ee jejich osobn\u00ed integrita a\u00a0profesn\u00ed kvalita nepot\u0159ebuj\u00ed za\u0161t\u00edt\u011bn\u00ed kamennou instituc\u00ed. Jejich popularita neklesla, naopak z\u00edskali auru nedotknutelnosti a\u00a0hlubok\u00e9ho respektu. Div\u00e1ci oce\u0148ovali, \u017ee z\u016fstali v\u011brni sami sob\u011b i\u00a0za cenu ztr\u00e1ty v\u00fdsadn\u00edho postaven\u00ed na prvn\u00ed sc\u00e9n\u011b.<\/p>\n
Rozhodnut\u00ed pro vnit\u0159n\u00ed integritu: \u201eDost\u201c bez skand\u00e1lu<\/p>\n
Bod zlomu p\u0159i\u0161el v\u00a0roce 1994.\u00a0Abrh\u00e1m se \u0160afr\u00e1nkovou se rozhodli pro radik\u00e1ln\u00ed \u0159ez a\u00a0podali v\u00fdpov\u011b\u010f. V\u00a0t\u00e9 dob\u011b to byl krok t\u00e9m\u011b\u0159 nesl\u00fdchan\u00fd\u00a0\u2013 odej\u00edt z\u00a0N\u00e1rodn\u00edho divadla dobrovoln\u011b a\u00a0bez jin\u00e9ho st\u00e1l\u00e9ho anga\u017em\u00e1 se rovnalo profesn\u00edmu hazardu. Jen\u017ee pro oba byla vnit\u0159n\u00ed svoboda v\u00edc ne\u017e jistota platu a\u00a0presti\u017en\u00ed adresa na n\u00e1b\u0159e\u017e\u00ed.<\/p>\n
Jejich odchod byl tichou, ale pevnou deklarac\u00ed hodnot. Necht\u011bli se st\u00e1t \u201est\u00e1tn\u00edmi \u00fa\u0159edn\u00edky p\u0159es kulturu\u201c. Cht\u011bli si zachovat mo\u017enost volby a\u00a0odm\u00edtnout to, co jim ned\u00e1valo smysl. Uk\u00e1zali, \u017ee um\u011blec nemus\u00ed b\u00fdt vd\u011b\u010dn\u00fd za jakoukoli roli jen proto, \u017ee ji dostane v\u00a0budov\u011b se zlat\u00fdm n\u00e1pisem nad oponou. Jejich rozhodnut\u00ed nebylo nam\u00ed\u0159eno proti konkr\u00e9tn\u00edm lidem, ale proti syst\u00e9mu, kter\u00fd je podle nich zbavoval autenticity.<\/p>\n
\u017divot po N\u00e1rodn\u00edm: Potvrzen\u00ed spr\u00e1vn\u00e9 cesty<\/p>\n
Po odchodu z\u00a0N\u00e1rodn\u00edho se nakr\u00e1tko pokusili o\u00a0vlastn\u00ed cestu, mimo jin\u00e9 zalo\u017een\u00edm soukrom\u00e9 hereck\u00e9 \u0161koly. Nakonec se v\u0161ak vr\u00e1tili k\u00a0tomu, co jim bylo nejbli\u017e\u0161\u00ed\u00a0\u2013 k\u00a0filmu a\u00a0k p\u0159\u00edle\u017eitostn\u00e9mu hostov\u00e1n\u00ed v\u00a0m\u00edstech, kde c\u00edtili lidsk\u00e9 souzn\u011bn\u00ed. Pr\u00e1v\u011b v\u00a0t\u00e9to \u00e9\u0159e vznikla jejich nejv\u00fdrazn\u011bj\u0161\u00ed filmov\u00e1 d\u00edla. Libu\u0161e \u0160afr\u00e1nkov\u00e1 z\u00edskala \u010cesk\u00e9ho lva za roli v\u00a0Koljovi, Josef Abrh\u00e1m z\u00e1\u0159il v\u00a0\u0160alamounov\u011b sn\u00edmku \u0160eptej nebo v\u00a0seri\u00e1lu N\u00e1hrdeln\u00edk.<\/p>\n
Uk\u00e1zalo se, \u017ee jejich osobn\u00ed integrita a\u00a0profesn\u00ed kvalita nepot\u0159ebuj\u00ed za\u0161t\u00edt\u011bn\u00ed kamenn\u00fdm divadlem. Jejich popularita neklesla, naopak z\u00edskali auru nedotknutelnosti a\u00a0hlubok\u00e9ho respektu. Div\u00e1ci oce\u0148ovali, \u017ee z\u016fstali v\u011brni sami sob\u011b i\u00a0za cenu ztr\u00e1ty v\u00fdsadn\u00edho postaven\u00ed na prvn\u00ed sc\u00e9n\u011b.<\/p>\n
Odkaz pro dne\u0161n\u00ed dobu<\/p>\n
P\u0159\u00edb\u011bh jejich odchodu z\u00a0N\u00e1rodn\u00edho divadla z\u016fst\u00e1v\u00e1 v\u00a0\u010desk\u00e9 kultu\u0159e d\u016fle\u017eit\u00fdm mementem. Je to p\u0159ipom\u00ednka toho, \u017ee ani ta nejpresti\u017en\u011bj\u0161\u00ed adresa nestoj\u00ed za ztr\u00e1tu vnit\u0159n\u00ed svobody. Abrh\u00e1m a\u00a0\u0160afr\u00e1nkov\u00e1 nezanechali v\u00a0N\u00e1rodn\u00edm divadle des\u00edtky rol\u00ed, ale zanechali tam n\u011bco cenn\u011bj\u0161\u00edho: lekci z\u00a0lidsk\u00e9 d\u016fstojnosti.<\/p>\n
Dok\u00e1zali, \u017ee lze odej\u00edt z\u00a0vrcholu, ani\u017e by \u010dlov\u011bk ztratil tv\u00e1\u0159. Jejich tich\u00e9 \u201ene\u201c syst\u00e9mu, kter\u00fd jim nevyhovoval, se stalo inspirativn\u00edm p\u0159\u00edkladem um\u011bleck\u00e9 hrdosti. Uk\u00e1zali, \u017ee skute\u010dn\u00e9 um\u011bn\u00ed nepot\u0159ebuje pozlacen\u00e9 stropy, ale p\u0159edev\u0161\u00edm pravdu v\u00a0sob\u011b sam\u00e9m.<\/p>\n
Anketa<\/p>\n
Rozum\u00edte rozhodnut\u00ed um\u011blce opustit presti\u017en\u00ed m\u00edsto kv\u016fli zachov\u00e1n\u00ed vlastn\u00ed integrity?<\/p>\n
Ano, vnit\u0159n\u00ed svoboda je d\u016fle\u017eit\u011bj\u0161\u00ed ne\u017e titul nebo presti\u017en\u00ed adresa.<\/p>\n
Ne, v takov\u00e9 instituci by se \u010dlov\u011bk m\u011bl pokusit o kompromis a z\u016fstat.<\/p>\n
Z\u00e1le\u017e\u00ed na situaci, ale u takov\u00fdch osobnost\u00ed to ch\u00e1pu.<\/p>\n
Nedok\u00e1\u017eu to posoudit, do z\u00e1kulis\u00ed divadla nevid\u00edm.<\/p>\n
Celkem
\n\t\t\t\thlasovalo
\n\t\t\t\t127
\n\t\t\t\t\u010dten\u00e1\u0159\u016f.<\/p>\n","protected":false},"excerpt":{"rendered":"V d\u011bjin\u00e1ch \u010desk\u00e9 kultury existuj\u00ed rozhodnut\u00ed, kter\u00e1 v\u00a0danou chv\u00edli p\u016fsob\u00ed nen\u00e1padn\u011b, ale s\u00a0odstupem \u010dasu odhaluj\u00ed hlubok\u00e9 vnit\u0159n\u00ed prom\u011bny…\n","protected":false},"author":2,"featured_media":29792,"comment_status":"","ping_status":"","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[14],"tags":[1538,13187,79,13186,4435,1345,1253,3038,2780,2707,1921,1682,80],"class_list":{"0":"post-29791","1":"post","2":"type-post","3":"status-publish","4":"format-standard","5":"has-post-thumbnail","7":"category-zabava","8":"tag-celebrity","9":"tag-cinohra","10":"tag-entertainment","11":"tag-josef-abrham","12":"tag-kauzy","13":"tag-libuse-safrankova","14":"tag-narodni-divadlo","15":"tag-odchod","16":"tag-retro","17":"tag-skandal","18":"tag-umelci","19":"tag-umeni","20":"tag-zabava"},"share_on_mastodon":{"url":"https:\/\/pubeurope.com\/@cz\/116257951793816117","error":""},"_links":{"self":[{"href":"https:\/\/www.europesays.com\/cz\/wp-json\/wp\/v2\/posts\/29791","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=29791"}],"version-history":[{"count":0,"href":"https:\/\/www.europesays.com\/cz\/wp-json\/wp\/v2\/posts\/29791\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.europesays.com\/cz\/wp-json\/wp\/v2\/media\/29792"}],"wp:attachment":[{"href":"https:\/\/www.europesays.com\/cz\/wp-json\/wp\/v2\/media?parent=29791"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.europesays.com\/cz\/wp-json\/wp\/v2\/categories?post=29791"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.europesays.com\/cz\/wp-json\/wp\/v2\/tags?post=29791"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}