{"id":39456,"date":"2026-03-29T19:16:09","date_gmt":"2026-03-29T19:16:09","guid":{"rendered":"https:\/\/www.europesays.com\/cz\/39456\/"},"modified":"2026-03-29T19:16:09","modified_gmt":"2026-03-29T19:16:09","slug":"recenze-zustane-jen-kour-baletni-triptych-v-narodnim-divadle-plyne-i-teka","status":"publish","type":"post","link":"https:\/\/www.europesays.com\/cz\/39456\/","title":{"rendered":"Recenze: Z\u016fstane jen kou\u0159. Baletn\u00ed triptych v\u00a0N\u00e1rodn\u00edm divadle plyne i\u00a0t\u011bk\u00e1"},"content":{"rendered":"

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

Program inscenace nazvan\u00e9 Avant-Garde, kter\u00e1 m\u011bla v\u00a0pra\u017esk\u00e9m N\u00e1rodn\u00edm divadle premi\u00e9ru tento m\u011bs\u00edc, otev\u00edr\u00e1 polsk\u00fd choreograf Robert Bondara. Jeho d\u00edlo nazvan\u00e9 4\u00a0Seasons vzniklo p\u0159\u00edmo pro \u010deskou prvn\u00ed sc\u00e9nu na motivy kompozice Nov\u00e9 \u010dtvero ro\u010dn\u00edch dob. Sou\u010dasn\u00fd skladatel Max Richter v\u00a0n\u00ed zpracoval a\u00a0origin\u00e1ln\u011b rozvinul n\u011bkter\u00e9 motivy ze slavn\u00e9ho cyklu Antonia Vivaldiho.<\/p>\n

Impulzem pro vznik choreografie bylo \u00famrt\u00ed bl\u00edzk\u00e9 osoby. Bondara d\u00edlo koncipoval jako vzpom\u00ednku na milovan\u00e9ho \u010dlov\u011bka a\u00a0jeho \u017eivotn\u00ed cestu. \u017divot p\u0159ipodob\u0148uje k\u00a0planouc\u00edmu ohni\u00a0\u2013 po \u0161krtnut\u00ed z\u00e1palky vzplane, ale nakonec z\u016fstane jen kou\u0159. Ten se div\u00e1k\u016fm p\u0159ipom\u00edn\u00e1 v\u00a0r\u016fzn\u00e9 form\u011b. V\u00a0sam\u00e9m \u00favodu zahaluje sc\u00e9nu, na n\u00ed\u017e se vyno\u0159uje postava na pomysln\u00e9m druh\u00e9m b\u0159ehu. Motiv kou\u0159e se otiskuje tak\u00e9 do \u0161edav\u00fdch kost\u00fdm\u016f a\u00a0n\u00e1znaku na zadn\u00edm prospektu jevi\u0161t\u011b. Kou\u0159 stoup\u00e1 z\u00a0pohasl\u00fdch z\u00e1palek i\u00a0samotn\u00e9 symbolick\u00e9 postavy.<\/p>\n

V\u00fdtvarn\u00e9 \u0159e\u0161en\u00ed p\u016fsob\u00ed odosobn\u011bn\u00fdm, chladn\u00fdm dojmem a\u00a0vytv\u00e1\u0159\u00ed prostor pro meditaci \u010di pohrou\u017een\u00ed. Pov\u011bt\u0161inou pr\u00e1zdnou sc\u00e9nu, zakon\u010denou zadn\u00ed lamelovou prostupnou st\u011bnou, dotv\u00e1\u0159ej\u00ed v\u00a0n\u011bkter\u00fdch okam\u017eic\u00edch lehce p\u0159esunuteln\u00e9 kv\u00e1dry \u010di stupn\u011b, na n\u011b\u017e se v\u00e1\u017ee tane\u010dn\u00ed akce. Kdy\u017e cel\u00fd prostor zapln\u00ed zav\u011b\u0161en\u00e9 pap\u00edrov\u00e9 vla\u0161tovky, lze v\u00a0tom vid\u011bt jistou symboliku pom\u00edjivosti, \u201eodl\u00e9t\u00e1n\u00ed \u017eivota\u201c.<\/p>\n

V\u00fdtvarn\u00e1 podoba dok\u00e1\u017ee upoutat pozornost, v\u00a0tanci sam\u00e9m se toho v\u0161ak p\u0159\u00edli\u0161 neodehr\u00e1v\u00e1. Ne \u017ee by choreograf nevl\u00e1dl slu\u0161nou z\u00e1sobou baletn\u00ed neoklasiky. Da\u0159\u00ed se mu rozv\u00edjet partnersk\u00fd tanec do oku lahod\u00edc\u00edch p\u00f3z, sc\u00e9nu zapl\u0148uje kanonick\u00fdmi vstupy sboru, sem tam se objev\u00ed origin\u00e1ln\u00ed n\u00e1pad, a\u00a0dokonce n\u00e1znak humoru. Jen\u017ee zaj\u00edmav\u00e9 my\u0161lence mnohdy chyb\u00ed gradace a\u00a0pointa.<\/p>\n

Foto: Serghei Gherciu<\/p>\n

Tanec se val\u00ed s\u00a0konstantn\u00ed energi\u00ed navzdory dynamice hudebn\u00edho podkladu. P\u0159ipodobn\u011bn\u00ed lidsk\u00e9ho \u017eivota k\u00a0ro\u010dn\u00edm obdob\u00edm je v\u00a0koncepci Roberta Bondary patrn\u00e9 jen slab\u011b, nato\u017e aby se stalo dramaturgickou osou d\u00edla. P\u0159itom prom\u011bny Richterovy skladby k\u00a0takov\u00e9mu uchopen\u00ed p\u0159\u00edmo vyb\u00edzely. Jednotv\u00e1rn\u00fd pohybov\u00fd proud opakuj\u00edc\u00edch se tane\u010dn\u00edch sch\u00e9mat v\u0161ak \u010dasem omrz\u00ed a\u00a0z\u016fstane sp\u00ed\u0161e vjem z\u00a0n\u011bkter\u00fdch p\u016fsobiv\u00fdch v\u00fdtvarn\u00fdch prom\u011bn.<\/p>\n

V\u00a0Kyli\u00e1nov\u011b relativn\u00edm \u010dase a\u00a0prostoru<\/p>\n

Druh\u00e1 \u010d\u00e1st programu pat\u0159\u00ed Ji\u0159\u00edmu Kyli\u00e1novi. Jeho d\u00edlo nazvan\u00e9 27\u201952\u2019\u2019 vzniklo p\u0159ed t\u00e9m\u011b\u0159 \u010dtvrt stolet\u00edm pro juniorsk\u00fd soubor Nizozemsk\u00e9ho tane\u010dn\u00edho divadla. V\u00a0roce 2007\u00a0s\u00a0n\u00edm hostoval v\u00a0Praze, p\u0159i\u010dem\u017e \u00faryvek pozd\u011bji pod hlavi\u010dkou skupiny 420People nastudovali n\u011bkdej\u0161\u00ed \u010dlenov\u00e9 Kyli\u00e1nova souboru Nata\u0161a Novotn\u00e1 a\u00a0V\u00e1clav Kune\u0161.<\/p>\n

N\u00e1zev d\u00edla vymezuje p\u0159esnou stop\u00e1\u017e. Ohrani\u010denost \u010dasu versus p\u0159\u00edtomn\u00fd okam\u017eik\u00a0\u2013 to je hlavn\u00ed t\u00e9ma choreografie, k\u00a0n\u011bmu\u017e se ostatn\u011b Kyli\u00e1n \u010dasto vrac\u00ed. Ne\u017e se rozezn\u00ed zvukov\u00fd podklad, do n\u011bho\u017e Kyli\u00e1n\u016fv \u010dast\u00fd spolupracovn\u00edk Dirk Haubrich zakomponoval elektronickou hudbu, nezvykl\u00e9 zvuky nebo deformovanou deklamaci, vid\u00edme \u0161estici tane\u010dn\u00edk\u016f, jak se na ticho rozcvi\u010duj\u00ed. Zkou\u0161\u00ed pohybov\u00e1 sch\u00e9mata, kter\u00e1 pozd\u011bji v\u00a0choreografii rozv\u00edjej\u00ed. Zd\u00e1nliv\u011b t\u00fd\u017e pohyb prob\u00edh\u00e1 v\u00a0jin\u00e9m kontextu, v\u00a0jin\u00e9m \u010dasov\u00e9m okam\u017eiku.<\/p>\n

Nejde ale jen o\u00a0relativizaci \u010dasu, n\u00fdbr\u017e tak\u00e9 prostoru. V\u00a0poetick\u00fdch odkazech Kyli\u00e1n zhmot\u0148uje to, co je pod, nad a\u00a0za sc\u00e9nou. Slou\u017e\u00ed k\u00a0tomu pruhy baletizolu, tedy pro balet typick\u00e9 podlahov\u00e9 krytiny. Jej\u00ed obvykl\u00e1 funkce se m\u011bn\u00ed. Pl\u00e1ty baletizolu jsou voln\u011b polo\u017eeny na podlahu i\u00a0zav\u011b\u0161eny nad jevi\u0161t\u011bm. Vytv\u00e1\u0159ej\u00ed tak dynamickou krajinu. Neklidn\u011b se pohupuj\u00ed nad hlavami tane\u010dn\u00edk\u016f, sj\u00ed\u017ed\u011bj\u00ed, zakr\u00fdvaj\u00ed \u010d\u00e1sti t\u011bl, uj\u00ed\u017ed\u011bj\u00ed pod nohama. Z\u00e1rove\u0148 interprety vyb\u00edzej\u00ed k\u00a0nahl\u00ed\u017een\u00ed pod n\u011b kamsi do hloubi. <\/p>\n

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

V\u00a0t\u00e9to prostorov\u00e9 nejistot\u011b mezi sebou tane\u010dn\u00edci rozv\u00edjej\u00ed vztahov\u00e9 mikrop\u0159\u00edb\u011bhy, v\u00a0nich\u017e n\u00e1znaky n\u00e1klonnosti st\u0159\u00edd\u00e1 odta\u017eitost. Rychl\u00e1 pohybov\u00e1 akce se lom\u00ed do p\u00f3zy v\u00a0zastaven\u00ed. Na odiv je d\u00e1na nejen kr\u00e1sa pohybu, ale tak\u00e9 samotn\u00fdch t\u011bl um\u011blc\u016f. Z\u00e1v\u011br m\u016f\u017ee b\u00fdt vn\u00edm\u00e1n jako obraz lidsk\u00e9ho konce a\u00a0jeho splynut\u00ed s\u00a0p\u0159\u00edrodou. Tane\u010dn\u00edci symbolicky vstupuj\u00ed pod zem, st\u00e1vaj\u00ed se jej\u00ed sou\u010d\u00e1st\u00ed a\u00a0sh\u016fry padaj\u00ed s\u00a0tup\u00fdm pl\u00e1cnut\u00edm neforemn\u00e9 kusy baletizolu. Jako kdy\u017e hroudy hl\u00edny dopadnou na na\u0161e ostatky.<\/p>\n

Goeckeho neklid pta\u010d\u00edch k\u0159\u00eddel<\/p>\n

Program uzav\u00edraj\u00ed Lovebirds, kter\u00e9 Marco Goecke vytvo\u0159il p\u0159\u00edmo pro pra\u017esk\u00fd balet. T\u0159iapades\u00e1tilet\u00fd n\u011bmeck\u00fd choreograf je kontroverzn\u00ed osobnost\u00ed, ale tak\u00e9 tv\u016frcem s\u00a0jasn\u011b artikulovan\u00fdm, rozpoznateln\u00fdm rukopisem, dost mo\u017en\u00e1 vyv\u011braj\u00edc\u00edm pr\u00e1v\u011b z\u00a0jeho slo\u017eit\u00e9ho nitra. Pro jeho tane\u010dn\u00ed jazyk b\u00fdv\u00e1 typick\u00e9 permanentn\u00ed nap\u011bt\u00ed, t\u011bkavost prostupuj\u00edc\u00ed zejm\u00e9na trupem, rukama a\u00a0hlavou. Veden\u00ed pa\u017e\u00ed u\u00a0n\u011bj \u010dasto p\u0159ipom\u00edn\u00e1 neklidn\u00fd pohyb pta\u010d\u00edch k\u0159\u00eddel. <\/p>\n

Shodou okolnost\u00ed k\u00a0pta\u010d\u00edmu sv\u011btu odkazuj\u00ed i\u00a0v\u0161echna d\u00edla, kter\u00e1 byla od n\u011bj doposud v\u00a0\u010cesku uvedena\u00a0\u2013 Duet z\u00a0Pt\u00e1ka Ohniv\u00e1ka nastudovan\u00fd p\u0159ed rokem v\u00a0Ostrav\u011b a\u00a0Fly Paper Bird, jen\u017e m\u011bl v\u00a0pra\u017esk\u00e9m N\u00e1rodn\u00edm divadle premi\u00e9ru roku 2023.<\/p>\n

V\u00a0Goeckeho choreografii nen\u00ed m\u00edsto pro harmonii. Horn\u00edmi polovinami t\u011bl tane\u010dn\u00edk\u016f a\u00a0tane\u010dnic jako by prostupovala permanentn\u00ed k\u0159e\u010d. Z\u00e1da jsou v\u00fdrazn\u011b napru\u017een\u00e1 a\u00a0vz\u00e1p\u011bt\u00ed shrben\u00e1, ramena m\u011bn\u00ed extr\u00e9mn\u00ed polohy, t\u011bkav\u00e9 pohyby pa\u017e\u00ed jdou a\u017e do kone\u010dk\u016f prst\u016f. Z\u00a0unisono vstup\u016f skupiny se v\u00a0siln\u00e9m kontrastu vyd\u011bluj\u00ed individuality. Ve\u0161ker\u00fd pohyb je zalo\u017een\u00fd na milimetrov\u00e9m timingu, p\u0159esnosti ka\u017ed\u00e9 fr\u00e1ze, jej\u00ed\u017e v\u00fdznam prohlubuje promy\u0161len\u00e9 sv\u00edcen\u00ed.<\/p>\n

Foto: Serghei Gherciu<\/p>\n

Krist\u00fdna N\u011bme\u010dkov\u00e1 a\u00a0Marco Piraino v\u00a0choreografii Lovebirds.<\/p>\n

Absurditu strojov\u011b temn\u00e9 choreografie, kter\u00e1 v\u0161ak v\u00a0sob\u011b nese a\u017e p\u0159ekvapivou d\u00e1vku humoru, dotv\u00e1\u0159\u00ed ambivalentn\u00ed vztah k\u00a0doprovodn\u00e9 hudb\u011b. Ta kombinuje Dvojkoncert pro dva smy\u010dcov\u00e9 orchestry, klav\u00edr a\u00a0tymp\u00e1ny Bohuslava Martin\u016f s\u00a0p\u00edsn\u011bmi Jamese Browna. Nesourod\u00e1 hudebn\u00ed linka funguje jako samostatn\u00e1 slo\u017eka. S\u00a0Goeckeho choreografi\u00ed se potk\u00e1v\u00e1 sp\u00ed\u0161e mimod\u011bk, vytv\u00e1\u0159\u00ed atmosf\u00e9ru, ale pohyb p\u0159\u00edmo neinspiruje.<\/p>\n

Program Avant-Garde ukazuje, jak odli\u0161n\u011b mohou choreografov\u00e9 p\u0159istupovat k\u00a0hudb\u011b. Zat\u00edmco Bondarovo d\u00edlo je p\u0159\u00edkladem pr\u00e1ce na tu u\u017e d\u0159\u00edve vytvo\u0159enou, u\u00a0Kyli\u00e1na zvukov\u00e1 stopa vznikala a\u017e v\u00a0n\u00e1vaznosti na tvorbu choreografa. A\u00a0pak je tu Goeckeho z\u00e1m\u011brn\u00e9 nepropojen\u00ed tance s\u00a0hudebn\u00ed slo\u017ekou. Pro orchestr N\u00e1rodn\u00edho divadla, veden\u00fd dirigentem Jaroslavem Kyzlinkem, asi nebylo snadn\u00e9 p\u0159i tak rozt\u0159\u00ed\u0161t\u011bn\u00e9 funkci hudebn\u00edho doprovodu udr\u017eet koncentraci. P\u0159esto jeho interpretace skladby jak Richtera, tak Martin\u016f dos\u00e1hla obdivuhodn\u00e9 kvality.<\/p>\n

Bondara, Kyli\u00e1n a\u00a0Goecke z\u00e1rove\u0148 p\u0159edstavuj\u00ed t\u0159i velmi kontrastn\u00ed tane\u010dn\u00ed jazyky a\u00a0odli\u0161n\u00e9 v\u00fdzvy pro tane\u010dn\u00edky N\u00e1rodn\u00edho divadla. Ti naplno uk\u00e1zali svou flexibilitu i\u00a0schopnost porozum\u011bt a\u00a0napojit se na v\u00fdrazivo jednotliv\u00fdch tv\u016frc\u016f. Nejl\u00e9pe se to da\u0159ilo tam, kde tanec nesl sv\u016fj specifick\u00fd obsah a\u00a0byl nejjasn\u011bji artikulovan\u00fd, tedy ve 27\u201952\u201c a\u00a0v Lovebirds. <\/p>\n

V\u00a0tak kompaktn\u00edm a\u00a0v\u00fdborn\u011b tan\u010d\u00edc\u00edm ans\u00e1mblu t\u011b\u017eko pouk\u00e1zat na individuality. P\u0159esto zm\u00ednku zaslou\u017e\u00ed alespo\u0148 Mathias Deneux, jen\u017e v\u00a0Goeckeho d\u00edle rozvinul sv\u016fj smysl pro absurdn\u00ed humor, a\u00a0pak v\u00fdkony Giovanniho Rotola, Ayi Watanabe a\u00a0Francesca Scarpata, kter\u00e9 zcela splynuly s\u00a0poetikou Ji\u0159\u00edho Kyli\u00e1na.<\/p>\n

Inscenace: Avant-Garde<\/p>\n

Choreografie: Robert Bondara, Ji\u0159\u00ed Kyli\u00e1n, Marco Goecke<\/p>\n

Hudba: Max Richter, Dirk Haubrich, Bohuslav Martin\u016f, James Brown<\/p>\n

N\u00e1rodn\u00ed divadlo, Praha, premi\u00e9ra 12.\u00a0b\u0159ezna, ps\u00e1no z\u00a0repr\u00edzy 20.\u00a0b\u0159ezna, nejbli\u017e\u0161\u00ed repr\u00edzy 21.\u00a0a\u00a022.\u00a0kv\u011btna.<\/p>\n","protected":false},"excerpt":{"rendered":"Recenzi si tak\u00e9 m\u016f\u017eete poslechnout v\u00a0audioverzi. Program inscenace nazvan\u00e9 Avant-Garde, kter\u00e1 m\u011bla v\u00a0pra\u017esk\u00e9m N\u00e1rodn\u00edm divadle premi\u00e9ru tento m\u011bs\u00edc,…\n","protected":false},"author":2,"featured_media":39457,"comment_status":"","ping_status":"","sticky":false,"template":"","format":"standard","meta":{"footnotes":"","_share_on_mastodon":"0"},"categories":[14],"tags":[8185,1172,2095,79,1253,2274,80],"class_list":["post-39456","post","type-post","status-publish","format-standard","has-post-thumbnail","category-zabava","tag-balet","tag-divadelni-predstaveni","tag-divadelni-recenze","tag-entertainment","tag-narodni-divadlo","tag-tanec","tag-zabava"],"share_on_mastodon":{"url":"https:\/\/pubeurope.com\/@cz\/116314071628332730","error":""},"_links":{"self":[{"href":"https:\/\/www.europesays.com\/cz\/wp-json\/wp\/v2\/posts\/39456","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=39456"}],"version-history":[{"count":0,"href":"https:\/\/www.europesays.com\/cz\/wp-json\/wp\/v2\/posts\/39456\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.europesays.com\/cz\/wp-json\/wp\/v2\/media\/39457"}],"wp:attachment":[{"href":"https:\/\/www.europesays.com\/cz\/wp-json\/wp\/v2\/media?parent=39456"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.europesays.com\/cz\/wp-json\/wp\/v2\/categories?post=39456"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.europesays.com\/cz\/wp-json\/wp\/v2\/tags?post=39456"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}