Hra je fenom\u00e9nem lidsk\u00e9 existence. Sv\u011bt, do kter\u00e9ho je mo\u017en\u00e9 uniknout. Zbra\u0148 proti smutku, nesmyslnosti, tragi\u010dnosti a nepochopitelnosti lidsk\u00e9ho kon\u00e1n\u00ed a sv\u011bta. Prostor, v kter\u00e9m se \u010dlov\u011bk m\u016f\u017ee schovat a za\u017e\u00edvat radost z pouh\u00e9ho byt\u00ed. Kde nic jin\u00e9ho nem\u00e1 m\u00edsto. Nen\u00ed tam strachu, chmurn\u00fdch my\u0161lenek, \u00fazkost\u00ed, nejistot, depres\u00ed, smutk\u016f, vn\u00edm\u00e1n\u00ed vlastn\u00edch slabost\u00ed a nedokonalost\u00ed, proher. Proto\u017ee v\u0161e se nach\u00e1z\u00ed ve h\u0159e. Zkuste si n\u011bkdy znovu hr\u00e1t. B\u00fdt jako d\u00edt\u011b. Pro\u017eijte si pohlcen\u00ed vlastn\u00ed hrou a existenc\u00ed. A pak n\u00e1m \u0159eknete, jak\u00e9 to pro v\u00e1s bylo. <\/p>\n\n\n\n
Miluji Silnici (La strada) od Frederico Felliniho s Giuliettou Masina a Anthony Quinnem. Masina tam hraje postavu Gelsominy. K\u0159ehk\u00e9, trochu slabomysln\u00e9, ale hrav\u00e9, up\u0159\u00edmn\u00e9, \u010dist\u00e9 d\u00edvky, kter\u00e1 putuje s drsn\u00fdm cirkus\u00e1kem Zampanem. Kdy\u017e jsem se d\u00edvala na film, Gelsomina m\u011b pevn\u011b uchopila a obl\u00e9kla si m\u011b. V m\u00e9m gestu, hlasu, jedn\u00e1n\u00ed. Do\u0161lo mi, \u017ee chce abych ji ztv\u00e1rnila, \u017ee pot\u0159ebuje vyj\u00edt na sv\u011btlo. Snad je v n\u00e1s obou n\u011bco podobn\u011b komick\u00e9ho a pot\u0159ebuje to o\u017e\u00edt. Vyt\u00e1hnout na sv\u011btlo st\u0159\u00edpky jej\u00ed existence znamen\u00e1 pochopit tu vlastn\u00ed, osahat si dal\u0161\u00ed \u010d\u00e1st sv\u00e9 identity. To je kouzlo hry. Skrze hru povst\u00e1v\u00e1 na\u0161e lidsk\u00e1 identita, kousky n\u00e1s sam\u00fdch. A to v tak kr\u00e1sn\u00e9m a uvol\u0148uj\u00edc\u00edm humoru a groteskn\u00edm sm\u00edchu, \u017ee v\u0161e t\u011b\u017ek\u00e9 je tatam. Jako kdy\u017e si d\u011bde\u010dek mal\u00e9ho Va\u0161ka ve filmu Jak dostat tat\u00ednka do polep\u0161ovny u hrobu sv\u00e9 man\u017eelky povzdechne: \u201dTak to vid\u00ed\u0161 M\u00e1\u0148o, ten kluk ud\u011bl\u00e1 ze v\u0161eho takovou blbinu.\u201d<\/p>\n\n\n\n
Pod\u00edvala jsem se do \u0161atn\u00edku a v\u011bci na m\u011b za\u010daly naskakovat. \u0160ed\u00fd balo\u0148\u00e1k m\u011b op\u00e1sal a soukal ruce do velk\u00fdch \u0161irok\u00fdch ruk\u00e1v\u016f. Hn\u011bd\u00e1 pleten\u00e1 trpasli\u010d\u00ed \u010depice mi vysko\u010dila na hlavu a zk\u0159ivila se do prapodivn\u00e9 formy. Rud\u00e1 rt\u011bnka mi nal\u00ed\u010dila rty do tvaru srdce a \u010dern\u00e1 tu\u017eka s klaunskou preciznost\u00ed kouzlila dlouh\u00e9 \u0159asy a vykreslovala klaun\u00ed nos. Noty se poskl\u00e1daly a skrze m\u00e9 hlasov\u00e9 \u00fastroj\u00ed za\u010daly vyluzovat zvl\u00e1\u0161tn\u00ed hravou melodii. Nohy se jely poposkakovat a o\u010di se up\u0159en\u011b d\u00edvaly dop\u0159edu. Gelsomina byla \u017eiv\u00e1, p\u0159\u00edtomn\u00e1, v m\u00e9m charakteru i jedn\u00e1n\u00ed, v jednotliv\u00fdch situac\u00edch. Nic nebylo t\u0159eba vym\u00fd\u0161let. Nechat j\u00ed jen b\u00fdt, existovat a jednat. A d\u00edvat se, jak se skrze n\u00ed napl\u0148uje m\u00e9 byt\u00ed.<\/p>\n\n\n\n
Gelsominou se ztr\u00e1c\u00ed ve mn\u011b v\u0161e chmurn\u00e9 a t\u00ed\u017eiv\u00e9. Strach o budoucnost. \u017divot se st\u00e1v\u00e1 kr\u00e1sn\u00fd, jako pro Giosu\u00e9ho v Benigniho filmu \u017divot je kr\u00e1sn\u00fd. Samoz\u0159ejm\u011b, \u017ee nem\u00e1 ka\u017ed\u00fd p\u0159etlak jevi\u0161tn\u011b postavu ztv\u00e1r\u0148ovat. Ale mysl\u00edm, \u017ee ka\u017ed\u00fd m\u016f\u017ee za\u017e\u00edvat hru, nebo \u017eivot jako hru. Je to n\u011bco jako meditace, kdy \u010dlov\u011bk existuje pouze v p\u0159\u00edtomn\u00e9m okam\u017eiku. Ale m\u00e1 to je\u0161t\u011b ur\u010ditou jiskru nav\u00edc. Nebere se p\u0159\u00edli\u0161 v\u00e1\u017en\u011b, proto\u017ee ani nem\u016f\u017ee. Pak to u\u017e nen\u00ed hra. Ve h\u0159e se cel\u00fd \u017eivot m\u011bn\u00ed v hrac\u00ed prostor se sc\u00e9nou, rekvizitami a \u010dlov\u011bk hraj\u00edc\u00ed postavou. Hra je kouzlo. Pravda sama, kde t\u00ed\u017eiv\u00e9 je absurdn\u00ed a absurdn\u00ed \u010dir\u00e9 a pravdiv\u00e9. V\u0161e se p\u0159eskl\u00e1d\u00e1 a funguje v obr\u00e1cen\u00e9 logice. V\u00e1\u017en\u00e9 se st\u00e1v\u00e1 groteskn\u00ed a groteskn\u00ed v\u00e1\u017en\u00fdm. V obr\u00e1cenosti se ukr\u00fdv\u00e1 lehkost a pravda. S t\u00edm pracoval ve filmu nap\u0159\u00edklad Fellini, Kusturica nebo Jakubisko, psal sv\u00e9 hry V\u00e1clav Havel \u010di tvo\u0159il ne-divadlo Ivan Vysko\u010dil. Proto\u017ee na prvn\u00ed pohled v absurdn\u00edm, ale pravdiv\u00e9m prostoru, mocn\u00ed pozb\u00fdvaj\u00ed s\u00edlu a k\u0159ehc\u00ed v\u00edt\u011bz\u00ed nad mocnostmi zla. Papou\u0161ek \u017dako je v\u00e1\u017een\u011bj\u0161\u00ed a pron\u00e1\u0161\u00ed moud\u0159ej\u0161\u00ed slova ne\u017e v\u011bhlasn\u00fd profesor na univerzit\u011b. K\u0159iklav\u00e9 \u010depice posazen\u00e9 nak\u0159ivo jsou \u00fachvatn\u011bj\u0161\u00edm a p\u016fvabn\u011bj\u0161\u00edm m\u00f3dn\u00edm dopl\u0148kem ne\u017e cel\u00e9 m\u00f3dn\u00ed kreace nejslavn\u011bj\u0161\u00edch dom\u016f \u010di n\u00e1vrh\u00e1\u0159\u016f. Strachem bu\u0161\u00edc\u00ed srdce zp\u00edv\u00e1 hlasit\u011bji, z\u0159eteln\u011bj\u00ed a odu\u0161evn\u011bleji ne\u017e sebedokonaleji nazp\u00edvan\u00e9 gregori\u00e1nsk\u00e9 chor\u00e1ly. A kde lidsk\u00e1 k\u0159ehkost a zranitelnost je p\u016fdou pro pravdu, napln\u011bnou existenci a skute\u010dn\u00fd radostn\u00fd a z\u00e1\u0159iv\u00fd sv\u011bt.<\/p>\n\n\n\n
To je autorsk\u00e1 tvorba a hra. Sv\u011bt ve sv\u00e9 absurdn\u00ed obr\u00e1cen\u00e9 pravd\u011b. V opa\u010dn\u00e9 z\u00e1konitosti, ne\u017e je zd\u00e1nliv\u00e1 realita. A p\u0159itom ta obr\u00e1cenost je a\u017e mraziv\u011b skute\u010dn\u00e1. Ka\u017ed\u00fd v sob\u011b ukr\u00fdv\u00e1 grotesknost sv\u00e9 identity i \u017eivotn\u00edho p\u0159\u00edb\u011bhu. Mo\u017en\u00e1 mu k pochopen\u00ed pom\u016f\u017ee jen mal\u00e1 nen\u00e1padn\u00e1 groteskn\u00ed postavi\u010dka tul\u00e1ka Chaplina nebo doj\u00edmav\u00e9 vesnick\u00e9 d\u00edvky Gelsominy. A \u017eivot se v jejich proz\u0159en\u00ed cel\u00fd proz\u00e1\u0159\u00ed. <\/p>\n\n\n\n
A\u017e n\u011bkde budete a bude v\u00e1m to p\u0159ipadat moc seri\u00f3zn\u00ed nebo nep\u0159\u00edjemn\u00e9, zkuste post\u0159eh zdravotn\u00edch klaun\u016f: p\u0159edstavte si lidi s klaunsk\u00fdmi \u010derven\u00fdmi nosy. Uvid\u00edte, jak cel\u00e1 situace z\u00edsk\u00e1 jinou dimenzi a lid\u00e9 se za\u010dnou pro v\u00e1s vyjevovat ve sv\u00e9 prav\u00e9 identit\u011b. Jak absurdn\u00ed. Klaunsk\u00fd nos shod\u00ed masku a \u010dlov\u011bk se st\u00e1v\u00e1 t\u00edm, k\u00fdm je. Ale v naprost\u00e9 k\u0159ehkosti a laskavosti. J\u00e1 jsem to zkusila minule na m\u0161i v kostele a nesta\u010dila jsem se divit, sp\u00ed\u0161e celou dobu usm\u00edvat. P\u0159ipadala jsem si jako bychom byli postavi\u010dky z Komensk\u00e9ho labyrintu sv\u011bta. Mo\u017en\u00e1 proto existuj\u00ed zdravotn\u00ed klauni. Sm\u011b\u0161nost a groteska toti\u017e l\u00e9\u010d\u00ed lidskou du\u0161i. Sm\u00edch l\u00e9\u010d\u00ed lidskou du\u0161i. Odzbrojuje \u010dlov\u011bka od sebe sam\u00e9ho. Ve sv\u00e9 absurdit\u011b je toti\u017e sv\u011bt a \u010dlov\u011bk pravdiv\u011bj\u0161\u00ed ne\u017e jeho zd\u00e1nliv\u00e1 seri\u00f3zn\u00ed iluze, kter\u00e9 my lidi bez klaunsk\u00fdch nos\u016f \u0159\u00edk\u00e1me realita. A tak m\u011b napad\u00e1 ot\u00e1zka: Co kdy\u017e je B\u016fh jeden velk\u00fd barevn\u00fd klaun s obrovit\u00e1nsk\u00fdm d\u00e9tsk\u00fdm srdcem a na\u0161im jedin\u00fdm \u00fakolem je ho napodobit a sm\u00e1t se sami ze sebe? <\/p>\n\n\n\n
PS: A v\u00edte, \u010demu nem\u016f\u017eete nasadit klaunsk\u00fd nos? Zlu. Zlo toti\u017e klaunsk\u00fd \u010derven\u00fd nos neunese.<\/p>","protected":false},"excerpt":{"rendered":"
Hra je fenom\u00e9nem lidsk\u00e9 existence. Sv\u011bt, do kter\u00e9ho je mo\u017en\u00e9 uniknout. Zbra\u0148 proti smutku, nesmyslnosti, tragi\u010dnosti a nepochopitelnosti lidsk\u00e9ho kon\u00e1n\u00ed a sv\u011bta. Prostor, v kter\u00e9m se \u010dlov\u011bk m\u016f\u017ee schovat a za\u017e\u00edvat radost z pouh\u00e9ho byt\u00ed. Kde nic jin\u00e9ho nem\u00e1 m\u00edsto. Nen\u00ed tam strachu, chmurn\u00fdch my\u0161lenek, \u00fazkost\u00ed, nejistot, depres\u00ed, smutk\u016f, vn\u00edm\u00e1n\u00ed vlastn\u00edch slabost\u00ed a nedokonalost\u00ed, proher. … Read more<\/a><\/p>","protected":false},"author":3,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"episode_type":"","audio_file":"","podmotor_file_id":"","podmotor_episode_id":"","cover_image":"","cover_image_id":"","duration":"","filesize":"","filesize_raw":"","date_recorded":"","explicit":"","block":"","itunes_episode_number":"","itunes_title":"","itunes_season_number":"","itunes_episode_type":"","footnotes":""},"class_list":["post-2339","page","type-page","status-publish"],"aioseo_notices":[],"aioseo_head":"\n\t\t\n\t\n\t\n\t\n\t\n\t\t\n\t\t\n\t\t\n\t\t\n\t\t\n\t\t\n\t\t\n\t\t\n\t\t\n\t\t\n\t\t\n\t\t