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Ono što Timur Vermes radi s Adolfom Hitlerom u bestseleru “Opet on”, događa se u predstavi “Priče iz davnine” u režiji Paola Tišljarića.

Vermesov “Führer” vraća se kako bi nastavio projekt tisućljetnog Reicha, a u “Pričama iz davnine” Ivana Brlić Mažuranić vraća se iz prošlosti kako bi napravila anketu o popularnosti svojih djela. Na tom putu sreće Ivana Mrlić Bažuranić ima djecu s istim imenima kao i putnice iz prošlosti. Mada, zakoni tih pojava prije odgovaraju putovanju u paralelni univerzum, a ne vremeplovu... Dramaturgiju i dramatizaciju potpisuje Lada Kaštelan, scenografiju Irena Kraljić.

Prvi dio predstave, koja je rezultat koprodukcije zagrebačkog Kazališta Trešnja i Kazališta Marina Držića i koja je u Dubrovniku doživjela premijeru, preplavljena je informacijama, germanizmima, arhaičnim izrazima, ali i uredno i nenametljivo sondiranim činjenicama o I.B. Mažuranić, koje ne strše i ne žuljaju, gledatelj je nagrađen njihovim postojanjem. Sve to asocira na podrubriku TV kalendara “Nepoznato o poznatome” i tu edukativni karakter komada doseže zenit. Ovakvo ponovno otkrivanje književnika, napose književnica, potrebno je i dobrodošlo.

Ulogom velike spisateljice Ivana Bakarić bila je krajnje ugodna, nema preglumljivanja, rolu je odigrala pažljivo i s kontinuiranim dostojanstvom.

Kombinacija ove uloge s videoprojekcijama čiji su autori Vesna Kolarec i Žarko Dragojević, ugodno su audiovizualno iskustvo, ali i lagano gubljenje, zato je umetak folklora približio atmosferu.

Ivani Mrlić Bažuranić Glorije Šoletić nije dodijeljen velikodušan komad kolača uspješnosti. Marija Šegvić uvjerljiva je u personifikaciji Mokoš. Matija Čigir pokazao se kao bolji buntovnik Vlado, Dubravka Lelas privukla je pozornost kao vrckava devetogodišnjakinja Zdenka. Paško Vukasović ulogu najmlađega Nikole odigrao je simpatično, drugi dio bio je prilično neprimjetan i blijed. Luka Bulović u drugom je dijelu trebao biti narator i već bi dao dovoljan doprinos.

Po malo čemu vrijedno praćenja, krpelj recitacije isisao je svu atraktivnost, svodi se na nabrajanje, sadržaj se zgrušava, umara, nastaju “otekline”… Pjevanje uglas, grupno lupanje o pod u ritmu dječje brojalice “Kad si sretan...” samo što ona ovdje glasi: Kad želiš s drugim podijeliti zamor sav”. Drugi dio mogao je proći kao radiodrama.

Predstava je pozerica, folirantica, “pravi” se da je za djecu, a nije. “Pričama iz davnine” fali svježine, jednostavnosti, nešto što bi ih i do najmlađeg recipijenta učinilo pitkim, a ovako je nastavilo rasti u skupini endemske vrste u “Šumi gnjavatorovoj”.•

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Tišljarića jesu činjenice o Ivani Brlić Mažuranić ) ) [bgPosition] => [videoType] => allvideos [text] => {OCMSplitter}

Ono što Timur Vermes radi s Adolfom Hitlerom u bestseleru “Opet on”, događa se u predstavi “Priče iz davnine” u režiji Paola Tišljarića.

Vermesov “Führer” vraća se kako bi nastavio projekt tisućljetnog Reicha, a u “Pričama iz davnine” Ivana Brlić Mažuranić vraća se iz prošlosti kako bi napravila anketu o popularnosti svojih djela. Na tom putu sreće Ivana Mrlić Bažuranić ima djecu s istim imenima kao i putnice iz prošlosti. Mada, zakoni tih pojava prije odgovaraju putovanju u paralelni univerzum, a ne vremeplovu... Dramaturgiju i dramatizaciju potpisuje Lada Kaštelan, scenografiju Irena Kraljić.

Prvi dio predstave, koja je rezultat koprodukcije zagrebačkog Kazališta Trešnja i Kazališta Marina Držića i koja je u Dubrovniku doživjela premijeru, preplavljena je informacijama, germanizmima, arhaičnim izrazima, ali i uredno i nenametljivo sondiranim činjenicama o I.B. Mažuranić, koje ne strše i ne žuljaju, gledatelj je nagrađen njihovim postojanjem. Sve to asocira na podrubriku TV kalendara “Nepoznato o poznatome” i tu edukativni karakter komada doseže zenit. Ovakvo ponovno otkrivanje književnika, napose književnica, potrebno je i dobrodošlo.

Ulogom velike spisateljice Ivana Bakarić bila je krajnje ugodna, nema preglumljivanja, rolu je odigrala pažljivo i s kontinuiranim dostojanstvom.

Kombinacija ove uloge s videoprojekcijama čiji su autori Vesna Kolarec i Žarko Dragojević, ugodno su audiovizualno iskustvo, ali i lagano gubljenje, zato je umetak folklora približio atmosferu.

Ivani Mrlić Bažuranić Glorije Šoletić nije dodijeljen velikodušan komad kolača uspješnosti. Marija Šegvić uvjerljiva je u personifikaciji Mokoš. Matija Čigir pokazao se kao bolji buntovnik Vlado, Dubravka Lelas privukla je pozornost kao vrckava devetogodišnjakinja Zdenka. Paško Vukasović ulogu najmlađega Nikole odigrao je simpatično, drugi dio bio je prilično neprimjetan i blijed. Luka Bulović u drugom je dijelu trebao biti narator i već bi dao dovoljan doprinos.

Po malo čemu vrijedno praćenja, krpelj recitacije isisao je svu atraktivnost, svodi se na nabrajanje, sadržaj se zgrušava, umara, nastaju “otekline”… Pjevanje uglas, grupno lupanje o pod u ritmu dječje brojalice “Kad si sretan...” samo što ona ovdje glasi: Kad želiš s drugim podijeliti zamor sav”. Drugi dio mogao je proći kao radiodrama.

Predstava je pozerica, folirantica, “pravi” se da je za djecu, a nije. “Pričama iz davnine” fali svježine, jednostavnosti, nešto što bi ih i do najmlađeg recipijenta učinilo pitkim, a ovako je nastavilo rasti u skupini endemske vrste u “Šumi gnjavatorovoj”.•

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Damil Kalogjera Damil Kalogjera Damil Kalogjera
Damil Kalogjera
Predstava 'Priče iz davnine' u režiji Paola Tišljarića
Damil Kalogjera
Glorija Šoletić i Ivana Bakarić u prizoru iz predstave
Damil Kalogjera
Kostimografkinja Tea Bašić Erceg opet se iskazala u najboljem mogućem svjetlu



Jedna od dobrih strana predstave Paola Tišljarića jesu činjenice o Ivani Brlić Mažuranić
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Kazališterecitacija i poduka

Dubrovačkim ‘Pričama iz davnine‘ Paola Tišljarića fali ono nešto što bi ih i kod najmlađe publike učinilo pitkim

7. ožujka 2020. - 12:55

Ono što Timur Vermes radi s Adolfom Hitlerom u bestseleru “Opet on”, događa se u predstavi “Priče iz davnine” u režiji Paola Tišljarića.

Vermesov “Führer” vraća se kako bi nastavio projekt tisućljetnog Reicha, a u “Pričama iz davnine” Ivana Brlić Mažuranić vraća se iz prošlosti kako bi napravila anketu o popularnosti svojih djela. Na tom putu sreće Ivana Mrlić Bažuranić ima djecu s istim imenima kao i putnice iz prošlosti. Mada, zakoni tih pojava prije odgovaraju putovanju u paralelni univerzum, a ne vremeplovu... Dramaturgiju i dramatizaciju potpisuje Lada Kaštelan, scenografiju Irena Kraljić.

Prvi dio predstave, koja je rezultat koprodukcije zagrebačkog Kazališta Trešnja i Kazališta Marina Držića i koja je u Dubrovniku doživjela premijeru,...

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18. svibanj 2024 18:56