Azijski umetniki, kot sta na primer Sada Yacco in Mei Langfang so navdihovali gledališke reformatorje in spreminjali njihove poglede na gledališko umetnost. Pomislimo, na primer, kakšen vpliv je imela predstava balijskih plesalk na Antonina Artauda leta 1931 v Parizu.
and Michael Chekhov, Vsevolod Meyerhold and Maurice Maeterlinck, Lugné-Poe, Paul Claudel, Alfred Jarry, Antonin Artaud, Jacques Copeau, Max Reinhardt, Adolphe Appia, Edward Gordon Craig and Bertold Brecht, among others.
Režiserjem je bilo jasno, da potrebujejo sposobne, disciplinirane in izurjene igralce z izpiljeno tehniko, ki bi svoje spretnosti razvijali brez pretiravanja. Lutkovna umetnost je lahko ponudila umetno in dehumanizirano telo kot alternativo igralcem iz mesa in krvi. Lutke so postale ideal igralca, saj so bile zmožne igrati popolnoma neprizadeto, ne da bi pokazale kakršna koli čustva.
In these new endeavours, unlike other avant-garde movements which tried to make a clear break with the past, theatre artists took a different view of the past dramatic creations, seeing it as a kind of ritual inheritance, the "Commedia dell’arte", which is the theatre of fairs and circuses and certain Asian traditions. This was also the period when Orientalism blossomed. Asian artists such as Sada Yacco or Mei Langfang fascinated great reformers and changed the way they saw. Consider for example the influence of Balinese ballet dancers on Antonin Artaud in 1931 in Paris.
Craigova teorija o »über-marioneti« govori prav o tem. Za tega britanskega režiserja je prav delo z animiranimi predmeti poudarjalo intimen odnos med gledališčem in smrtjo. Prav tu naj bi arhetipsko in prvobitno sobivalo z avantgardnim in s tem ustvarjalo nove povezave ter umetniške jezike. Koncept »über-marionete« je postal estetski ideal za nov tip igralca. »Zaradi svoje specifičnosti je lutka stičišče dveh različnih realnosti (žive in nežive, predmeta in igralca, telesa in duše); in čeprav je to precej neopazno in včasih moteče, občasno ustvarja - prej kot neprijetna presenečenja - nepredvidljive in plodne izmenjave, ki si jih že od nekdaj želimo.«1 V lutkarstvu začetka 20. stoletja so se vzporedno s klasičnimi in tradicionalnimi uveljavile nove umetniške in eksperimentalne oblike, vezane na sočasne modernistične in avantgardne ideje. Skozi stoletja je bilo lutkarstvo del družinske tradicije, ki se je prenašala iz roda v rod, odvijalo pa se je na trgih, plažah, semnjih in v kavarnah. Čeprav so se mnoge tradicionalne oblike ohranile vse do danes, npr. lika Puncha, Pulcinelle, sicilijanska »Opera dei Puppi« idr., so bile mnoge v 20. stoletju na robu izumrtja (npr. portugalski Dom Roberto), druge (npr. španski Don Cristóbal) pa so popolnoma izumrle. Kljub temu pa tradicionalno lutkarstvo ni bilo edina pot, ki bi jo lutkarstvo 20. stoletja lahko ubralo – na obzorju je bila vrsta novih možnosti. Kot je zapisal poljski zgodovinar Henryk Jurkowsky, so za »preporod lutkovne umetnosti zaslužni umetniki, slikarji in kiparji, ki niso bili poklicni lutkarji. Ustvarjali so dela, blizu lutkovni umetnosti v svojih dramskih delih (Picasso), baletih (Léger) in filmih (Aleksandra Ekster). Futurista Fortunato Depero in Enrico Prampolini sta sodelovala z Vittoriem Podrecco v Rimu. Navdih za oblikovanje lutk sta našla v geometriji in mehanskih modelih. V züriškem lutkovnem gledališču sta Sophie Tauber – Arp in Otto Morach ustvarila dadaistične ter kubistične lutke preprostih oblik in prosto preigravala močne in žive barve ter na lutkah puščala sledi uporabljenega orodja. Nekateri od njih so ustanovili svoja lutkovna gledališča, med tem ko so drugi utrjevali samosvoj umetniški izraz v okviru različnih gledališč.«2 Lutkovno gledališče je vzbudilo veliko zanimanje številnih ustvarjalcev (glasbenikov, pesnikov, koreografov, slikarjev, kiparjev in drugih), ki so s samosvojimi izrazi oplemenitili lutkarstvo in ga uvrstili med umetnosti. Tradicionalni repertoar se je razširil, dramsko pisanje pa je začelo utirati nove poti. Avantgardno lutkarstvo je črpalo iz različnih literarnih in glasbenih predlog. Razširil se je tudi spekter tehnik animacije in oblikovanja lutk ter scene: v materialih, barvah, prostorskem in lučnem oblikovanju. Lutkovne igre so se z mestnih trgov in semnjev preselile na različne velike ter majhne odre in na različna prizorišča, kjer so bile predstave tehnično izvedljive. Odnos med igralcem in predmetom ter animacijo je ustvarjal nove načine izražanja. Lutkarstvo se je profesionaliziralo in s tem doseglo novo stopnjo. V evropskih državah, kot so Slovenija, Italija in Španija, ki so pokrajinsko in kulturno tako različne, najdemo posameznike, ki ne izhajajo iz lutkarskih družin, pa so se vseeno znašle v svetu lutkovne umetnosti in celo odigrale ključno vlogo v lutkovni zgodovini svojega naroda: Milan Klemenčič (1875–1957), slovenski fotograf in slikar, pionir barvne fotografije, scenograf in začetnik slovenskega lutkarstva; Vittorio Podrecca (1883–1959), italijanski odvetnik, ljubitelj glasbe, ustanovitelj gledališča »I Piccoli« – enega največjih gledaliških in-
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Bilten
For the directors of the time, it became evident they needed capable, disciplined and trained actors with well-honed techniques, who would be able to develop their abilities without becoming overexaggerated. Puppetry was able to offer an artificial and dehumanized body as an alternative to flesh and blood actors. Puppets became the ideal actor because they were able to perform on stage without being carried away by their emotions and who could all perform any physical action required of them perfectly every time. Craig’s theory of the “Über-Marionettes” was one of the referential theoretic discourses illustrating these ideas. For this British director, working with animated objects emphasized the intimate relationship between the theatre and death, where archetypal and primitive concerns lived side by side with the avant-garde, leading to the creation of new ties and new artistic languages. This made the “Über-Marionette” an aesthetic ideal that contributed to a new perspective on traditional actors. “Due to its unique position, a puppet is a point of contact between different realities (animate and inanimate, object and actor, body and soul); and even if this condition makes it imperceptible and therefore rather unsettling, it also occasionally results in an unpredictable and rich exchange desired for years, rather than in surprising encounters.”1 As a result, traditional and popular forms of European puppetry in the early twentieth century began to co-exist by side the more artistic and experimental forms associated with the avant-garde movements. Through the centuries, traditional puppets were part of the family heritage passed down from parent to child, and appeared in specific environments such as squares, beaches, cafés, and fairs. Although many traditional performances survived up until to the present day, e.g. Punch, Pulcinella, Sicilian "Opera dei Puppi", it is true that some of them were in danger of disappearing in the twentieth century. Some were on the verge of extinction, such as Portugal's Dom Roberto, and some had disappeared completely, like Spain's Don Cristóbal. Nevertheless, traditional puppetry was not the only path open to this genre in the twentieth century; many new opportunities were opening up. According to the Polish historian Henryk Jurkowsky, ”the continued existence of puppetry lies in the hands of artists, painters and sculptors who are not professional puppeteers. They introduced artefacts that were similar to puppets in plays (Picasso), ballet (Léger) or films (Alexandra Exter). The futurists Fortunato Depero and Enrico Prampolini worked for Vittorio Podrecca in Rome. Their inspiration for creating puppets came from geometry and mechanical models. In the puppet theatre in Zürich, Sophie Tauber - Arp and Otto Morach created Dadaist and Cubist puppets with simple forms, and played without limitations, which had simple forms, and played about with them freely, leaving marks on the puppets from the tools they had used. Some of them established their own puppet theatres, while others formed ties with theatres and claimed their artistic identity.”2 Musicians, poets, choreographers, dancers, painters and sculptors, all of them showed an interest in puppets and enriched this art from their differing points of view, thus driving progress in the art of puppetry Traditional puppetry repertory became more diverse, and playwrights explored new directions, both in terms of theme and form. The novel avant-garde 1 Brunella Eruli, Puck Flower, in: Puck, No. 1, Avant-Garde and Puppets, Charleville-Mézières, 1988, p. 3. 2 Henryk Jurkowski, Metamorphosis. Puppetry in the 20th century. CharlevilleMézières 2000, p. 21.
Bulletin
Iz zaodrja: pionirji evropskega lutkarstva