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Arhitektura,Dogodki
/
15 septembra, 2016

LUTKE živijo

Sodobne lutkarske umetnosti vključujejo širok razpon umetniških praks, kar je uspešno prikazal že trinajsti bienalni mednarodni festival LUTKE 2016, ki se je na različnih prizoriščih v Ljubljani odvijal med 9. in 13. septembrom. Za ponazoritev heterogenosti festivala, kot tudi same lutkarske scene, se kot hvaležno ponuja primerjava dveh skorajda diametralno različnih predstav – ambiciozno, tehnično dovršeno in kontemplativno Taborišče nizozemskega kolektiva Hotel Modern, ki obravnava grozote Auschwitza in hiperaktivno, primitivno in kaotično predstavo Dogodivščine belega moža izpod prstov ameriškega lutkarja, satirika, filmarja in igralca Paula Zalooma.

Po literarnih, filmskih in stripovskih upodobitvah Hitlerjeve »dokončne rešitve«, je Auschwitzu posvečena še lutkovna predstava, ki poskuša razširiti razumevanje enega najbolj grozljivih obdobij človeške zgodovine. Impresivno natančna maketa celotnega taborišča, vključno z do gležnjev visokim vhodom s famoznim napisom »Arbeit macht frei«, po kateri se premikajo lutke, katerih obrazi obupa spominjajo na Munchov Krik, gledalca neprizanesljivo sooči s paradoksom nesmiselnega nasilja in umiranja ter hladnokrvno kalkulirane organizacije tovarne smrti. Učinek, ki ga gledalec čuti v drobovju, trojec doseže s kombinacijo lutkarske spretnosti, kamero, ki dogajanje v črno-beli sliki projecira na platno v ozadju in tesnobnimi zvočnimi učinki.

Predstava ni zastavljena kot izobraževalni pripomoček, saj je iz perspektive zgodovine o Auschwitzu težko povedati kaj novega.Vinjete iz dnevne rutine množičnega ubijanja so brez dialogov in osebnih zgodb, prikazujejo vse »klišeje« koncentracijskega taborišča, vključno s plinskimi celicami. Trpljenje, ki ga gledalec spremlja, postale plastično, celo dolgočasno. A ravno tu se skriva moč predstave – spretno nam postavi ogledalo. Produkt hipersenzoričnega sveta je senzorično deprivirana družba, katere posledica je čustvena otopelost. Pri tem si lahko zastavimo vprašanje, koliko Auschwitzov le nemo spremljamo iz udobne distance, brez da bi se zavedali, da je ta distanca le iluzija.

Dogodivščine belega moža se začnejo z belcem, ki z Božjim žegnom zapusti planet Kavkazoid in se odpravi civilizirati Zemljo. Gre za duhovito in pronicljivo kritiko zahodnega ekspanzionizma v slogu hiperaktivnega ameriškega humorja, dediščine, iz katere črpajo tudi popularne nočne politično-satirične pogovorne oddaje in risanke, kot na primer South Park. V primerjavi s Taboriščem so Dogodivščine tehnično primitivne –lutke so igrače in neuporabne razbitine, ki jim Zaloom mojstrsko vdahne življenje, ki je sočasno prikazovano na videoplatnu. Premeteno zmes lucidne kritike in vulgarnega humorja spremljajo stalne salve smeha, toda predstava ni le resno smešna, temveč tudi smešno resna. Za razumevanja humorja predstave moraš biti opremljen s širokim poznavanjem ameriške popularne kulture. Belec kupuje v blagovnici Macy's, plišasta lisica predstavlja Fox News, padajočo zvezdo pa igra obraz Mela Gibsona. Tudi nastopajoče igrače so produkti hiper-potrošnje. Frizerja, denimo, igra Troll figurica, zobozdravnica je zobna ščetka z ročajem morske deklice Ariel, ne-belci pa so majhni zeleni vesoljčki. V ozadju Zaloomove norčave predstave se skriva dokaz uspešne ameriške kulturne kolonizacije sveta, ki jo komik ironično kritizira s produkti istega sistema.

https://www.youtube.com/watch?v=03y_BRaeQCo

Lutkarstvo je neupravičeno zapostavljen žanr, kar dokazuje tudi festival LUTKE, ki je spreobrnil marsikaterega nejeverneža. Ni niti gledališče niti film in je oboje hkrati. Razvilo je svojo specifično umetniško govorico, zmožno nagovoriti človeka in njegovo bivanje v svetu. Lutke imajo izredno sposobnost spreobračanja ontološke ločnice med živim in neživim, v procesu oživljanja stvari pa je gledalec neposredna priča magiji.

Pripravil Andraž Boštjančič

 

 

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