Fwd: pozivnica - film na Teatar festu "Petar Kočić" 2015
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bérengère dambrine
May 19, 2015, 5:39:50 AM5/19/15
to stranci-u...@googlegroups.com, Slavisa Slavisa
Free movies at the national theater every day this week at noon.
WOYZECK
"Woyzeck" is an unfinished text of a young German writer in the first half of the nineteenth century, Georg Büchner, unfortunately early deceased - lived only twenty-four years. Written in the last year of the writer's life (1837), survives only as a series of sketches by the German director Werner Herzog, 1979, perfectly turned into a feature film.
The film is dominated by an atmosphere of hopelessness - like someone pulling the strings from above destiny which one completely helpless and "insignificant" individual, can not be avoided. It must be noted that Buchner, above all, a revolutionary (and active participant), and is due to dissatisfaction with the consequences of the French Revolution, the text constantly present fatalism in which, for someone like Woyzeck, leaves no room for life. Woyzeck may be a person poor in spirit, but it is a good man, what he has is the major obstacle to be incorporated.
The link with the time in which we live today is a complete - and today is the individual, perhaps more than ever, an instrument in someone else's hands - without substantive (not formal) right to express their views publicly, let alone represent some ideas.
So marginalized individual, time inevitably becomes a lost cause.
---------------------------
wednesday 20.05.
ČEŽNJA UNDER elms
Delbert Man, American film director, honored for his first film "Marty," 1955 Golden Palm at Cannes and the Oscar for best director, he recorded three years later, his third film in a row - "Desire under the elms." The film was shot on the eponymous drama, American playwright of Irish descent, Eugene O'Neill, premiered in 1925.
It is an interesting decision to this very O'Nilov text ekranizuje, given its direct focus against official false morality that imposed by the state - Eugene then the court accused of immorality, and in LA the whole ensemble is arrested.
The text speaks of the former America (at the end of the first quarter of the twentieth century) in which there is still a settler spirit - and that means "madness" for the possession, for which, again, to the limit overflowing greed, hatred, primitivism, wild passion ...
One of the pieces of the characters says: "If I could take it home with you (on the world), I'd do it, so help me Almighty! Or, at the moment of death ignited and watched it burn! I'd sit down and know that everything dies with me and no one else will have what was mine! "
------------
thursday 21.05.
Arsenic and Old Lace
Life American playwright Joseph Ota Keserlinga, or German origin, was marked by just a horror-comedy or, as it is still called, sad farce, Arsenic and Old Lace. It was a Broadway hit from 1939 to 1944 and had as many as 1444 performances. To this should be added the 1337 performance in London.
In 1944, the text is received and the film version, directed by then already celebrated film director, born in Sicily, Frank Capra. The glory of the masters of American comedy has acquired film "It Happened One Night" (1934), and until 1944 Godon, behind already had three Oscars for best director. It is not surprising that the "Arsenic and Old Lace" directed precisely Kapra, especially when one takes into account that his comedy had the most commercial success.
The text is mainly faithfully transferred to the big screen, noting that in Hollywood, according to an established custom, dulls the blade of the author's pen where censorship judged that certain parts can be "devastating" impact "čvrto built morale" average viewer USA.
But the point is not missed. And this is a criticism of the American Puritan obsession with the various social conventions.
----------
Friday 22.05.
A Tramway Named Desire
Theater director, Elia Kazan (Elia Kazanjoglos real name), who was a Greek born in Constantinople, and American writer of plays, Thomas (Tennessee) Williams, met for the first time in 1947 on Broadway. Kazan on this occasion worked as a director at Tenesijevom referred to as "A Streetcar Named Desire" (original title "poker night"), for which Tennessee that year, received the Pulitzer Prize and the New York Drama Critics Award. It was the beginning of a long and fruitful cooperation between the two artists.
Kazan is already behind Hollywood and had experience directing the film, which he continued to do in the coming years, and imposed itself to the play, which had 855 consecutive execution transferred to film. As a results, the results of this, was created in 1951 a real pearl of the seventh art. All actors in the play are played in the film except Jessica awning in the role of Blanche Dubois, who was replaced by Vivien Leigh. Organization of actors does not diminish the brilliant director Elia Kazan. The only serious objection, except for the censorship interventions thrown frames that emphasize Blanšinu and Stanley's sexuality, refers to a place which conforms to American audiences under which Stanley has to suffer so that it may consider leaving - which may also be called censorship.
---------
Saturday 23.05
VANJA IN NEW YORK
The great French film director Louis Mal, shot in 1994, his last film - "Uncle Vanya in New York." The film can be called a theater or theater performance in the movie - whatever you say, we will not go wrong. Because what we see really is one of the rehearsals of Chekhov's "Uncle Vanya" and that the entire show - with very short breaks between acts. Performed by a group of New York actors led by Wallace Shawn, directed a theater director Andre Gregory.
The area where the probe takes place, the theater was built at the beginning of the last century and which now serves its purpose. This monumental edition, which was abandoned for several years - to whom the roof is leaking and the ceiling of waste materials - fits perfectly into the decaying state of Chekhov's characters.
Therefore there is no need for set and costume designer, and perfectly made division of roles makes it very difficult to answer the question of when the actors on stage to present their own lives, and when the game starts acting.
Because this movie and succeeds move the line between real life and art fully justifying the famous Shakespeare's phrase, "The whole world is a stage!"
Indeed, in this film it is impossible to capture the moment where real life stops and art begins.
------
Sunday 24.05.
My dear Miss
The film version of the Broadway musical "My beautiful lady" in 1956 (resulting from the dramatic text "Pygmalion," George Bernard Shaw), took place eight years later, in 1964, directed by George Cukor, known for its high quality theater productions transferring to film. After all, before it was first involved in the film, in 1930, he worked as a theater director on Broadway. Perhaps "My beautiful lady" and the culmination of Cukor's career, since the film gained the status of masterpieces.
Stylish uniform film inspires precise directing, acting, which enchants, quality songs and simple, a perfect photograph.
Therefore, it is a real pity that the producer opted for the genre musical-comedy, which did not have the courage to make the film move more toward irony by which Shaw is distinctive in its fight against various prejudices. Just fierce irony are imposed his own style - with irony, after which remains extremely bitter taste in the mouth.
But Hollywood producers, protecting public opinion, it rarely allow themselves. But felt that public opinion, grotesquely shaped by the prejudices, that is. "Conventions troubling the average human mind."
Tuesday 19.05.
WOYZECK
"Woyzeck" is an unfinished text of a young German writer in the first half of the nineteenth century, Georg Büchner, unfortunately early deceased - lived only twenty-four years. Written in the last year of the writer's life (1837), survives only as a series of sketches by the German director Werner Herzog, 1979, perfectly turned into a feature film.
The film is dominated by an atmosphere of hopelessness - like someone pulling the strings from above destiny which one completely helpless and "insignificant" individual, can not be avoided. It must be noted that Buchner, above all, a revolutionary (and active participant), and is due to dissatisfaction with the consequences of the French Revolution, the text constantly present fatalism in which, for someone like Woyzeck, leaves no room for life. Woyzeck may be a person poor in spirit, but it is a good man, what he has is the major obstacle to be incorporated.
The link with the time in which we live today is a complete - and today is the individual, perhaps more than ever, an instrument in someone else's hands - without substantive (not formal) right to express their views publicly, let alone represent some ideas.
So marginalized individual, time inevitably becomes a lost cause.
---------------------------
wednesday 20.05.
ČEŽNJA UNDER elms
Delbert Man, American film director, honored for his first film "Marty," 1955 Golden Palm at Cannes and the Oscar for best director, he recorded three years later, his third film in a row - "Desire under the elms." The film was shot on the eponymous drama, American playwright of Irish descent, Eugene O'Neill, premiered in 1925.
It is an interesting decision to this very O'Nilov text ekranizuje, given its direct focus against official false morality that imposed by the state - Eugene then the court accused of immorality, and in LA the whole ensemble is arrested.
The text speaks of the former America (at the end of the first quarter of the twentieth century) in which there is still a settler spirit - and that means "madness" for the possession, for which, again, to the limit overflowing greed, hatred, primitivism, wild passion ...
One of the pieces of the characters says: "If I could take it home with you (on the world), I'd do it, so help me Almighty! Or, at the moment of death ignited and watched it burn! I'd sit down and know that everything dies with me and no one else will have what was mine! "
------------
thursday 21.05.
Arsenic and Old Lace
Life American playwright Joseph Ota Keserlinga, or German origin, was marked by just a horror-comedy or, as it is still called, sad farce, Arsenic and Old Lace. It was a Broadway hit from 1939 to 1944 and had as many as 1444 performances. To this should be added the 1337 performance in London.
In 1944, the text is received and the film version, directed by then already celebrated film director, born in Sicily, Frank Capra. The glory of the masters of American comedy has acquired film "It Happened One Night" (1934), and until 1944 Godon, behind already had three Oscars for best director. It is not surprising that the "Arsenic and Old Lace" directed precisely Kapra, especially when one takes into account that his comedy had the most commercial success.
The text is mainly faithfully transferred to the big screen, noting that in Hollywood, according to an established custom, dulls the blade of the author's pen where censorship judged that certain parts can be "devastating" impact "čvrto built morale" average viewer USA.
But the point is not missed. And this is a criticism of the American Puritan obsession with the various social conventions.
----------
Friday 22.05.
A Tramway Named Desire
Theater director, Elia Kazan (Elia Kazanjoglos real name), who was a Greek born in Constantinople, and American writer of plays, Thomas (Tennessee) Williams, met for the first time in 1947 on Broadway. Kazan on this occasion worked as a director at Tenesijevom referred to as "A Streetcar Named Desire" (original title "poker night"), for which Tennessee that year, received the Pulitzer Prize and the New York Drama Critics Award. It was the beginning of a long and fruitful cooperation between the two artists.
Kazan is already behind Hollywood and had experience directing the film, which he continued to do in the coming years, and imposed itself to the play, which had 855 consecutive execution transferred to film. As a results, the results of this, was created in 1951 a real pearl of the seventh art. All actors in the play are played in the film except Jessica awning in the role of Blanche Dubois, who was replaced by Vivien Leigh. Organization of actors does not diminish the brilliant director Elia Kazan. The only serious objection, except for the censorship interventions thrown frames that emphasize Blanšinu and Stanley's sexuality, refers to a place which conforms to American audiences under which Stanley has to suffer so that it may consider leaving - which may also be called censorship.
---------
Saturday 23.05
VANJA IN NEW YORK
The great French film director Louis Mal, shot in 1994, his last film - "Uncle Vanya in New York." The film can be called a theater or theater performance in the movie - whatever you say, we will not go wrong. Because what we see really is one of the rehearsals of Chekhov's "Uncle Vanya" and that the entire show - with very short breaks between acts. Performed by a group of New York actors led by Wallace Shawn, directed a theater director Andre Gregory.
The area where the probe takes place, the theater was built at the beginning of the last century and which now serves its purpose. This monumental edition, which was abandoned for several years - to whom the roof is leaking and the ceiling of waste materials - fits perfectly into the decaying state of Chekhov's characters.
Therefore there is no need for set and costume designer, and perfectly made division of roles makes it very difficult to answer the question of when the actors on stage to present their own lives, and when the game starts acting.
Because this movie and succeeds move the line between real life and art fully justifying the famous Shakespeare's phrase, "The whole world is a stage!"
Indeed, in this film it is impossible to capture the moment where real life stops and art begins.
------
Sunday 24.05.
My dear Miss
The film version of the Broadway musical "My beautiful lady" in 1956 (resulting from the dramatic text "Pygmalion," George Bernard Shaw), took place eight years later, in 1964, directed by George Cukor, known for its high quality theater productions transferring to film. After all, before it was first involved in the film, in 1930, he worked as a theater director on Broadway. Perhaps "My beautiful lady" and the culmination of Cukor's career, since the film gained the status of masterpieces.
Stylish uniform film inspires precise directing, acting, which enchants, quality songs and simple, a perfect photograph.
Therefore, it is a real pity that the producer opted for the genre musical-comedy, which did not have the courage to make the film move more toward irony by which Shaw is distinctive in its fight against various prejudices. Just fierce irony are imposed his own style - with irony, after which remains extremely bitter taste in the mouth.
But Hollywood producers, protecting public opinion, it rarely allow themselves. But felt that public opinion, grotesquely shaped by the prejudices, that is. "Conventions troubling the average human mind."
---------- Forwarded message ----------
From: Slavisa Slavisa <slavi...@yahoo.com>
Date: 2015-05-17 10:12 GMT+02:00
From: Slavisa Slavisa <slavi...@yahoo.com>
Date: 2015-05-17 10:12 GMT+02:00
Poštovani,
pozivamo Vas da, u okviru ovogodišnjeg, 18-og po redu, Teatar festa "Petar Kočić", prisustvujete projekcijama filmova nastalih po dramskim djelima velikih svjetskih pisaca.
Projekcije će se održavati na Sceni "Petar Kočić", svaki dan, "tačno u podne", počev od ponedjeljka, 18. maja 2015. godine. Ukupno ćete moći vidjeti sedam filmova.
U nastavku možete pročitati nekoliko rečenica o svakom filmu ponaosob.
Radujemo se vašem dolasku.
IFIGENIJA
1977. godine, grčki režiser, Mihalis Kakojanis, za film je adaptirao Euripidov dramski tekst „Ifigenija u Aulidi“. I režirao ga tako maestralno da vas, koliko god puta da gledate film, uvijek potresaju emocije istog inteziteta.
I Euripid je, kao i Eshil i Sofokle, uzimao mit kao izvor građe, ali samo kao izvor. Njegov odnos prema mitu i bogovima, bio je posve drugačiji. Borio se protiv svega što nije smatrao moralnim. A šta je moralno, Euripidu više nije premjeravala religija, kao što je to bio slučaj kod Sofokla, već se događalo sasvim suprotno – Euripid je religiju mjerio moralom.
Tako je počeo preispitivati i motive djelovanja bogova i mitskih heroja tražeći u njima racionalna objašnjenja. Tamo gdje ih nije nalazio, motive je kreireao sam, postajući tako prvi psiholog koji je zavirivao u dubinu ljudske duše i tamo pronalazio strasti kojе su bilе ključni uzročnici, prije svega, negativnog ljudskog djelovanja.
Stoga je dobra motivisanost Euripidovih likova, osim kvalitetne Kakojanisove režije i dobre glumačke podjele, i te kako zaslužna što ovaj film nosi toliku snagu.
Uostalom, nije slučajnost da je Kakojanis snimio još dva filma po Euripidovim tekstovima – „Elektru“ (1962) i „Trojanke“ (1971).
VOJCEK
„Vojcek“ je nedovršen tekst mladog njemačkog pisca iz prve polovine devetnaestog stoljeća, Georga Bihnera, nažalost, rano preminulog – živio je samo dvadeset i četiri godine. Pisan u posljednjoj godini piščeva života (1837), sačuvan je samo kao niz skica koje je njemački režiser Verner Hercog, 1979. godine, savršeno pretočio u cjelovečernji film.
Filmom dominira atmosfera beznađa - kao da neko odozgo vuče konce sudbine kojoj jedna potpuno bespomoćna i „beznačajna“ jedinka, ne može izbjeći. Mora se naglasiti da je Bihner, prije svega bio revolucionar (i to aktivni učesnik), pa je, zbog nezadovoljstva posljedicama francuske revolucije, u tekstu stalno prisutan fatalizam u kome se, za nekoga poput Vojceka, ne ostavlja prostor za život. Vojcek možda jeste osoba siromašna duhom, ali je zato dobar čovjek, što mu i jeste osnovna smetnja da bude uklopljen.
Poveznica sa vremenom u kome mi danas živimo je potpuna – i danas je pojedinac, možda više nego ikad, istrument u nečijim rukama - bez suštinskog (ne i formalnog) prava na javno iznošenje mišljenja, a kamoli na zastupanje nekakve ideje.
Tako marginalizovan pojedinac, vremenom neizbježno postaje izgubljen slučaj.
ČEŽNJA POD BRIJESTOVIMA
Delbert Man, američki filmski režiser, nagrađen za svoj prvi film „Marti“, 1955. godine Zlatnom palmom u Kanu i Oskarom za najbolju režiju, snimio je tri godine kasnije svoj treći film po redu – „Čežnja pod brijestovima“. Film je snimljen po istoimenom dramskom tekstu, američkog dramatičara irskog porijekla, Judžina O’Nila, premijerno izvedenom 1925. godine.
Zanimljiva je odluka da se baš ovaj O’Nilov tekst ekranizuje, s obzirom na njegovu direktnu usmjerenost protiv zvaničnog lažnog morala koji se nametao od strane države - Judžin je tada sudski optužen zbog nemorala, a u L. A. čitav ansambl biva uhapšen.
Tekst govori o tadašnjoj Americi (na isteku prvog kvartala XX vijeka) u kojoj još uvijek vlada naseljenički duh - a to znači „ludilo“ za posjedovanjem, u čemu, opet, do krajnjih granica bujaju pohlepa, mržnja, primitivizam, divlje strasti...
Jedan od likova komada, kaže: „Kada bih kuću mogao ponijeti sa sobom (na onaj svijet), učinio bih to, tako mi Svemogućeg! Ili bih je u času umiranja zapalio i gledao kako gori! Sjeo bih i znao da sve umire sa mnom i da niko drugi neće posjedovati ono što je bilo moje!“
ARSENIK I STARE ČIPKE
Život američkog dramatičara Džozefa Ota Keserlinga, inače njemačkog porijekla, obilježila je upravo horor-komedija ili, kako je još zovu, tužna farsa, ARSENIK I STARE ČIPKE. Bila je brodvejski hit od 1939. do 1944. godine i imala čak 1444 izvođenja. Tome treba dodati i 1337 izvođenja u Londonu.
1944. godine, tekst je dobio i filmsku verziju, u režiji, tada već proslavljenog filmskog režisera rođenog na Siciliji, Frenka Kapre. Slavu majstora američke komedije stekao je filmom „Dogodilo se jedne noći“ (1934), a do 1944. godone, iza sebe je već imao tri Oskara za najbolju režiju. Stoga ne čudi da je „Arsenik i stare čipke“ režirao upravo Kapra, pogotovo kada se ima u vidu da su njegove komedije većinom imale i komercijalni uspjeh.
Tekst je uglavnom vjerno prenesen na filmsko platno, uz napomenu, da se u Holivudu, po već ustaljenom običaju, otupljuje oštrica autorovog pera tamo gdje cenzura procijeni da određeni dijelovi mogu „pogubno“ uticati na „čvrto građeni moral“ prosječnog gledaoca SAD-a.
No, suština nije izostala. A to je kritika američke puritanske opsjednutosti raznoraznim društvenim konvencijama.
TRAMVAJ ZVANI ČEŽNJA
Pozorišni reditelj, Elija Kazan (pravo ime Elia Kazanjoglos), inače Grk rođen u Konstantinopolju, i američki pisac dramskih tekstova, Tomas (Tenesi) Vilijams, sreli su se prvi put 1947. godine na Brodveju. Kazan je tom prilikom radio kao reditelj na Tenesijevom tekstu „Tramvaj zvani čežnja“ (prvobitni naslov „Pokerska noć“), za koji je Tenesi, te godine, dobio Pulicerovu nagradu i nagradu dramskih kritičara Njujorka. Bio je to početak duge i plodne saradnje dvojice umjetnika.
Kazan je već tada iza sebe imao i holivudsko iskustvo režiranja na filmu, što je nastavio činiti i narednih godina, pa se samo po sebi nametalo da se predstava koja je imala 855 uzastopnih izvođenja prebaci i na film. Kao rezultatat toga, nastao je 1951. godine pravi biser sedme umjetnosti. Svi akteri sa predstave su igrali i u filmu izuzev Džesike Tendi u ulozi Blanš Duboa, koju je zamijenila Vivijen Li. Uigranost glumaca ne umanjuje maestralnu režiju Elije Kazana. Jedina ozbiljnija primjedba, ako se izuzmu cenzorske intervencije izbačenih kadrova koji naglašavaju Blanšinu i Stenlijevu seksualnost, odnosi se na kraj koji je prilagođen standardima američke publike po kojima Stenli mora ispaštati tako što ga Stela napušta - što se takođe može nazvati cenzurom.
VANJA U NJUJORKU
Veliki francuski filmski režiser, Luj Mal, snimio je 1994. godine, svoj posljedni film – „Ujka Vanja u Njujorku“. Film možemo nazvati i pozorišnom predstavom ili pozorišnom predstavom u filmu - šta god da kažemo, nećemo pogriješiti. Jer ono što gledamo zaista jeste jedna od probi Čehovljevog „Ujka Vanje“, i to cijele predstave - sa vrlo kratkim pauzama između činova. Izvodi je grupa njujorških glumaca koju predvodi Volas Šon, a režira pozorišni reditelj Andre Gregori.
Prostor u kome se proba odvija, pozorište je sagrađeno početkom prošlog vijeka a koje sada ne služi svojoj svrsi. Ovo monumentalno izdanje koje je napušteno već nekoliko godina - kome krov prokišnjava, a sa stropa otpada malter - savršeno se uklapa u propadajuće stanje Čehovljevih likova.
Stoga nema potrebe za scenografijom i kostimom, a savršeno napravljena podjela uloga čini da je vrlo teško odgovoriti na pitanje kada glumci na sceni prezentuju vlastite živote, a kada otpočinje glumačka igra.
Zato ovaj film i uspijeva pomjeriti granicu između stvarnog života i umjetnosti potpuno opravdavajući poznatu Šekspirovu rečenicu „Cio svijet je pozornica!“
Zaista, u ovom filmu je nemoguće uhvatiti trenutak gdje prestaje stvarni život, a počinje umjetnost.
MOJA DRAGA GOSPOĐICE
Ekranizacija brodvejskog mjuzikla „Moja lijepa gospođice“ iz 1956. godine (nastalog po dramskom tekstu „Pigmalion“, Džordža Bernarda Šoa), desila se osam godina kasnije, 1964. godine, u režiji Džordža Kjukora, poznatog po kvalitetnom prebacivanju pozorišnih predstava na film. Uostalom, prije nego što je prvi put angažovan na filmu, 1930. godine, radio je kao pozorišni reditelj na Brodveju. Možda je „Moja lijepa gospođice“ i vrhunac Kjukorove karijere, s obzirom da je film stekao status remek-djela.
Stilski ujednačen, film oduševljava preciznom režijom, glumom koja opčinjava, kvalitetnim songovima i jednostavnom, a savršenom fotografijom.
Zato je prava šteta što se producent žanrovski opredijelio za mjuzikl-komediju, što nije imao hrabrosti da film pomjeri još više ka ironiji po kojoj je Šo prepoznatljiv u svojoj borbi protiv različitih predrasuda. Upravo žestokom ironijom, Šo je nametnuo vlastiti stil – ironijom nakon koje ostaje izrazito gorak ukus u ustima.
No, holivudski producenti, štiteći javno mnijenje, to sebi rijetko dozvoljavaju. A Šo je smatrao da javno mnijenje, nakaradno oblikuju upravo predrasude, tj. „konvencije koje pomućuju prosječnu ljudsku pamet“.
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