Pitanje glumačke identifikacije i Brehtovog koncepta političkog pozorišta u autorskim projektima Olivera Frljića

Abstract

U ovom radu se glumačka igra tumači kroz prizmu pojmova empatija i simpatija, a stavovi Darka Suvina o ovim pojmovima polazna su osnova daljih istraživanja. Empatija se primenjuje na model glume Stanislavskog, dok se simpatija dovodi u vezu sa Brehtovom pozorištem, pre svega V-efektom i kritičkim promišljanjem. Ova studija usmerena je na dokazivanje hipoteze da se u autorskim projektima Olivera Frljića javljaju empatijska i simpatijska identifikacija; prva u odnosu između glumaca i reditelja, a druga u vidu glumačkog prihvatanja ideološkog stava u vezi sa društvenim okolnostima, tj. temom predstave. Pozicija glumca između reprezentacije fikcionalnog sveta i „čistog“ scenskog prisustva u Frljićevim autorskim projektima tumači se na osnovu određenja jednostavne glume Majkla Kirbija. Deo o političkom pozorištu, pokazaće sintezu Brehtovog i Lemanovog koncepta političnosti u Frljićevim autorskim projektima, tako što se ona sprovodi i tematizovanjem društveno-političke stvarnosti i „načinom scenskog predstavljanja“. Ipak, posebno težište je stavljeno na pozorište kao sredstvo političke borbe što predstavlja pokušaj reafirmacije društvene funkcije pozorišta, čime se Brehtov koncept nameće kao dominantniji. Analiza studije slučaja, koja treba da dokaže početne hipoteze, biće izvedena metodom analize izvedbe na reprezentativnom uzorku od šest odabranih predstava i zasniva se na rezultatima istraživanja, pre svega intervjuima sa glumcima i rediteljem.

This paper aims to interpret the art of acting through the prism of the concepts of empathy and sympathy taking the standpoints expressed by Darko Suvin on these concepts as the basis for further research. Empathy is applied to the acting model of Stanislavski, while sympathy is correlated to the Brecht theatre, primarily through Veffect and critical thinking. The study is directed at proving the hypothesis that in the projects by author/director Oliver Frljić both empathic and sympathetic identification are to be found; the former between the actors and the director, the latter in the shape of actors’ adopting an ideological attitude in relation to the social circumstances, i.e. the topic of the play. The position of the actor between the representation of fictional world and “pure” stage presence in Frljić's projects is interpreted on the basis of Michael Kirby's definition of simple acting. The section of this paper relating to the political theatre will illustrate the synthesis of Brecht and Lehmann's concept of politics in theatre present in Frljić's projects. This is carried aout through a thematic treatment of the relevant socio-political reality and through “modes of stage representation“. However, a special focal point is the theatre as vehicle of political struggle that represents an attempt to reaffirm it’s social function. This makes the Brecht’s concept more dominant. The case study analysis aiming to prove the starting hypothesis will be conducted by the performance analysis on a representative sample of six selected plays and is based on the research findings, drawn primarily from interviews with the actors and the director.