"Бела недеља", сценарио за дугометражни играни филм са ониричким мотивима и структуром драматургије снова

Abstract

Cilj ovog umetničko-istraživačkog rada je završna verzija scenarija za dugometražni igrani film koji kombinuje konvencionalni dramaturški narativ sa dramaturgijom snova, oniričkim motivima i arhetipskim modelima, pobuđujući sve aspekte snoviđajnosti: dezorijentisanost, dvosmislenost, mističnu atmosferu i snažna osećanja. Za dramaturšku strukturu budućeg scenarija presudnu važnost imaju strukturalističke teorije američkih teoretičara Kristofera Voglera (Christopher Vogler) i Roberta Mekija (Robert McKee), učenje Karla Gustava Junga (Carl Gustav Jung) i njegovih sledbenika o snovima, simbolima i arhetipovima, kao i iskustvo umetnika koji su se bavili temom snova i onirizma, pre svega pripadnika nadrealističkog pokreta u prvoj polovini prošlog veka. Kad je u pitanju filmska umetnost, autori čija dela su značajna za ovaj umetnički rad su svakako: Luis Bunjuel (Luis Buñuel Portolés), Federiko Felini (Federico Fellini), Andrej Tarkovski (Андрей Арсеньевич Тарковский), Ingmar Bergman (Ernst Ingmar Bergman), Stenli Kjubrik (Stanley Kubrick), Akira Kurosava (Akira Kurosawa), a od savremenih autora, to su: Dejvid Linč (David Lynch), Lars fon Trir (Lars von Trier), Nuri Bilge Džejlan (Nuri Bilge Ceylan). Iz oblasti teorije filma, centralno mesto zauzimaju radovi profesora Vlade Petrića i Marka Babca, koji su dali izuzetan doprinos ovoj temi. U središnjem delu teoretskog rada izložena je celokupna metodologija i sve faze umetničko-istraživačkog procesa, sa fazama rada na scenarističkoj građi, od početne ideje do završne verzije scenarija. Kroz poslednja dva poglavlja autor iznosi analizu svih aspekata završnog rada. U zaključku su izloženi rezultati do kojih se u istraživanju došlo, ali i dileme koje su se tokom rada pojavile. Ovim radom dokazana je osnovna hipoteza, da priče sa oniričkim karakterom poseduju autentični dramaturški narativ, čiji kauzalitet proističe iz logike snova i dramaturških pravila svojstvenih snovima. Očekivani rezultat istraživanja je scenario za dugometražni igrani film koji je sintezom objedinio konvencionalne dramaturške modele i dramaturgiju snova, te je postavio mogući standard za nov i autentičan model. Ovakav originalan model mogao bi biti koristan i inspirativan u budućoj naučnoj i umetničkoj scenarističkoj i dramaturškoj praksi, kako u zemlji, tako i u inostranstvu.

ABSTRACT The aim of this artistic research paper is the final version of the screenplay for a feature film, which combines a conventional dramaturgical narrative with dramaturgy of dreams, oneiric motifs and archetypal models, evoking all aspects of dreaminess: disorientation, ambiguity, mystical atmosphere and strong emotions. The structuralist theories of American theorists Christopher Vogler and Robert McKee and the teachings of Carl Gustav Jung and his followers on dreams, symbols and archetypes are crucial for the dramaturgical structure of the future script, as well as the experience of artists who dealt with the topic of dreams and oneirism, especially members of the surrealist movement in the first half of the last century. In film art, the authors whose works are significant for this artistic paper are certainly Luis Buñuel Portolés, Federico Fellini, Andrei Tarkovsky, Ernst Ingmar Bergman, Stanley Kubrick and Akira Kurosawa, and as for contemporary authors, David Lynch, Lars von Trier and Nuri Bilge Ceylan. In the field of film theory, the central place is occupied by the works of professors Vlada Petrić and Marko Babac, who have made an exceptional contribution to this topic. The entire methodology and all phases of the artistic research process are presented in the central part of the theoretical paper, including the phases of work on the script material, from the initial idea to the final version of the script. Through the last two chapters, the author presents an analysis of all aspects of the final work. The results that were reached in the research are presented in the conclusion, as well as the dilemmas that arose during the process. This paper proves the basic hypothesis that asserts that stories with an oneiric character have an authentic dramaturgical narrative, whose causality derives from the logic of dreams and dramaturgical rules which are inherent in dreams. The expected result of the research is a script for a feature film, which synthesized conventional dramaturgical models and dramaturgy of dreams, and set a possible standard for an original and authentic model. Such an original model could be useful and inspiring in future scientific and artistic screenwriting and dramaturgical practice, both in the country and abroad.