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Slavija 2019 – Češka

REPUBLIKA ČEŠKA / THE CZECH REPUBLIC
KAMERNO DRAMSKO POZORIŠTE / CHAMBER DRAMA THEATRE
Prag / Prague

Paula Vogel
„NEPRISTOJNI” / “INDECENT ”

Režija / Directed byJiří Bábek
Scenografija i kostimografija / Stage and Costume DesignĽubica Bábek Melcerová,
Muzika / Music CoachingZdeněk Dočekal,
Koreografija / Choreography:Libuše Králová,
Igraju / Cast
LEMI / LEMMI – Petr Halíček
HANA / CHANNA – Kristýna Hlaváčková
AVRAM – Jiří Böhm
HALINA – Ivana Machalová
MENDEL – Lukáš Král
VERA – Kateřina Hrušková
OTO / OTTO – Zdeněk Velen
NELI / NELLY – Klára Suchanková
MAJER / MAYER – Michal Kostiuk
MORIC / MORITZ – František Tomášek / Zdeněk Dočekal

 

Ova drama je inspirisana događajima iz realnog života nastalim oko kontroverznog pozorišnog debija Bog osvete poljskog dramskog pisca Šolema Aša – komada kojeg su jedni smatrali izuzetnim delom jevrejske književnosti, a drugi izdajničkim sramotnim činom. Na inventivan i originalan način, Paula Vogel prikazuje istorijat ovog komada, životne priče glumaca koji su rizikovali svoje karijere (a neki čak i živote) da bi igrali u ovoj predstavi..
Grupa glumaca koja se naziva Mrtva trupa prikazuje životnu priču pisca, poljskog Jevrejina Šolema Aša, kao i život njegovog komada Bog osvete iza kulisa. Posmatramo istorijat njegovog postavljanja na scenu tokom nekoliko decenija, počevši od 1906. godine, kada je komad bio napisan i imao javno čitanje u književnom salonu u Varšavi. Vogelova nastavlja da uvodi scene prikazujući premijeru u Berlinu (u režiji Maksa Rainharta, sa Rudolfom Šildkrautom u glavnoj ulozi), postavku u malom jevrejskom pozorištu u Americi i brodvejsku premijeru nakon koje su – uprkos činjenici da se Aš složio da se neki delovi komada cenzurišu – producent i glumci bili uhapšeni, a predstava zabranjena u američkim pozorištima. Drama Vogelove nas dalje vodi u jevrejski geto u Lođ tokom drugog svetskog rata (gde je trupa postavila komad Bog osvete na tavanu) i konačno nazad u već „slobodne“ Sjedinjene Američke Države, 1952. godine.
Komad Nepristojni govori o hrabrosti, želji, ljubavi, časti i sposobnosti da se pomirimo sa sudbinom. On nas takođe podseća da će uvek biti problema i pitanja koje je teško rešiti, a da je jedini način da se njima bavimo da stalno tražimo autentične odgovore.
Tema drame Nepristojni je sloboda mišljenja, verska sloboda, cenzura u društvu. Nepristojni je drama o „drami“. Jevrejski dramski pisac iz Varšave, Šolem Aš, izazvao je skandal u Evropi svojom dramom Bog osvete (1907.). Problem je bio u otvorenosti po pitanju tabu teme. U Americi je, 1923. godine, komad bio zabranjen, a ansambl jevrejskog pozorišta uhapšen. Na kraju, predstava se igrala slobodno u getu Lođa tokom drugog svetskog rata. Drama Nepristojni predstavlja mnoge situacije, mnoge sredine, mnoge vremenske ravni, mnoge različite poglede na istu temu…
Drama Nepristojni je u suštini rasprava.

The play is inspired by real-life events surrounding the controversial theatrical debut God of Vengeance by the Polish playwright Sholem Asch – a play considered to be a seminal work of Yiddish literature by some, and a treacherous act of outrage by others. In an inventive and original manner, Paula Vogel captures the history of this play and the life stories of actors who risked their careers (and some even their lives) to perform in this play.
A group of actors called the Dead Troupe plays the life story of the Polish Jewish author and playwright Sholem Asch as well as the “backstage” life of his play God of Vengeance. We watch its staging history over a time span of several decades beginning in 1906 when the play was written and had a public reading in a literary salon in Warsaw. Vogel goes on to introduce scenes capturing the Berlin premiere (directed by Max Reinhardt and featuring Rudolf Schildkraut), staging in a little Jewish theatre in America and the Broadway premiere after which – despite the fact that Asch agreed
to censor some parts of the play – the producer and the actors were arrested by the vice squad and the play was banned on American stages. Vogel’s play further takes us to the Jewish ghetto in Lodz during WWII (where a troupe stages the God of Vengeance in an attic) and, ultimately, back to the already “free” United States of America in 1952.
The play Indecent is about courage, desire, love, honour and the ability to come to terms with one’s fate. It also reminds us that there will always be issues and questions difficult to address and that the only way to handle them is to keep looking for authentic answers.
The theme of Indecent is freedom of opinion, freedom of speech, religious freedom, censorship in society. Indecent is a play about a “play”. A Jewish playwright from Warsaw, Sholom Asch, provoked a scandal in Europe with his play God of Vengeance (1907). The problem was openness concerning a taboo theme. In America in the 1923, the play is forbidden and the Jewish theatre ensemble is arrested. Finally, the play is played freely in a Loggia ghetto during World War II. Indecent, it is many situations, many environments, many time planes, many different views on the same theme …
The play Indecent is basically a discussion.