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Premijerna drama “Slučaj Mademoiselle Dupin” u splitskom HNK, u režiji Natalije Manojlović Varga, ima odličnu scenografiju, kostime, glazbu, pa i scenski pokret, ali nažalost - nema drame.

Dvije rane detektivske priče Edgara Alana Poa, “Ukradeno pismo” i “Umorstva u Rue de Morgue” na kojima se predstava temelji, sadrže elemente koje i danas susrećemo u žanru krimića - pojedinac briljantnog uma i sposobnosti, neutralni mu prijatelj, pratitelj i službena osoba, inspektor ili policajac koji u krajnjoj stisci k njima dolazi po pomoć i savjet. Takvo društvo po prilici čine Poirot, Hastings i inspektor Japp.

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Karakteri su uglavnom skicirani

Milan Šabić
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Svakako je Poe udario temelje ovih odnosa ali - njegove priče, nastale u 19. stoljeću, stilski se veoma razlikuju od kasnijih djela kriminalističkog žanra. One su golemi monolozi - narator će uvodno nadugo i naširoko razglabati o logičkim metodama, analizi, zapažanju, znanosti i pseudoznanosti, inteligenciji, psihologiji za koju u to vrijeme raste interes te o whistu, pokeru i šahu, matematici i etici. Sam genijalac Dupin zatim će ispripovijedati kako je riješio zagonetku.

U splitskom HNK izveden ‘Slučaj Mademoiselle Dupin‘, premijeru su došli pogledati i brojni poznati Splićani

Monolozi i solilokviji

Transponiranja ovakvog književnog predloška u scenski jezik prihvatile su se sama redateljica Manojlović Varga i dramaturginja Ivana Vuković. Njihov postupak bio je najvećim dijelom obično štrihanje teksta, bez bitnijih intervencija, rijetki dijalozi zadržani su, a ostatak su dugački monolozi i solilokviji.

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Marjan Nejašmić Banić, Pere Eranović i Donat Zeko

Tom Dubravec/Cropix
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Nedostaje i jasnoće i napetosti, štoviše, u “Ukradenom pismu” ošišani su dijelovi bitni za razumijevanje radnje i Dupinov motiv da kompromitirajući papir uopće potraži. “Umorstva u Rue de Morgue”, barem u zadnjem dijelu izvedbe, donose nešto živosti pomoću veoma dobro osmišljenog scenskog pokreta, ali pripovjedna forma i dalje prevladava. Prava radiodrama koju se može poslušati i zatvorenih očiju!

Veoma je uspjela i efektna scena Vasilije Fišer, koja potpisuje i kostimografiju u duhu zadanog vremena. To je prava muška prostorija iz 19. stoljeća, kombinacija radne sobe i goleme biblioteke u kojoj se puše cigare, pije konjak ili cherry i umno raspravlja i polemizira. To bi mogla biti soba u koju slijeće Poeov gavran koji grakće “never more”. Glazba Gordana Tudora mistična je, gotovo filmska, ugrađuje napetost ondje gdje je u drami nema, a trebalo bi je biti.

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Veoma je uspjela i efektna scena Vasilije Fišer, koja potpisuje i kostimografiju

Tom Dubravec/Cropix
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Nejasni blizanci

U naslovnoj je ulozi nastupila je Ana Marija Veselčić, a ostali protagonisti su Donat Zeko, Marjan Nejašmić Banić, Tajana Jovanović, Anastasija Jankovska, Luka Čerjan, Pere Eranović i Nikša Arčanin.

Jedan slučaj riješit će sam Dupin (Eranović), a drugi njegova sestra blizanka, pametna gospođica (Veselčić). Zbog čega ova istražiteljska dualnost, nije posve jasno, tek se čini da je inspiracija potekla iz “Ukradenog pisma” u kojoj se spominju zlosretna mitološka braća blizanci Atrej i Tijest.

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Nikša Arčanin iskazao se scenskim pokretom, ali pri samom kraju

Milan Šabić
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Karakteri su uglavnom skicirani; Ana Marija Veselčić ipak postiže neku radosnu, infantilnu zaigranost osobe koja uživa u zagonetkama - kao i brat joj Pere Eranović, dobra protuteža joj je smireni ali zainteresirani Donat Zeko, dok je prefekt u osobi Marjana Nejašmića Banića oprezan, uzbuđen, pun stresa, poput pravog inspektora kojemu nadređeni dahću za vratom. Nikša Arčanin iskazao se scenskim pokretom, utjelovljujući ljudske i životinjske kretnje, ali pri samom kraju. Prekasno da razbudi izvedbu.

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Prava radiodrama koju se može poslušati i zatvorenih očiju! 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Predstava se temelji na dvije detektivske priče Edgara Alana Poea

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Predstava se temelji na dvije detektivske priče Edgara Alana Poea

Tom Dubravec/Cropix ) [1] => stdClass Object ( [src] => https://static.slobodnadalmacija.hr/images/slike/2024/02/04/26510196.jpg [title] =>

Karakteri su uglavnom skicirani

Milan Šabić ) [2] => stdClass Object ( [src] => https://static.slobodnadalmacija.hr/images/slike/2024/02/04/26510219.jpg [title] =>

Nikša Arčanin iskazao se scenskim pokretom, ali pri samom kraju

Milan Šabić ) [3] => stdClass Object ( [src] => https://static.slobodnadalmacija.hr/images/slike/2024/02/04/26505264.jpg [title] =>

Marjan Nejašmić Banić, Pere Eranović i Donat Zeko

Tom Dubravec/Cropix ) [4] => stdClass Object ( [src] => https://static.slobodnadalmacija.hr/images/slike/2024/02/04/26505254.jpg [title] =>

Veoma je uspjela i efektna scena Vasilije Fišer, koja potpisuje i kostimografiju

Tom Dubravec/Cropix ) ) [bgPosition] => [text] => {OCMSplitter}

Premijerna drama “Slučaj Mademoiselle Dupin” u splitskom HNK, u režiji Natalije Manojlović Varga, ima odličnu scenografiju, kostime, glazbu, pa i scenski pokret, ali nažalost - nema drame.

Dvije rane detektivske priče Edgara Alana Poa, “Ukradeno pismo” i “Umorstva u Rue de Morgue” na kojima se predstava temelji, sadrže elemente koje i danas susrećemo u žanru krimića - pojedinac briljantnog uma i sposobnosti, neutralni mu prijatelj, pratitelj i službena osoba, inspektor ili policajac koji u krajnjoj stisci k njima dolazi po pomoć i savjet. Takvo društvo po prilici čine Poirot, Hastings i inspektor Japp.

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Karakteri su uglavnom skicirani

Milan Šabić
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Svakako je Poe udario temelje ovih odnosa ali - njegove priče, nastale u 19. stoljeću, stilski se veoma razlikuju od kasnijih djela kriminalističkog žanra. One su golemi monolozi - narator će uvodno nadugo i naširoko razglabati o logičkim metodama, analizi, zapažanju, znanosti i pseudoznanosti, inteligenciji, psihologiji za koju u to vrijeme raste interes te o whistu, pokeru i šahu, matematici i etici. Sam genijalac Dupin zatim će ispripovijedati kako je riješio zagonetku.

U splitskom HNK izveden ‘Slučaj Mademoiselle Dupin‘, premijeru su došli pogledati i brojni poznati Splićani

Monolozi i solilokviji

Transponiranja ovakvog književnog predloška u scenski jezik prihvatile su se sama redateljica Manojlović Varga i dramaturginja Ivana Vuković. Njihov postupak bio je najvećim dijelom obično štrihanje teksta, bez bitnijih intervencija, rijetki dijalozi zadržani su, a ostatak su dugački monolozi i solilokviji.

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Marjan Nejašmić Banić, Pere Eranović i Donat Zeko

Tom Dubravec/Cropix
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Nedostaje i jasnoće i napetosti, štoviše, u “Ukradenom pismu” ošišani su dijelovi bitni za razumijevanje radnje i Dupinov motiv da kompromitirajući papir uopće potraži. “Umorstva u Rue de Morgue”, barem u zadnjem dijelu izvedbe, donose nešto živosti pomoću veoma dobro osmišljenog scenskog pokreta, ali pripovjedna forma i dalje prevladava. Prava radiodrama koju se može poslušati i zatvorenih očiju!

Veoma je uspjela i efektna scena Vasilije Fišer, koja potpisuje i kostimografiju u duhu zadanog vremena. To je prava muška prostorija iz 19. stoljeća, kombinacija radne sobe i goleme biblioteke u kojoj se puše cigare, pije konjak ili cherry i umno raspravlja i polemizira. To bi mogla biti soba u koju slijeće Poeov gavran koji grakće “never more”. Glazba Gordana Tudora mistična je, gotovo filmska, ugrađuje napetost ondje gdje je u drami nema, a trebalo bi je biti.

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Veoma je uspjela i efektna scena Vasilije Fišer, koja potpisuje i kostimografiju

Tom Dubravec/Cropix
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Nejasni blizanci

U naslovnoj je ulozi nastupila je Ana Marija Veselčić, a ostali protagonisti su Donat Zeko, Marjan Nejašmić Banić, Tajana Jovanović, Anastasija Jankovska, Luka Čerjan, Pere Eranović i Nikša Arčanin.

Jedan slučaj riješit će sam Dupin (Eranović), a drugi njegova sestra blizanka, pametna gospođica (Veselčić). Zbog čega ova istražiteljska dualnost, nije posve jasno, tek se čini da je inspiracija potekla iz “Ukradenog pisma” u kojoj se spominju zlosretna mitološka braća blizanci Atrej i Tijest.

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Nikša Arčanin iskazao se scenskim pokretom, ali pri samom kraju

Milan Šabić
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Karakteri su uglavnom skicirani; Ana Marija Veselčić ipak postiže neku radosnu, infantilnu zaigranost osobe koja uživa u zagonetkama - kao i brat joj Pere Eranović, dobra protuteža joj je smireni ali zainteresirani Donat Zeko, dok je prefekt u osobi Marjana Nejašmića Banića oprezan, uzbuđen, pun stresa, poput pravog inspektora kojemu nadređeni dahću za vratom. Nikša Arčanin iskazao se scenskim pokretom, utjelovljujući ljudske i životinjske kretnje, ali pri samom kraju. Prekasno da razbudi izvedbu.

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Tom Dubravec/Cropix Milan Šabić Milan Šabić Tom Dubravec/Cropix Tom Dubravec/Cropix
Tom Dubravec/Cropix

Predstava se temelji na dvije detektivske priče Edgara Alana Poea

Milan Šabić

Karakteri su uglavnom skicirani

Milan Šabić

Nikša Arčanin iskazao se scenskim pokretom, ali pri samom kraju

Tom Dubravec/Cropix

Marjan Nejašmić Banić, Pere Eranović i Donat Zeko

Tom Dubravec/Cropix

Veoma je uspjela i efektna scena Vasilije Fišer, koja potpisuje i kostimografiju

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StoryEditorOCM
KazalištePremijerna drama

‘Slučaj Mademoiselle Dupin‘ u splitskom HNK: odlična scenografija, kostimi, glazba i scenski pokret, ali - drame nema

Piše Jasmina Parić
5. veljače 2024. - 12:28

Premijerna drama “Slučaj Mademoiselle Dupin” u splitskom HNK, u režiji Natalije Manojlović Varga, ima odličnu scenografiju, kostime, glazbu, pa i scenski pokret, ali nažalost - nema drame.

Dvije rane detektivske priče Edgara Alana Poa, “Ukradeno pismo” i “Umorstva u Rue de Morgue” na kojima se predstava temelji, sadrže elemente koje i danas susrećemo u žanru krimića - pojedinac briljantnog uma i sposobnosti, neutralni mu prijatelj, pratitelj i službena osoba, inspektor ili policajac koji u krajnjoj stisci k njima dolazi po pomoć i savjet. Takvo društvo po prilici čine Poirot, Hastings i inspektor Japp.

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12. svibanj 2024 00:08