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PANDUROVA ARHITEKTURA VREMENA

PANDUR’S TIME ARCHITECTURE

Aus Einem Totenhaus fotografija/photo by Thilo Beu

tomaž pandur

PosljednjihsugodinadvijepredstavesnažnoobilježilekazališnupoetikuredateljaTomažaPandura–prijesvegauoblikovanjuprostora,uarhitektonskojizgrad-njimisaonih procesa koji karakteriziraju njegovostvaranje:operaAus Einem Totenhaus(LeošJanaček)uBonnuiInfierno(pomotivimaBožanstvenekomedijeDanteaAlighierija)uMadridu.

The main characteristics of Tomaž Pandur’s work - the space design and the architectural construction of the thought processes marked the theatrical poetics of this director and his two performances staged during the past few years: the opera AUS EINEM TOTENHAUS (Leoš Janaček) in Bonn and INFIERNO (to motifs from the Divine Comedy by Dante Alighieri) in Madrid.

“AUS EINEM TOTENHAUS”opernhaus bonn, njemačka germania 2004.“INFIERNO” teatro maria guerrero, centro dramatico nacional, madrid, španjolska spain2005.

tekst written by LIVIA PANDUR

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AUS EINEM TOTENHAUS

(OpernhausBonn,premijera26.rujna2004.)režija: Tomaž Pandur, sceno­grafija: Sadar Vuga arhitekti,pokretne slike:Mileusnić+Ser­darević, kostimografija: TomažPandur, dramaturgija: JensNeundorfvonEnzberg,dirigent:RomanKofman

Aus einem Totenhaus(Izmrtvogdoma) je opera Leoša Jana­čeka nastala pomotivima ro­manaZapisi iz mrtvog domaF.M.Dostojevskog, koju opernekuće rijetko stavljaju na svojrepertoar.Mračna pripovijestsibirskoggulagakojujeDosto­jevski iskusionavlastitojkoži,a koja je temelj njegovepričeobezizlaznoj sudbini logoraša,posljednjejeJanačekovooper­no djelo, prvi puta uprizorenoteknakonnjegovesmrti. Tadaje operi dodan još i “optimis­tički”kraj, jer su skladateljevisuvremenici bili uvjereni da jeto za finale prijeko potrebno.TotenhausseuBonnuizvodinačeškom,takodagledaociželjnisadržajamorajučitatititlove,noodtogaihodvraćaprepuštanjeljepoti Janačekove partiture ihipnotičkom učinku promjen-jivescenografije,ukojojsenabočnim stranama izmjenjujupokretneslike.PandurovarežijaTotenhausa uBonnu izbjegavasvaki naturalizam te prevodilibretoumonumentalnastanjaljudskezarobljenostiusistemuitraganjazatrenucimasvjetlanatompaklenskomputovanju.Bez­vremeniSibirkaomatricaasoci-rasvakojakonasilje–odonogaugulagu,Bagdadu,NewYorku,današnjemLondonu–kaopred­vidljivo stanje duha u tijekuvremena.Pandurseodlučiozaelemente scenografije–četirikliznepločesausječenimotvo­rima– koje režija koristi kaohardware za kreiranje svakogpojedinogprizora.“Scenografija

“AUS EINEM TOTENHAUS”

(Opernhaus Bonn, opening Sep-tember 26, 2004)Director: Tomaž Pandur; set de-sign: Sadar Vuga Arhitekti; moving images: Mileusnić+Serda rević; costumes: Tomaž Pandur; dra-maturgy: Jens Neundorf von Enz-berg; conductor: Roman Kof man.

Aus einem Totenhaus (From the house of the dead) is an opera by Leoš Janaček, composed on mo-tifs taken from the novel “Notes from the House of the Dead” by F. M. Dostoyevsky and rarely per-formed by opera houses. The dark story of the Siberian prison expe-rienced by Dostoyevsky himself was the basis of the story about the hopeless destiny of the camp inmates that is the last work by Leoš Janaček. It was performed for the first time after his death. Then the opera got the addition of an “optimistic” ending since the composer’s contemporaries thought it was necessary for the finale of the opera. Totenhaus in Bonn sung in Czech, and there-fore the audience has to read sub-titles to be able to follow the story. However, the audience abandons it since they want to enjoy the beauty of Janaček’s music and the hypnotic moving set and the interchanges of moving pictures at the side of the stage. Pandur’s version avoids naturalism and translates the libretto concerning monumental states of human en-slavement into a system in search of moments of light during an infernal journey. Timeless Siberia is a matrix associated with any kind of violence, from the prison to Baghdad, New York and all the way to present-day London; it is a predictable state of spirit in the flow of time. Pandur chose the elements of the set - four sliding planes with cutout openings – the director uses them as hard-ware for creating each and every scene. The set design is thus

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jetakoapstraktna,neutralna,kaofizičkiproizvodimageneričkekvalitete.Pokretnepločestvarajuhorizon-talniprostor,otvorinaglašavajuvertikalu”,objašnjavaBoštjanVuga,jedanodautorascenografskogdvojcaSadarVugaarhitekti.Prostorniprorezpakimaidodat-nufunkciju­djelujekaoinstrumentvremena–reguliragibanjeglazbe,gibanjepjevačaigibanjeploča–kojeusklađuju postupci režisera. Atmosferu pojedinihprizora tako diktira prostor koji nastaje izmeđuploča.Uvođenjeprojekcija (pokretnih slika) u dvo­dimenzionalnostunosidubinu,pakreirakinematičniprostor.Monumentalna lebdećakonstrukcija, brzomijenjanje i zatvaranjeplatformikojepozicionirajuglumcenasceni,kretanjeplesačanasamom rubuploča,petnaestmetaraiznadorkestra,svetostvarahipnotičkuatmosferu,hijerarhijuzatvorenogprostora,hijerarhiju dramatičnih odnosa i slojeva duševnogstanjaprotagonista. Taopera ex machina, kako junazivaŽeljkoSerdarević,matematičkompreciznoš­ćukoristi stranicepokretnihplatformikaodisplaypokretnih slika ili kao izvor neonskog svjetla koješokiragledaocekadseizametalnogzastoraprviputaotkriva scena. “Stroj”nastavlja svojegibanje i kadzamruposljednjenoteopere–apublikačekadasesasvimzaustaviprijenoštopredstavunagradiaplau-

an abstract, neutral and yet a physical product; it has generic qualities. “The sliding planes create a horizontal space, the openings stress the verticality”, explains Boštjan Vuga, one of the authors of the set (Sadar Vuga Arhitekti). The spatial section has yet another function: it is the instrument of time – it regulates the movement of the music, the singers and the planes – coordinated by the director. The atmosphere of the individual scenes is defined by the space created between the planes. The introduction of slide shows (moving pictures) brings depth into the two dimensionality, creating a cinematic space. The monumental, hovering construction, fast in-terchanges and closings of platforms that put the actors on the stage, the moving of dancers along the brim of the planes, almost fifteen meters above the orchestra, create a hypnotic atmosphere, a hierarchy of enclosed space, a hierarchy of dramatic relations and the layers of the mental states of the protagonists. This “opera ex machine”, as it is called by Željko Serdarević, uses sides of moving platforms in mathematic precision, as a display of moving pictures and as a source of the neon light that shocks the audience when the stage opens up behind the metal curtain for the first time. “The machine” continues moving even when the last notes of the opera fade away; the audience waits for the movement to stop

zom.NjemačkisumedijinakonpremijerePanduroveinscenacijepisalioizvanrednomodernomdjelukojepotvrđujenoveideje,opredstavikojauspostavljakrit-erijepremakojimaćesemjeritisveoperneprodukcijesljedećeopernesezone.

INFIERNO

(TeatroMariaGuerrero,CentroDramaticoNacional,Madrid,premijera25.svibnja2005.)režija: TomažPandur, dramaturgija: LivijaPandur,

before they reward the performers with their applause. After the opening of Pandur’s staging, German media wrote about an exceptionally modern work that confirms new ideas and which has laid down the criteria for all opera productions of the next opera season.

“INFIERNO”

(Teatro Maria Guerrero, Centro Dramatico Nacional, Madrid, opening: May 25, 2005)Direction: Tomaž Pandur; dramaturgy: Livija Pandur; set design: Sven Jonke for Numen; video: Serda-

Aus Einem Totenhaus fotografija/photo by Thilo Beu

Aus Einem Totenhaus fotografija/photo by Thilo Beu

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i organiziranjeDanteovogmističnogputovanja ponačeluglazbenefrazeilimelodije.Pokretačjeljubav,kojamožesve:L´amor che move il sole e l’altre stelle (“Paradiso”,Pjesma33).LiturgijskimisterijjeDantevećusvojevrijemepromijenioumodernudramu.Pandurovmadridski Inferno sastavljanovucjelinu.Pars et Totum.Redkaotemeljnakategorijapaklenogstrojausvojojmatematičkojpreciznostiotkrivaelek-tričnopolje,gdjesesvestvarivraćajuunoć.Gdjesesveštoulaziutajbeskonačniprostormijenja.Prostoronkrajgranica,kojijeistovremenoprokletimagičanigdjejeusvojsvojojmoćisamojednotijelorazapetozlatnimrezomnastabluprirode.PodnebombezzvijezdatalasaseInfernoteuzdišeustrahu,nemiru;presječenoštrommišlju,uvijekspre-manzanoveputnike,zakoloneprognanika,zagomilebjegunaca.Paklenskomjesto iscrtava svoj gabaritsadevetkrugova.Emisijazvukabudi izotupjelosti.Otkriva istinukojabodeoči,pa takosvatkoodnjeotklanjapogled.Nonijegamogućeskloniti, jer seistinamultipliciraiprojiciraubezbrojnimodbljescima.Dantekaokonstruktorpodzemlja,kaoarhitektdušapovlačizasobomsvuzemlju,apritomnezaboravljakako je i sam tek simbol i alegorija samogasebe,nastanjenupustimpoljima ljudskihmetamorfoza.Vezan za vremenskuos, “za strahpred vremenom,zaobjavuvremena,zasvijestovremenu”(E.Cioran).UpravozatoSvenJonke(i“Numen”)gradimadridskiIn-fernokaoozrcaljenukocku,kaoprostorbezgraničnihmogućnosti,multiplikacija, kaosvjetlouhvaćenougabaritukazališnepozornice,gdjegledalacpoputvoa-jeraugledasamsebeupaklenskomsistemu.Zrcalopakvraćaupravotoliko–isamotoliko–kolikoseunjegauloži.UtajvirtualniprazniprostornaseljavaPandur novi Babilonmisaonih tokova novovjekogsvijeta,slikearhaičnihprojekcija,starijihodriječii

tures) depicts the flux, mixing and organization of Dante’s mystical journey following the principles of a music phrase or a melody. The initiator is love which can do anything: “l’amor che move il sole e l’altre stele” (Paradiso, Canto 33). A liturgical mystery was changed into modern drama as early as Dante’s own era. Pandur’s Madrid Inferno composes a new whole. Pars et Totum. The order which is the basic category of the time bomb in its mathematical precision discovers an electric field where all things return to darkness. All that is entering that infinite space is changed. Space beyond borders, it is cursed and magical at the same time; and where everything is in all its power only one body crucified by the golden section of the tree of nature. Under the starless sky Inferno heaves and sighes with fear and lack of peace; it is interrupted by fierce thought and is always ready for new travelers, for new files of exiles and numerous fugitives. The infernal place draws a structure with nine circles. The emission of sound wakes one up from dullness. It discloses the truth which pains the eyes so everybody looks away. However, it is not possible to look away since the truth is multiplied and projected into infinite reflections. Dante was a constructor of the underground; as an architect of souls he drags along the whole world, forgetting at the same time that he is only a symbol and an allegory by itself living in the barren fields of human metamorphoses. He is connected to the time axis, to “fear before time, revelation of time, conscious-ness of time” (E. Cioran).These were the reasons why Sven Jonke (and Numen) constructed Madrid’s Inferno as a mirror cube, a space of infinite possibilities, multiplications, as a light caught in the height of theatre stage, where the audience may see itself – as if a voyeur - in the infernal system. The mirror reflects as much – only as much – as there is put into it. This virtual void space is inhabited by Pandur’s New Babylon stream of thoughts of the new world, pictures of

scenografija:SvenJonkeza“Nu-men”,video:Serdarević+Mileus-nić, kostimi:AngelinaAtlagić;glazba:GoranBregović, dizajnsvjetla:JuanGomezCornejo

Božanstvena komedija, jednoodnajčudesnijihputovanjaikadzapisanihupovijesti civilizaci­je, sastavljenau triptih “Infer­no”, “Purgatorio” i “Paradiso”,Danteova jealegorična vizija ikontemplacijadrugogasvijeta,posmrća ili zasmrća ili prepo­znavanje onog istinskog sva­kodnevnogstanja svijesti koječovjekazatičesvakogtrenutkadanainoći.Danteizcom me die d´anime poezijomgradi vizijudrugogsvijeta,živuitoplusliku,ispodkojetečekrviizbijastrast.Beskonačnu galeriju patnje,čišćenja i blaženstva, strasti,mira i ljubavi.Bo žan stvena komedija označava početaknjegoveslave.Komedija? TaDante putuje izPaklapremaRaju,aneobrat­no.I“božanstvena”,nadahnutabožanstvenom emanacijom ustopjevanja.Tojeveličanstvenapartitura enciklopedijskih di-menzija,Enciklopedia dantesca,pjesničkaBiblija,temeljnovov-jekeeuropskemisli ifilozofije.Ta orbis pictus (slika svijeta)oslikavaprelijevanje,miješanje

rević+Mileusnić; costumes: An-gelina Atlagic; music: Goran Bregović; lighting: Juan Gomez Cornejo.

La Divina Comedia, one of the most fantastic journeys ever writ-ten in human civilization, made up into a triptych consisting of Inferno, Purgatorio and Paradiso is Dante’s allegorical vision and contemplation of another world, the world after death, and the world of recognition of the real everyday state of mind which men confront every single mo-ment of day or night. Dante uses “commedia d´anime” and poetry to create the vision of another world, a vivid and warm picture under which the blood flows and passion flares up. It is an infinite gallery of pain, cleansing and bliss, passion, peace and love. His Divina Comedia marks the beginning of his glory. It is a comedy since Dante jour-neys from Hell to Heaven, and not vice versa, and Divina because it was inspired by the divine ema-nation in a hundred cantos. It is a magnificent score of encyclopedic dimensions, the “enciclopedia dantesca”, a poetic Bible, the foundation of the new era of Eu-ropean thought and philosophy. This “orbis pictus” (world in pic-

Infierno fotografija/photo by Numen

Sveunutrašnjestranekubusasu zrcala ,aprednja je špijunskostaklodoksuposvimbridovimapostavljeneneonskecijevikojesuglavniizvorsvjetla.All the walls are inwards face to face mirrors, except for the front wall which is made of spyglass. Luminous stripes along the inner edges of the parallelepiped are the primary light source

Paralopiped(10x7,6x7,6m)sastojiseod108ogledala(1,2x2,4m),24špijunskastakla(1,2x2,4m)I80neonskihcijevi(120cm/54W)The parallelepiped (10x 7,6x 7,6m) is made out of 108 mirrors (1,2x 2,4m), 24 spyglasses (1,2x2,4m) and 80 neon tubes (120cm / 54W)

PrednjizidkojiodvajaglumceigledateljesastojiseodtrisegmentakojisemoguspuštatiidizatipopotrebiFront wall slides up and down in three separate parts, transforming space and atmosphere

Krov jepodijeljennašestsegmenatakojisemogupojedinačnootvaratiiomogućavakorištenjereflektoraiulazakrekvizitaOpening of the roof in 6 stripes parallel to the front wall enables the use of reflectors and flying of props and actors

Segmenti na donjoj bočnoj strani s obje strane su klizni štoomogućavaotvaranjezaulazakiizlazakglumacaSliding doors on the lateral sides for entrances and exits of the actors, light and ventilators

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Infierno fotografija/photo by Numen

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morala.Uneprekidnimtransmutacijamaiodbljescimavidimo imperijalnoseksualnokazalištekao vrhovnihramočijuzapadnecivilizacije.Vidimofašizami“po-ganskuprošlost,nikadumrlu,kojaplamtiumističnimhijerarhijama zvjezdane slave” (C. Paglia). Vidimokrv,mučenje,ekstazu,suze–iDanteovuumjetnost,punuzločina.Inemaslučaja,tekprirodakojaupravljasvojimutezima.Tekpendulumkojiseizokrononjišeiiscrtavaneizvjesniput.ObrazInfernausvomnaličjudodatnopermutirauneprekidnogibanje i pomoćuvideoprojekcija(Mileusnić+Serdarević),kojekrozvre-menskislijedinfernalnogkaopokretnaslikaozivlja-vajusjećanjecivilizacijskogiskustva.Zemljovidpaklaiscrtavaseusvimsegmentima.Zvukisvjetlostrastuispuštajuse,tenapresjecištuzaustavljajuvrijeme.Promatramo“naš vrli novi svijet” i pokušavamoseprobuditiiznoćnemore.PromatramoisretniportretInferna,sakrivenogizaodbljesakazrcala,ijednujed-inumisaokojaispunjavavječnost.“Tojeistovremenoprostor”,kažeSerdarević“kojiniječeosnovnopravilogotike–dademoninemajuvlastitiodsjajuzrcalu”.Agdjesusviodsjaji?UPandurovomInfernu,dakako;nastanjenommultipliciranimdemonskimrefleksima.”Vidjetisvijetuzrncupijeska”,kakokažeBlake;iliurefleksuzrcala,kojasutakođernačinjenaodpijeska.PandurrežiraInfernouhvaćenuozrcaljenikubuskaoarhetipskeslike,kojeistovremenoprizivajuusjećanjebrojna umjetnička djela zapadnog civilizacijskogkruga,ali se isto takosna`noodnosena iskonskeslojevepostojanja.Odrazsvjetlostiuzrcalunemijenjanjegovuprirodu,aipaksadržiodređeniaspektiluzije.TkosesveprepoznajeuodbljescimaInferna,glatkimičistim,iliurazbijenomogledalukoje,iznovasastavl-jeno,odražavatekrazbijenuslikusvijeta?Pakaosmo,dakako,imisami,pakaonisusamodrugi.Madridski Inferno dokazujedakazališteposjedujemoć.Apsolutnumoć,kojačinimogućimiprijelazusnove.Ljubav,tojeipunogledalište,zarne?

the archaic projections which are older from the words and morals. We may perceive the uninterrupted trans-mutations and reflections as an imperial sexual theatre, as a supreme temple of the eyes of western civilization. We see fascism and the “pagan past, never dead, flaming in the mystical hierarchies of star-like glory” (C. Paglia). We may see blood, torture, ecstasy, tears – Dante’s art full of crimes. And there are no coincidences; there is only nature which rules by its weights. It is the “pendu-lum” which is only swinging and drawing a dubious path. The face of Inferno on its back side is permutated into continuous movement supported by the video projections (Mileusnić+Serdarević), which by the moving pictures of the infernal time sequence relive the memory of the experience of civilization. The map of inferno is drawn in all its segments. The sound and light grow and fade so that they stop the time at their intersection. We perceive our “brave new world” and try to wake up from the night-mare. We perceive a happy portrait of Inferno, hidden behind the reflection from the mirror, and the one and only thought which is filling up eternity. Serdarević says “it is at the same time a space which negates the basic Gothic rule – that demons do not have their reflection in the mirror. And where are the reflections? In Pandur’s Inferno, naturally, inhabited by multiplicities of demon reflections.” One can perceive the world in the grain of sand, as Blake says, or in the reflection in a mirror, which is also made of sand. Pandur directs Inferno, caught by the mirror cube like an archetypal picture which at the same time recalls to mind numerous art works of the entire western civilization circle, but which at the same time is also related to the original layers of existence. The reflection of light in the mirror does not change its nature; still it keeps a certain aspect of illusion. Who can recognize oneself in the reflections of Inferno, smooth and clean, or in the broken mirror which if put together again reflects only the broken picture of the world? We ourselves are naturally hell; hell is not only in others.Madrid’s Inferno proves that theatre has power. Absolute power, which makes possible a transition into dreams. Love is a full auditorium, too, isn’t it?

AUS EINEM TOTENHAUS OpernhausBonn,premijera26.rujna2004./OpernhausBonn,opening26thseptember2004re`ija/eirectorToma` Pandurscenografija/setdesignSadar Vuga Arhitektigibljiveslike/movingimagesMileusnić+Serdarevićkostimografija/costumesToma` Pandurdramaturgija/dramaturgyJens Neundorf von Enzbergdirigent/conductorRoman Kofman

INFIERNOTeatroMariaGuerrero,CentroDramaticoNacional,Madrid,premijera25.svibnja2005./TeatroMariaGuerrero,CentroDramaticoNacional,Madrid,opening25th May2005re`ija/directionToma` Pandurdramaturgija/dramaturgyLivia Pandurscenografija/setdesignSven Jonke – Numenvideo/videoMileusnić+Serdarevićkostimografija/costumesAngelina Atlagićmuzika/musicGoran Bregovićoblikovanjesvjetla/lightingJuan Gomez Cornejo

Infierno fotografija/photo by Numen