{"id":4935,"date":"2017-04-20T11:05:59","date_gmt":"2017-04-20T09:05:59","guid":{"rendered":"http:\/\/www.svetelnydesign.cz\/?p=4935"},"modified":"2017-04-20T11:07:39","modified_gmt":"2017-04-20T09:07:39","slug":"poselstvi-k-mezinarodnimu-dni-tance-2017","status":"publish","type":"post","link":"https:\/\/www.svetelnydesign.cz\/en\/blog\/2017\/04\/20\/poselstvi-k-mezinarodnimu-dni-tance-2017\/","title":{"rendered":"POSELTSTV\u00cd K MEZIN\u00c1RODN\u00cdMU DNI TANCE 2017"},"content":{"rendered":"

Trisha Brown: Poselstv\u00ed k Mezin\u00e1rodn\u00edmu dni tance 2017<\/b><\/p>\n

\"\"<\/b><\/p>\n

Tane\u010dnic\u00ed jsem se stala proto, \u017ee jsem tou\u017eila l\u00e9tat. Doj\u00edmala m\u011b dokonalost zemsk\u00e9 p\u0159ita\u017elivosti. V m\u00fdch tanc\u00edch nen\u00ed \u017e\u00e1dn\u00fd skryt\u00fd smysl. Jsou duchovn\u00edm cvi\u010den\u00edm v t\u011blesn\u00e9 podob\u011b.<\/i><\/b><\/p>\n

Tanec komunikuje a roz\u0161i\u0159uje univerz\u00e1ln\u00ed jazyk, plod\u00ed radost, kr\u00e1su a pokrok v lidsk\u00e9m v\u011bd\u011bn\u00ed. Tanec je kreativita\u2026 st\u00e1le nov\u00e1\u2026 kreativita my\u0161len\u00ed, p\u0159\u00edprav, proveden\u00ed a prezentace. Na\u0161e t\u011bla jsou n\u00e1stroji v\u00fdrazu, nikoliv m\u00e9diem reprezentace. Tento pohled osvobozuje na\u0161i tvo\u0159ivost, co\u017e je ta nejpodstatn\u011bj\u0161\u00ed lekce a dar um\u011bleck\u00e9 \u010dinnosti.<\/i><\/b><\/p>\n

\u017divot um\u011blce nekon\u010d\u00ed s v\u011bkem, jak se domn\u00edvaj\u00ed n\u011bkte\u0159\u00ed kritici. Tanec tvo\u0159\u00ed lid\u00e9, lid\u00e9 a my\u0161lenky. Coby publikum si m\u016f\u017eete tv\u016fr\u010d\u00ed impuls vz\u00edt s sebou dom\u016f a vyu\u017e\u00edt jej ve sv\u00e9m ka\u017edodenn\u00edm \u017eivot\u011b.<\/i><\/b><\/p>\n

Toto poselstv\u00ed je ur\u010den\u00e9 tane\u010dn\u00edk\u016fm a milovn\u00edk\u016fm tance po cel\u00e9m sv\u011bt\u011b. Publikov\u00e1no bylo tak\u00e9 jako pocta Trishe Brown, kter\u00e1 zesnula 18. b\u0159ezna 2017. Text z\u00a0jej\u00edch p\u00edsemnost\u00ed a prohl\u00e1\u0161en\u00ed sestavila jej\u00ed bl\u00edzk\u00e1 spolupracovnice Susan Rosenbergov\u00e1. Najdeme v n\u011bm jej\u00ed pohled na jej\u00ed pr\u00e1ci a hodnoty, kter\u00e9 vyjad\u0159uje.<\/span><\/p>\n

\u017divotopis<\/b><\/p>\n

Trisha Brown (um\u011bleck\u00e1 \u0161\u00e9fka a choreografka) se narodila a vyrostla v Aberdeenu ve st\u00e1t\u011b Washington. Roku 1958 promovala na kalifornsk\u00e9 Mills College a roku 1961 se p\u0159est\u011bhovala do New Yorku. Ihned se pln\u011b zapojila do tvorby Judson Dance Theatre, kter\u00e9 se pozd\u011bji stalo fenom\u00e9nem postmoderny. Vybrousila tu sv\u00e9 zkoum\u00e1n\u00ed pohybu s c\u00edlem naj\u00edt neoby\u010dejn\u00e9 ve v\u0161ednodenn\u00edm. T\u00edm, \u017ee zpochyb\u0148ovala za\u017eit\u00e9 vn\u00edm\u00e1n\u00ed p\u0159edstaven\u00ed, posunula Brownov\u00e1, spole\u010dn\u011b s podobn\u011b sm\u00fd\u0161lej\u00edc\u00edmi um\u011blci, hranice choreografie a nav\u017edy zm\u011bnila modern\u00ed tanec.<\/span><\/p>\n

Roku 1970 zalo\u017eila Trisha Brown svou vlastn\u00ed spole\u010dnost a za\u010dala vytv\u00e1\u0159et d\u00edla inspirovan\u00e1 okol\u00edm, jako byly <\/span>Walking Down the Side of a Building<\/span><\/i> (1970) a <\/span>Roof Piece<\/span><\/i> (1971). V t\u00e9\u017ee dob\u011b za\u010dala tak\u00e9 spolupracovat s Robertem Rauschenbergem. V osmdes\u00e1t\u00fdch letech vytvo\u0159ila \u0159adu inovativn\u00edch inscenac\u00ed, jako dnes u\u017e ikonick\u00e9<\/span> Set and Reset<\/span><\/i> (1983) s p\u016fvodn\u00ed hudbou od Laurie Anderson a sc\u00e9nografi\u00ed Roberta Rauschenberga. T\u00edm se zavr\u0161il jej\u00ed prvn\u00ed pln\u011b vyvinut\u00fd cyklus, <\/span>Unstable Molecular Structures<\/span><\/i>.<\/span><\/p>\n

Tento cyklus p\u0159edstavoval ladn\u00fd, le\u010d nep\u0159edv\u00eddateln\u00fd geometrick\u00fd styl, kter\u00fd je pro jej\u00ed pr\u00e1ci charakteristick\u00fd. N\u00e1sledn\u011b za\u010dala Brownov\u00e1 se svou ne\u00fanavn\u011b atletickou <\/span>Valiant Series<\/span><\/i>, v n\u00ed\u017e tane\u010dn\u00edky vedla na hranu fyzick\u00fdch mo\u017enost\u00ed a zkoumala pohyb spojen\u00fd s ur\u010dit\u00fdm pohlav\u00edm. N\u00e1sledn\u011b p\u0159i\u0161el elegantn\u00ed, tajemn\u00fd <\/span>Back to Zero Cycle<\/span><\/i>, v n\u011bm\u017e Brownov\u00e1 ustoupila od vn\u011bj\u0161kov\u00e9 virtuozity a zkoumala nev\u011bdom\u00fd pohyb. S Rauchenbergem naposledy spolupracovala na <\/span>If you couldn\u2019t see me <\/span><\/i>(1994), kde tan\u010dila celou dobu z\u00e1dy k publiku.<\/span><\/p>\n

V\u017edy se sna\u017eila p\u0159ekvapovat, p\u0159ich\u00e1zet s n\u011b\u010d\u00edm nov\u00fdm a experimentovat, a tak se n\u00e1sledn\u011b zam\u011b\u0159ila na klasickou hudbu a opern\u00ed inscenace, co\u017e dalo vzniknout takzvan\u00e9mu <\/span>Music Cycle<\/span><\/i>. Anna Kisselgoff z New York Times ozna\u010dila jej\u00ed choreografii na Bachovu monument\u00e1ln\u00ed <\/span>Hudebn\u00ed ob\u011btinu <\/span><\/i>(<\/span>Musical Offering, M.O.<\/span><\/i>; 1995) za \u201emistrovsk\u00e9 d\u00edlo\u201c. Proto se Trisha Brown je\u0161t\u011b v\u00edce pono\u0159ila do opery, tvo\u0159ila choreografie a re\u017e\u00edrovala nes\u010detn\u011b vynikaj\u00edc\u00edch oper.<\/span><\/p>\n

V pokra\u010duj\u00edc\u00edm objevov\u00e1n\u00ed nov\u00fdch \u00fazem\u00ed se Brownov\u00e1 vrhla na zkoum\u00e1n\u00ed relevantn\u00edch t\u00e9mat, jako jsou nov\u00e9 technologie, a spolu s japonsk\u00fdm um\u011blcem a design\u00e9rem robot\u016f Kenjirem Okazakim stvo\u0159ila duchapln\u00e9, sofistikovan\u00e9 <\/span>I love my robots<\/span><\/i> (2007). Jej\u00ed posledn\u00ed d\u00edlo, <\/span>I\u2019m going to toss my arms – if you catch them they\u2019re yours<\/span><\/i> (2011), vzniklo ve spolupr\u00e1ci s v\u00fdtvarn\u00edkem Burtem Barrem, jeho\u017e v\u00fdrazn\u00e9 sc\u00e9n\u011b dominuj\u00ed pr\u016fmyslov\u00e9 ventil\u00e1tory.<\/span><\/p>\n

Krom toho, \u017ee byla plodnou choreografkou, byla Brownov\u00e1 z\u00e1rove\u0148 vynikaj\u00edc\u00ed v\u00fdtvarnic\u00ed, jak je vid\u011bt na p\u0159\u00edkladu v\u00fdtvarn\u00e9 performance <\/span>It\u2019s a Draw<\/span><\/i> (2002). Jej\u00ed kresby byly k vid\u011bn\u00ed na v\u00fdstav\u00e1ch, v galeri\u00edch a muze\u00edch po cel\u00e9m sv\u011bt\u011b.<\/span><\/p>\n

Od roku 1961 vytvo\u0159ila Trisha Brown p\u0159es stovku tane\u010dn\u00edch d\u011bl a stala se prvn\u00ed choreografkou, kter\u00e1 z\u00edskala stipendium Genius Award od MacArthurovy nadace. Mimoto se j\u00ed dostalo \u0159ady dal\u0161\u00edch poct, mimo jin\u00e9 p\u011bt stipendi\u00ed od National Endowment for the Arts. Roku 1988 ji francouzsk\u00e1 vl\u00e1da jmenovala ryt\u00ed\u0159kou \u0158\u00e1du um\u011bn\u00ed a literatury, pozd\u011bji byla pov\u00fd\u0161ena na stupe\u0148 \u201eCommandeur\u201c. Na pozv\u00e1n\u00ed prezidenta Billa Clintona byla mezi lety 1994 a 1997 \u010dlenkou National Council of the Arts. Roku 2003 z\u00edskala N\u00e1rodn\u00ed medaili um\u011bn\u00ed. Byla nositelkou mnoha \u010destn\u00fdch doktor\u00e1t\u016f, byla \u010destnou \u010dlenkou Americk\u00e9 akademie um\u011bn\u00ed a literatury a roku 2011 z\u00edskala presti\u017en\u00ed Cenu Dorothy a Lillian Gishov\u00fdch za \u201emimo\u0159\u00e1dn\u00fd p\u0159\u00ednos kr\u00e1se sv\u011bta a tomu, jak si lidstvo u\u017e\u00edv\u00e1 a ch\u00e1pe \u017eivot\u201c.<\/span><\/p>\n

P\u0159eklad Michal Zah\u00e1lka<\/span><\/p>\n","protected":false},"excerpt":{"rendered":"

Trisha Brown: Poselstv\u00ed k Mezin\u00e1rodn\u00edmu dni tance 2017 Tane\u010dnic\u00ed jsem se stala proto, \u017ee jsem…<\/p>\n","protected":false},"author":9,"featured_media":0,"comment_status":"closed","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_links_to":"","_links_to_target":""},"categories":[1],"tags":[],"translation":{"provider":"WPGlobus","version":"2.12.2","language":"en","enabled_languages":["cz","en"],"languages":{"cz":{"title":true,"content":true,"excerpt":false},"en":{"title":false,"content":false,"excerpt":false}}},"_links":{"self":[{"href":"https:\/\/www.svetelnydesign.cz\/en\/wp-json\/wp\/v2\/posts\/4935"}],"collection":[{"href":"https:\/\/www.svetelnydesign.cz\/en\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.svetelnydesign.cz\/en\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.svetelnydesign.cz\/en\/wp-json\/wp\/v2\/users\/9"}],"replies":[{"embeddable":true,"href":"https:\/\/www.svetelnydesign.cz\/en\/wp-json\/wp\/v2\/comments?post=4935"}],"version-history":[{"count":5,"href":"https:\/\/www.svetelnydesign.cz\/en\/wp-json\/wp\/v2\/posts\/4935\/revisions"}],"predecessor-version":[{"id":4940,"href":"https:\/\/www.svetelnydesign.cz\/en\/wp-json\/wp\/v2\/posts\/4935\/revisions\/4940"}],"wp:attachment":[{"href":"https:\/\/www.svetelnydesign.cz\/en\/wp-json\/wp\/v2\/media?parent=4935"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.svetelnydesign.cz\/en\/wp-json\/wp\/v2\/categories?post=4935"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.svetelnydesign.cz\/en\/wp-json\/wp\/v2\/tags?post=4935"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}