{"id":1162,"date":"2026-05-28T00:34:09","date_gmt":"2026-05-27T22:34:09","guid":{"rendered":"https:\/\/blog.sramkuvpisek.cz\/?p=1162"},"modified":"2026-05-28T00:34:09","modified_gmt":"2026-05-27T22:34:09","slug":"pred-piskem-ojebad-iii-dil-portret-umelce-jako","status":"publish","type":"post","link":"https:\/\/blog.sramkuvpisek.cz\/index.php\/2026\/05\/28\/pred-piskem-ojebad-iii-dil-portret-umelce-jako\/","title":{"rendered":"p\u0159ed P\u00edskem: Ojebad: III. d\u00edl – \u201ePortr\u00e9t um\u011blce jako\u201c"},"content":{"rendered":"\n

d\u016fkladn\u00fd rozhovor s Otto Linhartem o tom, co uvid\u00edme v p\u00e1tek od 19:30<\/h2>\n\n\n\n
\"\"<\/figure>\n\n\n\n

Pro\u010d jste se rozhodli ud\u011blat zrovna tuto inscenaci?<\/strong><\/p>\n\n\n\n

Tetralogie m\u00edvaj\u00ed zpravidla \u010dty\u0159i d\u00edly a Bublinov\u00e9 tetralogii divadla Ojebad, na kter\u00e9 se souborem pracujeme od roku 2019, chyb\u011bl t\u0159et\u00ed d\u00edl. Te\u010f, kdy\u017e u\u017e je Portr\u00e9t um\u011blce jako hotov\u00fd, j\u00ed chyb\u00ed jen ten \u010dtvrt\u00fd. Taky v tom asi hr\u00e1lo roli to, \u017ee jsme cht\u011bli zas n\u011bco spole\u010dn\u011b ud\u011blat. Je to znepokojuj\u00edc\u00ed a\u017e d\u011bsiv\u00e9, ale i po dvaceti letech se (nechci samoz\u0159ejm\u011b nikomu nic podsouvat) vid\u00edme r\u00e1di.<\/p>\n\n\n\n\n\n\n\n

Zkou\u0161\u00edte\/zkoum\u00e1te si v t\u00e9to inscenaci n\u011bco popsateln\u00e9ho slovy?<\/strong><\/p>\n\n\n\n

Zkou\u0161\u00edme, co n\u00e1m projde. Portr\u00e9t um\u011blce jako zat\u00edm \u00fasp\u011b\u0161n\u011b proch\u00e1z\u00ed, ani\u017e by moc div\u00e1k\u016f odch\u00e1zelo. To n\u00e1s t\u011b\u0161\u00ed. Ona i ta samotn\u00e1 inscenace je tak trochu proudem my\u0161lenek, kter\u00e9 jsou popsan\u00e9 slovy.<\/p>\n\n\n\n

Jak\u00e9 si mysl\u00edte, \u017ee inscenace otev\u00edr\u00e1 ot\u00e1zky, p\u0159\u00edp. jak\u00e1 jsou hlavn\u00ed t\u00e9mata \u010di v\u00fdrazn\u00e9 motivy?<\/strong><\/p>\n\n\n\n

V\u0161echny t\u0159i dosavadn\u00ed inscenace Bublinov\u00e9 tetralogie divadla Ojebad pracuj\u00ed s motivy \u010dasu, hrdinstv\u00ed, psychoanal\u00fdzy a agresivn\u00edho intelektualismu. Pokud jde o ot\u00e1zky, nab\u00edz\u00ed se nap\u0159\u00edklad: Pokud je Bob Dylan inspirov\u00e1n Dylanem Thomasem, Dylan Thomas Jamesem Joycem a James Joyce Hom\u00e9rem, je Hom\u00e9r zase inspirov\u00e1n Bobem Dylanem? Kdo maloval ten obraz v r\u00e1mu? Co tam d\u011bl\u00e1 ta rakev? Byl James Joyce skute\u010dn\u011b nejlep\u0161\u00edm spisovatelem v d\u011bjin\u00e1ch? \u0158eknu ano, m\u00e1 horsk\u00e1 kv\u011btino? Pokud existuje \u010cechovova pu\u0161ka, existuje i \u010cechov\u016fv zbroj\u00e1k? A nen\u00ed line\u00e1rn\u00ed vn\u00edm\u00e1n\u00ed \u010dasu konina?<\/p>\n\n\n\n

Jak\u00fdm zp\u016fsobem tvo\u0159\u00edte? \u2013 sp\u00ed\u0161 re\u017eis\u00e9rsky nebo sp\u00ed\u0161 kolektivn\u011b?; sp\u00ed\u0161 podle pevn\u00e9ho sc\u00e9n\u00e1\u0159e nebo sp\u00ed\u0161 voln\u011b?<\/strong><\/p>\n\n\n\n

Je to tak kolektivn\u00ed, a\u017e je to vy\u010derp\u00e1vaj\u00edc\u00ed. Ano, ob\u010das se stane, \u017ee je jeden z \u010dlen\u016f souboru unaven\u00fd nebo na z\u00e1chod\u011b, tak\u017ee do v\u00fdsledn\u00e9 podoby chv\u00edli nezasahuje, ale to jsou sp\u00ed\u0161 v\u00fdjimky. Sc\u00e9n\u00e1\u0159 m\u016f\u017ee p\u016fsobit pevn\u00fdm dojmem, ale p\u0159i d\u016fkladn\u011bj\u0161\u00edm pohledu div\u00e1k zjist\u00ed, \u017ee je cel\u00fd popraskan\u00fd a na n\u011bkter\u00fdch m\u00edstech zna\u010dn\u011b nestabiln\u00ed, tu a tam s n\u011bjakou tou singularitou.<\/p>\n\n\n\n

Kdo je autorem sc\u00e9n\u00e1\u0159e\/vize, kdo inscenaci rozv\u00edj\u00ed, dod\u011bl\u00e1v\u00e1, vybru\u0161uje?<\/strong><\/p>\n\n\n\n

V d\u0159\u00edv\u011bj\u0161\u00edch letech jsme se se sc\u00e9n\u00e1\u0159em ob rok st\u0159\u00eddali s Milanem Dederou. Milanovy Ojebad hry, a\u0165 u\u017e je psal s\u00e1m nebo v tandemu, jsou v\u00edce autorsk\u00e9, j\u00e1 v\u011bt\u0161inou obt\u011b\u017euji adaptov\u00e1n\u00edm n\u011bjak\u00e9ho neboh\u00e9ho mrtv\u00e9ho (a v\u017edycky dobr\u00e9ho) liter\u00e1ta, kter\u00fd se nem\u016f\u017ee br\u00e1nit.<\/p>\n\n\n\n

V p\u0159\u00edpad\u011b Portr\u00e9tu um\u011blce jako prob\u00edhala p\u0159\u00edprava podobn\u011b jako u v\u011bt\u0161iny inscenac\u00ed. J\u00e1 p\u0159i\u0161el s n\u00e1padem, dlouho jsem o n\u011bm u v\u00edna \u017evanil a st\u011b\u017eoval si, \u017ee nem\u00e1m \u010das na psan\u00ed, ani\u017e bych napsal \u010d\u00e1rku a potom p\u0159i\u0161el s prvn\u00ed verz\u00ed textu. Pak p\u0159ich\u00e1z\u00ed na \u0159adu Oskar Hulec, kter\u00fd se na to pod\u00edv\u00e1 a \u0159ekne: \u201cMoc dlouh\u00fd, pro\u0161krtat\u201d. A pak to pro\u0161krt\u00e1v\u00e1me a j\u00e1 trpim, \u017ee mi to vyhazuje a on trp\u00ed, \u017ee tu \u010d\u00e1st t\u0159eba nechci vyhodit. Pak p\u0159ijde zbytek souboru s dal\u0161\u00edmi n\u00e1pady a zbytek se do\u0159e\u0161\u00ed na zkou\u0161k\u00e1ch. Do vybru\u0161ov\u00e1n\u00ed bych rad\u011bji nezabru\u0161oval.<\/p>\n\n\n\n

U\u010dinili jste jako tv\u016frci n\u011bjak\u00fd zaj\u00edmav\u00fd objev nebo z\u00edskali zaj\u00edmavou zku\u0161enost?<\/strong><\/p>\n\n\n\n

Ano, spoustu. Zjistili jsme, \u017ee je v \u010desk\u00e9 republice p\u0159ekvapiv\u011b velk\u00e9 mno\u017estv\u00ed slampoetrist\u016f, dovedli jsme hudebn\u00ed talent kapely Sir\u00e9ni k dokonalosti, zjistili jsme, \u017ee nejen\u017ee d\u011blal Samuel Beckett Jamesi Joycovi sekret\u00e1\u0159e, ale \u017ee ve dvac\u00e1t\u00fdch letech d\u011blal Ernest Hemingway v Pa\u0159\u00ed\u017ei Joycovi n\u011bco jako bodyguarda. Joyce se svou rachitickou postavou a stra\u0161n\u011b \u0161patn\u00fdm zrakem nebyl \u00fapln\u011b rv\u00e1\u010d a Hemingway to \u0159e\u0161il za n\u011bj.<\/p>\n\n\n\n


Kolikr\u00e1t jste inscenaci u\u017e hr\u00e1li a kolikr\u00e1t je\u0161t\u011b budete?<\/strong><\/p>\n\n\n\n

Inscenaci jsme zat\u00edm hr\u00e1li dvakr\u00e1t v Praze, jednou v Turnov\u011b a jednou v T\u0159ebovli u p\u0159\u00edle\u017eitosti dvac\u00e1t\u00fdch narozenin souboru. Douf\u00e1m, \u017ee bychom si ji mohli zahr\u00e1t je\u0161t\u011b n\u011bkolikr\u00e1t t\u0159eba v Polici nad Metuj\u00ed nebo v N\u00e1chod\u011b nebo v Mal\u00e9 \u010cermn\u00e9 nebo ve Velk\u00e9m Po\u0159\u00ed\u010d\u00ed, Horn\u00ed Radechov\u00e9, Pavli\u0161ov\u011b nebo v jin\u00fdch m\u011bste\u010dk\u00e1ch tohohle koutu Republiky, t\u0159eba n\u011bkde, kde se narodili Jir\u00e1sek s Hostovsk\u00fdm.<\/p>\n\n\n\n

V jak\u00e9m prostoru inscenaci hrajete?<\/strong><\/p>\n\n\n\n

V Praze ve Studiu Pam\u011b\u0165, pro ten prostor je to taky psan\u00e9, hezky se tam pracuje s tmou. V Turnov\u011b jsme inscenaci odehr\u00e1li na jevi\u0161ti St\u0159elnice, aby to bylo co nejintimn\u011bj\u0161\u00ed. V T\u0159ebovli jsme tyhle mo\u017enosti kv\u016fli denn\u00edmu \u010dasu a hran\u00ed ve stodole nem\u011bli, ale zachr\u00e1nila to zlat\u00e1 hodinka a Kor\u00e1\u010d. <\/p>\n\n\n\n

Co pova\u017eujete ve sv\u00e9 inscenaci za experiment?<\/strong><\/p>\n\n\n\n

To m\u00edsto, co je ve stop\u00e1\u017ei mezi prvn\u00ed a posledn\u00ed minutou. A taky experimentujeme s t\u00edm, jak dlouho n\u00e1m vydr\u017e\u00ed ta l\u00e1hev uprost\u0159ed stolu, zat\u00edm je z\u00e1zrak, \u017ee ji nikdo nerozfl\u00e1kal. <\/p>\n\n\n\n

Jak je v\u00e1\u0161 soubor organizov\u00e1n?<\/strong><\/p>\n\n\n\n

Ivona m\u00e1 nejkr\u00e1sn\u011bj\u0161\u00ed o\u010di, Ani\u010dka nejkr\u00e1sn\u011bj\u0161\u00ed vlasy, Milan nejhez\u010d\u00ed l\u00edcn\u00ed kosti, Tes\u00edk nejfe\u0161n\u011bj\u0161\u00ed profil a nejhez\u010d\u00ed vousy, Kor\u00e1\u010d m\u00e1 nejhez\u010d\u00ed figuru, Zden\u011bk m\u00e1 nejv\u00edc zku\u0161enost\u00ed a je z n\u00e1s nejrychlej\u0161\u00ed, Prokop m\u00e1 nejhez\u010d\u00ed \u00fasm\u011bv a je nej\u0161ikovn\u011bj\u0161\u00ed. Oskar m\u00e1 trp\u011blivost a j\u00e1 nejv\u011bt\u0161\u00edho psa.<\/p>\n\n\n\n

Jak\u00fd m\u00e1te vztah k m\u011bstu P\u00edsku?<\/strong><\/p>\n\n\n\n

Sm\u00ed\u0161en\u00fd. \u010casto to souvis\u00ed se zv\u00ed\u0159aty. Na jednu stranu m\u00e1me kr\u00e1sn\u00e9 vzpom\u00ednky z repr\u00edz inscenac\u00ed Odborn\u00e1 porota (I. d\u00edl Bublinov\u00e9 tetralogie) a 2. d\u00edl (II. d\u00edl Bublinov\u00e9 tetralogie) na \u0160r\u00e1mkov\u011b P\u00edsku, na druhou n\u00e1s mrz\u00ed, \u017ee se nem\u016f\u017eeme j\u00edt zbl\u00edzka pod\u00edvat na sochu b\u00fdka v \u017eivotn\u00ed velikosti u masokombin\u00e1tu. Nikdy n\u00e1m to nedovolili. <\/p>\n\n\n\n

Na jednu stranu tr\u00e1v\u00edme spoustu \u010dasu U Reiner\u016f, ale nikdy jsme nevid\u011bli pivon\u011b ve voln\u00e9 p\u0159\u00edrod\u011b ani u hrobu Richarda Weinera ne a tam jich m\u00e1 b\u00fdt p\u0159itom nejv\u00edc. <\/p>\n\n\n\n

Na jednu stranu jsme tu za\u017eili spoustu inspirativn\u00edch rozborov\u00fdch semin\u00e1\u0159\u016f, ale na druhou n\u00e1m p\u00edseck\u00e1 policie nedovoluje jezdit na so\u0161e \u010desk\u00e9ho lva pomn\u00edku padl\u00fdch u Melegnana a Solferina a sp\u00e1t na lavi\u010dk\u00e1ch. Tak\u017ee, jak \u0159\u00edk\u00e1m, sm\u00ed\u0161en\u00fd.<\/p>\n","protected":false},"excerpt":{"rendered":"

d\u016fkladn\u00fd rozhovor s Otto Linhartem o tom, co uvid\u00edme v p\u00e1tek od 19:30 Pro\u010d jste se rozhodli ud\u011blat zrovna tuto inscenaci? Tetralogie m\u00edvaj\u00ed zpravidla \u010dty\u0159i d\u00edly a Bublinov\u00e9 tetralogii divadla Ojebad, na kter\u00e9 se souborem pracujeme od roku 2019, chyb\u011bl …<\/p>\n

\u010c\u00edst d\u00e1le »<\/a><\/p>\n","protected":false},"author":3,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[6,4,84,1],"tags":[],"class_list":["post-1162","post","type-post","status-publish","format-standard","hentry","category-rozhovory","category-sirsi-uvahy","category-vse-krome-debat","category-vseobecnosti"],"_links":{"self":[{"href":"https:\/\/blog.sramkuvpisek.cz\/index.php\/wp-json\/wp\/v2\/posts\/1162","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/blog.sramkuvpisek.cz\/index.php\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/blog.sramkuvpisek.cz\/index.php\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/blog.sramkuvpisek.cz\/index.php\/wp-json\/wp\/v2\/users\/3"}],"replies":[{"embeddable":true,"href":"https:\/\/blog.sramkuvpisek.cz\/index.php\/wp-json\/wp\/v2\/comments?post=1162"}],"version-history":[{"count":2,"href":"https:\/\/blog.sramkuvpisek.cz\/index.php\/wp-json\/wp\/v2\/posts\/1162\/revisions"}],"predecessor-version":[{"id":1165,"href":"https:\/\/blog.sramkuvpisek.cz\/index.php\/wp-json\/wp\/v2\/posts\/1162\/revisions\/1165"}],"wp:attachment":[{"href":"https:\/\/blog.sramkuvpisek.cz\/index.php\/wp-json\/wp\/v2\/media?parent=1162"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/blog.sramkuvpisek.cz\/index.php\/wp-json\/wp\/v2\/categories?post=1162"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/blog.sramkuvpisek.cz\/index.php\/wp-json\/wp\/v2\/tags?post=1162"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}