Čarolija (privremene) scenske preobrazbe u (polu)magarca: slavonskobrodski etnoteatar i zagrebačka ADU adaptacija u usporedbi s adaptacijama Sna Ivanjske noći u engleskom govornom području
Željko Uvanović, Independent Researcher (Southampton) (prijašnja akademska afilijacija: Filozofski fakultet, Sveučilište J. J. Strossmayera u Osijeku, 1996.-2018.)
Stanje dosadašnjeg istraživanja Shakespearovih djela u dodiru s kulturnom
animalistikom:
članci:
Rebecca Ann Bach (2010) “The animal continuum in A Midsummer
Night's Dream “ , Textual Practice, 24:1, 123-147
Deborah Baker Wyrick (1982) “The Ass Motif in The Comedy of Errors and A
Midsummer Night's Dream” Shakespeare Quarterly, 33: 4, 432-448
knjiga:
Bruce Boehrer: Shakespeare among the Animals. Nature and Society in the Drama of Early Modern England, Palgrave 2002.
In sum, it was only throught he bold and, on the surface,bald-faced use of the ass motif that Shakespeare could economically pack an associational and connotational macrocosm into a humorous microcosm while preserving the structure and the tone (of the comedy) Baker Wyrick (448)
But if the human can exclude women, working men, Jews, Ethiopes, and children, can we really see an essential Renaissance human nature truly separated from nonhuman animals? Midsummer’s display of the mortal world suggests otherwise. Bach (141)
Flute compliments Pyramus’s beauty and calls him a sharp youth and a good-looking Jew, and Flute also compares Pyramus to a reliable horse. The humour of this speech depends on the ways Quince’s script misuses conventions of poetry, gender, and beauty. Petrarchan poems praise white skin and red lips, but Flute praises Pyramus as having simultaneously white and red skin. The comparison of Pyramus to a ‘truest horse’ is a confusion of convention that might have gender implications: women, like boys, were conventionally compared to uncontrollable horses. Likewise, the speech invokes the cultural oxymoron, a ‘louely Iewe’. Pyramus is a pretty Jew and a tame, dependable horse, culturally improbable mortals, both comparably distant from proper aristocratic men. As it displays
Quince’s script’s laughable confusions, Shakespeare’s script reinforces the consonance of youth and nonhuman animality.
The racial/religious slur on Jews embedded in Flute’s speech anticipates the series of slurs that Lysander uses to dismiss Hermia: ‘Away, you
Ethiop’ Bach (129)
Bruce Bohrer (41)
The fairy king solves his marital problems by openly transforming his wife into the erotic bondslave of an ass; and what, then, does that make him?
(Bohrer 43)
In short, A Midsummer Night’s Dream is about bestiality because the social arrangements it promotes take bestiality as their raison d’être; they assume that human nature is in constant danger of corruption from the bestial and/or female other, and that it must therefore be continuously and rigorously policed. These arrangements then promote themselves as the proper vehicles for such policing. And thus they manufacture the bestial prodigy—the Bottom and Titania—as a means of political self-justification. (Bohrer 44)
2. A Man Needs a Mare
This argument assumes that the urge to bestiality finds its ultimate source in the institutions that ostensibly oppose it—that, to use Foucault’s words, it consistently provokes “a kind of generalized discursive erethism” within Western culture. In effect, that is, conditions in A Midsummer Night’s Dream should be at their most bestial and disnatured exactly when the play promises that all is (or is rapidly being) restored to order. (Bohrer 44)
Thus, to use Harold Brooks’s phrase, A Midsummer Night’s Dream seems determined to construct men and women as “alien species” (1979 cxii), and as a result, all of the play’s romantic couplings are in an important sense zoophilic. Hermia refers to the ardent Demetrius as a “serpent” (3.2.72), and in a much-discussed nightmare she envisions Lysander as “smiling” at her while another serpent eats away her heart (2.2.144–150). More suggestively still, Helena can thus represent herself, in relation to her beloved Demetrius, as a dog (Bohrer 47)
Thus A Midsummer Night’s Dream seems determined to construct its various marital unions as analogues to (or extensions of, or coincident with) the sexual conjunction of people and animals. Given the play’s peculiar discursive framework, zooerastia emerges as “integral to just those things it threatens” (Dollimore, “Perversion” 1990, 189), figured and refigured repeatedly within the space of human domestic relations. Moreover, bestiality arguably encompasses a large part of the play’s overt eroticism; the spectacle of Titania and Bottom embracing and sleeping together comes as close to enacted sexual intercourse as any scene in Shakespearean comedy. (Bohrer 48)
A Midsummer Night’s Dream thus furnishes us with a king and semideity who acts like a peeping Tom with a taste for animal fornication.
The Merry Wives of Windsor, by contrast, offers us a sodden, horn-bedecked roue who justifies his antics in part by claiming that they are of royal and divine inspiration. In either case, as in the works of Donne, Beard, and the rest, the audience is left with the fundamental problem of sorting out morality—of determining where a given social police-action ends and where the gratification of forbidden desire begins.
(Bohrer 57)
Shakespearova komedija dodiruje implicitno dvije tabuizirane teme, koje kazališne i
filmske adaptacije sklone romantiziranom, cenzuriranom i uljepšanom tumačenju izbjegavaju, a to je, prvo, priroda sukoba između Titanije i Oberona koja počiva na sprečavanju razvoja neimenovanog dječaka plemenitog porijekla iz Indije koji treba napustiti nježnu matrijarhalnu sferu i priječi u sferu patrijarhalne politike u statusu
paža (gledano izvana, iznutra gledano s puno dodatnih konotacija) – i drugo, činjenica da gledatelj u adaptacijama vjernim Shakespearovu tekstu svjedoči direktno i/li
indirektno zoofiliji na sceni – iliti poluzoofiliji budući da je Nick Bottom / tkalac Vratilo pretvoren u polumagarca. Čim Oberon uživa odgojni posjed nad dječakom, Titanija
biva oslobođena manipulacije čarobne zaljubljenosti u magarca / polumagarca .
Zagrebačka ADU adaptacija (stavljena na Youtube prije 5 mjeseci) hrabro prikazuje i artikulira oba tabua. Izvedba Shakespeare’s Globea iz 2013. također, ali krajnje
elegantno i nevjerojatno duhovito i šarmantno. BBC-jeva verzija pod redateljskom palicom Elijaha Moshinskog iz 1981. usudila se je akustičnim dojmom sugerirati mušku spolnu ekstazu na magareči način kao i smiraj u obučenom trenju s Titanijom u prisutnosti 4 vila. Tek nakon Titanijinog začudnog brakolomstva, Oberon ju ponovno vraća u bračnu zajednicu. The Bridge Theatre (uz sponzorstvo The National Theatre
London) 2019. probija sve tabue i izvrće odnose moći Oberona i Titanije: Titanija
manipulira Oberonom i stavlja ga u začaranu homoseksualnu vezu sa crncem koji je postao magarac / polumagarac – sve dok Titaniji to ne postane dosadno.
Slavonskobrodski je etnoteatar pod vodstvom Silvija Stilinovića u Satiričnom kazalištu mladih ponudio adaptaciju (premijerno 18. ožujka 2013., objavljena 2020. na YouTube) – u okvirima 73 minute vremena (toliko je dugačak i animirani film Jiříja Trnke Sen noci svatojanske, 1959) – koja hrabro i uspješno, jezikom srednjoškolaca i studenata, sažimajući izvorni tekst i prevodeći ga u diskurs svakodnevice, uz izbjegavanje spomenutih tabu tema, na dobrodušno duhovit način, kao sretni amateri koji publici prevode genijalnost tzv. Willyja Shakespearea, imaju čast spojiti visoko i nisko.
Genijalna je inovacija bila pretvoriti Puka u tandem dvojice Pukova. Međutim, čuvenu odjavnicu “If we shadows have offended” čujemo na kraju na engleskom jeziku sa zvučnika, dok tandem Pukova samo zaželi laku noć!
Relevantno za temu, glumac koji glumi Vratila i pretvara se u magarca, identificira se kao obični vodoinstalater koji nije dostojan Titanijine iznenadne
zatreskanosti. Također, kada tandem Pukova treba skinuti magareću glavu s Vratila, njihov je komentar da će im za to trebati nekoliko kila čarobne trave.
Međutim, ipak ju u sljedećem trenutku skinu bez većih problema. Verbalni
komentar kao forsirana improvizirana duhovita dosjetka.
Osim zagrebačke ADU adaptacije – klasa izv. prof. art. Rene Medvešek i umj.
asistent Sara Stanić, ispit iz glume 2. god. BA studija, samo 6 glumaca, gdje je (polu)magarac Vratilo bez magareće maske na glavi, nosi neku vrstu šala oko vrata, Youtube nudi sljedeće sveučilišne adaptacije u punoj izvedbi koje se mogu detaljnije analizirati u segmentu vizualne pretvorbe u hibrida magarca/ čovjeka i njegove interakcije sa erotski opsjednutom Titanijom:
- The City University of New York, York College Theatre (svibanj 2014)
- CRHS Theatre Department, Coon Rapids
- IPFW Department of Theatre
- Rice University, Department of Visual and Dramatic Arts
Na Youtube je i izvedba u okvirima 30. po redu Palm Beach Shakespeare
Festivala 2020, kao i izvedba Actors’ Theatre of Columbus (Ohio, SAD) iz 2018.
Konačno, vrijedna je pozornosti i izvedba djece starosti 5 do 12 godina u organizaciji Montessori vrtića Hillside Montessori of LaGrange (Georgia, SAD).
Svakako, bez tabuiziranih segmenata, s puno pjesama i plesa, s dječjim pozitivnim duhovitim stereotipiziranjem maske magarca.
Magarcem kao životinjom, istraživajući čitavu lepezu značenja, denotacija, konotacija i simboličnosti u književnosti, umjetnostima, kulturi i općenito u društvu, bavili su se mnogi i u Hrvatskoj (npr. u publikacijama Darka
Novakovića (1980), Renate Hansen-Kokoruš (1996), Mirande Levanat-Peričić (2010), Irine Popov (2014), Morane Čale (2017) i Ivana Cvitkovića (2020), i u inozemstvu. Dostupno je i puno knjiga izvan sfere umjetnosti i kulture, a više u sferi društvene empirije, koje šire vrlo pozitivna iskustva autora u interakciji s magarcem kao dragom životinjom – vrijednom i spašavanja iz vlasništva onih koji je žele ubiti.
Etnokultura u medijima (npr. nogomet, glazbene televizijske emisije) može posjedovati strategije negativnog i pozitivnog stereotipiziranja lika magarca kao životinje u interakciji s ljudima. Navijačke skupine Armade i BBB-a svojim grafitima “Ubij tovara!” zapravo “ubijaju” i životinju i osobu / skupinu koja se identificira s tom životinjom. RTL-ov Masked Singer Croatia u liku Tovara šalje pozitivnu sliku i o životinji i o osobama koje npr. u Dalmaciji organiziraju utrke
tovara i kao turističke atrakcije.
