{"id":6262,"date":"2021-12-12T21:19:17","date_gmt":"2021-12-12T20:19:17","guid":{"rendered":"https:\/\/rtds.jamu.cz\/?p=6262"},"modified":"2021-12-12T21:19:17","modified_gmt":"2021-12-12T20:19:17","slug":"kristyna-brazdova-bily-sejk","status":"publish","type":"post","link":"https:\/\/rtds.jamu.cz\/?p=6262","title":{"rendered":"Krist\u00fdna Br\u00e1zdov\u00e1: B\u00edl\u00fd \u0161ejk"},"content":{"rendered":"\n<p><strong>Kdy\u017e jsem poprv\u00e9 sly\u0161ela v\u011btu, \u017ee Fellini \u201epo\u0159\u00e1d to\u010d\u00ed ten jedin\u00fd film\u201c, p\u0159edstavovala jsem si to asi n\u011bjak tak, \u017ee m\u00e1 jedno t\u00e9ma, kter\u00e9 je mu bl\u00edzk\u00e9 a v mal\u00fdch obm\u011bn\u00e1ch ho ukazuje st\u00e1le dokola ve stejn\u00fdch p\u0159\u00edb\u011bhov\u00fdch struktur\u00e1ch. Pochopila jsem to a\u017e s odstupem \u010dasu, a\u017e mi za\u010daly jednotliv\u00e9 st\u0159\u00edpky zapadat. Pochopila jsem, \u017ee \u201eto\u010dit jedin\u00fd film\u201c neznamen\u00e1 m\u00edt nedostatek n\u00e1pad\u016f nebo pou\u017e\u00edvat n\u011bjak\u00e9 sch\u00e9ma, kter\u00e9 se osv\u011bd\u010dilo u div\u00e1k\u016f. A neznamen\u00e1 to autorovu neschopnost naj\u00edt \u201en\u011bco nov\u00e9ho\u201c. N\u011bco, co jsme je\u0161t\u011b nevid\u011bli. N\u011bco, co n\u00e1s nech\u00e1 fascinovan\u011b sed\u011bt s otev\u0159enou pusou.<\/strong> <\/p>\n\n\n\n<p>M\u00e1m pocit, \u017ee jsem pochopila, pro\u010d byl Fellini nejd\u0159\u00edve scen\u00e1ristou, kter\u00fd se pak stal re\u017eis\u00e9rem. M\u011bl toti\u017e vlastnost, kter\u00e1 z n\u011bj d\u011blala dobr\u00e9ho scen\u00e1ristu. Vlastnost, bez kter\u00e9 to, jak jsem u\u017e zjistila i vlastn\u00ed zku\u0161enost\u00ed, nejde. A sice, \u017ee scen\u00e1rista by m\u011bl p\u0159edev\u0161\u00edm m\u00edt r\u00e1d lidi. M\u011bl by je cht\u00edt zn\u00e1t a m\u011bl by m\u00edt chu\u0165 je zkoumat.<\/p>\n\n\n\n<p>Z Felliniho film\u016f je vid\u011bt, \u017ee vych\u00e1zel z pe\u010dliv\u00e9ho pozorov\u00e1n\u00ed sv\u00e9ho okol\u00ed. Dok\u00e1zal se na lidi d\u00edvat s humorem, ale z\u00e1rove\u0148 mu nechyb\u011bl soucit. Do sv\u00fdch sc\u00e9n\u00e1\u0159\u016f pak dostal situace, kde vedlej\u0161\u00ed postavy nejsou pouze n\u011bjak\u00e1 staf\u00e1\u017e. Taxik\u00e1\u0159 v <em>B\u00edl\u00e9m \u0161ejkovi<\/em> tedy nen\u00ed pouze \u0159idi\u010d, kter\u00fd Ivana doveze z bodu A do bodu B. Je to postava z masa a kost\u00ed, kter\u00e1 za Ivanem kr\u00e1\u010d\u00ed a\u017e do nemocnice, div ne s nata\u017eenou rukou \u010dekaj\u00edc\u00ed na zaplacen\u00ed sv\u00fdch slu\u017eeb. Stejn\u011b tak re\u017eis\u00e9r fotorom\u00e1nu je dost \u017eiveln\u00e9 zjeven\u00ed. Nen\u00ed omezen ale pouze na nervn\u00edho starce, proto\u017ee kdy\u017e se Wanda ztrat\u00ed, projevuje \u00fa\u010dast a sna\u017e\u00ed se ji s cel\u00fdm \u0161t\u00e1bem naj\u00edt. Za zm\u00ednku stoj\u00ed i obtloustl\u00fd mu\u017e ve vasilu, kter\u00fd se zcela nevinn\u00fdm v\u00fdrazem kaz\u00ed z\u00e1b\u011br, co je u\u017e tak dost komplikovan\u00fd siln\u00fdm v\u011btrem a p\u0159edstavitelem B\u00edl\u00e9ho \u0161ejka t\u00e9m\u011b\u0159 padaj\u00edc\u00edm z kon\u011b. Takto bychom mohli pokra\u010dovat a\u017e k zam\u011bstnanc\u016fm hotelu (recep\u010dn\u00ed nab\u00edzej\u00edc\u00ed pohlednice a etuda s fale\u0161n\u00fdm telefon\u00e1tem) \u010di k \u017een\u011b od r\u00e1ny, kter\u00e1 je skute\u010dnou man\u017eelkou B\u00edl\u00e9ho \u0161ejka.<\/p>\n\n\n\n<p>Z\u00e1rove\u0148 postavy necharakterizuje pouze pomoc\u00ed r\u016fzn\u00fdch dramatick\u00fdch situac\u00ed \u010di gag\u016f. Vztah Wandy k B\u00edl\u00e9mu \u0161ejkovi je zobrazen snov\u00fdm houp\u00e1n\u00edm na houpa\u010dce a Cabiriina bezprost\u0159ednost se projevuje v jej\u00edm nad\u0161en\u00ed z plyva\u010de ohn\u011b. A do filmu se dost\u00e1vaj\u00ed i ur\u010dit\u00e9 prvky absurdity (Ivan b\u011b\u017e\u00edc\u00ed proti pochoduj\u00edc\u00edmu davu, ve kter\u00e9m se vz\u00e1p\u011bt\u00ed ztr\u00e1c\u00ed). V tom vid\u00edm Felliniho pojet\u00ed neorealismu \u2013 v zachycov\u00e1n\u00ed reality, jak ji vn\u00edm\u00e1, i s jej\u00edmi absurn\u00edmi \u010di magick\u00fdmi polohami.<\/p>\n\n\n\n<p>D\u00edky Fellinimu taky beru na milost klasick\u00e9 narativn\u00ed struktury, kter\u00fdm jsem se kdov\u00edpro\u010d dlouho vzp\u00edrala. Neznamen\u00e1 to, \u017ee d\u00e1v\u00e1m sbohem lyri\u010dnosti a poeti\u010dnosti, kter\u00e9 mi byly v\u017edy o n\u011bco vlastn\u011bj\u0161\u00ed, ale u\u017e rozum\u00edm, \u017ee struktura nemus\u00ed b\u00fdt n\u011bco, co omezuje. D\u00e1 se d\u00edky n\u00ed budovat nap\u011bt\u00ed, kter\u00e9 se m\u011b dr\u017eelo po celou dobu filmu. A nemysl\u00edm t\u00edm nap\u011bt\u00ed typu \u201eza rohem \u010d\u00edh\u00e1 vrah\u201c, bylo v tom n\u011bco k\u0159eh\u010d\u00edho a n\u011bco, co o\u010di\u0161\u0165uje.<\/p>\n\n\n\n<p>Jeho jedin\u00fd film jsem pochopila, a\u017e mi za\u010daly jednotliv\u00e9 st\u0159\u00edpky zapadat. Kdy\u017e mi do\u0161lo, \u017ee svatba nebo sp\u00ed\u0161 odjezd na svatebn\u00ed cestu se objevuje ve v\u00edce jeho filmech. V <em>Amarcordu<\/em>, kdy\u017e se vd\u00e1v\u00e1 \u0160t\u011bst\u00ed\u010dko a opou\u0161t\u00ed m\u011bsto se sv\u00fdm nov\u00fdm mu\u017eem, zat\u00edmco svateb\u010dany obveseluj\u00ed potuln\u00ed komedianti (Zampano a Gelsomina?). I v <em>Darmo\u0161lapech<\/em> p\u00e1r odj\u00ed\u017ed\u00ed vlakem na l\u00edb\u00e1nky, ale navzdory m\u00e9mu o\u010dek\u00e1v\u00e1n\u00ed z\u016fst\u00e1v\u00e1me s t\u011bmi, co po lou\u010den\u00ed na n\u00e1dra\u017e\u00ed musej\u00ed dom\u016f, kde se nic nem\u011bn\u00ed a nic moc ned\u011bje. A v <em>B\u00edl\u00e9m \u0161ejkovi<\/em> z\u016fst\u00e1v\u00e1me s novoman\u017eeli na jejich v\u00fdlet\u011b do \u0158\u00edma, kter\u00fd jim ob\u011bma otev\u0159e o\u010di (v p\u0159\u00edpad\u011b Ivana je to mo\u017en\u00e1 v\u00edce, ne\u017e by bylo p\u0159irozen\u00e9). Cesta, kter\u00e1 m\u011bla b\u00fdt idylick\u00e1, nebo alespo\u0148 velmi do detailu napl\u00e1novan\u00e1 kon\u010d\u00ed klesnut\u00edm na dno (Tibery). Ivan i Wanda tak mus\u00ed \u010delit n\u011b\u010demu, na co je dobr\u00e9 vychov\u00e1n\u00ed nep\u0159ipravilo. Ve vztahu si dva dosp\u011bl\u00ed lid\u00e9 stejn\u011b ob\u010das mohou p\u0159ipadat jako dv\u011b bezradn\u00e9 d\u011bti. A \u0161\u0165astn\u00e9 shled\u00e1n\u00ed v psychiatrick\u00e9 l\u00e9\u010debn\u011b nen\u00e1sleduje objet\u00ed a radost, ale pl\u00e1\u010d ka\u017ed\u00e9ho zvl\u00e1\u0161\u0165 na opa\u010dn\u00fdch konc\u00edch nemocni\u010dn\u00edho l\u016f\u017eka. A i kdy\u017e se doba zm\u011bnila a zachov\u00e1n\u00ed dobr\u00e9ho jm\u00e9na rodiny nen\u00ed nejd\u016fle\u017eit\u011bj\u0161\u00edm \u017eivotn\u00edm z\u00e1vazkem, po\u0159\u00e1d je v n\u011bkter\u00fdch okam\u017e\u00edc\u00edch filmu cosi t\u00ed\u017eiv\u00e9ho, co mo\u017en\u00e1 t\u011b\u017eko p\u016fjde zvr\u00e1tit, i kdy\u017e se tomu vlastn\u011b sm\u011bjeme.<\/p>\n\n\n\n<p>Tvo\u0159en\u00ed jedin\u00e9ho filmu tedy nen\u00ed bezduch\u00e9 opakov\u00e1n\u00ed t\u011bch stejn\u00fdch motiv\u016f, ale nach\u00e1zen\u00ed st\u00e1le nov\u00fdch cest v lese, kter\u00fd u\u017e v\u0161ichni opustili, proto\u017ee jim sta\u010dilo se v n\u011bm proj\u00edt jednou. P\u0159itom si ale nev\u0161imli, \u017ee pod listy kapradin rostly jahody, za des\u00e1tou jedl\u00ed zleva m\u011bla li\u0161ka svoji noru a nad t\u00edm v\u0161\u00edm vrzala v\u011btev pod t\u00edhou houpa\u010dky B\u00edl\u00e9ho \u0161ejka.<\/p>\n","protected":false},"excerpt":{"rendered":"<p>Kdy\u017e jsem poprv\u00e9 sly\u0161ela v\u011btu, \u017ee Fellini \u201epo\u0159\u00e1d to\u010d\u00ed ten jedin\u00fd film\u201c, p\u0159edstavovala jsem si to asi n\u011bjak tak, \u017ee m\u00e1 jedno t\u00e9ma, kter\u00e9 je mu bl\u00edzk\u00e9 a v mal\u00fdch obm\u011bn\u00e1ch ho ukazuje st\u00e1le dokola ve stejn\u00fdch p\u0159\u00edb\u011bhov\u00fdch struktur\u00e1ch. Pochopila jsem to a\u017e s odstupem \u010dasu, a\u017e mi za\u010daly jednotliv\u00e9 st\u0159\u00edpky zapadat. Pochopila jsem, \u017ee [&hellip;]<\/p>\n","protected":false},"author":3,"featured_media":6263,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[24,7],"tags":[],"class_list":["post-6262","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-texty","category-tvorba"],"acf":[],"_links":{"self":[{"href":"https:\/\/rtds.jamu.cz\/index.php?rest_route=\/wp\/v2\/posts\/6262","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/rtds.jamu.cz\/index.php?rest_route=\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/rtds.jamu.cz\/index.php?rest_route=\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/rtds.jamu.cz\/index.php?rest_route=\/wp\/v2\/users\/3"}],"replies":[{"embeddable":true,"href":"https:\/\/rtds.jamu.cz\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=6262"}],"version-history":[{"count":1,"href":"https:\/\/rtds.jamu.cz\/index.php?rest_route=\/wp\/v2\/posts\/6262\/revisions"}],"predecessor-version":[{"id":6264,"href":"https:\/\/rtds.jamu.cz\/index.php?rest_route=\/wp\/v2\/posts\/6262\/revisions\/6264"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/rtds.jamu.cz\/index.php?rest_route=\/wp\/v2\/media\/6263"}],"wp:attachment":[{"href":"https:\/\/rtds.jamu.cz\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=6262"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/rtds.jamu.cz\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=6262"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/rtds.jamu.cz\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=6262"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}