Ratni konj
\nWar horse, National Theatre
\nPogledano u New Theatre Oxford
\nTrajanje: 2’40” s pauzom
\nRedatelji: Marianne Elliott and Tom Morris
\nPrema prici: Michael Morpurgo
\nGlumci: Marcus Adolphi, Adam Barlow, Peter Becker<\/p>\n
Ni\u0161ta nije gore od nepravde u kojoj stradaju nevini, i ako su jo\u0161 k tome bespomo\u0107ni, mladi ili \u017eivotinje onda je ta nepravda nepodno\u0161ljiva.<\/p>\n
Predstava\u00a0‘Ratni konj’ (War Horse) vizualizira tu nepravdu kroz prikaz boji\u0161ta u\u00a0Prvom\u00a0svjetskom ratu.<\/p>\n
Dje\u010daku Albertu otac proda konja, o kojemu se brinuo od malena, vojsci za potrebe ratovanja. Albert je nezadr\u017eiv u nastojanju da prona\u0111e svoga konja te odlazi\u00a0na rati\u0161te gdje tijekom tri godine provede u potrazi za onim kojeg voli.<\/p>\n
<\/p>\n
War Horse – Tom Stacey, Domonic Ramsden, Alex Keay. War Horse 2019. Photo_Brinkhoff&Mogenburg<\/p>\n
No nije samo glavni protagonist konj Joey u emocionalnoj skrbi gledateljstva, ve\u0107 svaki konj, svaka \u017eivotinja. Povezanost publike i \u017eivotinja na pozornici\u00a0postignuta je kroz otjelovljenje, o\u017eivljenost fantasti\u010dnog dizajna \u017eivotinjskih lutaka u prirodnoj veli\u010dini, njihovog realizma i odnosa izmedju glumaca i lutaka – \u017eivotinja (te\u0161ko je u ovom slu\u010daju referirati se na ‘lutku’ s obzirom da se radi o kompleksnom mehanizmu, ali nema drugog termina). Spomenuti realizam nije izra\u017een toliko\u00a0pomo\u0107u hiper\u00a0realisti\u010dnih detalja ve\u0107 preko konstrukcije zivu\u010deg organizma – strukture pojedinih dijelova tijela, prirode\u00a0pokreta i zvuka. Pa\u017enja je usmjerena na anatomiju kostiju i\u00a0mi\u0161i\u0107a koji su delikatno istaknuti valovitim elementima konstrukcije.\u00a0Svakog konja pokre\u0107u barem dvije osobe. Cilj nije bio prikriti njihovu prisutnost vec dodatno istaknuti kako bi njihova interakcija s lutkom bila vidljiva. Lutkari su perfektno uskla\u0111eni – pokret stra\u017enje noge u skladu je s pokretom glave, trzajem uha, nji\u0161tanjem, kopitarenjem prednje noge… Pokreti \u017eivotinje tako su izvedeni potpuno prirodno. Lutkari su takodjer u kompletnoj sinhronizaciji s lutkom. Publici je u potpuno eksponiran lutkar koji pokre\u0107e glavu konja, dok se drugi nalaze u ‘tijelu’ i pokre\u0107u noge. Njegovi pokreti izvedeni su s izra\u017eajnom nje\u017eno\u0161\u0107u, kao prema \u017eivoj \u017eivotinji. On je taj koji konju daje karakter, nastupa kao utjelovljenje njegove osobnost i reflektira njegove emocije. Lutkari nisu sakriveni – njihovi kostimi prilago\u0111eni su povijesnom razdoblju u kojem se predstava odvija (po\u010detak 20. stolje\u0107a), boji konja kojeg pokre\u0107u te stilu d\u017eokeja – \u010dovjeka u najbli\u017eoj relaciji s konjem.<\/p>\n
Drugi vizualni impresivni element predstave su svjetlosni efekti u kombinaciji s projekcijskim zaslonom u obliku horizonta. Vrlo su izraziti, te u kombinaciji s neo\u010dekivanim i prodornim zvukom pi\u0161tolja vrse izuzetan utjecaj na raspolo\u017eenje publike.<\/p>\n
Osim sto predo\u010dava horor rata, predstava tako\u0111er demonstira razne vrste me\u0111uljudskih i me\u0111u\u017eivotinjskih odosa. Onaj koji je jednome neprocjenjv, za kojim \u0107e taj kojemu je neprocjenjiv \u00a0tragati \u010detiri godine u ratnoj situaciji, drugome vrijedi 100 novaca. Jednima je \u017eivotinja\u00a0sluga, drugima su nezamjenjivi drug. Kada imate \u017eivotinju o kojoj se brinete, koju neizmjerno volite i koja vam\u00a0uzvra\u0107a pa\u017enjom i maznjom\u00a0onda ne mo\u017eete ostati ravnodu\u0161ni tijekom ove predstave (\u0161mrcanje i uzdisanje su me okru\u017eivali, a i sama sam te\u0161ko uspijevala zadr\u017eati knedlu u grlu).<\/p>\n
Jo\u0161 jedna pojedinost me je impresionirala. Glumica koja glumi djevoj\u010dicu koja se u ratnim uvjetima brine za Joeya ima fizi\u010dki hendikep (nedostaje joj desna podlaktica) koji nema veze s njezinom ulogom ili potrebom u predstavi!<\/p>\n
Ovo je prva predstava (ne mjuzikl) koji smo pogledali u New Theatre Oxford. Povremene pjevne izvedbe\u00a0u formi su\u00a0podloge radnji,\u00a0a ne\u00a0zasebne dionice.<\/p>\n
Na kraju su se\u00a0poklonili\u00a0i glumci i lutkari i njihove lutke.<\/p>\n
Jos jedna ugodna press night rezultirala je dojmljivom predstavom i jakim osje\u0107ajima. Radujemo se skora\u0161njem gostovanju\u00a0Davida\u00a0Walliamsa i malo vedrijim temama.<\/p>\n
Vendi Jukic Buca<\/strong><\/p>\n Oxford, 23\/8\/2019<\/p>\n The National Theatre production of WAR HORSE will return to Oxford from 21 August \u2013 7 September 2019<\/strong><\/p>\n War Horse<\/i><\/b>, the unforgettable theatrical event based on his beloved novel, will return to Oxford, to the New Theatre Oxford from Wednesday, August 21 \u2013 Saturday, September 7<\/b>.<\/p>\n War Horse <\/i><\/b>last played at the George Street venue at Christmas 2017 to sell out audiences. Tickets for the production go on sale at 10am on Friday, November 16<\/b>.<\/p>\n Directed by Marianne Elliott<\/b> and Tom Morris<\/b>, Nick Stafford<\/b>\u2019s adaptation of Michael Morpurgo<\/b>\u2019s remarkable story of courage, loyalty and friendship, about a young boy called Albert and his horse Joey, set against the backdrop of the First World War is the most successful play in the National Theatre\u2019s history. It features ground-breaking puppetry work by South Africa\u2019s Handspring Puppet Company, which brings breathing, galloping horses to life on stage.<\/p>\n Michael Morpurgo<\/b> said:\u00a0 \u2018Joey, the War Horse and his great team from the National Theatre, are touring the UK again, taking their show all over the country, to towns and cities. I am so pleased this is happening; that so many more people will have the chance to enjoy this unique theatrical event. Steady boy, steady Joey. Trot on!’<\/i><\/p>\n War Horse<\/i><\/b>, which has been seen by over seven million people worldwide, completed its record-breaking eight year London run at the New London Theatre in March 2016.\u00a0 It has won 25 awards including the Tony Award for Best Play on Broadway.<\/p>\n War Horse<\/i><\/b> received its world premiere on 9 October 2007 at the National Theatre, where it played for two seasons before opening at the New London Theatre in March 2009. \u00a0Since then, the production has been seen in 97 cities in 10 countries, including productions on Broadway, in Toronto and Berlin, with touring productions in the UK and Ireland, North America, the Netherlands, Belgium and China.<\/p>\n War Horse<\/i><\/b> is directed by Marianne Elliott<\/b> and Tom Morris<\/b>, designed by Rae Smith<\/b>, with puppet direction, design and fabrication by Basil Jones<\/b> and Adrian Kohler<\/b> for Handspring Puppet Company, lighting by Paule Constable<\/b>, and movement and horse choreography by Toby Sedgwick<\/b>, with video design by Leo Warner<\/b> and Mark Grimmer <\/b>for 59 Productions, songmaker John Tams<\/b>, music by Adrian Sutton<\/b> and sound by Christopher Shutt<\/b>.<\/p>\n Katie Henry<\/b> is the revival director and Craig Leo<\/b> is the associate puppetry director.\u00a0 They are joined by resident puppetry director, Matthew Forbes<\/b> and resident director, Charlotte Peters<\/b>.<\/p>\n Cast to be announced.<\/p>\n War Horse<\/i><\/b> is produced on tour by the National Theatre.<\/p>\n Tickets can be purchased from the New Theatre box office on George Street, by ringing 0844 871 3020<\/b> or by visiting our website at www.atgtickets.com\/oxford<\/a> (phone and internet bookings subject to booking\/transaction fee. Calls are charged at 7p per minute, plus your phone company’s access charge.<\/i>).<\/p>\n For bookings of 10 or more please call 0333 009 5392<\/b> (calls are charged at local rate \u2013 for group bookings only) and for access bookings please call 0800 912 6971<\/b> and speak to a member of our dedicated booking team.<\/p>\n
\n