\u201eVe\u0161ker\u00e1 plnost existence; [\u2026] neust\u00e1l\u00e9 dmut\u00ed, je\u017e prostupuje d\u011bjinami lidstva jako p\u0159\u00edliv a\u00a0odliv; [\u2026] samotn\u00e1 podstata historie, [\u2026] jak tomu bylo v dob\u00e1ch, kdy \u010dlov\u011bk z\u00e1pasil s\u00a0divokou zv\u011b\u0159\u00ed v\u00a0les\u00edch a\u00a0hor\u00e1ch, a\u00a0jak tomu nepochybn\u011b bude i\u00a0v\u00a0nekone\u010dn\u011b vzd\u00e1len\u00e9 budoucnosti\u201d \u2013 to v\u0161e lze nal\u00e9zt v\u00a0\u0160estat\u0159iceti dramatick\u00fdch situac\u00edch, jak p\u00ed\u0161e Georges Polti ve\u00a0v\u00e1\u0161niv\u00e9m \u00favodu ke\u00a0stejnojmenn\u00e9mu d\u00edlu z\u00a0roku\u00a01916.<\/p>\n
Poltiho v\u00fdzkum vych\u00e1z\u00ed z\u00a0d\u00edla Carla Gozziho, kter\u00fd t\u011bchto 36 dramatick\u00fdch situac\u00ed pojmenoval ji\u017e v\u00a0osmn\u00e1ct\u00e9m stolet\u00ed, a\u00a0ani Goethe \u010di Schiller jich navzdory urputn\u00e9 snaze nenalezli v\u00edc.<\/p>\n
Podle \u00a0Poltiho na tomto \u010d\u00edsle nen\u00ed nic mystick\u00e9ho \u010di kabalistick\u00e9ho. Nejen\u017ee pevn\u011b v\u011b\u0159\u00ed ve vymezen\u00ed t\u011bchto situac\u00ed \u2013 mnohem p\u0159ekvapiv\u011bj\u0161\u00ed je, \u017ee se shoduj\u00ed se \u0161estat\u0159iceti emocemi, kter\u00e9 v\u00a0\u017eivot\u011b zakou\u0161\u00edme, a\u00a0nab\u00edz\u00ed n\u00e1m tak ne\u0159e\u0161iteln\u00fd probl\u00e9m.<\/p>\n
V\u00a0\u010dem pak spo\u010d\u00edv\u00e1 v\u00fdznam tohoto zd\u00e1nliv\u011b restriktivn\u00edho syst\u00e9mu? Sou\u010dasn\u00ed kritici tvrd\u00ed, \u017ee vyma\u017ee \u010di utlum\u00ed ve\u0161ker\u00e9 tv\u016fr\u010d\u00ed \u00fasil\u00ed a\u00a0ud\u011bl\u00e1 z\u00a0dramatu obor geometrick\u00e9 extrapolace. Pro Poltiho je v\u0161ak fantazie \u201epouh\u00fdm kaleidoskopem na\u0161ich vzpom\u00ednek rozv\u00ed\u0159en\u00fdch n\u00e1hodou\u201c a\u00a0vede tak k\u00a0\u201eban\u00e1ln\u00edm, monot\u00f3nn\u00edm v\u00fdsledk\u016fm [\u2026] vracej\u00edc\u00edm se ne\u00faprosn\u011b ve\u00a0v\u0161ech mo\u017en\u00fdch kombinac\u00edch postr\u00e1daj\u00edc\u00edch jakoukoli metodu.\u201d<\/p>\n
Z\u00a0jeho perspektivy je manu\u00e1l bezednou studnic\u00ed zdroj\u016f. \u010ci chcete-li, podp\u016frnou strukturou, kter\u00e1 libovoln\u00e9mu tv\u016frci nejenom pom\u016f\u017ee p\u0159ehl\u00e9dnout pole p\u0159ed n\u00edm, ale rovn\u011b\u017e nab\u00eddne cel\u00fdch 1332 mo\u017en\u00fdch z\u00e1kladn\u00edch kombinac\u00ed, nebo\u0165 \u201eneexistuje situace, kterou by ne\u0161lo zkombinovat s\u00a0jakoukoli jinou, ba\u00a0dokonce se t\u0159emi, \u010dty\u0159mi, p\u011bti, \u0161esti a\u00a0v\u00edce!\u201c<\/p>\n
V\u00a0r\u00e1mci v\u00fdstavy friends of friends are friends n\u00e1m Aleksandra Vajd p\u0159edstavuje podobn\u00fd syst\u00e9m, kde se na\u00a0prvn\u00ed pohled minimalistick\u00e9, zd\u00e1nliv\u011b bezchybn\u00e9 geometrick\u00e9 fotogramy, pos\u00edlen\u00e9 v\u00fdrazn\u00fdmi anilinov\u00fdmi barvami, spojuj\u00ed do p\u00e1r\u016f. Tyto p\u00e1ry, \u010di l\u00e9pe \u0159e\u010deno situace, nab\u00fdvaj\u00ed na\u00a0s\u00edle a\u00a0podn\u011bcuj\u00ed na\u0161i fantazii, aby si p\u0159edstavila ve\u0161ker\u00e9 p\u0159\u00edb\u011bhy obsa\u017een\u00e9 v\u00a0temn\u00fdch poloh\u00e1ch, kter\u00e9 se st\u00e1vaj\u00ed st\u0159edobodem jevi\u0161t\u011b a\u00a0n\u00e1hra\u017ekou popisnosti. Modely du\u0161evn\u00edch stav\u016f.<\/p>\n
Je to v\u00a0n\u00e1s!
\nDrama je v\u00a0n\u00e1s,
\nto my jsme drama.
\nHrajeme je s\u00a0netrp\u011blivost\u00ed.
\n\u017dene n\u00e1s k\u00a0tomu nitern\u00e1 v\u00e1\u0161e\u0148.<\/p>\n
Dramaturgie umis\u0165uje ka\u017ed\u00e9ho z\u00a0protagonist\u016f a\u00a0antagonist\u016f do vlastn\u00edho prost\u0159ed\u00ed, kdy jedna ze dvou siln\u011b protich\u016fdn\u00fdch barev dominuje cel\u00e9mu d\u00edlu, a\u00a0podle toho, co si na za\u010d\u00e1tku vybereme, pak m\u00e1 jedna strana v\u011bt\u0161\u00ed s\u00edlu a\u00a0t\u00edm p\u00e1dem v\u011bt\u0161\u00ed \u0161anci zv\u00edt\u011bzit ne\u017e druh\u00e1.\u201c<\/p>\n
Dalo by se \u0159\u00edci, \u017ee dvojice je nejen hlavn\u00edm sklo\u0148ovan\u00fdm prvkem v\u00a0tomto konkr\u00e9tn\u00edm souboru d\u011bl, ale i\u00a0st\u011b\u017eejn\u00ed metodologi\u00ed Aleksandry Vajd. A\u0165 u\u017e se jedn\u00e1 o\u00a0dlouhodob\u00e9ho partnera, kr\u00e1tkodob\u00e9ho spolupracovn\u00edka, pozdn\u00edho mentora \u010di architekta, kur\u00e1tora, galeristu \u010di\u00a0koment\u00e1tora, jej\u00ed d\u00edlo se v\u017edy vyv\u00edj\u00ed a\u00a0to\u010d\u00ed kolem opozice a\u00a0nap\u011bt\u00ed, kdy vznik\u00e1 k\u0159ehk\u00e1 rovnov\u00e1ha na\u00a0z\u00e1klad\u011b vyjedn\u00e1v\u00e1n\u00ed a\u00a0neust\u00e1l\u00e9 v\u00fdm\u011bny mezi dv\u011bma antagonistick\u00fdmi postavami.<\/p>\n
V\u00a0rozhovorech s\u00a0Aleksandrou Vajd se \u010dasto opakuje socha\u0159sk\u00e1 kvalita, kterou si fotografie osvojuje skrze svou materi\u00e1lnost a\u00a0metodu prezentace. Um\u011blkyni zaj\u00edm\u00e1 okam\u017eik, kdy fotografie, kdysi uv\u011bzn\u011bn\u00e1 ve dvou rozm\u011brech, dob\u00fdv\u00e1 prostor a\u00a0st\u00e1v\u00e1 se sv\u00fdm vlastn\u00edm piedestalem. Autorka si pak klade ot\u00e1zku, co by se stalo, kdyby se fotografie cht\u011bla vr\u00e1tit zp\u00e1tky na st\u011bnu \u2013 jak\u00fd druh podstavce by j\u00ed pak dosta\u010doval? Jeliko\u017e n\u00e1s fascinuje v\u00fdzva vytvo\u0159it architekturu, \u010di l\u00e9pe \u0159e\u010deno jevi\u0161t\u011b, vyd\u00e1v\u00e1me se prozkoumat sc\u00e9nu, kter\u00e1 je z\u00e1rove\u0148 pozad\u00edm, podstavcem i\u00a0r\u00e1mem, uv\u011bzn\u011bnou v\u00a0prostoru i\u00a0logice galerijn\u00edho prostoru, a\u00a0z\u00e1rove\u0148 se \u0159\u00edd\u00edme pravidly dan\u00fdmi samotn\u00fdmi situacemi, kter\u00e9 n\u00e1s vedou k\u00a0propojov\u00e1n\u00ed skrze odd\u011blov\u00e1n\u00ed.<\/p>\n
P\u0159\u00e1tel\u00e9 p\u0159\u00e1tel jsou tedy p\u0159\u00e1tel\u00e9. P\u0159em\u00fd\u0161l\u00edme, zda se jedn\u00e1 o\u00a0star\u00e9 r\u010den\u00ed \u010di nastaven\u00ed soukrom\u00ed pro sd\u00edlen\u00ed fotografi\u00ed na Facebooku, a\u00a0a\u010dkoli bychom tomu r\u00e1di v\u011b\u0159ili, mus\u00edme si p\u0159ipustit, \u017ee to ve\u00a0skute\u010dnosti nen\u00ed pravda. P\u0159esto se v\u0161ak jedn\u00e1 o\u00a0v\u00fdsti\u017en\u00fd popis sou\u010dasn\u00e9ho pocitu jak\u00e9si struktury, kterou lze vzt\u00e1hnout na\u00a0soci\u00e1ln\u00ed s\u00edt\u011b, profesion\u00e1ln\u00ed vztahy, a\u00a0na\u00a0abstraktn\u011bj\u0161\u00ed rovin\u011b i\u00a0na fale\u0161n\u00fd pocit bezpe\u010d\u00ed spo\u010d\u00edvaj\u00edc\u00ed v\u00a0pohodln\u00e9m my\u0161len\u00ed.<\/p>\n
Aleksandra Vajd se vrac\u00ed k\u00a0z\u00e1klad\u016fm analogov\u00e9 fotografie a\u00a0smyslov\u00e9mu pro\u017eitku temn\u00e9 komory, potemn\u011bl\u00fdch \u010derven\u00fdch \u017e\u00e1rovek a\u00a0vlhk\u00fdch plastov\u00fdch t\u00e1c\u016f, krot\u00ed tvrdo\u0161\u00edjn\u00e9 pap\u00edry, pe\u010dliv\u011b exponuje a\u00a0jemn\u011b ru\u010dn\u011b vybarvuje situace a\u00a0uv\u00e1d\u00ed je tak do existence. T\u00edm se obrac\u00ed sama do sebe, aby restartovala vlastn\u00ed praxi a\u00a0z\u00e1rove\u0148 se bez p\u0159eru\u0161en\u00ed zab\u00fdvala ot\u00e1zkami, kter\u00e9 jsou st\u0159edem jej\u00edho z\u00e1jmu.<\/p>\n
Abstraktn\u00ed povaha d\u011bl n\u00e1s vede k\u00a0tomu, abychom se soust\u0159edili na proces, materi\u00e1lnost a\u00a0techniku. V\u011bnujeme velkorysou pozornost t\u011bm nejmen\u0161\u00edm detail\u016fm. Zd\u00e1nliv\u011b vzd\u00e1len\u00e9, p\u0159\u00edsn\u00e9 geometrie n\u00e1m zanedlouho odhal\u00ed mnoho stop \u0159emesln\u00e9 a\u00a0ru\u010dn\u00ed pr\u00e1ce. Kypr\u00fd pap\u00edr poj\u00edm\u00e1 jemn\u00e9 koncentrace pigment\u016f, ostr\u00e9 obrysy ustupuj\u00ed nepatrn\u00fdm nedokonalostem a\u00a0m\u011bkce rozost\u0159en\u00fdm okraj\u016fm. Situace z\u00edsk\u00e1v\u00e1 sebed\u016fv\u011bru a osvojuj\u00ed si hrav\u011bj\u0161\u00ed jazyk.<\/p>\n
V\u00a0rom\u00e1nu Fuck Seth Price se jedna my\u0161lenkov\u00e1 linie to\u010d\u00ed kolem um\u011ble generovan\u00fdch abstraktn\u00edch d\u011bl\u00a0a \u0159\u00edk\u00e1, \u017ee jejich kr\u00e1sa spo\u010d\u00edv\u00e1 ve\u00a0schopnosti vyhov\u011bt estetick\u00e9mu vkusu, b\u00fdt abstraktn\u00ed a\u00a0z\u00e1rove\u0148 popisn\u00e9, a\u00a0vy\u0159e\u0161it tak dal\u0161\u00ed dlouhodob\u00fd probl\u00e9m d\u011bjin um\u011bn\u00ed, proto\u017ee jim ve\u00a0v\u00fdsledku sta\u010d\u00ed p\u0159edstavovat jen samy sebe \u2013 proces um\u011bl\u00e9 abstrakce. P\u0159edstavuji si, jak se na\u00a0n\u00e1s Seth Price cul\u00ed, kdy\u017e p\u00ed\u0161e tyto \u0159\u00e1dky.<\/p>\n
A\u00a0tak zat\u00edmco Price\u016fv cynick\u00fd a\u00a0z\u010d\u00e1sti si proti\u0159e\u010d\u00edc\u00ed vyprav\u011b\u010d, \u00fasp\u011b\u0161n\u00fd, av\u0161ak pon\u011bkud rezignovan\u00fd um\u011blec, konstruuje vlastn\u00ed argumentaci o\u00a0digit\u00e1ln\u011b vytv\u00e1\u0159en\u00e9m abstraktn\u00edm um\u011bn\u00ed, kterou nemus\u00edme br\u00e1t a\u017e tak v\u00e1\u017en\u011b, t\u00e9m\u011b\u0159 masochistick\u00e1 p\u0159esnost, manu\u00e1ln\u011b vytvo\u0159en\u00e1 v\u00a0situac\u00edch, poukazuje na to, co dnes znamen\u00e1 pracovat s\u00a0analogem, kdy s\u00a0digit\u00e1ln\u011b poskvrn\u011bn\u00fdm pohledem o\u010dek\u00e1v\u00e1me naprostou dokonalost a\u00a0univerz\u00e1ln\u00ed estetiku vzn\u00e1\u0161ej\u00edc\u00ed se na plo\u0161e na\u0161ich uniformn\u011b \u0161ed\u00fdch po\u010d\u00edta\u010d\u016f. Toto o\u010dek\u00e1v\u00e1n\u00ed naru\u0161uj\u00ed, \u010di sp\u00ed\u0161e zcela ru\u0161\u00ed, limity pr\u00e1ce s\u00a0vlastn\u00edm t\u011blem, souvisej\u00edc\u00ed omezen\u00ed materi\u00e1lu a\u00a0vybaven\u00ed, doprov\u00e1zen\u00e9 neust\u00e1l\u00fdmi pot\u011b\u0161uj\u00edc\u00edmi chybami, kdy p\u0159esto usilujeme o\u00a0maxim\u00e1ln\u00ed p\u0159esnost, ne-li dokonalost.<\/p>\n
\u201eLopotn\u00e1 snaha obsa\u017een\u00e1 v\u00a0um\u011bleck\u00e9 tvorb\u011b je sama o\u00a0sob\u011b dramatick\u00fdm t\u00e9matem \u2013 stejn\u011b nezkrotn\u00fd, stejn\u011b pr\u016fbojn\u00fd je i\u00a0onen jev zn\u00e1m\u00fd jako \u017eivot, kter\u00fd bude neust\u00e1le znerv\u00f3z\u0148ovat a\u00a0por\u00e1\u017eet ty, kte\u0159\u00ed se jej budou sna\u017eit interpretovat, krystalizovat, devitalizovat.\u201c<\/p>\n
Fotogramy toti\u017e vykazuj\u00ed stopy vlastn\u00edho \u017eivota, proces\u016f, kter\u00e9 byly d\u0159\u00edve standardn\u00ed a\u00a0specifickou sou\u010d\u00e1st\u00ed m\u00e9dia, kter\u00e9 se stalo neu\u017eite\u010dn\u00fdm skrze vlastn\u00ed evoluci, a\u00a0povy\u0161uj\u00ed tak tyto otisky na\u00a0nositele symbolick\u00e9 hodnoty.<\/p>\n
S\u00a0t\u00edmto v\u011bdom\u00edm m\u00e1me ony situace k\u00a0dispozici, a\u00a0nez\u00e1visle na\u00a0jejich autorce si do\u00a0\u010dern\u00e9ho prostoru mo\u017enost\u00ed m\u016f\u017eeme projektovat p\u0159\u00edb\u011bhy, o\u00a0kter\u00fdch se autorce samotn\u00e9 ani nesnilo<\/p>\n
\u2013 ony tam v\u0161ak jsou a\u00a0um\u00edraj\u00ed touhou \u017e\u00edt svou roli.<\/p>\n
by\u00a0Laura Amann<\/p>\n
Antagonista
\nPostava, kter\u00e1 br\u00e1n\u00ed protagonistovi v\u00a0dosa\u017een\u00ed jeho c\u00edl\u016f.<\/p>\n
Antinaturalismus
\nHereck\u00fd styl, kdy se div\u00e1k\u016fm p\u0159ipom\u00edn\u00e1, \u017ee sleduj\u00ed p\u0159edstaven\u00ed a\u00a0nikoli skute\u010dnost. (Viz Brechtovsk\u00e9 herectv\u00ed).<\/p>\n
Brechtovsk\u00e9 herectv\u00ed
\nHereck\u00fd styl zalo\u017een\u00fd na teori\u00edch Bertolta Brechta, kdy se herci z\u00e1m\u011brn\u011b sna\u017e\u00ed doc\u00edlit odcizen\u00ed mezi div\u00e1ky a\u00a0postavami a\u00a0neust\u00e1le jim tak p\u0159ipom\u00ednaj\u00ed, \u017ee sleduj\u00ed divadeln\u00ed hru.<\/p>\n
\u010ctvrt\u00e1 st\u011bna
\nPomysln\u00e1 rovina na\u00a0kraji jevi\u0161t\u011b, skrze ni\u017e div\u00e1ci sleduj\u00ed p\u0159edstaven\u00ed. Kdy\u017e postava promlouv\u00e1 p\u0159\u00edmo k\u00a0publiku nebo sestoup\u00ed z\u00a0jevi\u0161t\u011b, jedn\u00e1 se o\u00a0tzv. probo\u0159en\u00ed \u010dtvrt\u00e9 st\u011bny.<\/p>\n
D\u011bkova\u010dka
\nVyvol\u00e1v\u00e1n\u00ed herc\u016f, aby se \u0161li po\u00a0p\u0159edstaven\u00ed poklonit na\u00a0kraj jevi\u0161t\u011b.<\/p>\n
Emo\u010dn\u00ed pam\u011b\u0165
\nKoncept metodick\u00e9ho herectv\u00ed, kdy se herci sna\u017e\u00ed vystihnout emoce sv\u00e9 postavy na\u00a0z\u00e1klad\u011b vzpom\u00ednek na vlastn\u00ed emo\u010dn\u00ed pro\u017eitky.<\/p>\n
GOTE
\nAkronym slo\u017een\u00fd z\u00a0anglick\u00fdch slov goal (c\u00edl), obstacle (p\u0159ek\u00e1\u017eka), tactics (taktika) a\u00a0expectation (o\u010dek\u00e1v\u00e1n\u00ed) p\u0159ipom\u00ednaj\u00edc\u00ed herc\u016fm z\u00e1kladn\u00ed principy ve\u00a0v\u00fdvoji postavy.<\/p>\n
Charaktern\u00ed herec
\nHerec \u010di here\u010dka specializuj\u00edc\u00ed se na\u00a0vedlej\u0161\u00ed role. Charaktern\u00ed role nejsou hlavn\u00ed romantick\u00e9 postavy, ale vedlej\u0161\u00ed sm\u011b\u0161n\u00e9, stra\u0161ideln\u00e9 \u010di jinak v\u00fdrazn\u00e9 role.<\/p>\n
Charakterov\u00e9 znaky
\nTypick\u00e9 rysy, kter\u00e9 vyjad\u0159uj\u00ed osobnost, emoci \u010di motivaci jednotliv\u00fdch postav.<\/p>\n
Improvizace
\nNepl\u00e1novan\u00fd hereck\u00fd projev, kdy nen\u00ed d\u00e1no, co se bude d\u00edt nebo \u0159\u00edkat. \u010casto k\u00a0n\u00ed doch\u00e1z\u00ed, kdy\u017e se n\u011bco pokaz\u00ed, nebo kdy\u017e herec zapomene text.<\/p>\n
Monolog
\nHerec promlouv\u00e1 s\u00e1m k\u00a0sob\u011b \u010di k\u00a0div\u00e1k\u016fm a\u00a0sd\u011bluje tak sv\u00e9 my\u0161lenky.<\/p>\n
Motivace
\nTouhy \u010di c\u00edle jednotliv\u00fdch postav, kter\u00e9 je \u017eenou kup\u0159edu. Hybn\u00e1 s\u00edla \u010di podn\u011bt, d\u00edky kter\u00fdm se p\u0159\u00edb\u011bh vyv\u00edj\u00ed.<\/p>\n
N\u00e1pov\u011bda
\nKdy\u017e herec zapomene repliku, n\u00e1pov\u011bda mu ji napov\u00ed. Term\u00edn ozna\u010duje jak techniku, tak samotnou napov\u00eddaj\u00edc\u00ed osobu.<\/p>\n
Obsazen\u00ed
\nHerci \u00fa\u010dinkuj\u00edc\u00ed v\u00a0divadeln\u00ed h\u0159e.<\/p>\n
Obsazen\u00ed proti typu
\nHerec hraje jin\u00fd typ postavy, ne\u017e bychom \u010dekali. Viz typov\u00e9 role.<\/p>\n
Preferovan\u00fd v\u00fdklad
\nInterpretace sc\u00e9n\u00e1\u0159e, kterou up\u0159ednost\u0148uje autor \u010di samotn\u00fd text.<\/p>\n
Promen\u00e1da
\nDivadeln\u00ed p\u0159edstaven\u00ed, v\u00a0n\u011bm\u017e se herci a\u00a0div\u00e1ci vyskytuj\u00ed ve\u00a0stejn\u00e9m prostoru, ani\u017e by se rozli\u0161ovalo mezi jevi\u0161t\u011bm a\u00a0hledi\u0161t\u011bm. Div\u00e1ci se mohou v\u00a0tomto prostoru pohybovat a\u00a0v\u011bt\u0161inou se do\u00a0p\u0159edstaven\u00ed interaktivn\u011b zapojit.<\/p>\n
P\u0159ek\u00e1\u017eka
\nS\u00edla, kter\u00e1 stoj\u00ed v\u00a0cest\u011b \u201ec\u00edli\u201c (\u010di \u201ez\u00e1m\u011bru\u201c) a je zdrojem dramatick\u00e9ho nap\u011bt\u00ed \u010di konfliktu.<\/p>\n
P\u0159est\u00e1vka
\nJedn\u00e1 se o\u00a0p\u0159est\u00e1vku mezi jednotliv\u00fdmi akty divadeln\u00ed hry (v\u011bt\u0161inou mezi prvn\u00edm a\u00a0druh\u00fdm aktem, n\u011bkter\u00e9 hry v\u0161ak maj\u00ed t\u0159i a v\u00edce akt\u016f).<\/p>\n
Rekvizita
\nP\u0159edm\u011bt, kter\u00fd se pou\u017e\u00edv\u00e1 v\u00a0divadeln\u00ed h\u0159e. K\u00a0rekvizit\u00e1m nepat\u0159\u00ed sc\u00e9na ani kost\u00fdmy.<\/p>\n
Re\u017eis\u00e9r
\nOsoba, kter\u00e1 \u0159\u00edd\u00ed p\u0159edstaven\u00ed. V\u011bt\u0161inou m\u00e1 kone\u010dn\u00e9 slovo ohledn\u011b v\u0161ech str\u00e1nek produkce.<\/p>\n
Typov\u00e9 role
\nKdy\u017e je herec obsazov\u00e1n jen do jednoho typu rol\u00ed \u010di charakteru, \u010dasto na z\u00e1klad\u011b fyzick\u00e9ho vzhledu.<\/p>\n
Tzv. chladn\u00e9 \u010dten\u00ed
\n\u010cten\u00ed ze\u00a0sc\u00e9n\u00e1\u0159e \u010di jin\u00e9ho textu bez p\u0159edchoz\u00edho zkou\u0161en\u00ed, v\u011bt\u0161inou p\u0159i konkurzu \u010di workshopu.<\/p>\n
Vedlej\u0161\u00ed obsazen\u00ed
\nHerci, kte\u0159\u00ed nebyli obsazeni do hlavn\u00edch rol\u00ed.<\/p>\n
Z\u00e1skok
\nHerec, kter\u00fd zn\u00e1 roli jin\u00e9ho herce a\u00a0m\u016f\u017ee ho tak v\u00a0p\u0159\u00edpad\u011b nutnosti zastoupit.<\/p>\n
Prosba
\nVykoupen\u00ed\/vysvobozen\u00ed
\nPomsta za zlo\u010din
\nPomsta p\u0159\u00edbuzn\u00fdch vykonan\u00e1 na p\u0159\u00edbuzn\u00fdch
\nPron\u00e1sledov\u00e1n\u00ed
\nPohroma\/ne\u0161t\u011bst\u00ed
\nOb\u011b\u0165 krutosti nebo ne\u0161t\u011bst\u00ed
\nVzpoura
\nOdv\u00e1\u017en\u00fd \u010din
\n\u00danos
\nZ\u00e1hada
\nZ\u00edsk\u00e1n\u00ed, dosa\u017een\u00ed
\nNep\u0159\u00e1telstv\u00ed p\u0159\u00edbuzn\u00fdch
\nRivalita mezi p\u0159\u00edbuzn\u00fdmi
\nVra\u017eedn\u00e9 cizolo\u017estv\u00ed
\n\u0160\u00edlenstv\u00ed
\nOsudov\u00e1 nerozv\u00e1\u017enost
\nNe\u00famysln\u00fd zlo\u010din z\u00a0l\u00e1sky
\nZabit\u00ed nepoznan\u00e9ho p\u0159\u00edbuzn\u00e9ho
\nSebeob\u011btov\u00e1n\u00ed pro ide\u00e1l
\nSebeob\u011btov\u00e1n\u00ed pro sv\u00e9 bl\u00edzk\u00e9
\nOb\u011btov\u00e1n\u00ed v\u0161eho z\u00a0v\u00e1\u0161n\u011b
\nOb\u011btov\u00e1n\u00ed bl\u00edzk\u00fdch z\u00a0povinnosti
\nZ\u00e1pas nerovn\u00fdch
\nCizolo\u017estv\u00ed
\nZlo\u010diny z\u00a0l\u00e1sky
\nOdhalen\u00e9 zneuct\u011bn\u00ed milovan\u00e9 osoby
\nP\u0159ek\u00e1\u017eky l\u00e1sky
\nL\u00e1ska k\u00a0nep\u0159\u00edteli
\nCti\u017e\u00e1dost
\nKonflikt s\u00a0Bohem
\nMyln\u00e1 \u017e\u00e1rlivost
\nChybn\u00fd \u00fasudek
\nV\u00fd\u010ditky sv\u011bdom\u00ed
\nZnovunalezen\u00ed ztracen\u00e9ho
\nZtr\u00e1ta milovan\u00e9 osoby<\/p>","protected":false},"excerpt":{"rendered":"
\u201eVe\u0161ker\u00e1 plnost existence; [\u2026] neust\u00e1l\u00e9 dmut\u00ed, je\u017e prostupuje d\u011bjinami lidstva jako p\u0159\u00edliv a\u00a0odliv; [\u2026] samotn\u00e1 podstata historie, [\u2026] jak tomu […]<\/p>\n","protected":false},"author":2,"featured_media":686,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[19,4],"tags":[],"class_list":["post-756","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-exhibitions-homepage","category-exhibitions","wpautop"],"acf":[],"_links":{"self":[{"href":"https:\/\/drdovagallery.com\/cs\/wp-json\/wp\/v2\/posts\/756","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/drdovagallery.com\/cs\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/drdovagallery.com\/cs\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/drdovagallery.com\/cs\/wp-json\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/drdovagallery.com\/cs\/wp-json\/wp\/v2\/comments?post=756"}],"version-history":[{"count":9,"href":"https:\/\/drdovagallery.com\/cs\/wp-json\/wp\/v2\/posts\/756\/revisions"}],"predecessor-version":[{"id":1716,"href":"https:\/\/drdovagallery.com\/cs\/wp-json\/wp\/v2\/posts\/756\/revisions\/1716"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/drdovagallery.com\/cs\/wp-json\/wp\/v2\/media\/686"}],"wp:attachment":[{"href":"https:\/\/drdovagallery.com\/cs\/wp-json\/wp\/v2\/media?parent=756"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/drdovagallery.com\/cs\/wp-json\/wp\/v2\/categories?post=756"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/drdovagallery.com\/cs\/wp-json\/wp\/v2\/tags?post=756"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}