„NOWE HORYZONTY” W SZTUCE OPOWIADANIA?

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To była bardzo zaskakująca propozycja – opowiadacze z „Grupy Studnia O.” zostali zaproszeni do poprowadzenia warsztatów podczas Międzynarodowego Festiwalu Filmowego T-Mobile Nowe Horyzonty we Wrocławiu. Ustne opowieści i film – wydawać by się mogło, że te dziedziny nie mają ze sobą wiele wspólnego, tym bardziej, że sztuka opowiadania bywa przedstawiana jako alternatywa wobec kultury zdominowanej przez media wizualne. Co prawda opowiadacze w swoich projektach artystycznych i związanych z animacja kultury współpracują z grafikami i fotografikami, wykorzystując obraz jako element budowanych narracji, to jednak sytuacje żywego opowiadania i projekcji filmowej wydają się przynależeć do światów „z innych bajek”.

Po chwili zastanowienia okazuje się jednak, że przecież istnieje wspólna przestrzeń – miejsce spotkania filmu i ustnej opowieści – a jest nią literatura, w tym wypadku filmowy scenariusz. Festiwalowa propozycja dotyczyła właśnie opowiadania scenariuszy, przełożenia ich tekstów na formę ustnej opowieści…

W ramach bogatego programu MFF Nowe Horyzonty odbywają się corocznie Polskie Dni – cykl zamkniętych spotkań i pokazów filmowych, w trakcie których przedstawiciele filmowej branży z całego świata poznają najnowsze polskie filmy. Jego częścią był projekt Films For Kids. Pro – pierwszy w Europie program skupiający się na rozwoju produkcji filmowej dla dzieci.

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Grupa scenarzystów, pisarzy, filmowców i producentów z Polski i Norwegii uczestniczyła w rocznych warsztatach, w takcie których wybrane pomysły na filmy dla dzieci rozwijane były scenariusze. Równolegle z pracą nad scenariuszami tworzono strategie ich realizacji – finansowania, promocji i dystrybucji. Uczestnicy warsztatów brali udział w spotkaniach i wykładach prowadzonych przez reżyserów, producentów, ekspertów marketingu filmowego, profesjonalistów z branży telewizyjnej, dystrybucyjnej i agentów sprzedaży…     I w takim towarzystwie znaleźli się opowiadacze – Małgorzata Litwinowicz, Aneta Cruz-Kąciak, Łukasz Szypkowski i Jarek Kaczmarek, którzy podjęli się zadania opowiedzenia scenariuszy przed dziecięca widownią.

Ta sytuacja skojarzyła się nam z postacią Glusia – filmowca z cyklu książek Macieja Wojtyszki o Brombie…

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Oto pewnego razu Gluś zapomina włożyć taśmy do swojej kamery, co prowadzi do sytuacji, w której, na premierze swojego filmu, zostaje zmuszony do jego opowiedzenia przed widownią wpatrująca się w pusty ekran… Jaki miałby być sens takiej „gry” w kontekście programu Films For Kids. Pro?

Jednym z celów określonych przez organizatorów było sprawdzenie, jak zareagują dzieci na opowiadane na żywo historie. Dla scenarzystów i producentów  miała to być okazja do zaobserwowania pierwszych reakcji publiczności na fabułę i przebieg akcji filmowych opowieści. Ale czy teksty scenariuszy, z rozbudowanymi partiami dialogów i opisami scen, wielością postaci i wątków, po przełożeniu na rządzącą się innymi prawami formułę ustnej opowieści zachowają jeszcze swoją filmową tożsamość? Czy reakcja dziecięcej widowni nie okaże się wcale „testem” scenariuszy, ale będzie, przede wszystkim, odpowiedzią na energię i charyzmę samych opowiadaczy?

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Scenariusze (w sumie dziesięć) przeznaczone do opowiadania były różnorodne tematycznie i formalnie. Od realistycznych, współczesnych opowieści o dziecięcych rozterkach związanych z rodziną i relacjami z rówieśnikami  („Julka”, „Buddy”), przez detektywistyczne fabuły („Detektyw Bastek na tropie kościotrupa”, „Julka, Olek i prawdziwe tarapaty”) i opowieści łączące realizm z fantastyką („Invisibles”, „Jak oswoić potwora”, „Shirimp the Dog”) po skandynawską sagę osadzoną w klimatach fantasy („The Raven Girl”).

Podstawowy problem przekładu scenariuszy na ustne opowiadanie stanowił czas. Organizatorzy warsztatów zakładali wstępnie, że opowiedzenie 90-stronnicowego tekstu może się zmieścić w 10 minutach! (wynikało to zapewne z funkcjonującej w branży filmowej  formuły pitchingu – skondensowanej ustnej prezentacji scenariusza filmowego i osoby twórcy, mającej zachęcić, na przykład, mecenasów do podjęcia współpracy). W trakcie pracy nad scenariuszami, opowiadacze przekonali się, że istnieje granica możliwości ich skracania, po przekroczeniu której opowieść rozpada się, staje się po prostu streszczeniem, pozbawionym energii mogącej poruszyć wyobraźnię dziecięcych odbiorców (w praktyce ten optymalny czas opowiadania scenariusza wyniósł od 30 minut do ponad godziny).

Najważniejsza decyzja, jaką musieli podjąć opowiadacze, dotyczyła wyboru głównego, nieredukowalnego wątku opowieści. Nie zawsze było to oczywiste. W scenariuszu „Julka, Olek i prawdziwe tarapaty”, nad którym pracowaliśmy razem z Gosią Litwinowicz wątek detektywistyczny – poszukiwanie ukrytego skarbu w starej kamienicy –  splatał się, wedle intencji autorów, z przemianą psychologiczną bohaterów (odizolowani od rodziców Julka i Olek odnajdują przyjaźń i akceptację, a straszna ciotka, zwana fuhrerem, okazuje się być osobą ukrywającą pozytywne uczucia). Zdecydowaliśmy, że skupimy się na przebiegu przygodowych zdarzeń. Uporządkowaliśmy poszczególne sekwencje akcji, rezygnując z pobocznych wątków. Udało się nam nadać rytm opowieści, który sprawił, że miała ona energię przykuwającą uwagę słuchaczy, jednak przekazanie psychologicznych przemian okazało się w przyjętym przedziale czasu niemożliwe…

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Drugim scenariuszem, nad którym pracowałem była „Julka”, autorstwa Rafała Kosika – pisarza, twórcy, między innymi, cyklu powieści science fiction dla dzieci „Felix, Net i Nika” oraz Katarzyny Sienkiewicz-Kosik – wydawca. Jeszcze przed jego przeczytaniem spodziewałem się opowieści z kręgu fantastyki (moja 12-letnia córka jest fanką cyklu „Felix, Net i Nika”). Okazało się jednak, że niejako na przekór takim oczekiwaniom scenariusz opowiadał realistyczną historię psychologiczną. Tytułowa bohaterka – jedenastoletnia Julka, po śmierci mamy, jest wychowana przez surowego ojca, który nie pozwala na rozwijanie jej plastycznego talentu.  Pewnego dnia Julka z okien autobusu dostrzega ulicznego sprzedawcę obrazów, który w swoim wózku wiózł portret jej mamy. Wkrótce orientuje się, że ojciec ukrywa przed nią prawdę o mamie, która była malarką i jak zaczyna podejrzewać Julka, wcale nie umarła. Ucieka z domu, by z tajemniczym sprzedawcą obrazów –  wyruszyć na poszukiwanie jej śladów…

Scenariusz z lekkością poddawał się przekładowi na ustne opowiadanie za sprawą ciekawych postaci  i przejrzystej, dynamicznej konstrukcji akcji. Ale i w tym wypadku pewne elementy okazały się być nie do opowiedzenia. W opowieści nie zmieścił się cały rozbudowany w scenariuszu wątek ojca i jego pościgu za córką. Wypadły także sceny, które wydały się jakby doklejone, w celu nadania akcji elementów humorystycznych. W moim osobistym odbiorze przesunięta została dramaturgiczna oś opowieści. Jej prawdziwym bohaterem – najbardziej poruszającą, wyrazistą postacią okazał się stary sprzedawca obrazów – Roman, jak się okazało dziadek Julki. To właśnie on spowodował wypadek samochodowy, w którym zginęła jego córka – mama Julki w drodze na malarskie biennale do Wenecji. Ujawniony na końcu skomplikowany i dramatyczny splot zdarzeń i rodzinnych konfliktów, prowadzący do tragedii i rozbicia jej więzów zostaje, co odczuwałem w trakcie opowiadania,  zbyt gwałtownie i nieco sztucznie rozwiązany i zwieńczony happy endem.

Przy okazji rozmów z autorami, które poprzedzały prezentacje scenariuszowych opowieści zastanawiałem się nad kompetencjami opowiadacza – jakie umiejętności, doświadczenia i jaka wiedza pozwalają nam komentować i korygować scenariusze, nad którymi pracowali profesjonaliści z branży filmowej?

Jednym z podstawowych elementów warsztatu opowiadacza jest umiejętność komponowania historii – nadawania jej przejrzystej konstrukcji, z wyrazistymi początkiem, zakończeniem, punktami zwrotów akcji.  Utrzymanie uwagi słuchaczy wymaga utrzymania opowieści w ryzach rytmu i precyzyjnej logiki zdarzeń, co oznacza, między innymi, wyeliminowanie wszystkich zbędnych elementów, takich jak, przykładowo, rozbudowane opisy i dialogi (przy zachowaniu jednak poruszającej wyobraźnię obrazowości). No i wspomniane już wyczucie czasu, w którym opowieść może w pełni wybrzmieć…Ten wątek można by dalej rozwijać, ale czułem, że chodzi o coś innego, o coś co stanowi podstawową różnicę pomiędzy sztuką komponowania tekstu literackiego a ustnej opowieści.

W trakcie pracy nad scenariuszami, w chwilach gdy dotykałem wątków, które okazywały się nie pasować do budowanego rytmu ustnej opowieści, odczuwałem coś w rodzaju cielesnej blokady. Nie pasująca scena jakby nie nie rezonowała z wyobraźnią a próba jej opowiadania stawała się wymuszonym, niemal bolesnym wysiłkiem. Z kolei sceny, które „niosły” historię niejako opowiadały się same, zapisując w pamięci w formie intensywnych obrazów, przywołujących słowa, bez konieczności przypominania sobie wyjściowego tekstu literackiego. Pomyślałem sobie, że opowiadając scenariusze opowiadacze spełniają rolę jak gdyby „organicznych filtrów”, przez który zostają przepuszczone filmowe teksty. Znów powraca pytanie, czy sprawdzenie, jak rezonują filmowe opowieści w wyobraźni i ciałach opowiadaczy (i za ich pośrednictwem w sytuacji żywego odbioru przez dziecięcą widownię)  będzie miarodajnym testem siły oddziaływania scenariuszy?

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Często powtarzamy, że aby dobrze opowiedzieć historię, trzeba z nią wejść w indywidualną, intensywną relację, która sprawi, że stanie się ona, w pewnym sensie, osobistą własnością opowiadacza, niemalże jak wspomnienie z życia wzięte. Oczywiście to jest sytuacja idealna, ale każdy opowiadacz ma swoje ukochane opowieści,  z którymi jest w szczególny sposób związany i których opowiadanie jest zawsze dla źródłem przyjemności i artystycznej satysfakcji. Sztuka opowiadania można porównać do sztuki uwodzenia, w której opowieść jest obiektem porywającym wyobraźnię a opowiadacz staje się jego miłośnikiem.

W trakcie warsztatów miałem przyjemność zostać uwiedzionym przez historię ze scenariusza „Jak oswoić potwora” Izabeli Aleksandrowicz i producentki Natalii Łodygowskiej. Ta opowieść o dwóch rozbitych rodzinach – siedmioletniej Ani wychowywanej przez tatę Maxa i dziewięcioletniej Kasi i jej samotnej mamie Lenie. Max i Lena podejmują próbę założenia nowej rodziny przeciw czemu buntują się dziewczynki. W tę realistyczną sytuację wpisany jest wątek magiczny – Ania nie rozstaje się z maskotką potwora – Zizoo, którą dostała,  gdy miała trzy lata, na pożegnanie od umierającej mamy. Zizoo ma moc spełnienia jednego życzenia w dniu wybranych urodzin Ani. Zdeterminowana w zamiarze rozbicia związku taty z Leną dziewczynka postanawia „zużyć” życzenie, by osiągnąć ten cel. W chwili gdy wątpi w skuteczność zaklęcia, wpada w szał, którego rezultatem staje się ożywienie potwora, który przybiera realne kształty trzymetrowego monstrum i ucieka, ukrywając się w jaskini nad brzegiem morza. Od tej chwili akcja rozwija się w dwóch wymiarach – realistycznej gry psychologicznej pomiędzy Leną, Maxem i dziewczynkami oraz magicznej, w której Ania i Kasia próbują oswoić potwora,  niejako odbijającego stan ich uczuć i emocji…

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O sile tej opowieści decydowała, w moim odbiorze, organiczna (znów użyje tego słowa) jedność pomiędzy przebiegiem akcji, przemianami psychologicznymi bohaterów i niezwykłą hipnotyzującą obrazowością i rytmem kolejnych scen/sekwencji scenariusza.  Przestrzeń fantastyki i magii otwierająca się w opowieści, stworzyła spajającą całość akcji alegorię, czytelną psychologicznie (oswajanie potwora jako nauka panowania i świadomego kierowania swoimi emocjami), zarazem pozostawiającą, przyprawiającą o dreszcz wzruszenia, przestrzeń niedopowiedzenia i tajemnicy.

W trakcie rozmowy z autorką scenariusza, Izabelą Aleksandrowicz, długo omawialiśmy jedną ze scen. Oto w momencie, gdy w przypływie gniewu Ania rzuca maskotką potwora o ścianę, zanim to następuje Zizoo mruga okiem (niejako w stronę publiczności), by po chwili uderzony wydać cichy jęk, niesłyszany przez dziewczynkę. To ważny moment, w którym następuje otwarcie przestrzeni magicznej opowieści.
Od samego początku czułem, że jest tu jakiś dysonans, nie pasowało mi to mrugnięcie okiem maskotki. Po kilku próbach opowiadania byłem już przekonany, że pierwszym ujawnieniem się mocy Zizoo powinna być bezpośrednia reakcja na gniew Ani – uderzenie o ścianę (mrugnięcie do widza odczuwałem jako niepotrzebne wzięcie w nawias, zdystansowanie się wobec magicznej części akcji). Po wymianie argumentów autorka przyznała mi racje. Ta chwila była dla mnie potwierdzeniem sensu naszej pracy – przekład scenariuszy na język ustnego opowiadania może okazać się przydatny w tropieniu miejsc „zakłócania” kompozycji, rytmu czy logiki akcji. Ustne opowiadanie pomaga spojrzeć jeszcze raz, z innej perspektywy, na historię zawartą w tekstach scenariuszy i być inspiracją do przemyśleń i ewentualnych zmian.

Jak się później okazało najlepszy odbiór miały opowieści przygotowane na podstawie scenariuszy najwyżej ocenianych przez organizatorów i samych uczestników warsztatów. Zarazem wszystkie scenariusze udało przełożyć się na opowieści trzymające uwagę widowni a przy dalszym nakładzie pracy, wiele z nich, mogłoby się stać „spektaklami”, prezentowanymi na scenach opowiadania.

Wymiana myśli między opowiadaczami a scenarzystami i organizatorami warsztatów była ciekawa i inspirująca dla obu stron. Czy to oznacza, że ten „pierwszy tego rodzaju na świecie eksperyment” (jak to powtarzali organizatorzy) z ustnym opowiadaniem scenariuszy sprawi, że przestrzeń działania opowiadaczy wzbogaci się o nową zawodową ścieżkę: KONSULTANTA SCENARZYSTY? Czas pokaże.

A może to udane doświadczenie sprawi, że teksty scenariuszy, z których tylko niewielka część doczeka się ekranizacji, będzie udostępniana i wykorzystywana przez opowiadaczy? Swoją drogą to wielka szkoda, jak wiele świetnych historii ukrywa się na stronach niezrealizowanych scenariuszy, bez szans na dotarcie do odbiorców. Gosia Litwinowicz wspominała, że widziała kiedyś na Białorusi festiwal niezrealizowanych filmów, który polegał właśnie na ich ustnym opowiadaniu…

Póki co trzymamy kciuki za realizację scenariuszy, które powstały w trakcie warsztatów. Dziękujemy organizatorom i uczestnikom za niezapomniane, niezwykle inspirujące i intensywne spotkanie! Do zobaczenia w kinach (i nie tylko)!

Lista opowiadanych scenariuszy:

„Shrimp „ – autorka scenariusza Maria Wojtyszko, producentka Małgorzata Kozioł.

„Julka” – autorami scenariusza są Rafał Kosik i  Katarzyna Sienkiewicz-Kosik.

„Jak polubić potwora?” – Izabela Aleksandrowicz – scenariusz, Natalia Łodygowska – producent.

„Detektyw Bastek na tropie kościotrupa” – Ewa Martynkien – scenariusz, Magdalena Rychła – producentka.

„Buddy” – Małgorzata Giec – scenariusz, Piotr Domarańczyk – producent.

„Julka, Olek i prawdziwe tarapaty” – autorka scenariusza i reżyserka Marta Karwowska, producentka Agnieszka Dziedzic.

„Invisibles” – autorka scenariusza Irena Gruca-Rozbicka i autor scenariusza i producent Filip Kovčin.

„The Crocodile Thief” – producent Lars Berg, scenarzysta Robert Næss (Norwegia).

„The Monster of Dunderly”   – producent Merete Korsberg Dalsbø, scenarzysta Endre Lund Eriksen (Norwegia).

„The Raven Girl”  – producent Frank Mosvold, scenarzysta Trond Morten Kristensen Venaasen (Norwegia).

Ten wpis został opublikowany w kategorii Wydarzenia. Dodaj zakładkę do bezpośredniego odnośnika.

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