Inimnatuuri keerukus / The complications of human nature

Sügava muusikaarmastajana hindan kôrgelt nii oopereid, operette, kui muusikale, kuid inimkarakterite psüühiliste iseärasuste -huvilisena leian alati uut ka draamaetendustelt.

Viimati vaatasin igavese helikeelega helilooja Wolfgang Amadeus Mozarti elukäiku ja inimsuhteid käsitlevat Draamateateri etendust “Amadeus”.

Kuigi dokumentaalsust on etenduses piiratud mahus, ei ole selles toodud tegelased inimtüüpide osas kaugeltki mitte fiktiivsed. 

Mind rabas, kui kerge on lihtsa alatu kadeduse tôttu inimene mutta suruda ja teda siis hävitamiseni muserdada – armutult, suuremat pilti nägemata. Seda julmust ei ole kahjuks vaja välja môelda.

Samuti on mul juba ammu raske taibata inimloomusele nii omast kommet, et tegutsema hakkame alles siis, kui on liiga hilja – vannume igavest armastust, hoolimist ja lähedust alles teise surivoodil. Seda demonstreeriti etenduses pisarakiskuva môjususega. Inimloomuse paradoks – kui ei taha saada otsaette “rahutu sahmerdaja” pisut ebaväärikat templit, peadki tôelisi väärtusi liiga hilja taipama, siis kui midagi enam teha ei saa. Miks peame väärtuseks tasast leppimist kôige olevaga? Kevin Hart on oma viimases raamatus “Monsters and how to Tame them” (“Koletised ja kuidas neid talitseda”) nimetanud seda uneskôndimiseks – elamiseks kohalolekuta.

Etenduses toodi väga kontrastselt välja ka 18. sajandi kôrgklassi vôltsvagadust ja vôltsi eneseupitamist, mille üks näide joonistus minu (ja itsituspuhangus publiku) silmis eriti humoorikalt välja tegeliku prantsuse keele oskuse olukorras, mille Mozarti mänginud ootamatult sügavamôtteline näitleja Tônis Niinemets talle nii omase humoorikusega välja tôi. Ilmselgelt ei jäänud nali ka publikule märkamata.

Soovin teie eludesse suuremat ausust ja palun olulisi asju elus mitte edasi lükata. Aeg vôib enne otsa lôppeda.

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As a devoted music lover, I cherish operas, operettas and musicals extremely highly but also drama performances that look closely into the specific features of human psychology – I always find something new there. My last experience in the theatre department was “Amadeus”, a piece about the eternally unique immortal Wolfgang Amadeus Mozart – his life and complicated human relations.

Even though the theatre performance isn’t documentary, the characters there aren’t fictional by far.

It was astonishing to me how easy it is to crush a person totally and then finish them off completely – mercilessly and ignoring the bigger picture. Unfortunately, this cruelty isn’t fictional either. 

It’s a well-established human trait to act on anything when it’s already way too late – we vow eternal love, care and closeness at the other’s death bed only. It’s something that’s been difficult for me to understand for ages now. In the performance it was demonstrated with tear pulling effectiveness. The paradox of human nature – if one doesn’t want to have a bit undignified stamp of a “restless soul” on the forehead, they should understand the true values of life too late, when nothing’s to be done anymore. Why do we treasure the silent acceptance to everything? Kevin Hart’s called it “sleepwalking” – living without awareness, in his latest book “Monsters and how to Tame them”

In the performance the fake behaviour of 18 century higher society was carved out very sharply. One example of this was drawn out super funnily by Tônis Niinemets who is a surprisingly deep minded wonderful actor in drama performances. The joke wasn’t lost for the audience, quite obviously.

I wish a greater honesty in your lives and ask you not to postpone anything. Time can run out on you.

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