Pripravila: ob\u010dina Cerklje na Gorenjskem in Bor\u0161tnikovo sre\u010danje BS
\nVodil: Jernej Novak
\nUdele\u017eenci: Ivo Svetina, Mojca Kreft, Polde Bibi\u010d, Tone Partlji\u010d, Martin Kadivec in Rado Pavalec<\/p>\n
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Tiste \u010dase, v drugi polovici devetnajstega stoletja, so prihajali na\u0161i igralci na \u00bbpoklicni\u00ab oder iz ljubiteljskih vrst, bolj ali manj po naklju\u010dju; tudi mladi Gorazd, poznej\u0161e prvi dramski umetnik ljubljanskega in ugleden \u010dlan zagreb\u0161kega ansambla \u2013 Ignacij Bor\u0161tnik. Njegov dar so zapazili, tako pravi izro\u010dilo, pri improviziranih dru\u017eabnih nastopih, ki so jih spremljali ugledni me\u0161\u010dani, tudi pisatelj in tajnik Dramati\u010dnega dru\u0161tva, poznej\u0161i ljubljanski \u017eupan Ivan Tav\u010dar. Dali so mu prilo\u017enost na pravem odru in nekaj let za tem so ga poslali v dunajske \u0161ole. Velikih mo\u017enosti mu takratni ljubljanski gledali\u0161ki spored ni dajal, vendar pa je ob nekaterih vlogah izpri\u010dal \u0161irok razpon svojega daru in priznavali so mu elegantno vnanjost, lep in sonoren glas, \u00bb\u010disti pravilni izrek in tem lastnostim primerno igro\u00ab. Zna\u010dilno je, da so zgodaj zapazili njegovo \u00bbnepretiranost\u00ab, kar je \u017ee kazalo na zametke njegove poznej\u0161e usmeritve v odrski realizem. Ko je upodabljal \u00bbz mojstrskim pokretom trpina umetnika\u00ab, kiparja Rollo v Leontovi igri Trnje in lovor, je bil njegov nastop za mnoge presene\u010denje; ni\u010d manj pa njegova kreacija prav diametralno nasprotne vloge, zaljubljenega hlapca Melhiorja v Nestroyevi burki Danes bomo ti\u010di: v \u00bbsentimentalnem\u00ab Gorazdu je bila odkrita tudi \u00bbizvrstna komi\u010dna mo\u010d\u00ab, docela nova plat njegove nadarjenosti (uprizoritev v januarju 1885 je bila hkrati njegova prva \u00bbre\u017eija\u00ab, pravzaprav obnovitev postavitve priljubljenega komika Kocelja). Vse to je dalo odlo\u010dujo\u010dim misliti, da je treba Gorazdov talent podpreti in mu omogo\u010diti izpopolnjevanje. Dunaj; sre\u010danje z znamenitim realistom Tyroltom, ki mu je ostal \u017eivljenjski vzor; vrnitev z \u00bbnajlep\u0161o diplomo\u00ab. Zdaj je lahko uprizarjal zahtevnej\u0161a dela evropskega sporeda, tudi Schillerjevo dramo o kovarstvu in ljubezni ali Gogoljevo satiri\u010dno komedijo; vlogi mladega majorja Ferdinanda in la\u017enega revizorja Hlestakova (1886, 1887). Znamenito je bilo zanj in za nas leto 1892: \u0161e preden so odprli De\u017eelno gledali\u0161\u010de, je pripeljal re\u017eiser na stari \u010ditalni\u0161ki oder prvo moderno evropsko dramo, Ibsenovo Noro s svojo u\u010denko in \u017eivljenjsko sopotnico Zofijo Zvonarjevo v naslovni vlogi; novo hi\u0161o pa je odpiral jeseni z Jur\u010di\u010devo Veroniko Deseni\u0161ko, ki jo je spet upodabljala ista igralka, sam pa je igral obrobno vlogo obubo\u017eanega plemi\u010da Vuka\u0161ina in hkrati \u00bbgovoril\u00ab zanosni Funtkov prolog pred sve\u010danim za\u010detkom.<\/p>\n
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Two years later, the disputes between the former Gorazd and Zvonarjevo led the Dramatic Society to a fateful decision: the Slovenian artistic couple accepted the invitation of the famous Zagreb intendant Dr. Stjepan Mileti\u0107 to lay the foundation for a modern realistic play on the Croatian stage. Working together with Mileti\u0107 - these were Bor\u0161tnik's best years, all paths were open to him. In Ljubljana, he avoided Shakespeare, aware of the level of his actors, there was the Danish royal in the first year, as well as Moli\u00e8re's Tartuffe, in Kovarstvo he was now the scheming president's secretary Wurm. He sponsored too many Croatian plays and staged Cankar's Jakob Ruda in Zagreb the same year as in Ljubljana. But he was even more attracted by demanding tasks in the modern psychological repertoire, especially Ibsen's Osvald in Fears, which, according to Mileti\u0107's judgment, even Zacconi's European fame could not overshadow.<\/p>\n
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He was always appreciated and recognized in Zagreb almost all his life. In his later years, as president of the actors' union, he became embroiled in disputes with the new quartermaster, and an early retirement followed. At the end of the war and after it, he even appeared in local films, and when the Ljubljana theater was being renovated after the collapse of the monarchy, he returned with the desire and task to take care of the education of local actors. He also performed a few more times, even in the role of his Ritmeister in Strindberg's play The Father, two weeks before the farewell. The role of Cankar's pastor from Hlapce, which he - the former Cantor - diligently studied while still in the hospital, remained a torso.
\nBil je na\u0161 prvi dramski umetnik, in interpret najzahtevnej\u0161ih vlog. Dunaj bi lahko bil ponosen nanj, tako so pisali; uveljaviti bi se mogel na slehernem velikem evropskem odru. Du\u0161an Moravec, Vasja Predan: Sto slovenskih dramskih umetnikov, Ljubljana: Pre\u0161ernova dru\u017eba, 2001<\/p>\n
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