Fikcijskost v zgodovinskih televizijskih nadaljevankah
DOI:
https://doi.org/10.3986/pkn.v43.i1.05Ključne besede:
zgodovinski roman, televizijske nadaljevanke, fikcijskost, realizem, dokumentarnost, anahronizem, Rim, OglaševalciPovzetek
Najočitnejša formalna lastnost zgodovinskega romana kot žanra, ki ga je vzpostavil Walter Scott, je dvojnost fiktivne zgodbe v ospredju in zgodovinsko potrjenega ozadja. Dogajališča mnogih televizijskih nadaljevank so zgodovinska, mnoge od nadaljevank je mogoče videti kot zgodovinske romane. Televizijska serija Rim (2005–2007) je ohranila nekaj scottovske strukture, značilne za izpostavljeno fikcijsko zgodbo. Zgodba o Pulosu in Vorenusu je fikcijska in uprizarja življenje preprostih ljudi, zgodovinski liki, kot so Julij Cezar in Pompej ali Antonij in Avgust, pa ne nastopajo zgolj kot na zgodovinskih dejstvih temelječe ozadje. Razmerje med fikcijskimi in nefikcijskimi zgodbami je uravnoteženo, in kot tako ponuja živ in prepričljiv vpogled v preteklost. Mnogim zgodovinskim nadaljevankam preteklost služi zgolj kot dekorativno prizorišče za zgodbe, polne intrig, nasilja in seksa (Tudorji, Borgijci), predstavljene kot zgodovinske (anti)romance, ki pa se osredotočajo zgolj na elito. Zgodovinski roman druge vrste pa so ustvarile nekatere nadaljevanke, ki (navidez s povsem drugega konca) celo iz ozadja izključijo vsa zgodovinska dejstva in predstavijo vsakdanjost navadnih ljudi v njeni (kvazi)historični drugosti. V nadaljevankah kot Mad Men in The Knick denimo ni omenjen noben političnozgodovinski dogodek, prav tako se v ozadju ne pojavi nobena zgodovinska osebnost, vendar pa te uspešno predstavljajo drugost preteklosti z gledišča javnega diskurza o vprašanjih rase, spola in celo morale, fenomenov, ki jih je mogoče videti kot razvoj nove vrste historičnega romana, spodbujene s historiografskimi ideali dvajsetega stoletja.
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