{"id":10263,"date":"2021-02-03T18:46:55","date_gmt":"2021-02-03T16:46:55","guid":{"rendered":"http:\/\/dance.lt\/new\/?p=10263"},"modified":"2021-02-24T17:44:38","modified_gmt":"2021-02-24T15:44:38","slug":"vonia-per-sekli-kad-joje-paskestum","status":"publish","type":"post","link":"https:\/\/dance.lt\/new\/2021\/02\/03\/vonia-per-sekli-kad-joje-paskestum\/","title":{"rendered":"Vonia per sekli, kad joje pask\u0119stum"},"content":{"rendered":"

Vieniems scenos men\u0173 atstovams gedint gyv\u0173 susitikim\u0173 ir piktinantis transliacijomis internete bei apribotomis galimyb\u0117mis kurti, kiti prisitaiko ir stengiasi esamomis aplinkyb\u0117mis \u00a0kurti kuo auk\u0161tesn\u0119 kokyb\u0119. \u0160iandien, nuo pirmo karantino prad\u017eios pra\u0117jus beveik metams, pana\u0161u, kad Lietuvoje b\u016btent \u0161iuolaikinio \u0161okio profesionalai, per\u0117j\u0119 \u012f skaitmenin\u0119 erdv\u0119, s\u0117kmingiausiai i\u0161laik\u0117 kokyb\u0117s kartel\u0119. O galb\u016bt pati kamera judes\u012f myli labiau nei stati\u0161kesnius teatro etiudus?<\/p>\n

Pati saky\u010diau, kad yra atvirk\u0161\u010diai \u2013 da\u017enai b\u016btent \u0161okio menininkai mieliau priima kamer\u0105 kaip lygiavert\u012f dalyv\u012f ar k\u016br\u0117j\u0105. 2020-aisiais daugumoje dramos spektakli\u0173 (i\u0161skyrus Art\u016bro Areimos \u201eTest\u0105\u201c) kameros naudotos tik kaip medija, t.y., b\u016bdas parodyti<\/em> k\u016bryb\u0105 \u017ei\u016brovams, pasiekti auditorij\u0105. Operatorius tokiuose spektakliuose \u2013 ne bendrak\u016br\u0117jas, bet aptarnaujantis personalas. Vis d\u0117lto net ir negausi pastarojo meto patirtis liudija, kad s\u0117kmingiausi internete transliuoti scenos men\u0173 k\u016br\u0117j\u0173 darbai buvo tie, kuriuose kamerai patik\u0117ta dalin\u0117 re\u017eisieriaus funkcija. \u010cia galima ironi\u0161kai \u017evelgti \u012f \u017eym\u0173 posak\u012f \u201escena pasiima visk\u0105\u201c. Paprastai k\u016br\u0117jai taip teisina savo sprendim\u0105 vis\u0105 laik\u0105 paskirti scenai ir atsisakyti asmeninio gyvenimo, nes, anot j\u0173, tik tada gimsta geriausi k\u016briniai. Adaptav\u0119 posak\u012f \u0161iandienai, turime paradoks\u0105 \u2013 kokyb\u0117 pasirodo b\u016btent tada, kai d\u0117mesys tolygiau paskirstomas scenai ir kamerai.<\/p>\n

Vienas toki\u0173 pavyzd\u017ei\u0173 \u2013 sausio pabaigoje transliuotas spektaklis \u201eVonia\u201c, kurio id\u0117j\u0173 autor\u0117s \u2013 Greta Grinevi\u010di\u016bt\u0117, Sigita Jura\u0161kait\u0117 ir Agniet\u0117 Lisi\u010dkinait\u0117. Tai n\u0117ra \u0161okio filmas, ta\u010diau j\u012f svarbu matyti taip, kaip fiksuoja kameros akis. Juodoje erdv\u0117je pastatyta Vlado Suncovo konstrukcija atskiria \u0161ok\u0117jas vien\u0105 nuo kitos, ta\u010diau paver\u010dia jas vieno konstrukto, to paties pasaulio dalimis, ir kameros jud\u0117jimas padeda tai pajusti. \u201eVonia\u201c i\u0161skirtin\u0117 tuo, kad spektaklio turinys sud\u0117liotas i\u0161 savaranki\u0161kai kiekvienos \u0161ok\u0117jos kurt\u0173 etiud\u0173, t. y., autor\u0117s teig\u0117 dirbusios\u00a0 atskirai, ne\u017einodamos, kaip ir apie k\u0105 kalb\u0117s koleg\u0117s.\u00a0 Sujungti rezultatus patik\u0117ta dramaturgijai (Sigita Iva\u0161kait\u0117), scenografijai, operator\u0117s darbui (Odeta Ri\u0161kut\u0117), \u0161vies\u0173 dailei (Julius Kur\u0161is), muzikai (Gail\u0117 Grici\u016bt\u0117) ir kostiumams (Morta Nakait\u0117), kuriems parinktos med\u017eiagos leido papildyti muzik\u0105 pa\u010di\u0173 \u0161ok\u0117j\u0173 kuriamais garsais. Taip darbas su individualiais sumanymais\u00a0 tapo absoliu\u010diai kolektyvine k\u016bryba.<\/p>\n

\"\"<\/a>Greta Grinevi\u010di\u016bt\u0117. Kadras i\u0161 spektaklio transliacijos<\/em><\/p>\n

Tai \u012fdomi, i\u0161bandymo verta id\u0117ja, kuri \u201eVonioje\u201c, mano akimis, ne visai pasiteisino. Eksperimentas liudija k\u016br\u0117j\u0173 dr\u0105s\u0105 ir bes\u0105lygi\u0161k\u0105 pasitik\u0117jim\u0105 komanda, o ten, kur yra pasitik\u0117jimas, ilgainiui gimsta puikiausi darbai. Tik kol kas \u201eVonios\u201c turinys nesuk\u016br\u0117 erdv\u0117s nei nuosekliau emoci\u0161kai \u012fsitraukti, nei giliau pa\u017einti ir kvestionuoti moters situacij\u0105 ar lyt\u012f apskritai. Spektaklyje stigo visa jungian\u010dios a\u0161ies (i\u0161skyrus min\u0117t\u0105 bendro konstrukto vaizdin\u012f), tod\u0117l \u201eVonios\u201c gylis nuolat kito, skleid\u017eiantis kiekvienos k\u016br\u0117jos charakteriui.<\/p>\n

Greta Grinevi\u010di\u016bt\u0117, Sigita Jura\u0161kait\u0117 ir Agniet\u0117 Lisi\u010dkinait\u0117 \u201eVonioje\u201c pristatytos kaip lygiavert\u0117s id\u0117j\u0173 autor\u0117s, choreograf\u0117s ir atlik\u0117jos. Ta\u010diau spektaklyje jos nat\u016braliai sustojo \u012f pagrindini\u0173 ir antraeili\u0173 persona\u017e\u0173 vietas. G. Grinevi\u010di\u016bt\u0117 tapo spektaklio lydere, kurios buvim\u0105 galima jausti ir nematant ekrane. A. Lisi\u010dkinait\u0117 pretendavo \u012f vienodai svarbi\u0105 pozicij\u0105, tik jos ironija (jei teisingai supratau) nebuvo tokia ry\u0161ki, kaip anks\u010diau min\u0117tos koleg\u0117s kurtas sunkumo jausmas. S. Jura\u0161kait\u0117 liko nuo\u0161aliau solist\u0117s ambicij\u0173.<\/p>\n

Nepaisant to, kad visos trys baig\u0117 t\u0105 pat\u012f Airos Naginevi\u010di\u016bt\u0117s kurs\u0105 ir v\u0117liau \u0161oko jos spektakliuose, laisvai samdom\u0173 \u0161ok\u0117j\u0173 kelias suformavo kiekvienos darbo krypt\u012f ir k\u016brybos veid\u0105. Tai \u2013 trys skirtingais charakteriais, d\u0117mesio objektais ir netgi temomis pasi\u017eymin\u010dios \u0161ok\u0117jos, kurios \u201eVonioje\u201c grei\u010diau dar\u0117 tai, k\u0105 esame prat\u0119 matyti jas darant,\u00a0 nei ie\u0161kojo nauj\u0173 k\u016brybos kryp\u010di\u0173. G. Grinevi\u010di\u016bt\u0117 \u2013 paslaptinga, fatali\u0161ka moteris, nerianti \u012f savo pasaul\u012f ir paskui save traukianti \u017ei\u016brov\u0105. Ji laiko d\u0117mes\u012f \u0161imtu procent\u0173, nepertraukia savo istorijos ir n\u0117 sekundei neu\u017esidaro savyje. Kartais \u201enuduoda\u201c daugiau gylio nei pasi\u016blo realios prasm\u0117s, ta\u010diau mil\u017eini\u0161k\u0105 d\u0117mes\u012f skiria kontaktui, ypa\u010d \u2013 su publika.<\/p>\n

A. Lisi\u010dkinait\u0117, Stanislavskio sistemos terminais kalbant, kol kas apsiriboja viduriniuoju d\u0117mesio ratu, spinduliuodama daug energijos, ta\u010diau nenukreipdama jos \u012f publik\u0105, palikdama scenos ribose. Stebint jos jud\u0117jim\u0105, justi \u017ev\u0117relis aptvare, bandantis gyventi visa j\u0117ga ir kv\u0117puoti pilna kr\u016btine, ta\u010diau ka\u017ekurioje vietoje nuolat sustojantis, nuslopstantis. Ji turi ai\u0161ki\u0105, tvirt\u0105 pozicij\u0105, tik nepakankamai da\u017enai i\u0161lenda u\u017e jos iliustravimo rib\u0173.<\/p>\n

\"\"<\/a>Agniet\u0117 Lisi\u010dkinait\u0117. Kadras i\u0161 spektaklio transliacijos<\/em><\/p>\n

S. Jura\u0161kait\u0117 \u201eVonioje\u201c filmuota didesniu atstumu nei scenos koleg\u0117s, tod\u0117l \u017ei\u016brovo santykis su ja gal\u0117jo likti ma\u017eiau intymus, nei su kitomis \u0161ok\u0117jomis. Tai \u2013 i\u0161skirtinai techni\u0161kai stipri, puiki \u0161ok\u0117ja, da\u017eniau atliekanti jai paskirt\u0105 funkcij\u0105 nei ie\u0161kanti asmenini\u0173 prisitaikym\u0173. Jos judesiai atpa\u017e\u012fstami i\u0161 anks\u010diau matyt\u0173 Lietuvos k\u016br\u0117j\u0173 pastatym\u0173. Tod\u0117l per\u0161asi i\u0161vada, kad jei auk\u0161\u010diau min\u0117tos koleg\u0117s ie\u0161ko i\u0161 vidaus kylan\u010dio jud\u0117jimo, S. Jura\u0161kait\u0117 sau aktualiai temai renkasi tai, k\u0105 jau i\u0161band\u0117 scenoje.<\/p>\n

\u0160i\u0173 asmenini\u0173 ir verting\u0173 patir\u010di\u0173 pagrindu formuojasi \u201eVonios\u201c persona\u017eai. Istorijoje apie moter\u0173 atsiv\u0117rim\u0105 ar \u2013 prie\u0161ingai \u2013 savo veido, \u012fvaizd\u017eio formavim\u0105, matome tris skirtingas asmenybes. Viena j\u0173 emancipuota, kurianti \u012fvaizd\u012f, ta\u010diau pervargusi nuo jo teikiamos \u0161lov\u0117s. I\u0161skirtin\u0117, savaranki\u0161ka, spaud\u017eianti save iki begalyb\u0117s, nors tai neveda niekur, kur jai b\u016bt\u0173 malonu. Kita jautri, bukoka (s\u0105moningai ironizuojant), nuvargusi, u\u017esispaudusi, ta\u010diau vis atrandanti j\u0117g\u0173 jud\u0117ti toliau, kur tas jud\u0117jimas benuvest\u0173. Tre\u010dia \u2013 tolima, atsiskyrusi, paskendusi buityje ir j\u0105 u\u017epildan\u010dioje materijoje, besisukanti tame pa\u010diame kasdienyb\u0117s rate ir reguliariai i\u0161kelianti \u012f pavir\u0161i\u0173 savo charakter\u012f, kur\u012f vis d\u0117lto suvaldo.<\/p>\n

Tokios yra<\/em> \u201eVonios\u201c moterys. O apie k\u0105<\/em> jos kalba? Ties\u0105 sakant, tai nepasirod\u0117 labai svarbu. Pama\u017eu pa\u017eindama kiekvienos charakter\u012f, pati mieliau skendau ne turinio paie\u0161kose, bet proceso detal\u0117se. Kaip kamera fiksuoja k\u016br\u0117j\u0173 jud\u0117jim\u0105, kas lieka fone, kas vyksta su \u0161ok\u0117jomis, kai jos\u00a0 patenka \u012f pagrindin\u012f plan\u0105 ir kai v\u0117liau kameros \u017evilgsnis nuo j\u0173 atsitraukia,\u00a0 kaip instaliacija dalina erdv\u0119 ir kokiu principu atskiria tris veikian\u010dias moteris… Formos prasme \u201eVonia\u201c domina ir \u012ftraukia. Turinio prasme ji kol kas tu\u0161toka.<\/p>\n

\"\"<\/a>Sigita Jura\u0161kait\u0117. Kadras i\u0161 spektaklio transliacijos<\/em><\/p>\n

Tiesa, vie\u0161\u0173j\u0173 ry\u0161i\u0173 tekstuose \u012fvardintas temas spektaklyje tikrai galima atrasti. S\u0105moningai ie\u0161kant, i\u0161kyla klausimai, kiek \u0161ios moterys savo \u201evoniose\u201c \u201ei\u0161sirengia\u201c ir kiek kuria \u012fvaizd\u012f? Kada jos trina nuo sav\u0119s per dien\u0105 sukaupt\u0105 purv\u0105, o kada puo\u0161iasi, sl\u0117pdamos visuomenei\u00a0 nepriimtin\u0105 savo realyb\u0119? Ar likusios\u00a0 tik su savimi jos tampa tuo, kuo i\u0161 ties\u0173 yra, ar tuo, ko\u00a0 kiti reikalauja, kad jos tapt\u0173? Kadangi klausimai kyla ne nat\u016braliai, jie nenune\u0161a taip toli, kad nor\u0117tum\u00a0 kontempliuoti asmeninius atsakymus.<\/p>\n

Tad \u201eVonia\u201c suk\u0117l\u0117 dvilyp\u012f \u012fsp\u016bd\u012f. Viena vertus, nuostabu matyti, kaip menininkai nesitaiksto su autoritet\u0173 bamb\u0117jimais apie teatro internete ne\u012fmanomyb\u0119 (\u017er., pavyzd\u017eiui, Romeo Castellucci\u2018o pasisakym\u0105, kuriame neperskait\u0117me nieko, ko nebuvome gird\u0117j\u0119 kitur). Kai menas kuriamas atsi\u017evelgiant \u012f aplinkybes, o ne jas ignoruojant ir graud\u017eiai teisinantis, rezultatas gali b\u016bti ne tik \u012fmanomas \u017ei\u016br\u0117ti, bet i\u0161 esm\u0117s kokybi\u0161kas.<\/p>\n

Drauge \u201eVonia\u201c primin\u0117, kaip svarbu subrandinti ir ai\u0161kiai (neb\u016btinai \u017eod\u017eiais!) suformuluoti spektaklio id\u0117jas bei tvirt\u0105 asmenin\u0119 pozicij\u0105 j\u0173 ir spektaklio at\u017evilgiu. Ypa\u010d, kai k\u016briniu apeliuojama ne \u012f reprezentacij\u0105, bet \u012f gilesn\u012f rei\u0161kinio pa\u017einim\u0105. Kitaip visa atsakomyb\u0117 atitenka \u017ei\u016brovo geranori\u0161kumui ir patirtims, nes temas ir problemas jis atpa\u017e\u012fsta tik tur\u0117damas pana\u0161i\u0173 patir\u010di\u0173 ir nuo\u0161ird\u017eiu darbu bandydamas suprasti k\u016br\u0117jus. \u017di\u016brov\u0173 geb\u0117jimais pasitik\u0117ti svarbu. Ne ma\u017eiau svarbu yra pasi\u016blyti daugiau nei jie jau yra patyr\u0119.<\/p>\n

—<\/p>\n

Projekt\u0105 \u201e\u0160okio ir cirko aktualijos: asmenyb\u0117s, \u012fvykiai ir j\u0173 analiz\u0117, ugdymas\u201c dalinai finansuoja Spaudos, radijo ir televizijos r\u0117mimo fondas.<\/p>\n

\"\"<\/a><\/p>\n","protected":false},"excerpt":{"rendered":"

Vieniems scenos men\u0173 atstovams gedint gyv\u0173 susitikim\u0173 ir piktinantis transliacijomis internete bei apribotomis galimyb\u0117mis kurti, kiti prisitaiko ir stengiasi esamomis …<\/p>\n","protected":false},"author":2,"featured_media":10270,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":[],"categories":[9],"tags":[],"yoast_head":"\nVonia per sekli, kad joje pask\u0119stum - Lithuanian Dance Centre<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/dance.lt\/new\/2021\/02\/03\/vonia-per-sekli-kad-joje-paskestum\/\" \/>\n<meta property=\"og:locale\" content=\"lt_LT\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Vonia per sekli, kad joje pask\u0119stum - Lithuanian Dance Centre\" \/>\n<meta property=\"og:description\" content=\"Vieniems scenos men\u0173 atstovams gedint gyv\u0173 susitikim\u0173 ir piktinantis transliacijomis internete bei apribotomis galimyb\u0117mis kurti, kiti prisitaiko ir stengiasi esamomis ...\" \/>\n<meta property=\"og:url\" content=\"https:\/\/dance.lt\/new\/2021\/02\/03\/vonia-per-sekli-kad-joje-paskestum\/\" \/>\n<meta property=\"og:site_name\" content=\"Lithuanian Dance Centre\" \/>\n<meta property=\"article:published_time\" content=\"2021-02-03T16:46:55+00:00\" \/>\n<meta property=\"article:modified_time\" content=\"2021-02-24T15:44:38+00:00\" \/>\n<meta property=\"og:image\" content=\"https:\/\/dance.lt\/new\/wp-content\/uploads\/2021\/02\/Be-kompanijos.-Vonia.-2-1.png\" \/>\n\t<meta property=\"og:image:width\" content=\"1343\" \/>\n\t<meta property=\"og:image:height\" content=\"732\" \/>\n<meta name=\"twitter:card\" content=\"summary_large_image\" \/>\n<meta name=\"twitter:label1\" content=\"Written by\" \/>\n\t<meta name=\"twitter:data1\" content=\"dance\" \/>\n\t<meta name=\"twitter:label2\" content=\"Est. reading time\" \/>\n\t<meta name=\"twitter:data2\" content=\"7 minut\u0117s\" \/>\n<script type=\"application\/ld+json\" class=\"yoast-schema-graph\">{\"@context\":\"https:\/\/schema.org\",\"@graph\":[{\"@type\":\"WebSite\",\"@id\":\"https:\/\/dance.lt\/new\/#website\",\"url\":\"https:\/\/dance.lt\/new\/\",\"name\":\"Lithuanian Dance Centre\",\"description\":\"LDC\",\"potentialAction\":[{\"@type\":\"SearchAction\",\"target\":{\"@type\":\"EntryPoint\",\"urlTemplate\":\"https:\/\/dance.lt\/new\/?s={search_term_string}\"},\"query-input\":\"required name=search_term_string\"}],\"inLanguage\":\"lt-LT\"},{\"@type\":\"ImageObject\",\"@id\":\"https:\/\/dance.lt\/new\/2021\/02\/03\/vonia-per-sekli-kad-joje-paskestum\/#primaryimage\",\"inLanguage\":\"lt-LT\",\"url\":\"https:\/\/dance.lt\/new\/wp-content\/uploads\/2021\/02\/Be-kompanijos.-Vonia.-2-1.png\",\"contentUrl\":\"https:\/\/dance.lt\/new\/wp-content\/uploads\/2021\/02\/Be-kompanijos.-Vonia.-2-1.png\",\"width\":1343,\"height\":732},{\"@type\":\"WebPage\",\"@id\":\"https:\/\/dance.lt\/new\/2021\/02\/03\/vonia-per-sekli-kad-joje-paskestum\/#webpage\",\"url\":\"https:\/\/dance.lt\/new\/2021\/02\/03\/vonia-per-sekli-kad-joje-paskestum\/\",\"name\":\"Vonia per sekli, kad joje pask\\u0119stum - 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