{"id":11895,"date":"2021-11-15T11:58:59","date_gmt":"2021-11-15T09:58:59","guid":{"rendered":"http:\/\/dance.lt\/new\/?p=11895"},"modified":"2021-11-15T12:07:22","modified_gmt":"2021-11-15T10:07:22","slug":"choreografe-aira-nagineviciute-ir-jos-kintantys-stiklo-sodai","status":"publish","type":"post","link":"https:\/\/dance.lt\/new\/2021\/11\/15\/choreografe-aira-nagineviciute-ir-jos-kintantys-stiklo-sodai\/","title":{"rendered":"Choreograf\u0117 Aira Naginevi\u010di\u016bt\u0117 ir jos kintantys \u201eStiklo sodai\u201c"},"content":{"rendered":"

Lapkri\u010dio 19 d. Men\u0173 spaustuv\u0117je vilnie\u010diai tur\u0117s galimyb\u0119 pamatyti itin retai rodom\u0105 Airos Naginevic\u030ciu\u0304te\u0307s darb\u0105 \u201eStiklo sodai\u201c. Ledin\u0117je scenografijoje \u012fr\u0117mintas judanc\u030ciu\u0328 vaizdu\u0328 k\u016brinys pasakoja apie bu\u0304ties trapuma\u0328 ir tvaruma\u0328, uz\u030cgimstant\u012f nesibaigianc\u030ciame gyvybe\u0307s cikle. Du pasauliai – dangaus ir z\u030ceme\u0307s, gyvybe\u0307s ir amz\u030cinybe\u0307s – egzistuoja vienas greta kito, nei\u0161vengiamai vienas kita\u0328 papildydami. Juos skirianti riba – nematoma, tac\u030ciau jauc\u030ciama. Nors spektaklio premjera \u012fvyko 2015 metais, \u0161is \u201eStiklo sod\u0173\u201c rodymas yra tik tre\u010diasis. Tod\u0117l spektaklis kinta laike. Apie scenoje kv\u0117puosian\u010dius \u201eStiklo sodus\u201c kalbam\u0117s su spektaklio choreografe Aira Naginevi\u010di\u016bte.<\/p>\n

\"\"<\/a>
\nAira Naginevi\u010di\u016bt\u0117. D. Matvejevo nuotr.<\/em><\/p>\n

\u0160is \u0161okio spektaklis rodomas itin retai \u2013 scenoje \u017ei\u016brovai j\u012f i\u0161vysti gal\u0117jo vos kelet\u0105 kart\u0173.\u00a0\u00a0Vis tik spektaklis sukurtas prie\u0161 \u0161e\u0161erius metus. Kaip per vis\u0105 t\u0105 laik\u0105 jis kito? Ar \u012fvyko ka\u017ekokia esmin\u0117 jo transformacija?<\/strong><\/p>\n

Nors suvokiu, kad nuo premjeros pra\u0117jo \u0161e\u0161eri metai, man neatrodo, kad laiko pra\u0117jo tiek daug. Kadangi spektaklis buvo parodytas tik du kartus, turiu jausm\u0105, kad spektaklis \u012fgyja nauj\u0173 atspalvi\u0173, kei\u010diasi ir m\u016bs\u0173, k\u016br\u0117j\u0173 santykis \u012f j\u012f. K\u016brybos prad\u017eioje keliami spektaklio klausimai liko pamatiniai, ta\u010diau su laiku vyksta nei\u0161vengiamas virsmas: k\u016bnai atsine\u0161a kitas patirtis. Ta\u010diau k\u016bnai ir prisimena. Nors scenografijos id\u0117ja ar pa\u010dios scenos nesikeis, jau\u010diu, kad vis dar vyksta k\u016brybinis procesas.<\/p>\n

\u0160iuo atveju tikriausiai visai nat\u016bralu, kad spektaklis i\u0161gyvena naujus k\u016brybinius virsmus \u2013 per ma\u017eai jo b\u016bta scenoje. Ta\u010diau kalbant bendrai: ar j\u016bs, kaip k\u016br\u0117ja, esate linkusi meno k\u016brin\u012f paleisti, ar vis d\u0117lto kiekvienose spektakli\u0173 repeticijose k\u016brin\u012f perm\u0105stote?<\/strong><\/p>\n

Su \u0161i\u0105 vasar\u0105 \u012fvykusios instaliacijos \u201eN\u0117\u0161\u010dia tyla\u201c i\u0161gyventu procesu, visk\u0105 paleidau. \u201eN\u0117\u0161\u010di\u0105 tyl\u0105\u201c pavadin\u010diau k\u016brybin\u0119 patirt\u012f atliepian\u010diu DNR. \u0160i instaliacija \u2013 gijos, kurios t\u0119siasi, per\u017eengia chrestomatinio laiko ribas \u012fpinant k\u016brinius, \u017emones, emocijas, jausmus.<\/p>\n

\"\"<\/a>
\nR. Puidokait\u0117s nuotr.<\/em><\/p>\n

\u017dmogaus b\u016bties klausimai \u2013 spektaklio \u201eStiklo sodai\u201c pagrindas. Ta\u010diau \u017ei\u016brint \u0161\u012f spektakl\u012f vis lydi jausmas, kad esminis leitmotyvas\u00a0\u010dia\u00a0yra anapusyb\u0117, o galb\u016bt ka\u017ekokia tarpin\u0117 b\u016bsena.<\/strong><\/p>\n

T\u0173 potemi\u0173 \u0161iame spektaklyje yra labai daug. \u201eStiklo sodai\u201c \u2013 tarpsmas, erdvin\u0117, re\u017eis\u016brin\u0117, temin\u0117 begalyb\u0117. Ir ta begalyb\u0117 keliauja tarp \u0161iapus ir anapus. Bet anapusyb\u0117 mano spektaklyje n\u0117ra mirtis ar i\u0161\u0117jimas: anapusyb\u0117 yra ka\u017ekur tarp \u017eem\u0117s ir dangaus. Ie\u0161kojom s\u0105saj\u0173, kas yra gyva, negyva, kas yra \u201eStiklo sodai\u201c?<\/p>\n

Neseniai su k\u016br\u0117jais atsimin\u0117me spektaklio dramaturgij\u0105 \u2013 ji atspindi persona\u017e\u0173 b\u016bsenas. Anapusyb\u0117 man \u2013 tarpin\u0117 b\u016bsena, kai esi vis dar \u010dia, bet jau nebe \u010dia. \u0160i\u0105 tem\u0105 \u012fvairiomis klost\u0117mis papild\u0117me ie\u0161kodami tarpin\u0117s b\u016bsenos s\u0105\u0161auk\u0173.<\/p>\n

J\u016bs\u0173 spektakliuose svarbi dedamoji yra scenografija. \u201eStiklo soduose\u201c \u0161is santykis itin jau\u010diasi. \u010cia judesys ir scenografija – tarsi vienas kit\u0105 papildantys indai. Kaip konstravosi visas spektaklio audinys? Ar scenografija \u0117jo greta? <\/strong><\/p>\n

\u201eStiklo sod\u0173\u201c metu su komanda tur\u0117jome labai ilg\u0105 k\u016brybin\u0119 laboratorij\u0105. Galutiniame etape atsirado ledo skulpt\u016bros. Taigi, ledas \u0161iame spektaklyje man ir scenografui Ar\u016bnui Adomai\u010diui tapo k\u016brybine laisve, bet kartu ir finansiniais pan\u010diais.<\/p>\n

\u201eStiklo sodus\u201c \u012fsivaizdavau tarp \u017eem\u0117s ir dangaus. Ie\u0161kojom b\u016bd\u0173, kaip juos, kaban\u010dius sukurti scenoje. Atrasta permatoma med\u017eiaga \u012fgalino i\u0161reik\u0161ti m\u016bs\u0173 vaizdinius. Kadangi tikiu, kad k\u016bryb\u0105, meil\u0119, santykius, kaip ir vaikus gyvenime reik\u0117t\u0173 i\u0161ne\u0161ioti ir i\u0161supti, \u012fsupau ir \u0161iuos sodus.<\/p>\n

J\u016bs\u0173 pastar\u0173j\u0173 met\u0173 darbus pavadin\u010diau spektakliais, artimais egzistencializmo filosofijai, jos keliamiems klausimams. Ta\u010diau atrodo, kad su paskutiniu darbu \u201eAlkis\u201c prasideda ka\u017ekoks naujas k\u016brybinis etapas – kei\u010diasi ir spektakli\u0173 vizualin\u0117, ir judesio rai\u0161ka. Visgi, filosofin\u0117s potekst\u0117s i\u0161lieka…<\/strong><\/p>\n

Taip, tas vizualinis periodas, kvestionuojantis ribines b\u016bsenas, dabar jau yra pra\u0117j\u0119s. Man atrodo, kad tos paie\u0161kos, laboratorijos, eksperimentai ir klausimai, kuriuos k\u0117liau, jau yra pragyventi. Jau\u010diu, kad tam tikras etapas pra\u0117jo, dabar prasideda kitas.<\/p>\n

\"\"<\/a>
\nR. Puidokait\u0117s nuotr.<\/em><\/p>\n

Naujausio savo spektaklio \u201eAlkis\u201c atveju, mums filosofini\u0173 paie\u0161k\u0173 reik\u0117jo, kad \u0161ok\u0117jams pad\u0117tume sukurti tam tikrus distopinio pasaulio kodus. Kaip sukurti toki\u0105 b\u016bsen\u0105, kuri netiesiogiai gal\u0117t\u0173 tarp \u017emoni\u0173 pramu\u0161ti vyraujant\u012f stikl\u0105, j\u012f i\u0161tirpdyti? Jei \u201eStiklo soduose\u201c man nor\u0117josi sukelti atskirt\u012f, leisti \u017ei\u016brovui fizi\u0161kai pajusti t\u0105 pereinam\u0105j\u0105 b\u016bsen\u0105, kuri j\u012f skiria nuo scenos, tai \u201eAlkyje\u201c prie\u0161ingai – nor\u0117josi, kad \u0161ok\u0117jai i\u0161 ties\u0173 egzistuojant\u012f stikl\u0105 tarp \u017ei\u016brovo ir \u0161ok\u0117jo pramu\u0161t\u0173; neleist\u0173, kad jis b\u016bt\u0173 riba. Filosofija \u010dia buvo \u012frankis.<\/p>\n

O jei kalb\u0117tume apie Airos Naginevi\u010di\u016bt\u0117s, kaip choreograf\u0117s filosofij\u0105? J\u016bs\u0173 k\u016bryboje, \u0161okyje tas filosofinis audinys visuomet egzistuoja: b\u016bsena, kuri slypi u\u017e sukurto, sukonstruoto \u0161okio darbo. <\/strong><\/p>\n

K\u016bryba yra menininko apsinuoginimas. Savo paskutiniame darbe \u201eAlkis\u201c nor\u0117jau pa\u017evelgti, kiek \u017emogus gali b\u016bti jautrus, tikras, atviras santykiui \u012f save, \u012f kit\u0105, ir \u012f pasaul\u012f. O spektaklyje fizi\u0161kai stovintys stiklo cilindrai kelia nujautr\u0117jimo klausimus.<\/p>\n

Man yra svarbus spektaklio daugiasluoksni\u0161kumas. Taip pat svarbu vaik\u0161\u010dioti tam tikromis parib\u0117mis. O temos vystosi paraleliai. Kurdama visada galvoju, kaip u\u017emegzti santyk\u012f su \u017ei\u016brovu, kad at\u0117j\u0119s \u012f \u0161okio spektakl\u012f jis atrast\u0173 bent nedidel\u0119 dalel\u0119 sav\u0119s. Galb\u016bt mano darbuose taip ir i\u0161kyla tas filosofinis sluoksnis.<\/p>\n","protected":false},"excerpt":{"rendered":"

Lapkri\u010dio 19 d. Men\u0173 spaustuv\u0117je vilnie\u010diai tur\u0117s galimyb\u0119 pamatyti itin retai rodom\u0105 Airos Naginevic\u030ciu\u0304te\u0307s darb\u0105 \u201eStiklo sodai\u201c. Ledin\u0117je scenografijoje \u012fr\u0117mintas …<\/p>\n","protected":false},"author":2,"featured_media":11897,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":[],"categories":[1],"tags":[],"yoast_head":"\nChoreograf\u0117 Aira Naginevi\u010di\u016bt\u0117 ir jos kintantys \u201eStiklo sodai\u201c - 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\/11\/15\/choreografe-aira-nagineviciute-ir-jos-kintantys-stiklo-sodai\/\" \/>\n<meta property=\"og:locale\" content=\"lt_LT\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Choreograf\u0117 Aira Naginevi\u010di\u016bt\u0117 ir jos kintantys \u201eStiklo sodai\u201c - Lithuanian Dance Centre\" \/>\n<meta property=\"og:description\" content=\"Lapkri\u010dio 19 d. 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Men\u0173 spaustuv\u0117je vilnie\u010diai tur\u0117s galimyb\u0119 pamatyti itin retai rodom\u0105 Airos Naginevic\u030ciu\u0304te\u0307s darb\u0105 \u201eStiklo sodai\u201c. 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