{"id":11963,"date":"2021-12-02T12:22:39","date_gmt":"2021-12-02T10:22:39","guid":{"rendered":"http:\/\/dance.lt\/new\/?p=11963"},"modified":"2021-12-02T12:23:42","modified_gmt":"2021-12-02T10:23:42","slug":"raudonos-kojines-ir-kombinezonai","status":"publish","type":"post","link":"https:\/\/dance.lt\/new\/2021\/12\/02\/raudonos-kojines-ir-kombinezonai\/","title":{"rendered":"Raudonos kojin\u0117s ir kombinezonai"},"content":{"rendered":"

Vaik\u0161\u010diojau miesto gatv\u0117mis, snyguriavo. Galvojau, nuo ko prad\u0117ti tekst\u0105 apie du paaugliams skirtus \u0161okio k\u016brinius \u2013 \u0160eiko \u0161okio teatro spektakl\u012f \u201eNematomi\u201c ir \u201eLow Air\u201c darb\u0105 \u201eMe Two \/ Savoj Kr\u016bvoj\u201c. U\u017e aki\u0173 u\u017ekliuvo u\u017era\u0161as vitrinoje: Freedom. To ask nothing. To expect nothing. To depend on nothing<\/em>. Perskai\u010diau i\u0161 tos paaugli\u0161kos b\u016bsenos, kuria u\u017ekr\u0117t\u0117 spektakliai, ir supratau: oh God<\/em>. Paauglyst\u0117 \u2013 etapas, kai pajunti turb\u016bt did\u017eiausi\u0105 vidin\u012f visa ko stygiaus<\/em> jausm\u0105, kai tikiesi<\/em> visko i\u0161 eil\u0117s ir kai vis dar siaubingai priklausai<\/em> nuo kit\u0173. Freedom? Forget it<\/em>. Bet kaip tik \u0161okis yra \u0161it\u0173 \u017emoni\u0173 laisv\u0117s b\u016bsena: \u201eSavos kr\u016bvos\u201c jaunimas ta\u0161kosi energija ir atviru, net agresyviu judesiu atsikovoja savo erdv\u0119 visame tame, k\u0105 vadiname sociumu. \u201eNematom\u0173\u201c heroj\u0117s si\u016blo paaugliams nuosekli\u0105 kelion\u0119 i\u0161 kovos jausmo \u012f savo individualyb\u0117s pripa\u017einim\u0105.<\/p>\n

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\n\u201eMe Two \/ Savoj Kr\u016bvoj\u201c. D. Matvejevo nuotr.<\/em><\/p>\n

Jauno choreografo Manto \u010cernecko \u201eNematomi\u201c skirti jaunesniam \u017ei\u016brovui \u2013 tam, kuris vis dar nori tapti superherojumi, bet jau svajoja ir apie gali\u0105 tapti nematomu. Iki tam tikro am\u017eiaus nematomumas t\u0117ra \u017eaidimas; art\u0117jant paauglyst\u0117s link, i\u0161nykti u\u017esimanai sud\u0117tingose socialin\u0117se situacijose \u2013 nebe \u017eaidimuose. \u201eLow Air\u201c spektaklyje jau keliam\u0117s \u012f kit\u0105 laik\u0105 \u2013 t\u0105 paauglyst\u0117s etap\u0105, kuriame suvoki, kad esi matomas labiau nei bet kada anks\u010diau, kad visuomen\u0117 tave pastebi ir prie tav\u0119s prieina tenkinti savo poreiki\u0173. \u010cia jau nebesvajoji tapti nematomu \u2013 \u010dia sunku ir klampu, \u010dia prasideda rib\u0173 matavimo ir br\u0117\u017eimo zona, savo koj\u0173 ir ne savo rank\u0173 zona.<\/p>\n

Bet gr\u012f\u017ekime prie superheroj\u0173. Spalvoti d\u017eemperiai, juodos keln\u0117s. Po apa\u010dia \u2013 slapti ry\u0161k\u016bs superheroj\u0173 kombinezonai su komiks\u0173 motyvais. Dar po apa\u010dia \u2013 apatiniai, kuri\u0173 g\u0117da, nes g\u0117da sav\u0173 k\u016bn\u0173. Nes dar ne tie laikai \u2013 dar matuojam\u0117s galiomis, dar ant mar\u0161kin\u0117li\u0173 turi b\u016bti u\u017era\u0161yta Puff! ir Bam! Ir sav\u0105 kalb\u0105, kaip kokie sm\u0117lio d\u0117\u017e\u0117s lankytojai, dar turim \u2013 Spliut!<\/p>\n

\"\"<\/a>
\n\u201eNematomi\u201c. E. Sabaliaskait\u0117s nuotr.<\/em><\/p>\n

Spektaklyje \u201eNematomi\u201c \u0161ok\u0117jos Oksana Griaznova, Viktorija Zobielait\u0117 ir Inga Kuznecova jaunesniems paaugliams priimtinu tempu ir \u012fvaizd\u017eiais tyrin\u0117ja buvim\u0105 tarp kit\u0173 ir nor\u0105 \u012ftilpti \u012f chebr\u0105. Siekis \u012ftilpti greitai perauga \u012f nor\u0105 praaugti, vir\u0161yti kitus, arba \u012f poreik\u012f savintis ir prie savo asmenyb\u0117s pripliusuoti kit\u0105 asmenyb\u0119. Nes kur du \u2013 ten ne vienas, o \u0161iuo laiku tai \u2013 vertyb\u0117. Ta\u010diau \u0161alia lengvai skleid\u017eiasi ir individualyb\u0117s paie\u0161kos: \u010dia ypatinga tampa Oksanos Griaznovos heroj\u0117, nuvargusi nuo kovos d\u0117l vietos po saule ir staiga legalizuojanti savo k\u016bno autenti\u0161kum\u0105, ir net juo pati sau viena besigro\u017einti. Spektaklyje daug labai tikr\u0173 paaugli\u0161ko bendravimo situacij\u0173, kuriose \u2013 ir atrastas akis \u012f ak\u012f<\/em> ry\u0161ys, ir noras galvoti kitaip (ka\u017ekas apsinuoginti dar nenori, o ka\u017ekas \u2013 jau taip!), ir nebe\u017einojimas, d\u0117l ko kaunam\u0117s, jei i\u0161 kovos tikslo \u2013 \u017emogaus \u2013 rankose teliko jo d\u017eemperis, o kova vis tiek t\u0119siasi. \u017dmogus nueina, gr\u012f\u017eta, v\u0117l nueina, o kova vis dar verda \u2013 tarsi pati sau. Nes n\u0117ra kur i\u0161lieti susikaupusio milijono emocij\u0173, ir pl\u0117\u0161ytis tarp d\u017eemperi\u0173 \u2013 \u0161iuo metu geriausias sprendimas.<\/p>\n

\"\"<\/a>
\n\u201eNematomi\u201c. E. Sabaliaskait\u0117s nuotr.<\/em><\/p>\n

Manto \u010cernecko choreografiniam pie\u0161iniui b\u016bdingas smagumas ir lengvumas, drauge ir flirtas su auditorija: scenos d\u0117stosi spar\u010diai tarsi komiksas, kiekviena situacija komunikuoja ai\u0161ki\u0105 \u017einut\u0119. Paaugli\u0161kam siausmui ironijos suteikia klasikin\u0117 muzika. \u201eNematom\u0173\u201c muzika \u2013 tarsi \u012f emocin\u012f chaos\u0105 inkrustuojama kita realyb\u0117, kurioje vyrauja harmonija, tonalumas, logika, ritmas ir ma\u017eoras. Absoliutus kontrastas paauglyst\u0117s aritmui ir atonalumui. B\u016btent \u0161iame kontraste skleid\u017eiasi sinchrono su visuomene stoka \u2013 \u0161ok\u0117jos primena bjauriojo an\u010diuko situacij\u0105 didingame gulbi\u0173 e\u017eere. Tik \u010dia an\u010diukai ne nuskriausti, o labai tvirti ir ar\u0161\u016bs, grie\u017eti ir auk\u0161tai i\u0161keltomis galvomis. Visas spektaklis \u2013 j\u0173 vidin\u0117s laikysenos evoliucija i\u0161 pasi\u0161iau\u0161usios \u012f u\u017etikrintesn\u0119, ramesn\u0119, ai\u0161kesn\u0119.<\/p>\n

\"\"<\/a>
\n\u201eNematomi\u201c. E. Sabaliaskait\u0117s nuotr.<\/em><\/p>\n

\u201eLow Air\u201c spektaklio \u201eMe Two \/ Savoj Kr\u016bvoj\u201c situacija \u2013 kitokia: jis ne tik skirtas paaugliams; j\u012f ir kuria, ir atlieka paaugliai. \u201eSavoj Kr\u016bvoj\u201c yra ne spektaklis, o rei\u0161kinys: socialiniai tinklai pilni j\u0173 trup\u0117s gyvenimo, ir \u0161iuo atveju spektaklis yra ne tik \u0161okio k\u016brinys, bet dar labiau \u2013 \u0161itos chebros susitikimas su aplinka, \u0117jimas \u012f pokalb\u012f, mar\u0161kini\u0173 prasisegimas visiems matant. Rai\u0161kus, pla\u010diaformatis ir ar\u0161us savo forma (ar\u0161i pati energija, ne \u0161ok\u0117j\u0173 elgesys), spektaklis transliuoja ypa\u010d jautr\u0173 turin\u012f: paaugliai dokumenti\u0161kai kalba apie lyti\u0161kum\u0105, k\u016bn\u0105, prisilietim\u0105, prievart\u0105, savo am\u017ei\u0173, bendraam\u017eius ir t\u0117vus, netgi t\u0117v\u0173 orientacij\u0105. T\u0117tis yra, t\u0117\u010dio n\u0117ra<\/em>, \u2013 sako jie, \u2013 nuo to niekas nesikei\u010dia<\/em>. Jie daug kart\u0173 kartoja epitet\u0105 ugly<\/em>, jie nuolat gniau\u017eia kum\u0161\u010dius, o paskui velkasi trumpas g\u0117l\u0117tas lengv\u0173 audini\u0173 suknutes ir s\u0117dasi kaip geri vaikai ant \u017eem\u0117s. Jie yra VI-SO-KIE, gyvi, paaugli\u0161kai narcizi\u0161ki, emocingi. Ir kalba jie nuo sav\u0119s, ir \u0161oka nuo sav\u0119s \u2013 tik justi \u201eLow Air\u2019\u0173\u201c gatv\u0117s<\/em> jausmas<\/em>, re\u017eisieriaus Jono Tertelio teatro dokumenti\u0161kumas ir kompozitor\u0117s Agn\u0117s Matulevi\u010di\u016bt\u0117s akustinis pasiutimas. Regis, \u0161itai komandai pavyko ne kurti k\u016brin\u012f, o gyventi gyvenim\u0105, kuriame ne k\u016bryba yra \u0161alia<\/em>, o realyb\u0117, kuriai lieka tik \u0161alutinis poveikis. Visa kita \u2013 ta sava kr\u016bva, kurioje yra laisv\u0117 jausti, laisv\u0117 kalb\u0117ti ir laisv\u0117 jud\u0117ti. Ir taip, ty\u010dia tris kartus pakartojau \u017eod\u012f laisv\u0117<\/em>, ir pakartosiu dar: nes \u201eSavos Kr\u016bvos\u201c svarbiausias jausmas \u2013 laisv\u0117 b\u016bti savimi, kurioje b\u016bti<\/em> pakanka, \u012frodin\u0117ti nebereikia. Kad tikrai pakanka, matyti finalin\u0117se scenose, kuri\u0173 energija ir atmosfera net ir nebe paaugliams nurauna stog\u0105, i\u0161ne\u0161a.<\/p>\n

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\n\u201eMe Two \/ Savoj Kr\u016bvoj\u201c. Titografija.jpg nuotr.<\/em><\/p>\n

Apie \u0161\u012f spektakl\u012f jau daug prira\u0161yta. Kartotis nesinori. Norisi tik pasakyti, kad pana\u0161u, jog \u0161okis \u0161iai kr\u016bvai yra galimyb\u0117 b\u016bti autonomi\u0161kiems. \u0160okyje jie nepriklausomi nuo t\u0117v\u0173, mokyklos, visuomenini\u0173 interes\u0173 ir spaudimo. \u0160okyje jie patys kuria d\u0117snius ir taisykles, gal netgi kuria nauj\u0105 save. Gal net atgauna ar \u012fsteigia savo bals\u0105, kuris \u010dia ne tik girdisi \u2013 jis yra transliuojamas. Taip jis tampa meniniu objektu, o meniniai objektai atsiskiria nuo tikrov\u0117s ir sukuria nauj\u0105 tikrov\u0119. Savo<\/em>. Tod\u0117l \u010dia kiekvienas \u017eodis tampa svarbiausias, vienintelis, b\u016btinas. Reikalingas ir girdimas, kitaip nei veikiausiai yra realyb\u0117je. Bet kas ta realyb\u0117? Viliuosi, jie jau net nebe\u017eino jokios realyb\u0117s: gyvena \u010dia ir \u0161itaip, nes \u0161itaip gyventi jiems labai tinka. Ir \u012f Kanus va\u017eiuoti jiems tinka.<\/p>\n

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\n\u201eMe Two \/ Savoj Kr\u016bvoj\u201c. A. Skulskyt\u0117s nuotr.<\/em><\/p>\n

Spektakl\u012f \u201eMe Two \/ Savoj Kr\u016bvoj\u201c \u017ei\u016br\u0117jau Men\u0173 spaustuv\u0117s Juodojoje sal\u0117je. Skaitydama pirm\u0105j\u0105 premjer\u0105 \u201eAtletikos\u201c erdv\u0117se ma\u010diusios scenos men\u0173 kritik\u0117s Au\u0161ros Kaminskait\u0117s mintis apie \u0161ok\u0117j\u0173 agresij\u0105 ir brandos stygi\u0173, galvoju, ar per t\u0105 laik\u0105 taip pasikeit\u0117 spektaklis, ar niekas nepasikeit\u0117, tik skiriasi po\u017ei\u016bris. Man b\u016btent faktas, kad pavyko i\u0161saugoti t\u0105 paaugli\u0161k\u0105 \u012fvairov\u0119 ir negeb\u0117jim\u0105 i\u0161 suaugusiojo pozicijos nustatyti, ar jis \u0161iandien agresyvus, ar tyl\u0117s, ar kalb\u0117s; ar myl\u0117s, ar ta diena, kai ne<\/em>, yra didel\u0117 spektaklio vertyb\u0117. Ne\u017einoti, ar pri\u0117j\u0119s stums, ar apkabins, \u2013 toks jausmas b\u016bti \u0161alia paauglio. Ir taip, jis nepatogus. Bet saugoti \u017ei\u016brov\u0173 taurius\u00a0 jausmus nuo susid\u016brimo su paaugli\u0161ka nenusp\u0117jama j\u0117ga nematau reikalo.<\/p>\n

\"\"<\/a>
\n\u201eMe Two \/ Savoj Kr\u016bvoj\u201c. D. Matvejevo nuotr.<\/em><\/p>\n

Manau, jog nenuglaz\u016bruoti, neu\u017eanspauduoti ir nepaprotinti veidai ir k\u016bnai, min\u010di\u0173 fragmentai, o ne rezultatyvios analiz\u0117s \u0161iuo atveju yra ta dokumentika, kuri \u0161okio nenuskriaud\u017eia, o atvirk\u0161\u010diai \u2013 suteikia papildom\u0105 kr\u016bv\u012f. Juk tikslas \u2013 ne nulipdyti i\u0161 j\u0173 skulpt\u016bras, o leisti jiems b\u016bti, kuo yra, ir vien tuo ka\u017ek\u0105 reik\u0161ti.<\/p>\n

\"\"<\/a>
\n\u201eMe Two \/ Savoj Kr\u016bvoj\u201c. Titografija.jpg nuotr.<\/em><\/p>\n

Tiesa, galb\u016bt \u201eAtletikoje\u201c buvo kitaip, bet spaustuv\u0117s Juodojoje papildomos spektaklio salos (kurias pati sau vadinau oran\u017eerija ir me\u0161kiuk\u0173 kampeliu) tampa re\u017eis\u016briniu triuk\u0161mu. Taip, jos kuria vakar\u0117lio poj\u016bt\u012f, visuose kambariuose visada ka\u017eko s\u0117din\u010dio<\/em> poj\u016bt\u012f, bet i\u0161 ties\u0173 akys visada krypsta \u012f veidrod\u017ei\u0173 karalyst\u0119 \u2013 scenos aik\u0161tel\u0119 per vidur\u012f. Ir tai, kad negali leistis b\u016bti visi\u0161kai u\u017eliejamas tos erdv\u0117s t\u016brio, o vis bla\u0161kaisi tarp me\u0161kino, g\u0117li\u0173 ir antino, i\u0161skaido d\u0117mes\u012f ir, deja, nieko neduoda. Nes tie, kurie duoda, visada telpa tarp veidrod\u017ei\u0173. Kiek band\u017eiau \u2013 tikrai visada.<\/p>\n

\"\"<\/a>
\n\u201eMe Two \/ Savoj Kr\u016bvoj\u201c. D. Putino nuotr.<\/em><\/p>\n

Man patinka, kad Lietuvos meno (ne tik \u0161okio) laukas vis rim\u010diau \u017ei\u016bri \u012f nuosavo kapitalo \u012f teatr\u0105 neatne\u0161an\u010dias auditorijas: vaikus ir paauglius. Kad leid\u017eia jiems siausti ir kalb\u0117ti, o ne nutildo ir ka\u017eko moko, ka\u017ek\u0105 d\u0117sto. Tai yra fuckin\u2019<\/em> svarbu, nes menas yra \u012frankis, padedantis kalb\u0117ti. Menas yra tema, nuo kurios atsispyr\u0119 galime pasakyti tai, kas nepasisako atsispyrus nuo virtuv\u0117s ar mokyklos koridoriaus. Let\u2019s get our freedom by ourselves. Or by art. Or by dance.<\/em><\/p>\n

P. S. Tur\u0117jau jau baigti recenzij\u0105. Bet nei\u0161eina. I\u0161 ties\u0173 labiausiai nor\u0117jau para\u0161yti apie raudonas kojines. \u201eMe Two \/ Savoj Kr\u016bvoj\u201c yra masin\u0117 sinchronin\u0117 scena, kuri\u0105 \u017ei\u016br\u0117jau steb\u0117dama tik kojas ir kojines. Ir t\u0173 kojini\u0173 judesio architekt\u016br\u0105, kurioje visk\u0105 pamir\u0161au. Kad esu spektakly pamir\u0161au, kad esu \u017ei\u016brov\u0117 pamir\u0161au: klaid\u017eiojau po kojini\u0173 miest\u0105 ir b\u016b\u010diau nei\u0161\u0117jusi, jei neb\u016bt\u0173 nu\u0117jusios kojos. Bet kojos visada nueina.<\/p>\n

Dabar jau baigiu.<\/p>\n","protected":false},"excerpt":{"rendered":"

Vaik\u0161\u010diojau miesto gatv\u0117mis, snyguriavo. Galvojau, nuo ko prad\u0117ti tekst\u0105 apie du paaugliams skirtus \u0161okio k\u016brinius \u2013 \u0160eiko \u0161okio teatro spektakl\u012f …<\/p>\n","protected":false},"author":2,"featured_media":11973,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":[],"categories":[9],"tags":[],"yoast_head":"\nRaudonos kojin\u0117s ir kombinezonai - 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\/12\/02\/raudonos-kojines-ir-kombinezonai\/\" \/>\n<meta property=\"og:locale\" content=\"lt_LT\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Raudonos kojin\u0117s ir kombinezonai - Lithuanian Dance Centre\" \/>\n<meta property=\"og:description\" content=\"Vaik\u0161\u010diojau miesto gatv\u0117mis, snyguriavo. 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