{"id":11981,"date":"2021-12-09T20:03:02","date_gmt":"2021-12-09T18:03:02","guid":{"rendered":"http:\/\/dance.lt\/new\/?p=11981"},"modified":"2021-12-10T16:10:28","modified_gmt":"2021-12-10T14:10:28","slug":"laikinumo-amzinybes-paieskos","status":"publish","type":"post","link":"https:\/\/dance.lt\/new\/2021\/12\/09\/laikinumo-amzinybes-paieskos\/","title":{"rendered":"Laikinumo am\u017einyb\u0117s paie\u0161kos"},"content":{"rendered":"

\u201eNematomas \u0161okis\u201c \u2013 pirmoji Vy\u010dio Jankausko premjera po karantino ir pirmoji po daugiau nei dvej\u0173 met\u0173 pertraukos (spektaklio \u201eEkspansija. Visata \u012feina \u012f mano k\u016bn\u0105\u201c premjera \u012fvyko 2019-\u0173j\u0173 baland\u012f). Laikotarpiu, \u00a0kai \u00a0i\u0161 \u0161okio spektakli\u0173 atimta teis\u0117 visaverti\u0161kai gyventi, atrodo d\u0117sninga perm\u0105styti \u0161io meno egzistavimo prielaidas ir galimybes. Ar sceninis \u0161okis gyvas tik tada, kai rodomas scenoje? Ar archyvuose i\u0161likusi med\u017eiaga yra tik prisiminimas apie \u0161ok\u012f, o galb\u016bt tai kitas, tolesnis jo gyvavimo etapas? Kaip i\u0161likti \u0161okiui, kuris puikiai priimamas publikos ir akivaizd\u017eiai jai reikalingas, ta\u010diau d\u0117l i\u0161orini\u0173 aplinkybi\u0173 pama\u017eu arba staiga u\u017eg\u0119sta?<\/p>\n

Paskutinio klausimo varomoji j\u0117ga, regis, yra ir nostalgija: \u201eNematomas \u0161okis\u201c \u2013 tai choreografo \u017eymiojo spektaklio \u201eLiepsnos vir\u0161 \u0161altojo kalno\u201c refleksija. \u0160is k\u016brinys \u017ei\u016brov\u0173 ir profesional\u0173 atmintyje i\u0161lik\u0119s kaip bene (o galb\u016bt pats) stipriausias V. Jankausko spektaklis: esteti\u0161kai patrauklus, stiprios komandin\u0117s dinamikos, id\u0117ji\u0161kai vientisas. B\u016btent jo archyvai rodomi ir analizuojami Nacionalin\u0117s dail\u0117s galerijos foj\u0117.<\/p>\n

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\nDainiaus Putino nuotraukos<\/em><\/p>\n

Svarstyti \u0161okio egzistavimo galimybes u\u017e pristatymo scenoje rib\u0173 choreografas surinko puiki\u0105 komand\u0105. Giedr\u0117 Kirkilyt\u0117, Lina Puod\u017eiukait\u0117 ir Andrius Katinas \u2013 patyr\u0119, brand\u016bs k\u016br\u0117jai, kuri\u0173 k\u016bnai saugo turtingus \u0161okio archyvus. Pati manau, kad jie saugo kur kas \u012fdomesn\u0119 informacij\u0105 nei daugyb\u0117s \u0161okio gerb\u0117j\u0173 kadaise pamatytas ir stipriai pam\u0117gtas spektaklis \u2013 vien d\u0117l to, kad su kiekvieno \u0161i\u0173 k\u016br\u0117j\u0173 patirtimis ir \u017einiomis nedaugelis yra susipa\u017ein\u0119. Ta\u010diau \u0161\u012fkart \u00a0tyrimo objektas yra \u201eNematomas \u0161okis\u201c, kurio analiz\u0117s objektai yra spektaklis \u201eLiepsnos vir\u0161 \u0161altojo kalno\u201c bei \u0161okio gyvavimo b\u016bdai.<\/p>\n

\u201eNematomas \u0161okis\u201c prasideda \u00a0ekrane transliuojama V. Jankausko paskaita apie \u0161okio efemeri\u0161kum\u0105, i\u0161likim\u0105 archyvuose, galimas egzistavimo formas (daugiausia tas, kuriose \u0161okis tradicine prasme n\u0117ra matomas). Paskaita grei\u010diausiai tur\u0117jo \u012fvesti \u017ei\u016brovus \u012f tem\u0105, priartinti j\u0173 \u017einias prie t\u0173, su kuriomis choreografas stat\u0117 spektakl\u012f. K\u016br\u0117jas tarsi apsidraud\u0117: \u00a0kad \u017emon\u0117s vieni kitus suprast\u0173, b\u016btinos pana\u0161ios patirtys arba ilgi pokalbiai, kuri\u0173 metu paai\u0161k\u0117ja, kaip kiekvienas supranta t\u0105 pat\u012f rei\u0161kin\u012f, o tik\u0117tis, kad visi susirink\u0119 \u017ei\u016brovai tur\u0117s pana\u0161i\u0173 patir\u010di\u0173, ne\u012fmanoma.<\/p>\n

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Ekranas \u00a0pritvirtintas ant stovo. Prasid\u0117jus paskaitai, \u012f scen\u0105 pama\u017eu \u017eengia \u0161ok\u0117jai, kurie i\u0161 nugaros apkabina ekran\u0105 ir geometrin\u0117mis trajektorijomis ve\u017eioja j\u012f po scen\u0105. I\u0161 prad\u017ei\u0173 tai suerzina. Kod\u0117l choreografas pasirinko auk\u0161to lygio k\u016br\u0117jus ir pasl\u0117p\u0117 juos u\u017e \u017eymi\u0173 \u0161okio teoretik\u0173 citat\u0173? Kod\u0117l spektaklio autorius renkasi transliuoti savo mintis ne per gyvo k\u016bno energij\u0105, \u00a0o tarpusavyje neb\u016btinai susijusiomis mokslinink\u0173 mintimis? Scena t\u0119siasi pakankamai ilgai, kad pavykt\u0173 atrasti savus \u00a0atsakymus. Galb\u016bt tai apib\u016bdina V. Jankausko k\u016brybos esm\u0119 bei filosofij\u0105: pirmame plane i\u0161kyla unikalus choreografo pasaulio suvokimas ir apsiskaitymas, o atlik\u0117jai t\u0117ra priemon\u0117, ne\u0161anti kito \u017emogaus id\u0117jas, suteikianti joms performatyvi\u0105 form\u0105. \u0160ok\u0117jai scenoje \u012fgalina dinami\u0161kai jud\u0117ti mintis, kurios i\u0161sakytos stati\u0161ka teksto forma \u201esurakint\u0173\u201c klausan\u010diojo smegenis, reikalaudamos per kelias minutes \u012f\u017evelgti s\u0105sajas, kurioms \u00a0atrasti pats choreografas tur\u0117jo kelet\u0105 met\u0173.<\/p>\n

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Tolesn\u0117se scenose k\u016br\u0117jai ie\u0161ko \u0161okio egzistavimo galimybi\u0173, analizuodami \u0161okio archyv\u0173 formas: d\u0117liojamos spektaklio nuotraukos, brai\u017eomos jud\u0117jimo trajektorijos, stebimas nuo publikos nusuktas k\u016brinio vaizdo \u012fra\u0161as. Pirmieji du aspektai tampa pamatu \u0161okio atk\u016brimui \u2013 ant grind\u0173, i\u0161pai\u0161yt\u0173 rodykl\u0117mis ir apd\u0117liot\u0173 nuotraukomis, pama\u017eu tiesiama \u0161okio danga. \u00a0Atlik\u0117jai nusirengia kasdieninius drabu\u017eius, \u00a0i\u0161sitraukia juodus kostiumus, kuriais i\u0161kloja balt\u0105 dang\u0105. \u012edomu, kad kostiumai tampa fig\u016bromis, per kurias \u201eNematomo \u0161okio\u201c atlik\u0117jai bando prisijaukinti \u201eLiepsnas vir\u0161 \u0161altojo kalno\u201c. Jie l\u0117tai i\u0161skleid\u017eia kostiumus, d\u0117lioja i\u0161 j\u0173 formas ir bando jas atkartoti savo k\u016bn\u0173 pozomis. Galiausiai trijul\u0117 kartu su kostiumais apsivelka juose i\u0161likusi\u0105 istorij\u0105 ir tampa k\u016brybine med\u017eiaga, integruojan\u010dia reikalingus archyvus bei pasirengusia sugr\u0105\u017einti prarast\u0105 \u0161okio materij\u0105.<\/p>\n

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\u0160tai \u010dia i\u0161 tinkamai paruo\u0161tos med\u017eiagos pradedama \u201elipdyti\u201c nauja \u0161okio materija. Trys atlik\u0117jai, kartodami pasirinktus judesius, auga savaranki\u0161kai, kol ilgainiui j\u0173 scenos \u012fgauna bendr\u0105 ritm\u0105 ir pradeda veikti i\u0161vien. Tai \u012fdomus poslinkis. Nuo pat prad\u017ei\u0173 buvo justi bendrai A. Katino, L. Puod\u017eiukait\u0117s ir G. Kirkilyt\u0117s kuriama atmosfera bei erdv\u0117s apibr\u0117\u017etis. Ta\u010diau akivaizdus buvo ir kiekvieno susitelkimas \u012f save bei sprendimas i\u0161 partnerio pasiimti tik tiek, kiek b\u016btina l\u0117tam, nuosekliam plika akimi nematomo \u0161okio augimui palaikyti. Prie\u0161paskutin\u0117je scenoje, kurioje \u017ei\u016brovai pamato \u201eLiepsn\u0173 i\u0161 \u0161altojo kalno\u201c i\u0161trauk\u0173 atkartojim\u0105 ar interpretacij\u0105, komanda veikia i\u0161vien, kurdama didel\u012f bendr\u0105 energijos burbul\u0105, metam\u0105 publikos kryptimi. \u010cia paai\u0161k\u0117ja, kad koks beb\u016bt\u0173 \u012fdomus l\u0117tas, i\u0161t\u0119stas, nuoseklus veiksmo gimimo procesas, jis yra niekas, palyginus \u00a0su tradici\u0161kai fizine \u0161okio i\u0161rai\u0161ka. Kita vertus, sunku pamatuoti, kiek \u012ftakos \u0161okio \u012fsp\u016bd\u017eiui tur\u0117jo iki jo atvedusi istorija.<\/p>\n

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Svarbu, kad \u201eNematomas \u0161okis\u201c baigiasi pa\u010di\u0173 atlik\u0117j\u0173 atsitraukimu i\u0161 scenos, kuri lieka tu\u0161\u010dia, ta\u010diau kurioje, regis, vis dar vyksta veiksmas. Veiksmas nesibaigia ir atlik\u0117jams nusirengus spektaklio kostiumus bei gr\u012f\u017eus prie kasdienini\u0173 drabu\u017ei\u0173. Visa tai \u017eenklina erdv\u0119, kuri\u0105 kiekvienas \u017ei\u016brovas paskiria \u0161okio paliktam \u012fsp\u016bd\u017eiui t\u0119stis ir pl\u0117stis.<\/p>\n

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Nepaprastai \u012fdomus V. Jankausko pasirinkimas nuosekliai analizuoti \u0161okio galimybes egzistuoti u\u017e \u012fprasto \u201e\u0161ok\u0117ji\u0161ko\u201c jud\u0117jimo rib\u0173. Pati skepti\u0161kai vertinu id\u0117j\u0105, kad scenos meno k\u016brinys gali b\u016bti am\u017einas ir tur\u0117ti pastebimas ilgalaikes pasekmes. Mes galime m\u0105styti apie \u0161ok\u012f, galime sakyti, kad \u0161oka mintys, o ne k\u016bnas, ta\u010diau kalbant apie \u0161ok\u012f kaip apie atgalinio ry\u0161io siekiant\u012f men\u0105, jis veikia tik tuomet, kai yra rodomas scenoje. Visa, kas lieka po to, yra tik prisiminimai, galintys atgaminti patirtis tiems, kurie mat\u0117 \u00a0gyv\u0105 atlikim\u0105. Tad pana\u0161u, kad dauguma pastang\u0173 suteikti \u0161okiui skirtingas formas paprastai sugr\u012f\u017eta prie to paties tikslo: laike suvokiamo ir nesugr\u0105\u017einamo meno k\u016brinio.
\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":"

\u201eNematomas \u0161okis\u201c \u2013 pirmoji Vy\u010dio Jankausko premjera po karantino ir pirmoji po daugiau nei dvej\u0173 met\u0173 pertraukos (spektaklio \u201eEkspansija. Visata …<\/p>\n","protected":false},"author":2,"featured_media":11994,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":[],"categories":[9],"tags":[],"yoast_head":"\nLaikinumo am\u017einyb\u0117s paie\u0161kos - 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\/09\/laikinumo-amzinybes-paieskos\/\" \/>\n<meta property=\"og:locale\" content=\"lt_LT\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Laikinumo am\u017einyb\u0117s paie\u0161kos - Lithuanian Dance Centre\" \/>\n<meta property=\"og:description\" content=\"\u201eNematomas \u0161okis\u201c \u2013 pirmoji Vy\u010dio Jankausko premjera po karantino ir pirmoji po daugiau nei dvej\u0173 met\u0173 pertraukos (spektaklio \u201eEkspansija. 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