{"id":12385,"date":"2022-03-28T18:02:10","date_gmt":"2022-03-28T15:02:10","guid":{"rendered":"http:\/\/dance.lt\/new\/?p=12385"},"modified":"2022-03-28T18:09:21","modified_gmt":"2022-03-28T15:09:21","slug":"grozio-itampos-dimitris-papaioannou-spektaklis-transverse-orientation-vilniuje-naujajame-baltijos-sokyje","status":"publish","type":"post","link":"https:\/\/dance.lt\/new\/2022\/03\/28\/grozio-itampos-dimitris-papaioannou-spektaklis-transverse-orientation-vilniuje-naujajame-baltijos-sokyje\/","title":{"rendered":"Gro\u017eio \u012ftampos. Dimitris Papaioannou spektaklis \u201eTransverse Orientation\u201c Vilniuje, \u201eNaujajame Baltijos \u0161okyje\u201c"},"content":{"rendered":"

Festivalio \u201cNaujasis Baltijos \u0161okis\u201d atidarymo d\u017eiaugsmas visi\u0161kai prie\u0161ingas to d\u017eiaugsmo prie\u017easties turiniui. Nes prie\u017eastis \u2013 graik\u0173 menininko Dimitris Papaioannou spektaklis \u201eTransverse Orientation\u201c festivalio atidarymui kovo 25-26 dienomis. Spektaklio d\u0117mesys sutelktas \u012f \u017emonijos pastangas veikti ir siekti, kartais gana pavykusias, da\u017eniau bevaises ir juokingas. Ta\u010diau festivalio vadov\u0117s Gintar\u0117s Masteikait\u0117s keleri\u0173 met\u0173 pastangos atsikviesti \u012f Vilni\u0173 unikalaus, genijumi vadinamo k\u016br\u0117jo spektakl\u012f apvainikuotos \u0161venti\u0161ka nuotaika, dideliu \u017ei\u016brov\u0173 d\u0117mesiu ir d\u0117kingumu: Vilnius Dimitris Papaioannou spektakliui tapo viena i\u0161 stoteli\u0173 tarptautiniame gastroli\u0173 ture, vykstan\u010diame antrus metus.<\/p>\n

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\nDimitris Papaioannou spektaklis \u201eTransverse Orientation\u201c. D. Ali\u0161ausko nuotr.<\/em><\/p>\n

\u201eTransverse Orientation\u201c savo kelion\u0119 prad\u0117jo praeit\u0105 bir\u017eel\u012f Lijono \u0161oki\u0173 bienal\u0117je, ir nuo ten j\u012f lydi su\u017eav\u0117t\u0173 vertintoj\u0173 atsiliepimai, bandymai suvokti, paai\u0161kinti, interpretuoti. Dimitris Papaioannou k\u016briniuose randama graik\u0173 mit\u0173 at\u0161vait\u0173, u\u017euomin\u0173 \u012f dail\u0117s istorij\u0105. Tai tarsi pakyl\u0117ja spektaklius \u012f \u0161ventenyb\u0117s status\u0105, atrodyt\u0173, tik \u017ei\u016br\u0117k ir melskis, nes matai \u0161edevrus \u0161edevre. O pati \u201eTransverse Orientation\u201c prad\u017eia n\u0117 i\u0161 tolo neskatina pamaldaus \u017ei\u016br\u0117jimo.<\/p>\n

Kas tau melsis neproporcingai i\u0161ilgintoms, komi\u0161kai \u0161ok\u010diojan\u010dioms \u017emogystoms su bumbuliukais vietoj galv\u0173. Vertintojai \u010dia \u012f\u017ei\u016br\u0117jo ir Alberto Giacometti skulpt\u016br\u0173 siluetus, ir Charleso Chaplino persona\u017eo eisen\u0105. Scenoje \u2013 pirmosios bevais\u0117s pastangos: \u017emogystos nor\u0117t\u0173 pataisyti blyksin\u010di\u0105 dienin\u0117s \u0161viesos lemp\u0105, tam ir atsitemp\u0117 kop\u0117\u010dias, bet u\u017euot tais\u0119 ima lankstyti i\u0161 kop\u0117\u010di\u0173 \u012fvairias fig\u016bras ir gr\u016bsdamiesi laipioti per jas. Ap\u0161vietimas gana blausus, lyg spektaklis dar neprad\u0117tas, nors scenoje ar\u0161us vyksmas, ir atrodo, kad \u017emonijos ten pl\u016bkiasi daug, nors i\u0161 ties\u0173 \u2013 ar ne \u0161e\u0161\u0117liai padaugina veik\u0117j\u0173 skai\u010di\u0173? Jie juk tik \u0161e\u0161i? Septyni? Toks Papaioannou ap\u0161vietimas. Lyg nereik\u0161mingas, bet aktyvus.<\/p>\n

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\n<\/a>Dimitris Papaioannou spektaklis \u201eTransverse Orientation\u201c. Julian Mommert nuotr., 2021<\/em><\/p>\n

Re\u017eisierius yra sak\u0119s, kad \u0161i\u0105 pirm\u0105j\u0105 \u201eTransverse Orientation\u201c scen\u0105 jis dar\u0119s juoking\u0105. Jeigu publika Vilniuje nesijuok\u0117, gal tik vienas kitas pats sau \u0161yptel\u0117jo, bent jau toks garselis kartais nuvilnydavo, ar manysime, kad genijaus pastangos \u0161\u012fkart bevais\u0117s? Telieka tai atviras klausimas, toji publikos \u012ftampa.<\/p>\n

Keist\u0173, fantasmagori\u0161k\u0173 sutv\u0117rim\u0173 bus ir v\u0117liau. \u201eSiurrealistinis teatras\u201c, kaip tai ne kart\u0105 \u012fvardyta kritik\u0173. Papaioannou m\u0117gsta kurti k\u016bn\u0173 vaizdinius, vien\u0105 persona\u017e\u0105 i\u0161 dviej\u0173 k\u016bn\u0173, visai nesl\u0117pdamas, kad i\u0161 tikr\u0173j\u0173 tai du k\u016bnai, ir gali pam\u0117gint atsp\u0117ti, kaip tai padaryta, kai \u017eengia nuoga fig\u016bra, kurios vir\u0161utin\u0117 pus\u0117 moters, apa\u010dia \u2013 vyro, arba \u2013 ropoja gyvis moters veidu ir torsu, o gyvio kojos atsuktos atgal ir jos ka\u017ekaip nemoteri\u0161kos. Kentauro variantas?<\/p>\n

Daug nuogo k\u016bno Papaioannou spektakliuose. Graikijos menininko kasdienyb\u0117je tai buvo ir teb\u0117ra \u012fprasta, i\u0161 gyvenime kone kasdien matyt\u0173 antikini\u0173 skulpt\u016br\u0173 tai at\u0117jo \u012f jo k\u016brinius. Kaip ir mit\u0173 motyvai. Scenoje \u2013 jautis. Ne gyvulys, o jo imitacija, bet labai tikrovi\u0161ka. Jis \u2013 ir i\u0161 mito apie Kretos karaliaus Mino \u017emon\u0105 Pasifaj\u0119, \u012fsimyl\u0117jusi\u0105 jaut\u012f, nuo jo pagimd\u017eiusi\u0105 pabais\u0105 Minotaur\u0105, ir i\u0161 mito apie \u012fsimyl\u0117jus\u012f Dzeus\u0105, kuris pasivert\u0117 jau\u010diu, kad pagrobt\u0173 gra\u017ei\u0105j\u0105 Europ\u0105. Gal ir daugiau yra legend\u0173 apie jaut\u012f, ispani\u0161k\u0173, gal ir lietuvi\u0161k\u0173, bet spektaklis \u2013 ne testas \u017ei\u016brovams, o reginys, ir \u0161tai pra\u0161om, susipa\u017einkite su tuo herojumi: jis nirtulingas, net keli artistai j\u012f tramdo (r\u016bpinasi jo judesiais), o kai gyv\u016bnas i\u0161trok\u0161ta \u2013 gauna kibir\u0105 vandens ir i\u0161ki\u0161a \u201elabai tikr\u0105\u201c lie\u017euv\u012f, kuriuo net mikrofono stieb\u0105 palai\u017eo, met\u0119s \u017evilgsn\u012f \u017ei\u016brovams.<\/p>\n

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\nDimitris Papaioannou spektaklis \u201eTransverse Orientation\u201c. Julian Mommert nuotr., 2021<\/em><\/p>\n

Papaioannou niekur neskuba. Visi motyvai vystomi i\u0161 l\u0117to, gali \u012fsi\u017ei\u016br\u0117ti ir kurti drauge su menininku, ne vien likti apstulbintas jo regini\u0173, kartais lydim\u0173 Antonio Vivaldi muzikos fragment\u0173, da\u017eniau \u2013 tylos. Vis atrodo, kad ka\u017ekas tuoj susid\u0117lios \u012f pasakojim\u0105 ir atsakys \u012f klausimus. Ta\u010diau vientiso siu\u017eeto \u010dia nesulauksi. Tik galb\u016bt v\u0117l pagausi lyg ir suprast\u0105 motyv\u0105: kiek daug judesi\u0173 skiriama pastangoms ir kaip da\u017enai jos absurdi\u0161kos, agresyvios, berg\u017ed\u017eios.\u00a0 Galb\u016bt atpa\u017einsi gra\u017ei\u0105j\u0105 Europ\u0105, ne\u0161am\u0105 jau\u010dio, ir ji gerai jau\u010diasi grobiama, koketi\u0161kai i\u0161sitiesusi jam ant nugaros. O tas jaunuolis, taip ry\u017etingai, kartu ir komi\u0161kai mojuojantis kardu \u2013 ar ne Tes\u0117jas, kuris nu\u017eudys Minotaur\u0105, vyr\u0105 jau\u010dio galva? \u0160is \u2013 persona\u017eas, u\u017esimov\u0119s jau\u010dio galv\u0105 \u2013 kaip tik guli scenos \u0161one. Jaunuolis kerta, jau\u010dio galva nusirita. Reik\u0161mingas kulminacinis spektaklio momentas? Nes Minotauro nu\u017eudymas \u2013 tai pergal\u0117, pabaisos sunaikinimas! O kas ten vyksta paraleliai: vienas i\u0161 komi\u0161k\u0173j\u0173 siu\u017eet\u0173, kai scenos grindimis \u201eplaukia\u201c persona\u017eas su plaukmenimis. Ir per vis\u0105 \u201eTransverse Orientation\u201c spektakl\u012f taip. Sukuriama iliuzija, manaisi, kad jau pagavai, o ta iliuzija jau i\u0161vaikyta. Spektaklio eiga nuolat pasi\u0161aipys i\u0161 l\u016bkes\u010di\u0173.<\/p>\n

Kur pastangos, ten ir Sizifo mitas. J\u012f galima \u012f\u017ei\u016br\u0117ti daugyb\u0117je \u201eTransverse Orientation\u201c motyv\u0173. Tik niekas ten neridena akmens \u012f kaln\u0105. Dau\u017eo galva \u012f sien\u0105, kai gali \u012feiti pro siaurutes duris. Stato statin\u012f i\u0161 did\u017eiuli\u0173 putplas\u010dio plyt\u0173, pl\u016bstan\u010di\u0173 pro tas siaurutes duris; stato, kad u\u017elip\u0119 nugri\u016bt\u0173 ir sugriaut\u0173 statin\u012f. O atsikartojantis lipimas kop\u0117\u010diomis taisyti blyksin\u010dios lempos\u2026 Ir \u010dia pat pastang\u0173 mitas gali \u012fgauti pramogos motyv\u0105, nes paprastas baltas putplas\u010dio kubas, vartomas ant jo lipan\u010di\u0173 ir kryk\u0161taujan\u010di\u0173 artist\u0173, gali pavirsti j\u016bros banga, \u012f kuri\u0105 \u0161oka, neria vis kita besimaudanti pora.<\/p>\n

Vienas i\u0161 atpa\u017e\u012fstamesni\u0173 dail\u0117s motyv\u0173 \u2013 Sandro Boticelli \u201eVeneros gimimas\u201c. Na, bet irgi su l\u016bkes\u010diais (jeigu tokie buvo) pasielgta papaioannoui\u0161kai \u2013 neleid\u017eiant pamir\u0161ti, kad esi teatre, \u017ei\u016bri spektakl\u012f. I\u0161 prad\u017ei\u0173 scen\u0105 \u012fsiver\u017eia gr\u0117sminga juoda d\u0117m\u0117. Kit\u0105 akimirk\u0105 tai jau boticelli\u0161kas gro\u017eis \u2013 nes \u201ed\u0117m\u0117\u201c atsisuka ir virsta gra\u017eia moterimi, kuri\u2026 Lyg moliu apipilta? Ji mel\u017eia i\u0161 sav\u0119s ka\u017ekok\u012f glit\u0173 skyst\u012f?.. Viskas l\u0117tai l\u0117tai l\u0117tai. Kol \u012f\u017ei\u016bri k\u016bdik\u012f jos rankose. Vis tas ap\u0161vietimas, jis sukuria \u0161vyt\u0117jim\u0105. Optin\u0117 iliuzija, regimoji poezija, nieko pernelyg nepoetinant. Gra\u017eioji moteris su k\u016bdikiu nuve\u017eama gulinti ant juodo kiauto, kuris ir buvo \u201ed\u0117m\u0117\u201c. Kadangi tai ta pati artist\u0117 Breanna O\u2019Mara, kuri buvo ir Europa ant jau\u010dio, abu motyvai susijungia. Europa saugi, gimdanti, rami ir laiminga.<\/p>\n

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\nDimitris Papaioannou spektaklis \u201eTransverse Orientation\u201c. Julian Mommert nuotr., 2021<\/em><\/p>\n

Tu\u0161\u010dioje scenoje be garso eina kita nuoga moteris. Gerokai vyresn\u0117. Gerokai laiko paveiktu k\u016bnu. Su dviem lazdom. Visi\u0161ka tyla. Ilgas \u017evilgsnis \u012f publik\u0105. Blausi \u0161viesa neleid\u017eia \u012f\u017ei\u016br\u0117ti jos nuotaikos ar ap\u017ei\u016brin\u0117ti k\u016bno. Tik klausti sav\u0119s: tai ta pati Europa? Kas j\u0105 \u0161itaip pakeit\u0117? Vien laikas ar \u017emon\u0117s?<\/p>\n

Sp\u0117k \u012fsijausti \u012f prasmes \u2013 ir v\u0117l nauja Papaioannou optin\u0117 iliuzija: senoji atidaro duris ir pastumia jas \u012f kit\u0105 pus\u0119, tarsi atveria jas \u012f kit\u0105 erdv\u0119, \u012f kuri\u0105 ir \u017eengia, o durims u\u017edarius sen\u0105j\u0105, t\u0105 pa\u010di\u0105 akimirk\u0105 jas atveria jaunoji. V\u0117l leid\u017eiamas vanduo \u012f kibir\u0105, bet \u0161\u012fkart ne jau\u010diui girdyti. Mizanscen\u0105 galima i\u0161vardyti veiksmais: moteris patiesia scenoje juod\u0105 blizg\u0173 plastik\u0105, pripildo kibir\u0105, atsistoja ant juodojo kvadrato ir i\u0161 l\u0117to pila ant jo vanden\u012f, ap\u0161vietimas kuria vandens raibuliavim\u0105 moters fone. Viskas. Be galo gra\u017eu. Tiek gra\u017eu, kad nepastebi, kas vyksta. O ji grimzta. Toji moteris. Europa. Iki i\u0161nyksta visai. Tik kibiras telk\u0161o.<\/p>\n

Jeigu tai atrodo kaip siu\u017eetas su prasm\u0117m \u2013 \u0161tai dar reginys, kuris tuoj i\u0161ardys susikurtas iliuzijas: scenoje v\u0117l \u0161e\u0161i vyrai, jie ardo dekoracij\u0105, kurioje k\u0105 tik nuskendo Europa (jeigu tai Europa, o ne tiesiog persona\u017eas-reginys). Vaidinimo grindys sukurtos i\u0161 stalo dyd\u017eio platform\u0173, o po tom platformom tyvuliuoja vanduo. Vyrai platformas tiesiog sum\u0117to \u012f scenos \u0161onus, o kol m\u0117to, Papaioannou ap\u0161vietimu kuria gal kaln\u0173 peiza\u017e\u0105, gal uol\u0117t\u0105 pakrant\u0119, ant kurios vienas i\u0161 ardytoj\u0173 tuoj atsiguls. \u010cia pat ardo, \u010dia pat nusirengia nuogas ir \u012fsitaiso, lyg svajot\u0173 ant j\u016bros kranto. Tai tas pats artistas, kurio persona\u017eas \u012fsimyl\u0117jusiomis akimis lauk\u0117 Europos, ne\u0161amos jau\u010dio. Spektaklis ima \u017ead\u0117ti ka\u017ek\u0105 romanti\u0161ko? Visi kiti vyrai i\u0161 sugriautos scenos jau pasitrauk\u0117. Ne, vienas liko. Su \u0161luota. Kai jis \u0161luoja, ap\u0161viestas vanduo ima raibuliuoti. Toks teatrinis efektas. Ir kartu iliuzijos griovimas: jokia \u010dia pakrant\u0117, \u010dia teatras. Ir nauja iliuzija su simbolika: negi jis tikisi su \u0161luota i\u0161semti j\u016br\u0105? Tai finalas.<\/p>\n

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\nDimitris Papaioannou spektaklis \u201eTransverse Orientation\u201c. Julian Mommert nuotr., 2021<\/em><\/p>\n

Prad\u017eia komi\u0161ka, pabaiga tragi\u0161ka? Priklauso nuo to, kaip t\u0105 pabaig\u0105 interpretuosi. Kaip planetos griuv\u0117sius po \u017emonijos veiklos \u2013 ar kaip teatr\u0105 su visom jo iliuzijom ir prasm\u0117m, kurios padaromos tavo akivaizdoje.<\/p>\n

\u012e k\u016brinio interpretacij\u0105 paprastai \u012fsiskverbia realyb\u0117 i\u0161 u\u017e teatro sien\u0173. Gal kaip tik ji neleido Lietuvos publikai juoktis, kai spektaklio prad\u017eios \u017emogeliukai steng\u0117si, tryp\u010diojo, laipiojo ir nieko nepasiek\u0117. Gal b\u016btent \u0161iandienos realijos vert\u0117 \u012fsitempus i\u0161gyventi Europos likim\u0105, \u017ei\u016brint \u012fstabius \u201eTransverse Orientation\u201c reginius, kuriuos Dimitris Papaioannou suk\u016br\u0117 esant visi\u0161kai kitokiai kontinento atmosferai.<\/p>\n

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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","protected":false},"excerpt":{"rendered":"

Festivalio \u201cNaujasis Baltijos \u0161okis\u201d atidarymo d\u017eiaugsmas visi\u0161kai prie\u0161ingas to d\u017eiaugsmo prie\u017easties turiniui. Nes prie\u017eastis \u2013 graik\u0173 menininko Dimitris Papaioannou spektaklis …<\/p>\n","protected":false},"author":2,"featured_media":12391,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":[],"categories":[9],"tags":[],"yoast_head":"\nGro\u017eio \u012ftampos. 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