{"id":13380,"date":"2022-11-30T17:29:49","date_gmt":"2022-11-30T15:29:49","guid":{"rendered":"http:\/\/dance.lt\/new\/?p=13380"},"modified":"2022-11-30T17:44:39","modified_gmt":"2022-11-30T15:44:39","slug":"beieskant-savyje-baconiskos-nejaukos","status":"publish","type":"post","link":"https:\/\/dance.lt\/new\/2022\/11\/30\/beieskant-savyje-baconiskos-nejaukos\/","title":{"rendered":"Beie\u0161kant savyje Baconi\u0161kos nejaukos"},"content":{"rendered":"

Brit\u0173 tapytojas Francis\u2019as Baconas labiausiai \u017einomas d\u0117l savo paveiksluose u\u017e\u010diuopto siaubo, nejaukios, g\u0105sdinan\u010dios atmosferos. Pagrindinis Bacono tapybos objektas \u2013 \u017emogus, kurio fig\u016bra visad deformuota, brutaliai i\u0161skaidyta, nebaigta. Ta\u010diau \u00a0daugelis menininko draug\u0173 yra pasteb\u0117j\u0119, jog tapytojo darbai ka\u017ekuo ai\u0161kesni, tikslesni u\u017e realyb\u0119, tad sutikus jo atvaizduot\u0105 \u017emog\u0173 atrodydavo, tarytum netikras. i\u0161 ties\u0173 yra \u017emogus, o ne jo portretas.<\/p>\n

\u0160iuolaikinio \u0161okio trup\u0117s \u201eNuepiko\u201c spektaklis \u201eNiekur, bet ne \u010dia\u201c, \u012fkv\u0117ptas Bacono darb\u0173, panardina \u012f abstrak\u010dius, sunkiai perteikiamus \u017emogaus kismus, savojo \u201ea\u0161\u201c paie\u0161kas. Pirmoji u\u017euomina \u012f spektaklio \u012fkv\u0117p\u0117j\u0105 pasitinka vos \u012f\u017eengus \u012f sal\u0119 \u2013 patogiai \u017emog\u0173 \u012fr\u0117minti galinti siena primena vieno pirm\u0173j\u0173 Bacon\u2019\u0105 i\u0161garsinusi\u0173 darb\u0173 – triptiko \u201eTrys studijos prie krucifikso pagrindo\u201c (angl. Three Studies for Figures at the Base of a Crucifixion<\/em>), drob\u0119. Ji tu\u0161\u010dia, dar tik padengta oran\u017einiu pagrindu ir tampa ry\u0161kiu, su aplinka kontrastuojan\u010diu, kone \u0161vytin\u010diu objektu, kuris kelia savit\u0105 nejauk\u0105.<\/p>\n

\"\"<\/a>Lauros Vansevi\u010dien\u0117s nuotraukos<\/em><\/p>\n

Prie\u0161 j\u0105 pasirodo \u0161ok\u0117jo fig\u016bra lyg dar gyva iki nugulimo \u012f drob\u0119, ji kuria siurreali\u0105 sizifi\u0161k\u0105 sav\u0119s ie\u0161kojimo kelion\u0119 \u2013 \u012f sien\u0105 trankosi, bando j\u0105 perlipti, \u012f\u017evelgti, kas yra u\u017e jos. Pama\u017eu, sienai \u00a0ir \u0161ok\u0117jui \u00a0prad\u0117jus bendrauti, realyb\u0117s ribos subtiliai i\u0161sitrina, \u012fprasta pasaulio logika susvyruoja. Sienos priedanga leid\u017eia atlik\u0117jui kurti iliuzijas, deformuoti save \u2013 \u00a0pasidaryti labai auk\u0161tu, i\u0161t\u0119sti savo rankas ar kojas, per\u0117jus \u00a0sien\u0105 tapti visai kitu. Palengva vienas \u0161ok\u0117jas tampa dviem, trim, keturiais, pama\u017eu atitolstama nuo mistikos. Keturi \u0161ok\u0117jai\u2013 Marius Pinigis, Adrian Carlo Bibiano, Andrius Stakel\u0117 ir Mantas \u016asas \u2013 savo judesiais \u00a0i\u0161rei\u0161kia vieni\u0161as \u00a0paie\u0161kas, nuolatin\u0117s kaitos atspind\u017eius, tarpusavio santykius, \u00a0konfliktus, vienas kito palaikym\u0105.<\/p>\n

Tai tvarkingas, techni\u0161kas \u0161okis, ta\u010diau sunku b\u016bt\u0173 \u012fvardinti j\u012f kaip \u012ftrauk\u0173. Be Bacono paveikslui b\u016bdingos oran\u017ein\u0117s spalvos sienos bei lengvo, prislopinto nejaukos ir tamsios mistikos jausmo daug tapytojo inspiracij\u0173 \u010dia nerasime. \u00a0\u0160okio ir cirko pasaulyje i\u0161populiar\u0117jusios ir m\u0117gstamos gal\u016bni\u0173 i\u0161t\u0119simo iliuzijos \u010dia nei\u0161vengiamai pasirodo nuvalkiotos. Ta\u010diau \u012fdomi\u0105 scen\u0105 sukuria trys \u0161ok\u0117jai, aplink sien\u0105 susikib\u0119 \u012f Henri Matisse\u2019o paveiksle \u201e\u0160okis\u201c vaizduojam\u0105 \u00a0ratel\u012f \u2013 prie\u0161ingai negu Matisse\u2019o k\u016brinyje j\u0173 judesys ni\u016brus, l\u0117tas, netgi g\u0105sdinantis, atmosfera artimesnis b\u016btent \u0161io spektaklio \u012fkv\u0117p\u0117jui Baconui. Nulenk\u0119 galvas, \u012fsitemp\u0119 ir persikreip\u0119, jie l\u0117tai slenka aplink sien\u0105, kuri\u0105 trise vos gali apimti. \u010cia iliuzija paveiki \u2013 sunkus jud\u0117jimas, staiga nuo \u0161ok\u0117jo k\u016bno dingstan\u010dios ir atsirandan\u010dios kostiumo dalys destabilizuoja realyb\u0119, kuria sapno nenuoseklumo ir \u00a0nuolatinio nenusp\u0117jamo kismo \u012fsp\u016bd\u012f.<\/p>\n

\"\"<\/a><\/p>\n

Spektaklis netik\u0117tai atgyja, pasigirdus Vilmos Pitrinait\u0117s balsui \u2013 \u0161i \u0161ok\u0117ja ir choreograf\u0117 i\u0161siskiria geb\u0117jimu \u00a0\u0161ok\u012f ir \u017eod\u012f jungti \u012f \u017eaisming\u0105, reperi\u0161k\u0105<\/em> sintez\u0119, (ry\u0161kiausias pavyzdys \u2013 \u0161okio spektaklis \u201eTai ne tavo sapnas\u201c). \u010cia girdime j\u0105 tariant pavienius, tarpusavyje logini\u0173 s\u0105saj\u0173 nekurian\u010dius ir savaime nieko neapib\u016bdinan\u010dius \u017eod\u017eius (\u201egal\u201c, \u201ekaip\u201c, \u201egalb\u016bt\u201c ir pan.). \u0160ok\u0117ja varijuoja tariam\u0173 \u017eod\u017ei\u0173 greit\u012f,, tank\u012f, i\u0161t\u0119stum\u0105 \u00a0bei savo intonacijas. Kiekvienu savo \u00a0tariamu garsu Pitrinait\u0117 ver\u010dia \u0161ok\u0117jus jud\u0117ti, pasiduodant \u017eod\u017eio skambesiui, prarasti vali\u0105 prie\u0161 garso impuls\u0105. \u00a0Pitrinait\u0117s \u00a0tariami \u017eod\u017eiai patys savaime kuria judesio, \u0161okio efekt\u0105.<\/p>\n

Ypating\u0105 \u012fsp\u016bd\u012f palieka ir Manto \u016aso solo \u2013 \u0161okis plaukais. Nuo \u0161ok\u0117jo judesi\u0173 ilgi plaukai atgyja, visas k\u016bnas pajungiamas, \u00a0kad jie geb\u0117t\u0173 \u0161okti. Viso spektaklio kontekste steb\u0117ti plauk\u0173 bangavim\u0105, tek\u0117jim\u0105 ir gyv\u0105, nat\u016bral\u0173 judes\u012f yra netik\u0117ta ir \u012ftraukianti patirtis \u2013 lyg galimyb\u0117 akimirkai atsitolinti nuo \u017emogi\u0161kos nejaukos ir pa\u017evelgti \u012f labiau gamtai priklausant\u012f peiza\u017e\u0105, kuriame retai randamos klaidos ar bjaurumas.<\/p>\n

\"\"<\/a><\/p>\n

Spektaklis \u201eNiekur, bet ne \u010dia\u201c \u2013 siureali, lengvu ir maloniu nejaukumu pasi\u017eyminti \u017emogaus vidinio pasaulio, jo gelm\u0117s bei mechanizm\u0173 interpretacija. Ji skleid\u017eiasi i\u0161 l\u0117to, apgaulingai ir nepastebimai \u012ftraukdama \u012f \u00a0fantasmagori\u0161kus, ka\u017ekuo nepaai\u0161kinamai gra\u017eius paveikslus. Kaip ir Bacono darbuose \u2013 \u010dia \u017emogaus atvaizdas tikresnis u\u017e j\u012f pat\u012f.
\n___
\n\"\"<\/a><\/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","protected":false},"excerpt":{"rendered":"

Brit\u0173 tapytojas Francis\u2019as Baconas labiausiai \u017einomas d\u0117l savo paveiksluose u\u017e\u010diuopto siaubo, nejaukios, g\u0105sdinan\u010dios atmosferos. Pagrindinis Bacono tapybos objektas \u2013 \u017emogus, …<\/p>\n","protected":false},"author":2,"featured_media":13382,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":[],"categories":[9],"tags":[],"yoast_head":"\nBeie\u0161kant savyje Baconi\u0161kos nejaukos - 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\/2022\/11\/30\/beieskant-savyje-baconiskos-nejaukos\/\" \/>\n<meta property=\"og:locale\" content=\"lt_LT\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Beie\u0161kant savyje Baconi\u0161kos nejaukos - Lithuanian Dance Centre\" \/>\n<meta property=\"og:description\" content=\"Brit\u0173 tapytojas Francis\u2019as Baconas labiausiai \u017einomas d\u0117l savo paveiksluose u\u017e\u010diuopto siaubo, nejaukios, g\u0105sdinan\u010dios atmosferos. 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