{"id":13734,"date":"2023-03-07T20:00:59","date_gmt":"2023-03-07T18:00:59","guid":{"rendered":"http:\/\/dance.lt\/new\/?p=13734"},"modified":"2023-03-07T20:52:00","modified_gmt":"2023-03-07T18:52:00","slug":"desimties-kunu-grozis","status":"publish","type":"post","link":"https:\/\/dance.lt\/new\/2023\/03\/07\/desimties-kunu-grozis\/","title":{"rendered":"De\u0161imties k\u016bn\u0173 gro\u017eis"},"content":{"rendered":"

Spektaklio metu tamsoje mano darytuose u\u017era\u0161uose apie Panev\u0117\u017eio Juozo Miltinio dramos teatre choreograf\u0173 Mariaus Pinigio ir Adriano Carlo Bibiano sukurt\u0105 spektakl\u012f \u201eK\u016bnai\u201c tris kartus pasikartoja \u017eodis \u201e\u017emogi\u0161kumas\u201c. Kai pavargau kartoti t\u0105 pat\u012f, dar u\u017esira\u0161iau \u201ehumani\u0161kumas\u201c, tik\u0117damasi, kad \u0161is \u017eodis nurodo koki\u0105 nors platesn\u0119 tos pa\u010dios id\u0117jos krypt\u012f. Kartojau \u0161iuos sinonimus ne tod\u0117l, kad netur\u0117jau k\u0105 daugiau u\u017esira\u0161yti, o tod\u0117l, kad \u0161is jausmas vis suimdavo taip stipriai, kad tiesiog \u0117miau sau j\u012f fiksuoti. Gr\u012f\u017eusi pasitikrinau \u017eodyne: \u017emogi\u0161kas<\/em> yra b\u016bdingas \u017emogui, \u017emon\u0117ms. Humani\u0161kas<\/em> \u2013 tai savyb\u0117, i\u0161rei\u0161kianti pagarb\u0105 \u017emogui kaip vertybei (sinonimas \u2013 \u017emoni\u0161kas<\/em>). Spektakliui \u201eK\u016bnai\u201c b\u016bdingos abi definicijos: spektaklio choreografija ypatinga b\u016btent savo \u017emogi\u0161kumu, t. y. artimumu kasdieni\u0161kai judan\u010diam \u017emogui, o ne treniruotam \u0161ok\u0117jui, pa\u010dia geriausia to prasme (ir tai, kad spektaklyje \u0161oka Juozo Miltinio dramos teatro trup\u0117s aktoriai, \u017einoma, prie \u0161io efekto prisideda). Drauge \u2013 toje choreografijoje susitelk\u0119s begalinis humani\u0161kumo kr\u016bvis, ka\u017ekas sunkiai nusakomo \u017eod\u017eiais, ta\u010diau labai universalaus, sutelkian\u010dio ir m\u016bs\u0173 genetik\u0105, ir geopolitin\u0119 istorij\u0105, ir papras\u010diausius jausmus, ir visokius am\u017eius \u2013 ir \u017emogaus am\u017ei\u0173, ir XX am\u017ei\u0173, ir ka\u017ek\u0105, kas skai\u010diuojama ne smulkiais, o i\u0161kart po \u0161imt\u0105.<\/p>\n

\"\"<\/a>Arvydo Gudo nuotraukos<\/em><\/p>\n

Did\u017eioji \u201eK\u016bn\u0173\u201c vert\u0117 \u2013 judesi\u0173 talpumas ir kartojimasis \u012fvairiais masteliais, taip pat \u2013 vizualus judesio aid\u0117jimas per visus de\u0161imt k\u016bn\u0173, lyg visus kr\u0117st\u0173 ta pati elektra. \u010cia papras\u010diausi gestai ar judesio pie\u0161iniai taip garsiai skamba ne tik tod\u0117l, kad yra naudojami i\u0161kart vis\u0173 \u0161ok\u0117j\u0173 k\u016bnuose (bet neb\u016btinai sinchronu ir neb\u016btinai akivaizd\u017eiai), bet ir tod\u0117l, kad yra labai talp\u016bs. \u017dmon\u0117s, einantys tiesiai, bet \u017ei\u016brintys ne tiesiai, atsisuk\u0119 \u012f ka\u017ek\u0105, nuo ko negali nukreipti aki\u0173 \u2013 kiekvienam atpa\u017e\u012fstamas gestas, bet kiekvienam atpa\u017e\u012fstamas savaip, galintis nuvesti nuo siaubo ir baim\u0117s iki gro\u017e\u0117jimosi pasauliu. Veikia ir gest\u0173 t\u0119stinumas laike \u2013 pavyzd\u017eiui, mes matome, kaip tas \u017ei\u016br\u0117jimas t\u0119siasi, kaip nuo jo ilgainiui kei\u010diasi \u0117jimo tempas, \u0117jimo kryptis, grup\u0117s dinamika, kaip atsiranda poravimasis, stab\u010diojimas; ir kaip nuo to \u017ei\u016br\u0117jimo kei\u010diasi ta pati balta siena, \u012f kuri\u0105 nukreipti vis\u0173 \u017evilgsniai: papras\u010diausia siena kaip objektas intensyv\u0117ja vien nuo \u0161ok\u0117j\u0173 koncentracijos \u012f j\u0105. Ilgainiui ramus susitelkimas \u012f ka\u017ek\u0105, kas yra ten<\/em>, virsta bendru k\u016bn\u0173 nerimu, bla\u0161kymusi. Vizuali tampa k\u016bn\u0173 u\u017esikr\u0117timo jausmais id\u0117ja \u2013 vieno spartesnis \u017eingsnis paspartina kit\u0105, o bendrame k\u016bn\u0173 chaose niekas nebegali i\u0161likti nechaoti\u0161kas \u2013 k\u016bnai rezonuoja ir ima elgtis taip pat.<\/p>\n

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

K\u016bn\u0173 ry\u0161iu, l\u0105steli\u0173 bendravimu paremtas visas spektaklis: \u010dia per k\u016bnus perduodama informacija, kuri priver\u010dia neb\u016btinai kartoti ore tvyran\u010dius judesius ar veikimo logik\u0105, bet b\u016btinai tur\u0117ti savo k\u016bno nuomon\u0119 \u2013 ar jis nori \u012fsilieti, ar sul\u0117t\u0117ti, sustoti, pakeisti dinamik\u0105. Spektaklyje \u201eK\u016bnai\u201c analizuojama, k\u0105 rei\u0161kia jausti savo k\u016bn\u0105 kit\u0173 k\u016bn\u0173 kontekste, drauge jausti, kaip j\u012f veikia ne tik kito k\u016bno judesys, bet ir jo transliuojama atmosfera \u2013 visa tai, k\u0105 mes, XXI am\u017eiaus Vakar\u0173 civilizacija, esame u\u017ekalb\u0117j\u0119 \u017eod\u017eiais ir pasl\u0117p\u0119 po racionalumo kailiais. Visu savo, kaip \u017emogaus, pavir\u0161iaus plotu ir visais vidiniais atomais klausytis kito k\u016bno ir steb\u0117ti, kaip \u012f j\u012f reaguoja savas, apskritai suvokti k\u016bn\u0105 ir suprasti, i\u0161 kur \u012f j\u012f ateina nerimas, kaip jame susisluoksniuoja nuovargis, kaip jis atspindi kitus k\u016bnus \u2013 \u0161iandien mes to mokom\u0117s kaip naujojo am\u017eiaus atradimo. Ta\u010diau i\u0161 ties\u0173 jis gl\u016bdi m\u016bs\u0173 kauluose. Gal d\u0117l to stebint \u201eK\u016bnus\u201c lyg nubunda giliai t\u016bnan\u010dio \u017ev\u0117ries ni\u016bniavimas.<\/p>\n

Mizanscena, kurioje \u0161ok\u0117jai sinchroni\u0161kai staigiu judesiu s\u0117dasi ant grind\u0173 ir l\u0117tai stojasi, ir v\u0117l s\u0117dasi, s\u0117di, stojasi, stovi, vos vos varijuodami judesio pakeitimais, skleid\u017eiasi kolektyvinio mokymosi ir susiklausymo id\u0117ja \u2013 tai patys k\u016bnai i\u0161moko kitus k\u016bnus, kaip k\u016bnams b\u016bdinga elgtis. Tai mes pasodiname k\u016bdik\u012f, mes s\u0117dam\u0117s pavarg\u0119, mes aik\u0161t\u0117se statome suoliukus. Spektaklis leid\u017eiasi \u012f judesio archeologij\u0105; vaik\u0161\u010diojim\u0105, s\u0117d\u0117jim\u0105, stojim\u0105si, b\u016briavim\u0105si, net papras\u010diausi\u0105 galvos pasukim\u0105 ar rankos judes\u012f pakeldamas iki metafizinio lygmens ir tarsi paklausdamas, kok\u012f sav\u0119s raminimo ritual\u0105 u\u017ekodavome \u0161tai tokiame moste? K\u0105 slepiame savo eisenoje, arba savo de\u0161in\u0117s kojos dominavime kair\u0117s at\u017evilgiu?<\/p>\n

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

Mizanscenoje, kurioje visi k\u016bnai suformuoja darniai ropojan\u010di\u0105 did\u017eiul\u0119 b\u016btyb\u0119, k\u016bn\u0173 tarpusavio ry\u0161ys pasiekia maksimum\u0105: stebint atrodo, kad kiekviena koja jau\u010dia vis\u0173 kit\u0173 koj\u0173 jud\u0117jim\u0105 ir juda priklausomai nuo j\u0173. Vis\u0105 spektakl\u012f neapleid\u017eia jausmas: juk visa tai \u2013 papras\u010diausi judesiai, kuriuos gal\u0117tume atlikti kiekvienas; visk\u0105 kei\u010dia juose subrandintas masyvumo ir daugybi\u0161kumo gro\u017eis. Kartais rodosi, kad \u0161oka ne individualizuotos psichologi\u0161kai apibr\u0117\u017etos asmenyb\u0117s, bet tiesiog k\u016bn\u0173 daugyb\u0117. Lyg tai b\u016bt\u0173 ka\u017ekas, k\u0105 mes matome \u017ei\u016br\u0117dami \u012f vabal\u0173 b\u016br\u012f arba \u017euv\u0173 guot\u0105, kuriame individai ne i\u0161rei\u0161kia<\/em> save, o tiesiog telkiasi greta ir vieni kitus jausdami b\u016bna<\/em>. Sukurti spektakl\u012f, kuriame kolektyvas kaip organizmas b\u016bt\u0173 ry\u0161kesnis u\u017e atskirus k\u016bnus (pa\u010dia geriausia prasme), pavyksta retam. Ir nors spektaklyje duet\u0173, trio ir solo epizod\u0173 (ypatingas \u2013 atliekamas vyriausio aktoriaus Juliaus Tamo\u0161i\u016bno, atverian\u010dio k\u016bno kaitos laike tem\u0105), visi jie nuolatos pildo bendr\u0105 pie\u0161in\u012f ir galb\u016bt net atsitiktinai sunaikina bet kok\u012f poreik\u012f asmeni\u0161kai susisvarbinti.<\/p>\n

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

Spektaklis \u201eK\u016bnai\u201c niekur neskuba: kiekvienoje mizanscenoje, jai pama\u017eu transformuojantis, leid\u017eiama u\u017esib\u016bti. Gal d\u0117l to tenka stabdyti save ra\u0161ant recenzij\u0105 \u2013 nes kiekvien\u0105 t\u0105 u\u017esibuvim\u0105, taip giliai \u012fs\u0117dus\u012f \u012f k\u016bn\u0105, norisi papasakoti. Kad nusto\u010diau, galvoju apie scenografijos ir kostium\u0173 dailininko Arvydo Gudo kostiumus, kuri\u0173 laisvi siluetai jud\u0117dami kuria atskir\u0105 spektaklio reljef\u0105. Dar galvoju apie muzik\u0105. Andriaus Stakel\u0117s sukurtas akustinis peiza\u017eas \u010dia irgi veikia tarsi k\u016bnas, \u012f kur\u012f reaguoja \u017emogi\u0161ki k\u016bnai. Kartais rodosi, kad tai ji sukelia k\u016bn\u0173 nerim\u0105, nut\u012fsdama per erdv\u0119 siren\u0173 gausmu, kartais \u2013 lemdama k\u016bn\u0173 u\u017estrigim\u0105, vaik\u0161\u010diojimo temp\u0105 ar gyl\u012f. Muzika gerokai koreguoja vaizdo interpretacij\u0105, klaid\u017eiodama tarp veiksmo iliustracijos iki manipuliacijos \u017ei\u016brovo jausmais. Vis d\u0117lto ji \u010dia veikia, tod\u0117l ne tiek svarbu, kokie jos k\u0117slai ir tikslai, \u2013 svarbu, kad j\u0105 ai\u0161kiai girdi, kad nei\u0161eina jos ignoruoti, kad ji nei\u0161tirpsta. Muzikos k\u016bnas \u2013 tikrai masyvus ir gerokai slegiantis \u0161itos k\u016bn\u0173 daugyb\u0117s jud\u0117jim\u0105. Mano manymu, b\u016btent ji savo garsyno archyvu i\u0161ple\u010dia spektakl\u012f iki kolektyvin\u0117s atminties refleksij\u0173. Ji primena apie geneti\u0161kai perduodam\u0105 k\u016bn\u0173 kent\u0117jim\u0105, j\u0173 baimingum\u0105, nesaugum\u0105, ri\u0161im\u0105si prie kit\u0173 k\u016bn\u0173, siekiant, kad bendras m\u016bs\u0173 vis\u0173 k\u016bnas b\u016bt\u0173 didesnis ir d\u0117l to atsirast\u0173 daugiau ramyb\u0117s. Esu tikra, kad k\u016br\u0117jai tikrai nepretendavo \u012f XX am\u017eiaus istorijos ap\u017evalg\u0105, ta\u010diau man \u0161i\u0173 k\u016bn\u0173 jausmas \u2013 nuo an\u0173 laik\u0173 budrumo ir gr\u0117sm\u0117s tvyrojimo iki \u0161iandienos nuovargio ir u\u017estrigimo ma\u017eoje judesio amplitud\u0117je \u2013 t\u0105 istorij\u0105 papasakojo. Ne kaip prisiminimus, o kaip \u012fvaizd\u017eius, kurie nusidriekia k\u016bne kaip ka\u017ekas pa\u017e\u012fstamo. Nors gal nutikusio ne mums \u2013 visai kitiems, visai kitais laikais.<\/p>\n

—<\/p>\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":"

Spektaklio metu tamsoje mano darytuose u\u017era\u0161uose apie Panev\u0117\u017eio Juozo Miltinio dramos teatre choreograf\u0173 Mariaus Pinigio ir Adriano Carlo Bibiano sukurt\u0105 …<\/p>\n","protected":false},"author":2,"featured_media":13738,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":[],"categories":[9],"tags":[],"yoast_head":"\nDe\u0161imties k\u016bn\u0173 gro\u017eis - 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\/2023\/03\/07\/desimties-kunu-grozis\/\" \/>\n<meta property=\"og:locale\" content=\"lt_LT\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"De\u0161imties k\u016bn\u0173 gro\u017eis - Lithuanian Dance Centre\" \/>\n<meta property=\"og:description\" content=\"Spektaklio metu tamsoje mano darytuose u\u017era\u0161uose apie Panev\u0117\u017eio Juozo Miltinio dramos teatre choreograf\u0173 Mariaus Pinigio ir Adriano Carlo Bibiano sukurt\u0105 ...\" \/>\n<meta property=\"og:url\" content=\"https:\/\/dance.lt\/new\/2023\/03\/07\/desimties-kunu-grozis\/\" \/>\n<meta property=\"og:site_name\" content=\"Lithuanian Dance Centre\" \/>\n<meta property=\"article:published_time\" content=\"2023-03-07T18:00:59+00:00\" \/>\n<meta property=\"article:modified_time\" content=\"2023-03-07T18:52:00+00:00\" \/>\n<meta property=\"og:image\" content=\"https:\/\/dance.lt\/new\/wp-content\/uploads\/2023\/03\/Arvydo-Gudo-fotografija-2022-10-5-776-1-scaled.jpg\" \/>\n\t<meta property=\"og:image:width\" content=\"2560\" \/>\n\t<meta property=\"og:image:height\" content=\"1742\" \/>\n<meta name=\"twitter:card\" content=\"summary_large_image\" \/>\n<meta name=\"twitter:label1\" content=\"Written by\" \/>\n\t<meta name=\"twitter:data1\" content=\"dance\" \/>\n\t<meta name=\"twitter:label2\" content=\"Est. reading time\" \/>\n\t<meta name=\"twitter:data2\" content=\"7 minut\u0117s\" \/>\n<script type=\"application\/ld+json\" class=\"yoast-schema-graph\">{\"@context\":\"https:\/\/schema.org\",\"@graph\":[{\"@type\":\"WebSite\",\"@id\":\"https:\/\/dance.lt\/new\/#website\",\"url\":\"https:\/\/dance.lt\/new\/\",\"name\":\"Lithuanian Dance Centre\",\"description\":\"LDC\",\"potentialAction\":[{\"@type\":\"SearchAction\",\"target\":{\"@type\":\"EntryPoint\",\"urlTemplate\":\"https:\/\/dance.lt\/new\/?s={search_term_string}\"},\"query-input\":\"required name=search_term_string\"}],\"inLanguage\":\"lt-LT\"},{\"@type\":\"ImageObject\",\"@id\":\"https:\/\/dance.lt\/new\/2023\/03\/07\/desimties-kunu-grozis\/#primaryimage\",\"inLanguage\":\"lt-LT\",\"url\":\"https:\/\/dance.lt\/new\/wp-content\/uploads\/2023\/03\/Arvydo-Gudo-fotografija-2022-10-5-776-1-scaled.jpg\",\"contentUrl\":\"https:\/\/dance.lt\/new\/wp-content\/uploads\/2023\/03\/Arvydo-Gudo-fotografija-2022-10-5-776-1-scaled.jpg\",\"width\":2560,\"height\":1742},{\"@type\":\"WebPage\",\"@id\":\"https:\/\/dance.lt\/new\/2023\/03\/07\/desimties-kunu-grozis\/#webpage\",\"url\":\"https:\/\/dance.lt\/new\/2023\/03\/07\/desimties-kunu-grozis\/\",\"name\":\"De\\u0161imties k\\u016bn\\u0173 gro\\u017eis - 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