{"id":15138,"date":"2023-10-24T19:13:50","date_gmt":"2023-10-24T16:13:50","guid":{"rendered":"http:\/\/dance.lt\/new\/?p=15138"},"modified":"2023-10-24T19:15:25","modified_gmt":"2023-10-24T16:15:25","slug":"grazu-bet-toli","status":"publish","type":"post","link":"https:\/\/dance.lt\/new\/2023\/10\/24\/grazu-bet-toli\/","title":{"rendered":"Gra\u017eu, bet toli"},"content":{"rendered":"

Tarptautiniame \u0161okio festivalyje \u201eAura\u201933\u201c pristatytas atnaujintas choreografo Akramo Khano \u0161okio spektaklis vaikams ir paaugliams \u201eMa\u017ea t\u0117vyn\u0117\u201c. Atkurtame spektaklyje \u0161oka buv\u0119s \u201eAuros\u201c \u0161ok\u0117jas Jasperas Narvaezas, tod\u0117l k\u016brinys Kauno nacionalinio dramos teatro scenoje sutiktas jautriai, pakiliai. Daug, labai daug plota, \u2013 juk \u0161oka beveik savas \u017emogus. Nuo tokios kolektyvin\u0117s \u0161ilumos buvo galima pravirkti. Ir nors spektaklis visai \u0161eimai turi visas dedam\u0105sias, kad tapt\u0173 darbu, apie kur\u012f, paprastai kalbant, sakoma nuostabus<\/em>, vis\u0105 spektakl\u012f niekaip nepavyko prisijungti (labiau saky\u010diau prisiconnect\u2019inti \u2013 <\/em>ai\u0161kiau i\u0161rei\u0161kia mint\u012f) prie jo realyb\u0117s. Saky\u010diau, tarp sal\u0117s ir scenos nevyko energetiniai mainai, pl\u016bstanti \u0161ok\u0117jo energija taip ir liko scenos ribose. Ta\u010diau tokiais atvejais \u2013 kai taip ir nesusitinki<\/em> su spektakliu \u2013 i\u0161 ties\u0173 n\u0117ra pamatuojam\u0173, logi\u0161k\u0173, racionali\u0173 argument\u0173. Tik nuojautos, sp\u0117jimai. Vis d\u0117lto \u201eMa\u017ea t\u0117vyn\u0117\u201c, b\u016bdama i\u0161ties \u012fsimintina ir visumos derm\u0117s prasme kone etalonin\u0117, liko tarytum u\u017e stiklo: kaip tas berniuko pasaulis tam t\u0117vui, kuris nenor\u0117jo, kad jo vaikas \u0161okt\u0173.<\/p>\n

\"\"<\/a>Akramo Khano \u0161okio spektaklis \u201eMa\u017ea t\u0117vyn\u0117\u201c. Nuotrauk\u0173 autorius Richard Haughton. Akramo Khano \u0161okio teatro ir \u201eAura\u201933\u201c archyvo nuotraukos<\/em><\/p>\n

\u201eMa\u017ea t\u0117vyn\u0117\u201c \u2013 ypa\u010d vizualus darbas, \u012fsp\u016bd\u017eiui kurti pasitelkiantis animacij\u0105, pasakojimo men\u0105, choreografij\u0105, net objekto teatr\u0105. Spektaklio a\u0161is \u2013 berniuko i\u0161 Banglade\u0161o svajon\u0117 \u0161okti ir jo t\u0117vo reikalavimas nusileisti i\u0161 padebesi\u0173, ramiai s\u0117d\u0117ti ir pad\u0117ti jam virtuv\u0117je. Mat jis \u2013 pats sau svarbus virtuv\u0117s \u0161efas. Stereotipi\u0161kas, atpa\u017e\u012fstamas siu\u017eetas, ta\u010diau papasakotas ypa\u010d gra\u017eiai, ri\u0161am\u0105ja grandimi pasitelkiant senel\u0117s persona\u017e\u0105. Senel\u0117 arba ramina \u012fsiaudrinus\u012f t\u0117v\u0105, arba seka pasakas berniukui. Jos bi\u010di\u0173 pasakos \u2013 apie berniuk\u0105 \u0160onu, \u017eengiant\u012f \u012f mi\u0161k\u0105 prie\u0161 t\u0117vo vali\u0105 ie\u0161koti medaus. \u0160i\u0173 pasak\u0173 moral\u0117 \u2013 ie\u0161koti savo kelio, i\u0161mokti gerbti mi\u0161k\u0105. Bet ne i\u0161mokti gerbti t\u0117v\u0105. Man gra\u017eu, kad senel\u0117 moko t\u0117v\u0105 gerbti savo vaik\u0105, o ne vaik\u0105 \u2013 garbinti t\u0117v\u0105. Reta, sakytum, atvirk\u0161\u010dia normatyviajai, logika.<\/p>\n

Senel\u0117s ir t\u0117vo girdime tik balsus, nes \u0161is spektaklis \u2013 veikiau berniuko, jau i\u0161tr\u016bkusio i\u0161 Banglade\u0161o ir atvykusio \u0161okti \u012f London\u0105, prisiminim\u0173 rinkinys. Tod\u0117l ir pokalbi\u0173 \u010dia \u2013 tik nuotrupos, \u012fsimintiniausi momentai, pasakojantys \u0161ok\u0117jo evoliucij\u0105 nuo berniuko, slaptai \u0161okan\u010dio virtuv\u0117je, iki Londone pasiklydusio menininko. \u0160alia nuolat artikuliuojamos ir geopolitin\u0117s temos \u2013 skirtumas tarp b\u016bti \u0161ok\u0117ju Londone<\/em> ir b\u016bti \u0161ok\u0117ju Banglade\u0161e<\/em>, nenoras paveld\u0117ti<\/em> \u0161al\u012f (\u201eBanglade\u0161as \u2013 mano t\u0117vo \u0161alis, ne mano\u201c). Reik\u0161minga \u010dia ir k\u016bne saugoma svetimumo t\u0117vui istorija: spektaklis pradedamas pra\u0161ymu prisiminti telefono slapta\u017eod\u012f, si\u016blant \u012fvairius variantus \u2013 gal mamos, gal t\u0117vo vardas, gimimo metai? Spektaklis u\u017ebaigiamas prisimintu slapta\u017eod\u017eiu: tai ne t\u0117vo, o BUNBIBI \u2013 mi\u0161ko dvasios i\u0161 senel\u0117s pasak\u0173 \u2013 vardas. Tas, kuris tikrai svarbus.<\/p>\n

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

Ypatinga spektaklio dalis \u2013 vaizdo dizaino ir instaliacij\u0173 k\u016br\u0117j\u0173 \u201eYeastCulture\u201c sukurta d\u017eiungli\u0173 animacija. Jasperas Narvaezas su grafiniais, nuostabiai judan\u010diais gyv\u016bnais ir augalais bendrauja k\u016bnu, reaguoja \u012f j\u0173 judesius, juos glosto. Plaukia su pauk\u0161\u010diu valtyje, i\u0161 krokodilo nasr\u0173 traukia \u017euv\u012f, pasitinka drambl\u012f, lipa \u012f med\u012f, vejasi pie\u0161t\u0105 berniuk\u0105. Interakcija su be galo dinami\u0161ka, paveikia, didelio mastelio animacija ir beveik mitologi\u0161ka kompozitor\u0117s Jocelyn Pook muzika veikia magi\u0161kai, \u012ftraukia \u017ei\u016brovus \u012f kolektyvin\u0119 tautosakin\u0119 s\u0105mon\u0119.<\/p>\n

Tai, k\u0105 m\u0117ginu papasakoti, t\u0117ra bandymas apsakyti spektaklio \u201eMa\u017ea t\u0117vyn\u0117\u201c kompleksi\u0161kum\u0105. Tiesa, atnaujinus spektakl\u012f nebeliko dalies \u012fstabios scenografijos ir choreografijos ore, ta\u010diau k\u016brinys \u012fgavo daugiau \u0161varos, grynumo. Ir vis d\u0117lto svarbiausias spektaklio d\u0117muo \u2013 \u0161okis. \u0160ok\u0117jo Jaspero Narvaezo judesys \u2013 vitali\u0161kas, laisvas, pla\u010di\u0173 amplitud\u017ei\u0173. Tai nuo\u0161irdaus, atviro pasauliui ir patirtims k\u016bno reginys, savyje talpinantis ir vaiko, ir svajotojo, ir brandaus kovotojo kokybes.<\/p>\n

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

Choreografas Akramas Khanas \u201eMa\u017eoje t\u0117vyn\u0117je\u201c derina \u0161iuolaikin\u012f \u0161ok\u012f ir kathak<\/em> tradicij\u0105. Kathak<\/em> yra viena i\u0161 a\u0161tuoni\u0173 pagrindini\u0173 Indijos klasikinio \u0161okio form\u0173. Jos kilm\u0117 priskiriama keliaujan\u010dioms \u0160iaur\u0117s Indijos pasakotoj\u0173 gentims, kurioms buvo b\u016bdinga did\u017eiuosius epus ir mitologij\u0105 pasakoti per \u0161ok\u012f, dainas ir muzik\u0105. Man tai pana\u0161u \u012f pasakojam\u0105j\u0105 choreografij\u0105, kuri \u017ei\u016brovams tiesiogiai parodo tai, kas nepasirodyt\u0173 \u0161okant abstrak\u010diai. Toks metodas, regis, tur\u0117t\u0173 b\u016bti ypa\u010d tinkamas jaunai spektaklio auditorijai. Bet drauge kyla ir kitoki\u0173 min\u010di\u0173.<\/p>\n

Kartais teatro vaikams k\u016br\u0117jai, galb\u016bt patys neturintys at\u017eal\u0173, nuvertina beveik antgamtinius vaik\u0173 geb\u0117jimus skaityti<\/em> kito \u017emogaus k\u016bn\u0105, emocijas, poj\u016b\u010dius ir, u\u017euot leid\u0119 sau scenoje tiesiog jaustis<\/em> kaip jau\u010diasi, ima t\u0105 jausm\u0105 rodyti, demonstruoti, tarytum vaizdingai nupasakoti, kas vyksta veik\u0117jo viduje, o ne \u012fk\u016bnyti t\u0105 veik\u0117j\u0105. Rodant<\/em> jausm\u0105, savaime atsiranda padidinta gestikuliacija, suvaidinta emocija (nes reikia ry\u0161kiau), kitaip tariant, ka\u017ekas, ko n\u0117ra, bet k\u0105 reik\u0117t\u0173 \u012fmatyti. Tai tarsi sufleravimas \u2013 \u017ei\u016br\u0117kite, \u010dia a\u0161 esu li\u016bdnas, o \u010dia \u2013 ar tikrai matote \u2013 pykstu ant t\u0117vo<\/em>.<\/p>\n

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

\u0160i maniera nesvetima ir spektakliui \u201eMa\u017ea t\u0117vyn\u0117\u201c. Prie jos prilipd\u017eius kathak <\/em>choreografij\u0105, susitelkiama \u012f nor\u0105 papasakoti ir pab\u0117gama nuo i\u0161gyvenimo. Gal tai ir sukuria prad\u017eioje mano min\u0117t\u0105 atstum\u0105 nuo spektaklio: juk \u017eodiniai pasakojimai tuo ir ypatingi, kad j\u0173 turinys gimsta klausan\u010diojo vaizduot\u0117je, o teatro u\u017eduotis \u2013 ne tiek pasakoti, kiek \u012ftraukti, paveikti. O \u010dia tarsi viskas padaroma u\u017e \u017ei\u016brov\u0105 \u2013 ir papasakojama, ir sceni\u0161kai pa\u012fsivaizduojama<\/em>, o \u017ei\u016brovo vaizduotei tarsi nebelieka vietos.<\/p>\n

\u201eMa\u017ea t\u0117vyn\u0117\u201c \u2013 lyg ragautum uogien\u0119 per stikl\u0105: uogien\u0117s daug, uogien\u0117 gra\u017ei, net \u017einai, kas j\u0105 vir\u0117, kada ir su kokia meile. O paragauti negausi.<\/p>\n

—
\n\"\"<\/a><\/p>\n

Projekt\u0105 \u201e\u0160okio aktualijos, analiz\u0117 ir proces\u0173 refleksija\u201c dalinai finansuoja Spaudos, radijo ir televizijos r\u0117mimo fondas.<\/strong><\/p>\n","protected":false},"excerpt":{"rendered":"

Tarptautiniame \u0161okio festivalyje \u201eAura\u201933\u201c pristatytas atnaujintas choreografo Akramo Khano \u0161okio spektaklis vaikams ir paaugliams \u201eMa\u017ea t\u0117vyn\u0117\u201c. Atkurtame spektaklyje \u0161oka buv\u0119s …<\/p>\n","protected":false},"author":2,"featured_media":15139,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":[],"categories":[9],"tags":[],"yoast_head":"\nGra\u017eu, bet toli - 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\/10\/24\/grazu-bet-toli\/\" \/>\n<meta property=\"og:locale\" content=\"lt_LT\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Gra\u017eu, bet toli - Lithuanian Dance Centre\" \/>\n<meta property=\"og:description\" content=\"Tarptautiniame \u0161okio festivalyje \u201eAura\u201933\u201c pristatytas atnaujintas choreografo Akramo Khano \u0161okio spektaklis vaikams ir paaugliams \u201eMa\u017ea t\u0117vyn\u0117\u201c. 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