{"id":1548,"date":"2014-05-16T02:17:24","date_gmt":"2014-05-16T02:17:24","guid":{"rendered":"http:\/\/dance.lt\/new\/2014\/05\/16\/recenzija-apie-dafi-sokio-grupe-galetu-buti-labai-lakoniska-bet-nera\/"},"modified":"2014-05-16T02:17:24","modified_gmt":"2014-05-16T02:17:24","slug":"recenzija-apie-dafi-sokio-grupe-galetu-buti-labai-lakoniska-bet-nera","status":"publish","type":"post","link":"https:\/\/dance.lt\/new\/2014\/05\/16\/recenzija-apie-dafi-sokio-grupe-galetu-buti-labai-lakoniska-bet-nera\/","title":{"rendered":"Recenzija apie Dafi \u0161okio grup\u0119 gal\u0117t\u0173 b\u016bti labai lakoni\u0161ka, bet n\u0117ra"},"content":{"rendered":"[image=869873 link=no_link]\n<p>Festivalio \u201eNaujasis Baltijos \u0161okis\u201c programoje buvo pristatyti du Izraelio choreograf\u0117s Dafi Altabeb vadovaujamos  \u0161okio trup\u0117s tokiu pa\u010diu pavadinimu darbai. Tai 2012 m. sukurtas \u201eNiekada ma\u017eiau\u201c (\u0161ok\u0117jai \u2013 Olivia Court Mesa ir Yochai\u2018jus Gintonas) bei b\u016bsimo darbo \u201eNe-priklausomas\u201c (\u0161oka anks\u010diau min\u0117tas duetas bei Alonas Karnielis) eskizas. <\/p>\n<p>Spektaklio recenzija gal\u0117t\u0173 b\u016bti labai lakoni\u0161ka \u2013 tiesiog gra\u017eu. <\/p>\n<p>Na, tiesiog gra\u017eu, o spektakli\u0173 tema yra glaud\u016bs dviej\u0173 arba trij\u0173 \u017emoni\u0173 santykiai. Tiksliau pasakius, spektaklio naratyvas buvo tam tikras emocinis dviej\u0173-trij\u0173 artim\u0173 \u017emoni\u0173 peiza\u017eas, kuriame vienas po kito sek\u0117 nat\u016braliai organi\u0161kas bendradarbiavimas, aistring\u0173 arba draugi\u0161kai \u0161ilt\u0173 apsikabinim\u0173 momentai, \u0161veln\u016bs kivir\u010dai, flirtas ir \u0161audymas akimis, \u201evyri\u0161ko\u201c agresyvumo u\u017euominos, \u017eaismingas vaikymasis, subtilios provokacijos, gilus alsavimas, \u0161ypsenos ir nuovargis, aukos vaidmen\u012f atliekanti moteris bei jautr\u016bs prisilietimai. Kaip ir viskas ai\u0161ku.<\/p>\n[image=227215 link=no_link]\n<p>Kaip ir viskas ai\u0161ku, bet spektakliams tr\u016bko ka\u017eko esminio. Gal kitokios muzikos? Pavyzd\u017eiui, kod\u0117l garso takelio k\u016br\u0117jas Niko Hafkenscheidas pirmajam spektakliui sulipd\u0117 b\u016btent populiariosios muzikos kult\u016bros takelius? Juose skambantys \u017eod\u017eiai tapo \u201esiu\u017eetin\u0117mis\u201c linijomis, arba, dar tiksliau, k\u016br\u0117jais ir naratoriais, o antrajame spektaklyje dainas su tekstais pakeit\u0117 visiems gerai pa\u017e\u012fstami tango ritmai, savaime atne\u0161antys plat\u0173, ne jud\u0117j\u0173, bet ispani\u0161koms kult\u016broms b\u016bding\u0105 kontekst\u0105 ir tokiu b\u016bdu spektakliui primetantys neb\u016btinai reikalingas papildomas suvokimo ribas. Nejaugi tik tokia muzika leid\u017eia suprasti patiems \u0161ok\u0117jams, apie k\u0105 jie \u0161oka?<\/p>\n<p>Kaip ir viskas ai\u0161ku, bet ka\u017eko esminio spektakliui pritr\u016bko. Gal kostium\u0173? Kod\u0117l duete \u201eNiekada ma\u017eiau\u201c vyras buvo pilnai apsireng\u0119s, o mergina tik su sportiniais mar\u0161kin\u0117liais ir purpurin\u0117mis apatin\u0117mis kelnait\u0117mis? Net neabejoju, kad kostiumus k\u016brusiam Ronui Glaitui tikrai nepritr\u016bko med\u017eiagos, nes jei b\u016bt\u0173 pritr\u016bk\u0119, tai \u0161ok\u0117ja O. Court Mesa gal\u0117jo i\u0161sitraukti k\u0105 nors i\u0161 savo spintos, juolab, kad po spektaklio vykusiuose pokalbiuose choreograf\u0117 tvirtino m\u0117gstanti savo spektakliuose matyti stiprias ir gra\u017eias moteris ir d\u0117l to neretai susilaukianti klausim\u0173 ar kartais nesanti feminist\u0117 bei tikinusi, kad homoerotini\u0173 poteks\u010di\u0173 jos spektakliuose n\u0117ra, nes net besibu\u010diuojan\u010di\u0173 moter\u0173 jos spektaklyje yra pasitaik\u0119 tod\u0117l, kad tuo metu tai atrod\u0117 visi\u0161kai nat\u016bralu. Tikriausiai Olivia prie\u0161 pat spektakl\u012f sulaist\u0117 savo sijon\u0105 kava.<\/p>\n<p>Kaip ir viskas ai\u0161ku, bet ka\u017eko esminio spektakliui pritr\u016bko. Gal scenografijos? Kod\u0117l scena buvo visi\u0161kai plika, o grindinys, u\u017edengtas balta danga? Ji labai gerai atspind\u0117jo \u0161viesos spindulius, nors i\u0161skirtinio \u0161vies\u0173 dizaino net nebuvo, o sienos paliktos originalios, kokios paprastai b\u016bna \u201eMen\u0173 spaustuv\u0117s\u201c Juodojoje sal\u0117je. \u012e scen\u0105 nebuvo atsine\u0161tas net ma\u017eiausiais prie \u0161ok\u0117jo pado prilip\u0119s \u0161apelis, dulki\u0173 gniutul\u0117lis ar papras\u010diausias plaukas, nebent \u012fskai\u010diuosime prakaito la\u0161us, kurie susikaup\u0119 krito nuo \u0161ok\u0117j\u0173 k\u016bn\u0173 ant ne\u017einom\u0173 pavir\u0161i\u0173. Matyt, emocij\u0173 buvo tiek daug, kad vietos objektams tiesiog nebeliko.<\/p>\n[image=986776 link=no_link]\n<p>Kaip ir viskas ai\u0161ku, bet ka\u017eko esminio spektakliui pritr\u016bko. Gal sant\u016brumo? Kod\u0117l spektaklyje tiek daug estetizuot\u0173 ir hiperbolizuot\u0173 psichofizini\u0173 impuls\u0173 demonstravimo, ypa\u010d kalbant apie merginos spazminius tr\u016bk\u010diojimus, kuriais prasid\u0117jo ir pasibaig\u0117 pirmasis spektaklis? Prisiminkime tolim\u0173j\u0173 ryt\u0173 \u0161alyse paaugliams kuriamus  animacinius komiksus bei jais paremtus daugiaserijinius filmus, kuriuose b\u016btent toks k\u016bno virp\u0117jimas da\u017eniausiai atstoja bet kokius meil\u0117s \u012frodymus, prisipa\u017einimus, ilgas amerikie\u010di\u0173 kult\u016brai b\u016bdingas patosi\u0161kas prakalbas, gro\u017eio etalono vaikym\u0105si, t\u0117v\u0173 ir artim\u0173j\u0173 spaudim\u0105 bei l\u016bkes\u010dius. Toks k\u016bno virp\u0117jimas padeda deklaruoti am\u017ein\u0105 ir nebl\u0117stan\u010di\u0105 meil\u0119 iki mirties, nors abu \u012fsimyl\u0117j\u0117liai galb\u016bt net neturi gyvenimi\u0161kos patirties, leid\u017eian\u010dios atskirti trumpalaiki\u0173 impuls\u0173 diktuojam\u0105 geism\u0105 ir \u012fsimyl\u0117jim\u0105 nuo gilesni\u0173, paprastai su branda siejam\u0173 ir daug labiau racionaliu m\u0105stymu paremt\u0173 jausm\u0173. Taigi i\u0161eit\u0173, kad spektaklis \u201eNiekada ma\u017eiau\u201c skirtas \u017emon\u0117ms, kuri\u0173 emocinis brandumas tesiekia paauglyst\u0119. Tikriausiai choreograf\u0117 laisvai interpretavo ge\u0161talto teorij\u0105.<\/p>\n<p>Kaip ir viskas ai\u0161ku, o ie\u0161koti ka\u017eko giliau neverta. Choreograf\u0117s \u017eod\u017eiais: \u201eWhat is nice is being with a man that is totally different from you\u201c.<\/p>\n<p><em>Dmitrijaus Matvejevo nuotraukos<\/em><\/p>\n","protected":false},"excerpt":{"rendered":"<p>[image=869873 link=no_link] Festivalio \u201eNaujasis Baltijos \u0161okis\u201c programoje buvo pristatyti du Izraelio choreograf\u0117s Dafi Altabeb vadovaujamos \u0161okio trup\u0117s tokiu pa\u010diu pavadinimu &#8230;<\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":[],"categories":[19],"tags":[],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v17.8 - https:\/\/yoast.com\/wordpress\/plugins\/seo\/ -->\n<title>Recenzija apie Dafi \u0161okio grup\u0119 gal\u0117t\u0173 b\u016bti labai lakoni\u0161ka, bet n\u0117ra - 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\/2014\/05\/16\/recenzija-apie-dafi-sokio-grupe-galetu-buti-labai-lakoniska-bet-nera\/\" \/>\n<meta property=\"og:locale\" content=\"lt_LT\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Recenzija apie Dafi \u0161okio grup\u0119 gal\u0117t\u0173 b\u016bti labai lakoni\u0161ka, bet n\u0117ra - 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