{"id":1633,"date":"2014-11-06T13:22:37","date_gmt":"2014-11-06T13:22:37","guid":{"rendered":"http:\/\/dance.lt\/new\/2014\/11\/06\/literaturos-ir-siuolaikinio-sokio-partneryste-sokio-festivalyje-aura24-luciolos-aliuzija\/"},"modified":"2014-11-06T13:22:37","modified_gmt":"2014-11-06T13:22:37","slug":"literaturos-ir-siuolaikinio-sokio-partneryste-sokio-festivalyje-aura24-luciolos-aliuzija","status":"publish","type":"post","link":"https:\/\/dance.lt\/new\/2014\/11\/06\/literaturos-ir-siuolaikinio-sokio-partneryste-sokio-festivalyje-aura24-luciolos-aliuzija\/","title":{"rendered":"Literat\u016bros ir \u0161iuolaikinio \u0161okio partneryst\u0117 \u0161okio festivalyje \u201eAura\u201824\u201c. \u201eLuciolos\u201c aliuzija"},"content":{"rendered":"<p>Tarptautinio \u0161okio festivalyje \u201eAura\u201824\u201c did\u017eiulio \u017ei\u016brov\u0173 d\u0117mesio sulauk\u0117 choreograf\u0117s Karine\u2018s Ponties trup\u0117s <em>Dame de Pic<\/em> (Belgija) valandos trukm\u0117s spektaklis \u201eLuciola\u201c, kuriame \u0161oka ir lietuv\u0117 Vilma Pitrinait\u0117, rodytas \u0161.m. spalio 10 d. vakar\u0105. Visi bilietai i\u0161pirkti, gr\u016bstis koridoriuje, nepatekusi\u0173 nusivylimas ir perpildyta sal\u0117. Aplinkyb\u0117s vert\u0117 nerimauti, nes pateko ne visi.  <\/p>\n<p>Spektaklio pavadinimas \u201eLuciola\u201c mintis nukreipia \u012f analogi\u0161ko pavadinimo literat\u016bros k\u016brin\u012f, kurio, deja, lietuvi\u0173 k. nepavyko aptikti. Tai XIX a. brazilo teisininko, politiko, novelisto ir dramaturgo Jos\u00e9 Martiniano de Alencaro novel\u0117 \u201eLuciola\u201c. Jis  pripa\u017e\u012fstamas vienu \u017einomiausiu ir \u012ftakingiausiu brazil\u0173 romantizmo novelist\u0173. \u201eLuciola\u201c \u2013 tai pasakojimas apie XIX a. pabaigos Rio de \u017daneiro miestie\u010dius ir j\u0173 moral\u0117s nuosmuk\u012f. Manoma, kad ra\u0161ant novel\u0119 J. M. de Alencaras buvo \u012ftakotas Aleksandro Diuma (s\u016bnaus) romano \u201eDama su kamelijomis\u201c. O pastarasis pasakojimas, besiremiantis autenti\u0161kais A. Diuma i\u0161gyvenimais \u2013 meil\u0117s romanas su i\u0161silavinusia, gra\u017eia, \u017einoma ir vyr\u0173 tarpe populiaria Pary\u017eiaus kurtizane \u2013 vos pasirod\u0119s buvo ir lig \u0161iolei teb\u0117ra da\u017enai perkeliamas \u012f scen\u0105. Romano siu\u017eetas \u201eatgula\u201c baleto libretuose ar, kaip visiems puikiai \u017einoma, transformavosi \u012f naujamete opera tapusi\u0105 Giuseppe\u2018io Fortunino Francesco Verdi oper\u0105 \u201eTraviata\u201c. Romantizmo literat\u016bros k\u016brinys itin tinkamas klasikinio baleto libretui. Ta\u010diau ir \u0161iuolaikinio \u0161okio spektakliai vis dar atsigr\u0119\u017eia \u012f \u201eDam\u0105 su kamelijomis\u201c, kaip antai lietuvi\u0173 choreografas Jurijus Smoriginas \u201eKetvirtuoju veiksmu Margaritai\u201c. Tod\u0117l brazil\u0173 romantizmo novel\u0117s \u201eLuciola\u201c ir pranc\u016bz\u0173 \u0161iuolaikinio \u0161okio spektaklio simbioz\u0117 ne tik kad nestebina, bet ir atrodo logi\u0161ka, \u012fprasta, ta\u010diau be galo intriguojanti. Da\u017ena baleto ir literat\u016bros partneryst\u0117 analogi\u0161kai aptinkama ir \u0161iuolaikiniame \u0161okyje, o romantizmo literat\u016bra, pasirodo, vis dar paveiki ir \u0161ios dienos \u0161okiui.<\/p>\n<p>Visgi \u0161is spektaklis, prie\u0161ingai nei prie\u0161 tai dienos vakar\u0105 matytas \u201e\u0160okis \u0161okis \u0161okis\u201c, esantis Harukio Murakamio romano atspind\u017eiu, n\u0117ra literat\u016bros k\u016brinio perteikimas \u0161okiu. \u0160okio spektaklio \u201eLuciola\u201c pavadinimas \u010dia k\u016br\u0117 tik aliuzij\u0105 \u012f romantizmo \u201eLuciol\u0105\u201c. O tai dar labiau skatina atid\u0105 \u0161iuolaikiniam \u0161okio k\u016briniui bei ple\u010dia jo interpretacijos ribas tokiu b\u016bdu, jog skatina lyginti tai, kas b\u016bdinga romantizmo herojams, ir tai, k\u0105 perteikia \u0161okio spektaklio herojus; pvz., \u0161iandienos \u017emogaus aktualijas. Jei \u0161iandienin\u012f \u017emog\u0173 lyginsime su XIX a. romantizmo epocha, nesunkiai pasteb\u0117sime, kad XXI a. \u017emogus jau nebesaistomas grie\u017etos visuomen\u0117s stratifikacijos, kaip kad luom\u0173, visuomen\u0117s klasi\u0173 hierarchijos \u2013 visuomen\u0117s normos tapusios liberalesn\u0117s, visuomen\u0117 pakantesn\u0117 \u012fvairiems asmenybi\u0173 tipams, \u012fsivyrav\u0119s individualumas. Ta\u010diau \u017emogus tuo pa\u010diu paliktas vienas galin\u0117tis su savuoju moral\u0117s nuosmukiu, negatyviomis savyb\u0117mis, t.y. savuoju \u201emonstru\u201c. Anot psicholog\u0173, XXI a. \u017emogus prioritet\u0105 teikia ekstraverti\u0161koms savyb\u0117ms \u2013 komunikacijai, geb\u0117jimui prisitaikyti \u012fvairioje aplinkoje, tarpkult\u016bri\u0161kumui, tarpdisciplini\u0161kumui, ta\u010diau tuo pa\u010diu, jis lieka labai intraverti\u0161ku d\u0117l savo tr\u016bkum\u0173 ir negatyvi\u0173 savybi\u0173. Tai perteikia ir choreograf\u0117 K. Ponties spektaklyje \u201eLuciola\u201c. Savianaliz\u0117 \u2013 taip vienu \u017eod\u017eiu apib\u016bdin\u010diau spektakl\u012f. Ta\u010diau savianaliz\u0117 b\u016bdinga ir romantizmo literat\u016briniams herojams, atspindintiems savojo laikme\u010dio \u017emog\u0173, jo siekiamyb\u0119. Taip pat romantizmo herojui b\u016bdingas ir vienatv\u0117s siekis, kan\u010dia d\u0117l negalimos meil\u0117s, emocionalumo auk\u0161tinimas, \u017eav\u0117jimasis transcendenti\u0161kumu, heroji\u0161kumas, kova u\u017e laisv\u0119. Tik XIX a. \u017emogus kovoja prie\u0161 atgyvenusias ir j\u012f kaip asmenyb\u0119, individ\u0105 var\u017ean\u010dias visuomen\u0117s nuostatas, siekia didesn\u0117s individualios erdv\u0117s. O \u0161okio spektaklio \u201eLuciola\u201c XXI a. herojus n\u0117ra var\u017eomas sociumo, nekovoja su jo asmenyb\u0119 var\u017ean\u010dia visuomen\u0117s sankloda \u2013 vienatv\u0119 ir asmenin\u0119 erdv\u0119 jis turi. Ta\u010diau kartu su vienatve jis turi ir santyk\u012f su savuoju \u201emonstru\u201c. Heroji\u0161kam \u017eingsniui galima priskirti susidraugavim\u0105 su pastaruoju, o laisvei \u2013 i\u0161silaisvinim\u0105 nuo savo neigiam\u0173 savybi\u0173. Taigi laisv\u0117 \u012fgyjama per asmenyb\u0117s transformacij\u0105. Gretinant ir lyginant XIX a. ir XXI a. \u017emog\u0173, jo savybes, poreikius, galima \u012f\u017evelgi \u017emogaus poky\u010dius, jo evoliucij\u0105. Taip pat \u010dia nesunkiai i\u0161ry\u0161k\u0117ja \u0161iandienos \u017emogaus potyriai ir \u0161i\u0173 dien\u0173 aktualijos. <\/p>\n<p>Spektaklio anotacija spektakl\u012f strukt\u016brizuoja \u012f tris dalis ir sufleruoja, kad spektaklyje \u0161okiu bus kalbama apie baim\u0119, apie nepasitik\u0117jim\u0105 savimi, apie s\u0105moningum\u0105, kad ne kova, o susidraugavimu, t.y. priimant savo neigiamas savybes, galimas asmenyb\u0117s pokytis \u012f geresn\u012fj\u012f \u201ea\u0161\u201c.<\/p>\n<p><img loading=\"lazy\" src=\"http:\/\/dance.lt\/files\/images\/920077\/Luciola_Philippe_Laurent_490x326.jpg\" width=\"490\" height=\"326\" alt=\"\" data-large=\"http:\/\/dance.lt\/files\/images\/920077\/Luciola_Philippe_Laurent.jpg\" class=\"js-zoom-image\" \/> <\/p>\n<p>Nedidel\u0117 Kauno dramos teatro R\u016btos sal\u0117s scena spektaklio metu d\u0117l specialaus ap\u0161vietimo (Giullaume\u2018as Toussaint\u2018as Fromentinas) buvo dar labiau suma\u017einta. O tuo tarpu pagrindinis spektaklio scenografijos (Wilfridas Roche) elementas \u2013 sofa,  tai did\u0117jo, tai ma\u017e\u0117jo, vietomis i\u0161ry\u0161k\u0117dama, o kitur ji buvo ne itin akcentuotinu scenos objektu, ant kurio \u0161ok\u0117jai tiesiog s\u0117d\u0117jo, gul\u0117jo, vart\u0117si, laipiojo ir pan. Veiksmas vyko namo\/buto kambaryje \u2013 aplinkoje, kuri kiekvienam i\u0161 m\u016bs\u0173 labai pa\u017e\u012fstama ir intymi. B\u016bnant \u010dia, kur pa\u017e\u012fstami visi kampeliai ir kiekvienas kilimo milimetras, ry\u0161k\u0117ja, kad \u0161io kambario \u0161eimininkas savyje turi jam pa\u010diam neatrast\u0173, nepa\u017e\u012fstam\u0173, ir nemaloni\u0173 savybi\u0173. Visas \u017emogaus netobulumas, pavydas, melas, \u017emoni\u0173 niekinimas, pagie\u017ea ir dar begal\u0117 kit\u0173 savybi\u0173, kompleks\u0173, baimi\u0173 ar neigiam\u0173 i\u0161gyvenim\u0173, kurie gal\u0117t\u0173 b\u016bti apib\u016bdinami vienu \u017eod\u017eiu \u2013 negatyvumas, galiausiai \u012fsik\u016bnijo \u201emonstre\u201c. \u201eMonstre\u201c, \u017evelgian\u010dio i\u0161 u\u017e kampo, lendan\u010dio i\u0161 po kilimo ir pasisavinusio visas kambario vietas. Scenoje regima savoti\u0161ka fantasmagorija d\u0117mes\u012f patraukia \u0161ok\u0117j\u0173 tarpusavio santykiais. Atrodo, jog j\u0173 kontaktas ir yra pagrindinis spektaklio akcentas. \u012edomu matyti puikius ap\u0161vietimo sprendimus, nevar\u017eomai judan\u010di\u0173 \u0161ok\u0117j\u0173 k\u016bnus, kurian\u010dius bendr\u0105 intymi\u0105 spektaklio atmosfer\u0105. <\/p>\n<p>Galima reziumuoti, kad anotacijoje skelbt\u0105 pa\u017ead\u0105 \u0161iuo \u0161okio reginiu choreografei pavyko i\u0161pildyti. Tiesa, trij\u0173 dali\u0173 skirtys buvo ne itin ry\u0161kios, ne itin akcentuojamos. Ta\u010diau spektaklio herojui pavyko susidraugauti su savuoju \u201emonstru\u201c bei ironizuoti sav\u0105j\u012f \u201ea\u0161\u201c, savo kambaryje vykdant\u012f savianaliz\u0119. <\/p>\n<p><em>Philippe&#8217;o Laurento nuotraukos<\/em><\/p>\n","protected":false},"excerpt":{"rendered":"<p>Tarptautinio \u0161okio festivalyje \u201eAura\u201824\u201c did\u017eiulio \u017ei\u016brov\u0173 d\u0117mesio sulauk\u0117 choreograf\u0117s Karine\u2018s Ponties trup\u0117s Dame de Pic (Belgija) valandos trukm\u0117s spektaklis \u201eLuciola\u201c, &#8230;<\/p>\n","protected":false},"author":1,"featured_media":1634,"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>Literat\u016bros ir \u0161iuolaikinio \u0161okio partneryst\u0117 \u0161okio festivalyje \u201eAura\u201824\u201c. \u201eLuciolos\u201c aliuzija - 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