{"id":1746,"date":"2015-05-07T16:34:57","date_gmt":"2015-05-07T16:34:57","guid":{"rendered":"http:\/\/dance.lt\/new\/2015\/05\/07\/impresionistiniai-malonumai\/"},"modified":"2015-05-07T16:34:57","modified_gmt":"2015-05-07T16:34:57","slug":"impresionistiniai-malonumai","status":"publish","type":"post","link":"https:\/\/dance.lt\/new\/2015\/05\/07\/impresionistiniai-malonumai\/","title":{"rendered":"Impresionistiniai malonumai"},"content":{"rendered":"

Anca Giurchescu viename i\u0161 savo tekst\u0173 (Giurchescu Anca. The Power of Dance and its Social and Political Uses. Yearbook for Traditional Music<\/em>, Vol. 33 (2001), 109\u2013121 p.) i\u0161kelia \u0161okio kaip kult\u016brinio teksto svarb\u0105, veikiam\u0105 \u012fvairi\u0173 skirting\u0173 kontekst\u0173 (istorini\u0173, socialini\u0173, kult\u016brini\u0173 ir t.t.). Tokiu b\u016bdu, pats \u0161okis yra suvokiamas ne tik kaip prasm\u0117s talpykla, ta\u010diau kaskart kuriantis prasm\u0119 kiekvieno atlikimo metu, priklausomai nuo to, kokia kult\u016brinio teksto \u201ekalba\u201c ir kam jis \u201eprabyla\u201c. \u010cia jau nieko nebenustebins teiginys, jog i\u0161keliama ne tik atlik\u0117jo, ta\u010diau ir suvok\u0117jo svarba, kuris praple\u010dia ir papildo \u0161okio reik\u0161mes. Kitaip tariant, dar kart\u0105 \u0161iandienos kult\u016briniame kontekste sureik\u0161minamas abipusis dialogas ir, \u017einoma, visagalis kontekstas. K\u0105 mes galime vienas kitam papasakoti savo k\u016bnais, mintimis, patirtimis, kult\u016brin\u0117mis sampratomis. Tok\u012f dar vien\u0105 dialog\u0105 buvo ketinta u\u017emegzti ir Kaune \u201eAura+\u201c erdv\u0117je. \u0160\u012fkart tur\u0117jo susitikti ryt\u0173 ir vakar\u0173 patirtys (ir rytai \u0161\u012fkart buvom ne mes) \u2013 Ji Park improvizacija \u201eLaikinumas\u201c.
\n\"\"
\nTeorin\u0117 improvizacijos koncepcija sud\u0117liota tvarkingai ir pavyzdingai: vakar\u0173 pasaulis supa\u017eindinamas su Piet\u0173 Kor\u0117jos tradicija ir \u0161iuolaikine b\u016btimi. Tradicijos apibr\u0117\u017etis ir kontekstas atsiskleid\u017eia: specialus pagal tradicijas pagamintas kostiumas (dailinink\u0117 Kim Kyung-in), tradicinis Kor\u0117jos \u0161okis (Ji Park \u201e\u0161aknys\u201c \u2013 tradicinis Kor\u0117jos \u0161okis), \u0161iuolaiki\u0161kumas \u2013 b\u016btis \u010dia ir dabar, improvizaciniai ie\u0161kojimai, grie\u017et\u0173 tradicijos r\u0117m\u0173 atsisakymas, po tradicin\u0117s \u0161oki\u0173 mokyklos \u2013 \u0161iuolaikinio \u0161okio \u201egl\u0117bis\u201c. Ir, rodos, am\u017einoji tema \u2013 gyvenimas ir mirtis. Laikinumas \u2013 tarpsnis tarp s\u0105lygin\u0117s prad\u017eios ir pabaigos, apimantis kasdien\u0117s b\u016bties aspektus bei am\u017ein\u0105j\u012f \u201evarikl\u012f\u201c \u2013 kontekst\u0105. Ne paslaptis, jog santykis su mirtimi (o taip pat ir gyvenimu) skiriasi \u017evelgiant i\u0161 ryt\u0173 arba vakar\u0173 tradicijos. Vien m\u016bs\u0173 lietuvi\u0161kosios \u0161aknys, nuo pagoni\u0161k\u0173 pradmen\u0173 iki Romos katalik\u0173 ir M. Weberio engiam\u0173j\u0173 religijos sampratos, \u012ftakotos daug kart\u0173 kei\u010diantis gyvenimo ir mirties vertinimo skal\u0117ms: gyvenimas-d\u017eiaugsmas vs gyvenimas-kan\u010dia, o mirtis \u2013 i\u0161ganymas su am\u017einuoju Rojumi. Ir filosofinis po\u017ei\u016bris, vienodai gebant vertint gyvenimo ir mirties si\u016blus bei susikirtimus. Filosofi\u0161ko laikinumo spj\u016bvio \u012f veid\u0105 laukiau nuo pirmos spektaklio akimirkos. <\/p>\n

\u0160okio improvizacija vystosi pagrindine \u2013 kult\u016brin\u0117s pa\u017einties linija. Lietuvi\u0161kajai auditorijai parodyti kor\u0117jieti\u0161k\u0105 esat\u012f, o taip pat ir t\u0105 b\u016bt\u012f, kuri\u0105 P. Kor\u0117jos atstov\u0117 patiria Lietuvoje. Ir visa tai laikinumo r\u0117muose turi atskleisti nuolat besikei\u010diantis \u0161ok\u0117jos amplua: \u201ekapoti\u201c judesiai, muzikos garsai (Kim Kyung-In), \u010de\u017eantis kostiumas. Prasideda gyvenimo ir mirties \u017eaidimas \u2013 \u0161ok\u0117ja it embrionas, besivystanti \u017ei\u016brov\u0173 akyse, v\u0117liau \u2013 klykaujantis k\u016bdikis, \u017eaid\u017eiantis su savo popieriniu kostiumu, j\u012f pl\u0117\u0161anti ir po truput\u012f auganti. Gal\u0173 gale \u017eengianti \u012f \u017ei\u016brovus ir kiekvienam s\u0117din\u010diam pirmojoje eil\u0117je paspaud\u017eianti rank\u0105 bei \u012fd\u0117miai pa\u017evelgianti \u012f akis. Pasisveikinimas, atsisveikinimas, mirtis, turinti i\u0161tikti \u010dia pat scenoje. Verta pamin\u0117ti, jog kiekvienas \u017ei\u016brovas prie\u0161 prasidedant spektakliui gavo muilo burbul\u0173 indel\u012f su instrukcija: \u201ep\u016bsti kada tik u\u017esigeisi\u201c. Tas u\u017esigeidimas \u2013 s\u0105lyginis rei\u0161kinys, ta\u010diau ar\u010diausiai s\u0117dintys m\u0117ginom \u012fsitraukti \u012f vyksm\u0105 \u0161ok\u0117jai priart\u0117jus ir i\u0161 vis\u0173 plau\u010di\u0173 p\u016bsti p\u016bsti ir dar kart\u0105 p\u016bsti (kaip \u012f t\u0105 animacinio filmuko heroj\u0119, kuri nor\u0117jo patapti lengva it plunksnel\u0117). Kod\u0117l gi neu\u017esisvajojus, kaip balta popierine suknele \u0161ok\u0117ja suksis muilo burbul\u0173 fone. Poetika, patetika ir visi kiti u\u017e \u0161irdies griebiantys niuansai.
\nVisgi, kokia muilo burbul\u0173 \u201egalia\u201c mums pateiktame kult\u016briniame tekste? Ir kokias prasmes k\u016br\u0117me drauge su atlik\u0117ja? Ar atspindime vakarieti\u0161kus atributus, kurie \u012f rytus skverbiasi arba \u0161iems sukuria burbul\u0173 parad\u0105? O galb\u016bt, tai \u017ead\u0117tasis laikinumas \u2013 sprogstantis vos pasiekus grindis? Arba tiesiog vaiki\u0161kas \u017eaidimas, ne itin pra\u0161matnus savo koncepcija, ta\u010diau gana tiesmukai derantis prie laikinumo, vaiki\u0161kumo, tradicijos\/\u0161iuolaiki\u0161kumo kontempliacijos \u012fsp\u016bd\u017eio. <\/p>\n

I\u0161ties, bendradarbiavimo koncepcija ir iniciatyva sveikintina, o \u201eAura+\u201c erdv\u0117s gyvavimas \u2013 praple\u010dia kaunieti\u0161ko kult\u016brinio gyvenimo r\u0117mus. Pa\u017ead\u0117ta, jog kaskart po spektaklio ketinama organizuoti diskusij\u0105. \u0160\u012fkart ji \u012fvyko. Po pasirodymo Ji Park gr\u012f\u017eo pas \u017ei\u016brovus atviram pokalbiui \u2013 apie k\u0105, koks ir kod\u0117l buvo pasirodymas. Kiekvienas gal\u0117jo i\u0161sakyti savo \u012fsp\u016bd\u017eius, u\u017eduoti klausimus, \u201eAuros\u201c \u0161ok\u0117jai atskleisti savo praktines patirtis po dienos darbo su kor\u0117jieti\u0161ka technika. \u201ePo \u0161okinis\u201c pokalbis tarsi prat\u0119s\u0117 pat\u012f pasirodym\u0105 ir b\u016btent \u0161is dialogas tapo vertingiausia \u0161okio dalimi.
\n\"\"
\nDaugelyje performatyvaus meno tyrin\u0117toj\u0173 teorij\u0173 aptariamas antropologinis meno pradmuo. \u0160amani\u0161ki ritualai, kurie savo gyvu teatrali\u0161ku pasirodymu tur\u0117davo i\u0161spr\u0119sti labai utilitarias, ta\u010diau ne \u017emogaus srities galiai problemas \u2013 pri\u0161aukt liet\u0173, pagausinti derli\u0173 ir pana\u0161iai. Rodos, kad \u201eLaikinumas\u201c ir buvo to \u0161amani\u0161ko ritualo prana\u0161as \u2013 dialogo \u0161auklys, kurio prasm\u0117 atsiskleid\u017eia tik tuomet, kai \u0161is baigiasi. Tarsi tik mirusieji gal\u0117t\u0173 tikslingai prabilti apie gyvenim\u0105, juk jie ir tik jie sugeb\u0117jo per\u017eengti gyvenimo rubikon\u0105. Taip ir Ji Park pasakojamos istorijos, i\u0161sivadavus nuo tradicinio \u0161ok\u0117jos r\u016bbo ir sus\u0117dus drauge su \u017ei\u016brovais, atsisakius sceni\u0161ko patoso, bet pasirengus paprastam dialogui, atrodo tapo konceptualesniu \u0161okiu nei prie\u0161 tai atliktas. Tuo momentu prasid\u0117jo kult\u016brinis pasakojimas, kad ir apie kostium\u0105, pagamint\u0105 pagal speciali\u0105 popieriaus technik\u0105, popieriaus, kuris senov\u0117je Kor\u0117joje buvo naudojamas dengti langams vietoj stiklo. Ir tuomet susim\u0105stai, jog ta pretenzinga suknel\u0117, kuri\u0105 atrod\u0117 kaskart reik \u0161ok\u0117jai prilaikyti ranka, kad nenukrist\u0173, buvo tarsi langas, \u012f t\u0105 \u017ead\u0117t\u0105 ryt\u0173 pasaul\u012f. K\u016bnas tapo visa apiman\u010dia nam\u0173 s\u0105vok\u0105, \u012f kuri\u0105 \u017evelgiama per abipus\u012f stikl\u0105, o juk visi suprantame, kad namai n\u0117ra tik pastatas. P\u016bsdami savo muilo burbulus ketinome \u012f\u017eengti \u012f pa\u010di\u0105 intymiausi\u0105 sfer\u0105, ten, kur kiekvienas jau\u010diasi saugus, nesaistomas joki\u0173 kult\u016brini\u0173 nusistatym\u0173 ar socialini\u0173 norm\u0173 \u2013 namie u\u017e u\u017edar\u0173 dur\u0173, kai nusipl\u0117\u0161iame savo dienos kaukes ir galime tiesiog b\u016bti. Ar tok\u012f laikin\u0105 lang\u0105 mums tur\u0117jo atverti \u0161ok\u0117ja?<\/p>\n

Ji Park pasakojo, jog pirm\u0105 kart\u0105 lank\u0117si Kaune saus\u012f. Buvo \u0161alta ir ni\u016bru. O \u0161tai baland\u012f ji pamat\u0117 pavasari\u0161kus \u017emoni\u0173 veidus, i\u0161\u0117jusius \u012f lauk\u0105, nusimetusius sunkius r\u016bbus, besi\u0161ypsan\u010dius ir laimingus. Tok\u012f dvipus\u012f lang\u0105 Kaunas atv\u0117r\u0117 jai. \u0160i\u0105 savo patirt\u012f \u0161ok\u0117ja taip pat tro\u0161ko \u012fkomponuoti \u012f \u201eLaikinum\u0105\u201c. Gal tod\u0117l pasirodymo pabaigoje taip intensyviai spaud\u0117me su \u0161ok\u0117ja rankas ir \u012fd\u0117miai \u017evelg\u0117me \u012f akis, tarsi pabr\u0117\u017edami, jog matome vienas kit\u0105, netgi jei tai paskutinis kartas. Skirtingos patirtys geba persiduoti vieni kitiems.
\n \"\"
\nIdentitetas ir tapatyb\u0117 sukonstruoti kontekstuose, bet ketino atsiskleisti prie\u0161 m\u016bs\u0173 akis. Prasm\u0117s, kurios tur\u0117jo ne tik b\u016bti sutalpintos tautyb\u0117je, lyti\u0161kume, tradiciniuose atributuose, ta\u010diau b\u016bti daugiasluoksni\u0161kai kuriamos ir \u0161okio metu. Pris\u0117dus prie kompiuterio ir \u017evelgiant \u012f word\u2018o ekran\u0105, mano emocin\u0117 patirtis geriausiai atsimena dialog\u0105 vykus\u012f po \u0161okio. Su kuklia \u0161ok\u0117ja, kuri teig\u0117, jog solinio pasirodymo netur\u0117jo jau kok\u012f 20 met\u0173. Ir \u0161is dialogas man pasirod\u0117 tikresnis u\u017e t\u0105, kur\u012f m\u0117ginom burbulais \u012fp\u016bsti scenoje. <\/p>\n

Svetlanos Baturos nuotraukos.<\/em><\/p>\n","protected":false},"excerpt":{"rendered":"

Anca Giurchescu viename i\u0161 savo tekst\u0173 (Giurchescu Anca. The Power of Dance and its Social and Political Uses. Yearbook for …<\/p>\n","protected":false},"author":1,"featured_media":1747,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":[],"categories":[19],"tags":[],"yoast_head":"\nImpresionistiniai malonumai - 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\/2015\/05\/07\/impresionistiniai-malonumai\/\" \/>\n<meta property=\"og:locale\" content=\"lt_LT\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Impresionistiniai malonumai - Lithuanian Dance Centre\" \/>\n<meta property=\"og:description\" content=\"Anca Giurchescu viename i\u0161 savo tekst\u0173 (Giurchescu Anca. The Power of Dance and its Social and Political Uses. 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