{"id":18140,"date":"2025-12-29T16:16:51","date_gmt":"2025-12-29T14:16:51","guid":{"rendered":"https:\/\/dance.lt\/new\/?p=18140"},"modified":"2025-12-29T16:21:36","modified_gmt":"2025-12-29T14:21:36","slug":"ginti-menama","status":"publish","type":"post","link":"https:\/\/dance.lt\/new\/2025\/12\/29\/ginti-menama\/","title":{"rendered":"Ginti menam\u0105"},"content":{"rendered":"

Gruod\u017eio 18 dien\u0105, Lietuvos muzikos ir teatro akademijos studij\u0173 miestelio Teatro sal\u0117je choreograf\u0117 ir \u0161ok\u0117ja Liza Baliasnaja, padedama \u201eBe kompanijos\u201c, pristat\u0117 lietuvi\u0161k\u0105j\u0105 spektaklio \u201eShield is a Weapon\u201c (\u201eSkydas yra ginklas\u201c) premjer\u0105. Nors kalb\u0117ta apie skyd\u0105, tikrasis k\u016br\u0117jos ginklas, kaip ir ankstesniuose k\u016briniuose, i\u0161lieka skalpelis. B\u016btent taip tiksliai, pasirinkusi j\u0105 dominan\u010di\u0105 tem\u0105, meninink\u0117 pjausto visus galimus jos sluoksnius, nagrin\u0117dama juos detaliai tiek teoriniu, tiek ir praktiniu \u2013 judesio \u2013 lygmeniu.<\/p>\n

Galb\u016bt d\u0117l to, koks aktualus \u0161iandienos kontekste tapo naujasis Lizos darbas, pirm\u0105 kart\u0105 taip ai\u0161kiai buvo galima steb\u0117ti ne tik tyrim\u0173 rezultat\u0105, bet ir sekti jo konstravimo principus. Daugiausiai laiko Vokietijoje praleid\u017eianti meninink\u0117 t\u0119sia savo k\u016briniams b\u016bding\u0105 moksliniam tyrimui prilygstant\u012f metod\u0105. Jos \u0161okio spektakli\u0173 pagrindu tampa artimas performansui, tarp k\u016bno ir objekto \u017eenkl\u0173 gimstan\u010di\u0173 prasmi\u0173 pozicionavimas.<\/p>\n

\"\"<\/a>Spektaklis \u201eShield is a Weapon\u201c,<\/em> Nathan Ishar (Studio Pramudya) nuotr.\u00a0<\/em><\/p>\n

Ankstesniame Baliasnajos k\u016brinyje \u201eChiaroscuro\u201c, \u012fvaizd\u017eiams buvo leista atsispirti nuo tapybos, pavadinime minimos Renesanse u\u017egimusios \u0161viesos-tamsos technikos ir kostiumuose ry\u0161ki\u0173 barokini\u0173 \u012fvaizd\u017ei\u0173. Juos savo buvimu ir judesiu erdv\u0117je sujung\u0119 \u0161ok\u0117jai pasirinkt\u0105 baim\u0117s tem\u0105 pl\u0117tojo per asmenin\u0117s erdv\u0117s santykio (ne)buvim\u0105, perteklin\u012f \u012fsiskverbim\u0105 \u012f j\u0105. Tolesnis poveikis buvo pavaizduotas ir labai tiesiogiai: atvir\u0105 kaip \u017euvies burn\u0105 \u201evedant\u201c pir\u0161tu, lyg u\u017ekabintu kabliuku.<\/p>\n

\u0160\u012fkart scenoje yra viena Liza, nuolatos veikianti kaip vis kita jos pa\u010dios dalis. Lauros Stellacci sukurtas sceninis kostiumas, kaip ir prad\u017eioje girdimas muzikos skambesys (kompozitorius Pablo Garreton), dar kart\u0105 kuria s\u0105sajas su Baroku, bet veikiau j\u012f interpretuoja, nei remiasi. Dvispalv\u0117s \u0161ok\u0117jos p\u0117dkeln\u0117s, juodi \u201ekostiuminiai\u201c smailianosiai batai ir d\u017einsin\u0117 liemen\u0117 atlik\u0117j\u0105 scenoje paver\u010dia originaliu r\u016bm\u0173, o gal ir gatv\u0117s juokdario atitikmeniu. \u012eprastus \u0161iam r\u016bbui romb\u0173, lyg plyteli\u0173, ra\u0161tus kei\u010dia med\u017eiagin\u0117 plyt\u0173 siena, prad\u017eioje dengianti gulint\u012f, o v\u0117liau ir stovint\u012f \u0161ok\u0117jos k\u016bn\u0105.<\/p>\n

Neseniai teko gird\u0117ti, kad m\u016bs\u0173 laikai gali b\u016bti lyginami su Viduram\u017eiais: gyvenimas ant pra\u0117jusio laiko didyb\u0117s pamat\u0173, nusigr\u0119\u017eimas nuo literat\u016bros, prietar\u0173 (kaip konspiracijos teorij\u0173 ir melagien\u0173) i\u0161kilimas, vie\u0161o smerkimo sugr\u012f\u017eimas, ultraturting\u0173j\u0173<\/em> sluoksnio susiformavimas ir i\u0161kilimas, interes\u0173, vertybi\u0173 gr\u0119\u017eimasis atgal, neigiant ateit\u012f… Galb\u016bt pri\u0117mus toki\u0105 s\u0105lyg\u0105 Lizos istorinio juokdario \u012fvaizdis, Baroke \u012fgaunantis ir teatrin\u012f lygmen\u012f, atrodo dar logi\u0161kesnis. S\u0105lygin\u012f laiko atstum\u0105 formuojantis \u012fvaizdis, pana\u0161iai kaip ir \u201eChiaroscuro\u201c, leid\u017eia \u012fgyti reikiam\u0105 distancij\u0105 \u0161iandienos situacijos analizei kurti, taip pat nepameta aktualios istorin\u0117s nuorodos, kaip \u012frankio temai prapl\u0117sti.<\/p>\n

Ties\u0105 sakant, Lietuvoje prasid\u0117jus kult\u016bros bendruomen\u0117s protestams, prad\u0117jau galvoti apie i\u0161mesto i\u0161 r\u016bm\u0173 juokdario portret\u0105. Juokdarys, kaip tiesos per men\u0105 rei\u0161k\u0117jas, galintis ir \u012ftakingiausiesiems pristatyti blogiausias \u017einias, staiga \u012fgij\u0119s \u201epernelyg\u201c tvirt\u0105 pozicij\u0105 yra i\u0161metamas i\u0161 r\u016bm\u0173. \u017dinoma, \u010dia jau atsiranda variacijos \u2013 ar jis i\u0161metamas, ar pats i\u0161eina, \u2013 bet rezultatas tas pats. Kritiniu m\u0105stymu besiremiantis k\u016br\u0117jas \u2013 sarkasti\u0161kasis r\u016bm\u0173 naujien\u0173 prane\u0161\u0117jas \u2013 atstumtas, nereikalingas, pa\u0161alinis tampa tada, kai tendencing\u0105 krypt\u012f taikanti politika ima reik\u0161tis pirmuoju balsu. Kitaip tariant, juokdariai diktat\u016brai nereikalingi (pavyzd\u017ei\u0173 v\u0117lgi apstu visuose istorijos tarpsniuose).<\/p>\n

Toks yra ir Lizos \u201ejuokdarys\u201c, palaidotas \u201eu\u017e sienos\u201c, netek\u0119s balso. Padedant vokalo specialistei Brittai Tekotte, spektaklio prad\u017eioje girdime mikrofonu \u012fgarsinam\u0105 (technika ir \u0161viesos Julio Ernesto Escobaro Mellado), u\u017e u\u017edaros burnos skydo formuojamo gilaus balso partit\u016br\u0105, kuriai pritaria, o gal net i\u0161 jos gimsta suvar\u017eyto judesio strukt\u016bra. Visos iki \u0161ios straipsnio dalies i\u0161vardytos, regis, binariniu principu konstruojamos menin\u0117s analiz\u0117s dalys palengva ima kurti paradoksaliai nedviplan\u012f, o grei\u010diau polifoni\u0161k\u0105 paveiksl\u0105.<\/p>\n

\u201eShield is a Weapon\u201c veikimo principe \u201esusiprie\u0161inti\u201c turin\u010dios dalys i\u0161 esm\u0117s nesusitinka, nes pati atlik\u0117ja negali b\u016bti fizi\u0161kai daloma per pus\u0119. Nors daugyb\u0117 toki\u0173 nuorod\u0173 gimsta kostiumuose ar erdviniuose sumanymuose, pavyzd\u017eiui, \u012f kamuol\u012f susukt\u0105 pakibusi\u0105 nepermatom\u0105 med\u017eiagin\u0119 \u201esien\u0105\u201c svertu laiko perregimas vandens mai\u0161as (scenografija kurta bendradarbiaujant su Jara Vlaeminckx). Prie\u0161inami \u017eenklai n\u0117ra vienaplaniai ir net ne i\u0161 karto leid\u017eiasi \u012fvardijami.<\/p>\n

\"\"<\/a>Liza Baliasnaja, spektaklis \u201eShield is a Weapon\u201c, Felix Kraus nuotr.<\/em><\/p>\n

Kaip ir Lizos atstovaujami skirtingose sien\u0173 \/ skyd\u0173 pus\u0117se stovintys veik\u0117jai. Pirmasis, netek\u0119s balso, atskirtas ir matoma, ir permatoma sienomis, yra fizi\u0161kai i\u0161rai\u0161kingas, ta\u010diau bej\u0117gis. Antrasis \u2013 laisvai \u0161neka, ta\u010diau pats save \u012fsivar\u0119s \u012f sp\u0105stus, pateikiamas auk\u0161tyn kojomis lyg kort\u0173 paveiksl\u0117lyje apverstas atvaizdas. Jei pirmojo baim\u0117 bandoma komunikuoti i\u0161lieka nebyli ir atvira interpretacijai, antrojo baim\u0117 konkre\u010diai nukreipta \u012f kit\u0105, su kuriuo mezgamas balsinis dialogas (tekstai sukurti kartu su R\u016bta Junevi\u010di\u016bte).<\/p>\n

Dialoge nuskamba daug palyginim\u0173 su \u0161unimi. Lyginami abu \u201eveik\u0117jai\u201c, ta\u010diau \u010dia nerasime nei sulyginimo, nei prie\u0161inimo per skirtumus. Tai, ko ie\u0161ko spektaklio autor\u0117 ir komanda, yra tre\u010diasis, nematomas d\u0117muo \u2013 tai, kas ver\u010dia veikian\u010diuosius patirti rodomas situacijas. Stipriausiu \u012fvaizd\u017eiu tampa finaliniame Lizos monologe nuskambanti mintis apie plastikin\u012f permatom\u0105 skyd\u0105, saugant\u012f tai, ko n\u0117ra. Tekstas ver\u010dia \u012fsivaizduoti protestuotojus, kaip vienos minties atstovus, i\u0161sirikiavusius prie\u0161 riau\u0161i\u0173 policij\u0105 plastikiniais skydais, dengian\u010di\u0105 tuo metu nesan\u010dius \u017emones ir id\u0117jas.<\/p>\n

Klausydamasi prisimenu ir istorin\u0119 nuotrauk\u0105<\/a>, kurioje Kukluksklano nari\u0173 vaikas tyrin\u0117ja juodaod\u017eio policininko skyd\u0105. Neras\u010diau geresnio \u012fvaizd\u017eio tam, apie k\u0105 tuo metu kalba Baliasnaja. Atitvaru vardan vienpus\u0117s teis\u0117s atskirti gyvenimai, savaime galintys netur\u0117ti nieko prie\u0161inan\u010dio. Pana\u0161iai ir kitame spektaklio tekste kalbama apie jausm\u0105, kai \u201egerkl\u0117je \u012fstringa kaulas\u201c. \u0160\u012f \u012fvaizd\u012f galime sieti su prad\u017eioje gird\u0117tais u\u017edara burna suformuotais garsais \u2013 lyg draud\u017eiamais, springstan\u010diais. O atvira burna gars\u0105 formuojantis veikiantysis demonstratyviai, netgi performatyviai \u012fsikanda did\u017eiul\u012f kaul\u0105, taip \u012fk\u016bnydamas visi\u0161kai kitok\u012f \u012fvaizd\u012f.<\/p>\n

K\u016br\u0117ja \u012fvairiais b\u016bdais kalba ne apie suprie\u0161inamas puses, j\u0173 teisim\u0105 ar teisinim\u0105, o apie suprie\u0161inusias id\u0117jas, kaip m\u0105stymo konstrukcijas. Tokiu b\u016bdu ji d\u0117lioja ir savuosius \u017eenklus, simbolius scenoje, dekonstruodama nagrin\u0117jam\u0105 objekt\u0105 (populistin\u0117s minties fone gimstant\u012f suprie\u0161inim\u0105) ir konstruodama t\u0105, kuris susikuria nebesant pirmojo (nat\u016brali bals\u0173 polifonija). Nors steb\u0117ti tok\u012f proces\u0105 \u0161okio spektaklio forma kartais atrodo sud\u0117tinga, nes atskirai visi naudojami i\u0161rai\u0161kos d\u0117menys gali atrodyti beveik savitiksliai \u201ekonceptual\u016bs\u201c, skirtingai nei spektaklyje \u201eChiaroscuro\u201c, \u010dia paveikia finalinis tekstas, tinkamoje vietoje ir tinkamu laiku dar kart\u0105 auk\u0161tyn kojomis apver\u010diantis k\u0105 tik matytus \u012fvaizd\u017eius.<\/p>\n

\u201eShield is a Weapon\u201c vert\u0117 slypi jo kuriamoje interpretacijos ir diskusijos erdv\u0117je. Kitaip nei jau nuvalkiotame posakyje, kad \u201ek\u016br\u0117jas palieka erdv\u0117s apm\u0105stymams \/ nepateikia atsakym\u0173, tik u\u017eduoda klausimus\u201c… Baliasnaja su k\u016brybine komanda kaip tik duoda visus atsakymus, lyg pristatydami mokslinio darbo i\u0161vadas. Tokiu b\u016bdu \u017ei\u016brovui suteikiama galimyb\u0117 po spektaklio patirti k\u016brin\u012f i\u0161 naujo, perm\u0105styti jo \u012fvaizd\u017eius, taip \u201enuotoliu\u201c t\u0119sti diskusij\u0105 su k\u016briniu. Ir taip visi spektaklio k\u016brybos komponentai \u010dia sukimba \u012f dar vien\u0105 jo paties \u012fvaizd\u012f \u2013 sunert\u0173 skyd\u0173 grandin\u0119, kuri gali b\u016bti tvirta ir lanksti tuo pa\u010diu metu, lyg savo uodeg\u0105 ryjanti gyvat\u0117.<\/p>\n

Tekstas publikuotas \u201eMen\u0173 fakt\u016broje\u201c 2025 m. gruod\u017eio 22 d. Tekst\u0105 galite rasti \u010dia<\/a>.<\/em><\/p>\n

Projekt\u0105 \u201eMen\u0173 fakt\u016bra\u201c, 2025 m. skyr\u0119s 34 t\u016bkst. eur\u0173, i\u0161 dalies finansuoja Medij\u0173 r\u0117mimo fondas.<\/em><\/p>\n","protected":false},"excerpt":{"rendered":"

Gruod\u017eio 18 dien\u0105, Lietuvos muzikos ir teatro akademijos studij\u0173 miestelio Teatro sal\u0117je choreograf\u0117 ir \u0161ok\u0117ja Liza Baliasnaja, padedama \u201eBe kompanijos\u201c, …<\/p>\n","protected":false},"author":2,"featured_media":17817,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":[],"categories":[9],"tags":[],"yoast_head":"\nGinti menam\u0105 - 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\/2025\/12\/29\/ginti-menama\/\" \/>\n<meta property=\"og:locale\" content=\"lt_LT\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Ginti menam\u0105 - Lithuanian Dance Centre\" \/>\n<meta property=\"og:description\" content=\"Gruod\u017eio 18 dien\u0105, Lietuvos muzikos ir teatro akademijos studij\u0173 miestelio Teatro sal\u0117je choreograf\u0117 ir \u0161ok\u0117ja Liza Baliasnaja, padedama \u201eBe kompanijos\u201c, ...\" \/>\n<meta property=\"og:url\" content=\"https:\/\/dance.lt\/new\/2025\/12\/29\/ginti-menama\/\" \/>\n<meta property=\"og:site_name\" content=\"Lithuanian Dance Centre\" \/>\n<meta property=\"article:published_time\" content=\"2025-12-29T14:16:51+00:00\" \/>\n<meta property=\"article:modified_time\" content=\"2025-12-29T14:21:36+00:00\" \/>\n<meta property=\"og:image\" content=\"https:\/\/dance.lt\/new\/wp-content\/uploads\/2025\/10\/Original-picture-scaled.jpg\" \/>\n\t<meta property=\"og:image:width\" content=\"2560\" \/>\n\t<meta property=\"og:image:height\" content=\"2005\" \/>\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=\"6 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\/2025\/12\/29\/ginti-menama\/#primaryimage\",\"inLanguage\":\"lt-LT\",\"url\":\"https:\/\/dance.lt\/new\/wp-content\/uploads\/2025\/10\/Original-picture-scaled.jpg\",\"contentUrl\":\"https:\/\/dance.lt\/new\/wp-content\/uploads\/2025\/10\/Original-picture-scaled.jpg\",\"width\":2560,\"height\":2005},{\"@type\":\"WebPage\",\"@id\":\"https:\/\/dance.lt\/new\/2025\/12\/29\/ginti-menama\/#webpage\",\"url\":\"https:\/\/dance.lt\/new\/2025\/12\/29\/ginti-menama\/\",\"name\":\"Ginti menam\\u0105 - Lithuanian Dance Centre\",\"isPartOf\":{\"@id\":\"https:\/\/dance.lt\/new\/#website\"},\"primaryImageOfPage\":{\"@id\":\"https:\/\/dance.lt\/new\/2025\/12\/29\/ginti-menama\/#primaryimage\"},\"datePublished\":\"2025-12-29T14:16:51+00:00\",\"dateModified\":\"2025-12-29T14:21:36+00:00\",\"author\":{\"@id\":\"https:\/\/dance.lt\/new\/#\/schema\/person\/3aa80bdc383544c068cc181238cdb252\"},\"breadcrumb\":{\"@id\":\"https:\/\/dance.lt\/new\/2025\/12\/29\/ginti-menama\/#breadcrumb\"},\"inLanguage\":\"lt-LT\",\"potentialAction\":[{\"@type\":\"ReadAction\",\"target\":[\"https:\/\/dance.lt\/new\/2025\/12\/29\/ginti-menama\/\"]}]},{\"@type\":\"BreadcrumbList\",\"@id\":\"https:\/\/dance.lt\/new\/2025\/12\/29\/ginti-menama\/#breadcrumb\",\"itemListElement\":[{\"@type\":\"ListItem\",\"position\":1,\"name\":\"Home\",\"item\":\"https:\/\/dance.lt\/new\/en\/\"},{\"@type\":\"ListItem\",\"position\":2,\"name\":\"Ginti menam\\u0105\"}]},{\"@type\":\"Person\",\"@id\":\"https:\/\/dance.lt\/new\/#\/schema\/person\/3aa80bdc383544c068cc181238cdb252\",\"name\":\"dance\",\"image\":{\"@type\":\"ImageObject\",\"@id\":\"https:\/\/dance.lt\/new\/#personlogo\",\"inLanguage\":\"lt-LT\",\"url\":\"https:\/\/secure.gravatar.com\/avatar\/6488e8bc4c288766b279be0b8c8f8f0e?s=96&d=mm&r=g\",\"contentUrl\":\"https:\/\/secure.gravatar.com\/avatar\/6488e8bc4c288766b279be0b8c8f8f0e?s=96&d=mm&r=g\",\"caption\":\"dance\"},\"url\":\"https:\/\/dance.lt\/new\/author\/dance\/\"}]}<\/script>\n<!-- \/ Yoast SEO plugin. -->","yoast_head_json":{"title":"Ginti menam\u0105 - Lithuanian Dance Centre","robots":{"index":"index","follow":"follow","max-snippet":"max-snippet:-1","max-image-preview":"max-image-preview:large","max-video-preview":"max-video-preview:-1"},"canonical":"https:\/\/dance.lt\/new\/2025\/12\/29\/ginti-menama\/","og_locale":"lt_LT","og_type":"article","og_title":"Ginti menam\u0105 - Lithuanian Dance Centre","og_description":"Gruod\u017eio 18 dien\u0105, Lietuvos muzikos ir teatro akademijos studij\u0173 miestelio Teatro sal\u0117je choreograf\u0117 ir \u0161ok\u0117ja Liza Baliasnaja, padedama \u201eBe kompanijos\u201c, ...","og_url":"https:\/\/dance.lt\/new\/2025\/12\/29\/ginti-menama\/","og_site_name":"Lithuanian Dance Centre","article_published_time":"2025-12-29T14:16:51+00:00","article_modified_time":"2025-12-29T14:21:36+00:00","og_image":[{"width":2560,"height":2005,"url":"https:\/\/dance.lt\/new\/wp-content\/uploads\/2025\/10\/Original-picture-scaled.jpg","type":"image\/jpeg"}],"twitter_card":"summary_large_image","twitter_misc":{"Written by":"dance","Est. reading time":"6 minut\u0117s"},"schema":{"@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\/2025\/12\/29\/ginti-menama\/#primaryimage","inLanguage":"lt-LT","url":"https:\/\/dance.lt\/new\/wp-content\/uploads\/2025\/10\/Original-picture-scaled.jpg","contentUrl":"https:\/\/dance.lt\/new\/wp-content\/uploads\/2025\/10\/Original-picture-scaled.jpg","width":2560,"height":2005},{"@type":"WebPage","@id":"https:\/\/dance.lt\/new\/2025\/12\/29\/ginti-menama\/#webpage","url":"https:\/\/dance.lt\/new\/2025\/12\/29\/ginti-menama\/","name":"Ginti menam\u0105 - Lithuanian Dance Centre","isPartOf":{"@id":"https:\/\/dance.lt\/new\/#website"},"primaryImageOfPage":{"@id":"https:\/\/dance.lt\/new\/2025\/12\/29\/ginti-menama\/#primaryimage"},"datePublished":"2025-12-29T14:16:51+00:00","dateModified":"2025-12-29T14:21:36+00:00","author":{"@id":"https:\/\/dance.lt\/new\/#\/schema\/person\/3aa80bdc383544c068cc181238cdb252"},"breadcrumb":{"@id":"https:\/\/dance.lt\/new\/2025\/12\/29\/ginti-menama\/#breadcrumb"},"inLanguage":"lt-LT","potentialAction":[{"@type":"ReadAction","target":["https:\/\/dance.lt\/new\/2025\/12\/29\/ginti-menama\/"]}]},{"@type":"BreadcrumbList","@id":"https:\/\/dance.lt\/new\/2025\/12\/29\/ginti-menama\/#breadcrumb","itemListElement":[{"@type":"ListItem","position":1,"name":"Home","item":"https:\/\/dance.lt\/new\/en\/"},{"@type":"ListItem","position":2,"name":"Ginti menam\u0105"}]},{"@type":"Person","@id":"https:\/\/dance.lt\/new\/#\/schema\/person\/3aa80bdc383544c068cc181238cdb252","name":"dance","image":{"@type":"ImageObject","@id":"https:\/\/dance.lt\/new\/#personlogo","inLanguage":"lt-LT","url":"https:\/\/secure.gravatar.com\/avatar\/6488e8bc4c288766b279be0b8c8f8f0e?s=96&d=mm&r=g","contentUrl":"https:\/\/secure.gravatar.com\/avatar\/6488e8bc4c288766b279be0b8c8f8f0e?s=96&d=mm&r=g","caption":"dance"},"url":"https:\/\/dance.lt\/new\/author\/dance\/"}]}},"_links":{"self":[{"href":"https:\/\/dance.lt\/new\/wp-json\/wp\/v2\/posts\/18140"}],"collection":[{"href":"https:\/\/dance.lt\/new\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/dance.lt\/new\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/dance.lt\/new\/wp-json\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/dance.lt\/new\/wp-json\/wp\/v2\/comments?post=18140"}],"version-history":[{"count":3,"href":"https:\/\/dance.lt\/new\/wp-json\/wp\/v2\/posts\/18140\/revisions"}],"predecessor-version":[{"id":18143,"href":"https:\/\/dance.lt\/new\/wp-json\/wp\/v2\/posts\/18140\/revisions\/18143"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/dance.lt\/new\/wp-json\/wp\/v2\/media\/17817"}],"wp:attachment":[{"href":"https:\/\/dance.lt\/new\/wp-json\/wp\/v2\/media?parent=18140"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/dance.lt\/new\/wp-json\/wp\/v2\/categories?post=18140"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/dance.lt\/new\/wp-json\/wp\/v2\/tags?post=18140"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}