{"id":18270,"date":"2026-03-20T11:35:34","date_gmt":"2026-03-20T09:35:34","guid":{"rendered":"https:\/\/dance.lt\/new\/?p=18270"},"modified":"2026-03-20T11:35:34","modified_gmt":"2026-03-20T09:35:34","slug":"dvylika-zingsniu-tarp-vertikales-ir-horizontales","status":"publish","type":"post","link":"https:\/\/dance.lt\/new\/2026\/03\/20\/dvylika-zingsniu-tarp-vertikales-ir-horizontales\/","title":{"rendered":"Dvylika \u017eingsni\u0173 tarp vertikal\u0117s ir horizontal\u0117s"},"content":{"rendered":"

2013 m. vasaros viduryje Lietuvos nacionalin\u012f dramos teatr\u0105 (LNDT) sausakim\u0161ai pripild\u0117 \u017ei\u016brovai, sugu\u017e\u0117j\u0119 pamatyti bene did\u017eiausios tuomet\u0117s vokie\u010di\u0173 choreografijos \u017evaig\u017ed\u0117s \u2013 antr\u0105ja Pina Bausch vadinamos Sashos Waltz \u2013 \u0161okio spektaklio \u201eK\u016bnai\u201c. Nors spektaklis originaliai pastatytas 2000-aisiais, de\u0161imtme\u010dio atotr\u016bkio jame ne tik nesijaut\u0117, prie\u0161ingai \u2013 tuomet tai buvo gaivaus oro gurk\u0161nis, kviet\u0119s perm\u0105styti ir m\u016bsi\u0161kio \u0161okio kompas\u0105.<\/p>\n

T\u0105 vasaros vakar\u0105 \u012f sapni\u0161k\u0105, beveik Alejandro Jodorowskio kino kalbai b\u016bding\u0105 nutikim\u0105 kviet\u0117 trylika \u0161ok\u0117j\u0173, kai kuriose scenose tem\u016bvin\u010di\u0173 vien k\u016bno spalvos apatines kelnaites. Kai kur ir j\u0173 neliko. Nors nuogyb\u0117 scenoje pati savaime nebuvo naujiena, b\u016btent \u0161is patyrimas leido artikuliuotai \u012fsisavinti masini\u0173 scen\u0173 bei kolektyvinio k\u016bno kompozicijos paveikum\u0105: \u0161ie apnuoginti k\u016bnai u\u017e\u0117m\u0117 tiek vietos scenoje, kad j\u0173 ne tik negal\u0117jai u\u017emir\u0161ti; jie kiekvien\u0105 sekund\u0119 transliavo k\u016bno kaip \u012frankio id\u0117j\u0105, \u017ei\u016brovui kone afekto b\u016bsen\u0105 sukelian\u010di\u0105 b\u016btent visi\u0161ku savo betarpi\u0161kumu, \u2013 k\u016bnas u\u017e nieko nesisl\u0117p\u0117, jis veik\u0117 kaip pirmaprad\u0117 kurian\u010dioji ir griaunan\u010dioji j\u0117ga.<\/p>\n

\u017di\u016br\u0117dama Waltz \u201eK\u016bnus\u201c j\u0173 duotyb\u0119 ir nuogyb\u0119 reg\u0117jau kaip l\u0117tai, subtiliai ir i\u0161maniai kintan\u010di\u0105 spektaklyje pasirinkt\u0105 auk\u0161\u010diausio intymumo tarp k\u016br\u0117jo ir \u017ei\u016brovo i\u0161rai\u0161k\u0105. Vienose scenose k\u016bnai veik\u0117 beveik ant\u017emogi\u0161kai tiksliai ir apati\u0161kai, kitose atsiskleid\u0117 visas j\u0173 emocinis spektras. \u010cia fizi\u0161kumas buvo sujungtas su stipriu poetiniu-vizualiniu scen\u0173 matymu. Gerai prisimenu vaizd\u0105, kai k\u016bnai skersai scenos l\u0117tai ritasi vienas per kit\u0105, gulasi vienas ant kito ir \u0161itaip juda scena toliau. \u0160iam spektakliui prireik\u0117 ypa\u010d daug atlik\u0117j\u0173 i\u0161tverm\u0117s.<\/p>\n

Kai prie\u0161 keturiolika met\u0173 (2012) Vokietijos kaimyn\u0117je Pranc\u016bzijoje Olivier Dubois pastat\u0117 \u201eTrag\u00e9die\u201c, jo \u0161alyje tai buvo daugiau nei skandalingas \u012fvykis: choreografas ne tik apkaltintas pornografija \u2013 j\u012f lyd\u0117jo ir keli faktiniai sulaikymai. Enfant terrible<\/em> pramintas choreografas savo kaip \u0161ok\u0117jo karjeros etape bendradarbiavo b\u016btent su Sasha Waltz. \u0160iame kontekste Waltz \u201eK\u016bnai\u201c i\u0161kyla neatsitiktinai: norint ap\u010diuopti Dubois \u201eTrag\u00e9die\u201c, jie tampa \u0161io k\u016brinio fundamentu, savoti\u0161ku tapytojo drob\u0117s fonu, be kurio Dubois sceniniai pot\u0117piai neb\u016bt\u0173 tokie ry\u0161k\u016bs. \u0160is biografinis ir k\u016brybinis susid\u016brimas l\u0117m\u0117, kad Dubois brendo patirdamas \u0161ios meninink\u0117s vizijos \u012ftak\u0105. Prab\u0117gus trylikai met\u0173 nuo pamatyt\u0173 Waltz \u201eK\u016bn\u0173\u201c, \u012f t\u0105 pa\u010di\u0105 LNDT Did\u017ei\u0105j\u0105 sal\u0119 \u017eengia \u0161e\u0161iolika atlik\u0117j\u0173 k\u016bn\u0173, dalyvaujan\u010di\u0173 atnaujintame Dubois \u201eTrag\u00e9die\u201c. \u0160is spektaklis atidar\u0117 trisde\u0161imt\u0105j\u012f \u201eNew Baltic Dance\u201c festival\u012f.<\/p>\n

\"\"<\/a>Spektaklis \u201eTrag\u00e9die\u201c, Fran\u00e7ois Stemmer nuotr.<\/em><\/p>\n

Dubois \u201eTrag\u00e9die\u201c k\u016bnai tikriau u\u017e bet kok\u012f dokument\u0105 ties\u0117mis i\u0161projektuoja pasaulio tvark\u0105. \u0160i\u0105, be abejon\u0117s, lydi gri\u016btis. \u017di\u016br\u0117dama \u201eTrag\u00e9die\u201c pernelyg da\u017enai prisimindavau Waltz \u201eK\u016bnus\u201c. Susidaro \u012fsp\u016bdis, kad Dubois, stipriai paveiktas \u0161io k\u016brinio, nusprend\u0117 sukurti savo versij\u0105, kurioje Waltz scen\u0173 fragmentai atsiranda kaip nuorodos, \u2013 tai s\u0105moningas meninis pokalbis, skirtas kitam k\u016br\u0117jui. \u201eTrag\u00e9die\u201c yra viena mizanscena, kai k\u016bnai taip pat skersai scenos ritasi vienas per kit\u0105.<\/p>\n

Waltz \u201eK\u016bnuose\u201c visa k\u016brinio poetika gimsta i\u0161 paveikaus fizinio ir estetinio vaizdo, o Dubois poetika kyla i\u0161 k\u016bn\u0173 pa\u010di\u0173 savaime: jis \u017ei\u016brov\u0105 pasitinka brutaliu atvirumu ir sceniniu minimalizmu. Dubois scen\u0105 apvalo nuo bet koki\u0173 bereikaling\u0173 detali\u0173: be juod\u0173 scenos gale nuleist\u0173 stambi\u0173 si\u016bl\u0173 gij\u0173 (u\u017euolaid\u0173) ir monotoni\u0161ko industrinio Fran\u00e7ois Caffenne\u2019o muzikos pulso (kuris antroje dalyje pereina \u012f industrin\u012f techno<\/em>), veikia vien k\u016bnai. Dubois savo darbuose bando fizinio k\u016bno ribas tiek i\u0161tverme, tiek psichologiniu stumtel\u0117jimu: kiek dar toli \u0161is k\u016bnas gali eiti? \u0160i\u0105 tem\u0105 ai\u0161kiai pl\u0117toja ir Caffenne\u2019o garso takelis, i\u0161ry\u0161kinantis \u0161iurpi\u0105 nei\u0161vengiamos baigties nuojaut\u0105.<\/p>\n

Scenoje grubiai i\u0161reik\u0161tas k\u016bnas atveria egzistencines perspektyvas: prad\u017eioje, ilgose ir nuosekliai kartojamose scenose, \u0161ie gyvi k\u016bnai \u017ei\u016brovui sugeba atskleisti, atrodyt\u0173, vis\u0105 \u017emonijos istorij\u0105 \u2013 ir ne tik j\u0105, bet ir pa\u010di\u0105 \u017emonijos esm\u0119. O balta spalva (ap\u0161vietimas \u2013 Patrick Riou) paver\u010dia juos scenovaizd\u017eiu, \u012f kur\u012f \u017ei\u016brint vis neatsikratai minties, kad regi ne tikrus, nuogus k\u016bnus, o tik j\u0173 imitacij\u0105. Ta\u010diau Dubois neu\u017esiima imitacija: \u010dia k\u016bnai prakaituoja, dreba, rausta. Choreografas griebia u\u017e gerkl\u0117s tikrov\u0119 ir kvie\u010dia j\u0105 atid\u017eiai ap\u017ei\u016br\u0117ti. Pagaliau nebenusukant aki\u0173.<\/p>\n

I\u0161 tamsos i\u0161nir\u0119 visi \u0161e\u0161iolika k\u016bn\u0173 i\u0161liks nuogi pusantros valandos. Choreografas palieka daugiau nei pakankamai erdv\u0117s juos gerai ap\u017ei\u016br\u0117ti: gal pus\u0119 spektaklio ai\u0161kia strukt\u016bra, vertikaliomis ties\u0117mis vykstantis (kaip pats choreografas sako \u2013 12 \u017eingsni\u0173 \u012f priek\u012f, 12 \u017eingsni\u0173 atgal) vaik\u0161\u010diojimas \u0161iuos k\u016bnus atveria savo skirtingomis duotyb\u0117mis. Ir nors \u0161e\u0161iolika \u201eTrag\u00e9die\u201c k\u016bn\u0173 esti ar\u010diausiai spartieti\u0161ko idealo, kiekvienas \u012f scen\u0105 atne\u0161a vis kit\u0105 fakt\u016bri\u0161kum\u0105: strazdanotas, tamsus ar pa\u017eenklintas rando. Auk\u0161tas, smulkus ar ypa\u010d raumeningas; brandus \u010dia pat kei\u010dia jaun\u0105. Nuo ve\u0161li\u0173 garban\u0173 iki pliko k\u016bno ar barzdel\u0117s. Tokie ir mes. \u012evairi\u0173 form\u0173 ir visai ne nefertiti\u0161k\u0173<\/em> veido bruo\u017e\u0173, ar\u010diau ar kaip tik ypa\u010d nutol\u0119 nuo spartieti\u0161k\u0173 standart\u0173. Ir nors choreografas pirmoje dalyje visus atlik\u0117jus bando suvienodinti, i\u0161 smulki\u0173 detali\u0173 i\u0161nyra ry\u0161k\u016bs portretai: vienas \u017eengia dr\u0105siai, kitas \u2013 sutrik\u0119s, o tre\u010dias tarsi bandydamas ka\u017ek\u0105 nusl\u0117pti.<\/p>\n

Kuo paremtas ypa\u010d ilgas, i\u0161 proto vedantis kartot\u0117s laikas? Kaip j\u012f i\u0161b\u016bti ir persikelti \u012f faz\u0119, kai atsiskleis, kaip pasaulio tieses \u2013 vertikales ir horizontales \u2013 brai\u017eo \u0161ie nuogi organizmai? Dubois \u017ei\u016brov\u0105 kvie\u010dia \u012f l\u0117t\u0105, ta\u010diau ties\u0173 pokalb\u012f, kartojam\u0105 tol, kol sutinki b\u016bti jo dalimi. Ir net priekyje s\u0117dintis \u017ei\u016brovas, pus\u0119 spektaklio besiskund\u0119s, kad nemato \u010dia \u0161okio, pama\u017eu nu\u0161\u010di\u016bva. Tokia k\u016brinio dramaturgija: i\u0161 prad\u017ei\u0173 kartot\u0117 sujaukia budrum\u0105, \u017ei\u016brov\u0105 nujautrina, o i\u0161buvus \u0161i\u0105 dal\u012f Dubois traukia savo ginklus \u2013 tikrumu spinduliuojan\u010dius k\u016bnus, kurie i\u0161 i\u0161vaik\u0161\u010diot\u0173 tiesi\u0173 vis d\u0117lto mok\u0117s u\u017emegzti kontakt\u0105, krypti, kristi ar tiesiog ristis.<\/p>\n

Tokie mes. Pernelyg ilgai \u017eingsniuojantys pagal ka\u017ekieno sumanyt\u0105 pasaulio tvark\u0105. Pernelyg ilgai j\u0105 toleruojantys. Ypa\u010d kai ji nenumaldomai gr\u0119\u017eiasi savinaikos link. Anks\u010diau ar v\u0117liau jai \u0117mus krikti, m\u016bs\u0173 k\u016bnai pradeda veikti prie\u0161 save. \u0160i k\u016bn\u0173 disfunkcija atsiranda nepastebimai: mikrodetal\u0117s i\u0161duoda, kad vientisas \u0117jimas krinka. Po minut\u0117s kitos k\u016bnas kratosi. I\u0161 \u0161ito nebepatrauklaus, visuotinio pakrikimo laikui b\u0117gant randasi autenti\u0161kas buvimas. Nieko nebesiekiant atkartoti, tiesiog b\u016bti taip, kaip b\u016bnasi. O tuomet, ka\u017ekada, kursis nauja pasaulio tvarka, kuri galb\u016bt apr\u0117ps visai ne \u017emonijos vertikales ar horizontales, bet kokius nors vingiuotus sukinius su salel\u0117mis, \u012f kurias bus galima saugiai u\u017esukti. Galb\u016bt. Nors pasaulio istorijoje tai vadinama utopija.<\/p>\n

Tekstas publikuotas \u201e7md\u201c 2026 m. kovo 13 d. Tekst\u0105 galite rasti \u010dia.\u00a0<\/a><\/em><\/p>\n","protected":false},"excerpt":{"rendered":"

2013 m. vasaros viduryje Lietuvos nacionalin\u012f dramos teatr\u0105 (LNDT) sausakim\u0161ai pripild\u0117 \u017ei\u016brovai, sugu\u017e\u0117j\u0119 pamatyti bene did\u017eiausios tuomet\u0117s vokie\u010di\u0173 choreografijos \u017evaig\u017ed\u0117s …<\/p>\n","protected":false},"author":2,"featured_media":18271,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":[],"categories":[9],"tags":[],"yoast_head":"\nDvylika \u017eingsni\u0173 tarp vertikal\u0117s ir horizontal\u0117s - 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\/2026\/03\/20\/dvylika-zingsniu-tarp-vertikales-ir-horizontales\/\" \/>\n<meta property=\"og:locale\" content=\"lt_LT\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Dvylika \u017eingsni\u0173 tarp vertikal\u0117s ir horizontal\u0117s - 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