{"id":1870,"date":"2015-10-20T16:21:29","date_gmt":"2015-10-20T16:21:29","guid":{"rendered":"http:\/\/dance.lt\/new\/2015\/10\/20\/kvepavimo-tobulumas-ir-transparentiskumas\/"},"modified":"2015-10-20T16:21:29","modified_gmt":"2015-10-20T16:21:29","slug":"kvepavimo-tobulumas-ir-transparentiskumas","status":"publish","type":"post","link":"https:\/\/dance.lt\/new\/2015\/10\/20\/kvepavimo-tobulumas-ir-transparentiskumas\/","title":{"rendered":"\u201eKv\u0117pavimo\u201c tobulumas ir transparenti\u0161kumas"},"content":{"rendered":"<p>\u201eTobulumas yra visur, jei tik mes pasirenkame j\u012f atpa\u017einti\u201c, \u2013 teigia Okakura Kazuko \u2013 filosofinio veikalo \u201eArbatos knyga\u201c (angl. <em>The Book of Tea<\/em>) autorius. Pats veikalas \u012fdomus ne tik tuo, jog bando paai\u0161kinti Japonijos kult\u016br\u0105 per arbatos g\u0117rimo ceremonij\u0105 vakar\u0173 civilizacijai suprantama kalba. \u201eArbatos knyga\u201c neretai yra laikoma Heiddegerio <em>Dasein<\/em> koncepto \u012fkv\u0117p\u0117ja ar net autenti\u0161ka b\u016bties filosofijos pradininke. 1906 metais, kai Europos kult\u016broje istorizmo architekt\u016bra nenoriai u\u017eleid\u017eia viet\u0105 industriniam pastat\u0173 dizainui, o Duchampas \u201efontan\u0105\u201c \u012f galerij\u0105 atsine\u0161 dar tik po 11 met\u0173, japoni\u0161koji tobulumo samprata estetikoje i\u0161reik\u0161ta per paprast\u0105, minimalistin\u0119 form\u0105, tampa savoti\u0161ku atspirties ta\u0161ku, kuomet naujajai epochai ie\u0161koma ir naujo r\u016bbo.<\/p>\n<p>1951 metais viename \u010cikagos priemies\u010di\u0173 Ludwigas Miesas van der Rohesas u\u017ebaigia <em>Franswortho<\/em> namo projekt\u0105 \u2013 vien\u0105 \u017eymiausi\u0173 minimalizmo stiliaus pastat\u0173 pasaulyje. N\u0117ra abejoni\u0173, kad tokios architekt\u016bros formos pilnas paveikumas atsiskleid\u017eia tiktai per kognityvin\u012f kod\u0105 \u2013 t. y. suvok\u0117jas tiesiog privalo \u017einoti kaip, i\u0161 architekt\u016bros istorijos perspektyvos \u017evelgiant, architekt\u016bra tapo tokia dematerializuota.<\/p>\n<p>2015 metais Kaune choreografas ir \u0161ok\u0117jas Kenzo Kusuda pristato \u0161okio interpretacij\u0105 \u201eKv\u0117pavimas\u201c. Lygiai kaip ir <em>Franswortho<\/em> namas, kuris savo forma yra transparenti\u0161kas, bet jo tikroji id\u0117ja slepiasi giliai kontekste, taip ir K. Kusuda \u012fk\u016bnija savoti\u0161k\u0105 moment\u0105, nedidel\u012f ta\u0161k\u0105 m\u016bs\u0173 laiko kontinuume, talpinant\u012f neap\u010diuopiam\u0105 gausyb\u0119 informacijos. Patikslinant galima teigti, jog informacijos \u010dia yra tiek, kiek jos yra sukaupta per vis\u0105 \u017emonijos egzistencij\u0105, nei\u0161skiriant ir b\u016bsim\u0173 nutikim\u0173. K. Kusudos pasirodymas prasideda \u0161iam gulint ant sustumt\u0173 k\u0117d\u017ei\u0173, v\u0117liau menininkas apsiauna \u0161lepetes ir po truput\u012f \u012f ritual\u0105 bando \u012ftraukti \u017ei\u016brovus. Komi\u0161ki elementai, rodos, palengvina publikos ir menininko ry\u0161\u012f bei tampa steb\u0117tinai puikia \u012f\u017eanga \u012f \u201erimt\u0105j\u0105\u201c spektaklio dal\u012f, kuri jau vyksta laiptin\u0117je. \u010cia, derant violan\u010del\u0117s (Patris \u017didelevi\u010dius) bei \u0161ok\u0117jo improvizacijoms, gimsta paralelin\u0117 realyb\u0117, kurios suk\u016brimui pajungiama vieta, k\u016bnas, muzika, \u017ei\u016brovai, o tarpusavio santykis tampa k\u016brybos varom\u0105ja j\u0117ga. Galiausiai \u0161ok\u0117jas gr\u012f\u017eta laiptais auk\u0161tyn, it Moz\u0117 prasiskyr\u0119s pro \u017ei\u016brov\u0173 j\u016br\u0105. Pasirodymas baigiamas, kai K. Kusuda \u017ei\u016brovams pasi\u016blo atsigerti arbatos su spurgomis ir gra\u017eia lietuvi\u0173 kalba paragina jaustis kaip namie.<\/p>\n<p><img loading=\"lazy\" src=\"http:\/\/dance.lt\/files\/images\/920077\/Kenzo_2_MG_4220-1_1_490x345.JPG\" width=\"490\" height=\"345\" alt=\"\" data-large=\"http:\/\/dance.lt\/files\/images\/920077\/Kenzo_2_MG_4220-1_1.JPG\" class=\"js-zoom-image\" \/><\/p>\n<p>I\u0161 tikr\u0173j\u0173 K. Kusudos pasirodymas \u2013 tai dekonstruotas vienas, rodyt\u0173si eilinis \u017emogaus gyvenimo momentas. N\u0117ra itin svarbu, ar tai sve\u010dio pasitikimas, ar kaip tik neplanuotos kompanijos pri\u0117mimas namuose vos prabudus i\u0161 miego. Svarbu tai, kad lygiai kaip ir O. Kazuko veikale \u2013 tobulumas, kaip ir visas pasaulis, yra lengvai sutalpinamas \u012f vien\u0105 pat\u012f papras\u010diausi\u0105 elementar\u0173 veiksm\u0105, trump\u0105 proces\u0105 ar atokv\u0117p\u012f. \u201eKv\u0117pavimas\u201c tiesiai, bet visgi subtiliai klausia: ko vertas b\u016bt\u0173 Moz\u0117s j\u016bros perskyrimo veiksmas, jei \u017eyd\u0173 tauta neb\u016bt\u0173 i\u0161tv\u0117rusi 40 met\u0173 nyki\u0173 dien\u0173 dykumoje? Ar didel\u0117 revoliucija arba pompastinis renginys tikrai yra vertesnis u\u017e eilin\u0119, sakytum nuobod\u017ei\u0105, dien\u0105, praleist\u0105 namie? Ar dera juokauti prie\u0161 atliekant ka\u017ek\u0105 be galo svarbaus?<\/p>\n<p>Taigi, K. Kusudos \u201eKv\u0117pavimas\u201c apeliuoja \u012f am\u017einyb\u0117s dimensij\u0105. Tai jokiu b\u016bdu n\u0117ra teminis ar ni\u0161inis pasirodymas, skirtas siaurai problematikai. Tai veikiau m\u0105stymas apie m\u0105stym\u0105, dekonstruojant ir ai\u0161kiai parodant akimirkos s\u0105rang\u0105, jos svarb\u0105. Kita vertus, spektaklis nesiekia sumenkinti did\u017ei\u0173j\u0173 \u012fvyki\u0173 ir i\u0161kelti \u012f pirm\u0105 plan\u0105 marginali\u0105j\u0105 dimensij\u0105, kas yra neretai b\u016bdinga m\u016bs\u0173 postmoderniam b\u016bviui. Choreografas veikiau parodo tai, kad didelis ir ma\u017eas yra nuolatin\u0117s apykaitos proceso s\u0105vokos, lemian\u010dios viena kitos konfig\u016bracij\u0105. Lietuvi\u0173 egzodo filosofas Vincas Vy\u010dinas kadaise ra\u0161\u0117, jog lauk\u0173 tr\u0119\u0161imas m\u0117\u0161lu mitiniam \u017emogui yra ne tik darbas, lygiavertis kitiems \u016bkio darbams. Jis lemia absoliu\u010diai visk\u0105, netgi santyk\u012f su dievu, nami\u0161kiais. Jis, kaip ir bet kuris kitas darbas, yra visumos dalis, kurios negalima pa\u0161alinti, kadangi i\u0161\u0117mus vien\u0105 dal\u012f \u2013 sistema nustos prasm\u0117s.<\/p>\n<p><img loading=\"lazy\" src=\"http:\/\/dance.lt\/files\/images\/920077\/Kenzo3_MG_4239_490x739.JPG\" width=\"490\" height=\"739\" alt=\"\" data-large=\"http:\/\/dance.lt\/files\/images\/920077\/Kenzo3_MG_4239.JPG\" class=\"js-zoom-image\" \/><\/p>\n<p>Simboli\u0161ka, jog K. Kusuda miniati\u016broje \u201eKv\u0117pavimas\u201c prezident\u016bros r\u016bmus paver\u010dia namais, taip gr\u0105\u017eindamas jiems autenti\u0161k\u0105 pirmin\u0119 funkcij\u0105, kurios, matyt, vald\u017eios pastatai niekada ir neatliko. Nema\u017eiau simboli\u0161ka ir tai, kad pasirodymas u\u017ebaigiamas pakvietimu arbatos, kas vis d\u0117lto nebuvo menininko intencija, o tiesiog organizatori\u0173 planas. Galiausiai, kaip jau min\u0117ta, kiekvienas spektaklio \u017ei\u016brovas tapo veik\u0117ju, kaip pa\u017eym\u0117jo ir pats atlik\u0117jas. Pasirodymas i\u0161pildomas tik drauge su \u017ei\u016brovais, kitaip tariant, \u017ei\u016brovo ir k\u016br\u0117jo santykis pats tampa k\u016brinio dalimi.<\/p>\n<p> Apibendrinant galima pasakyti, jog \u201eKv\u0117pavimas\u201c yra itin aktualus \u0161i\u0173 dien\u0173 kult\u016briniame kontekste, kur dominuoja ni\u0161iniai ir itin specializuoti veiksmai ir procesai. K. Kusudos improvizacija renkasi kalb\u0117ti itin sud\u0117tinga tema apie am\u017einyb\u0119 trumpiausioje laiko atkarpoje, taip stengiamasi parodyti akimirkos s\u0105rang\u0105, transparenti\u0161k\u0105 ir perregim\u0105 (nuo ma\u017eiausio iki stambiausio segment\u0173) pasaul\u012f. Judesio ir muzikos pagalba K. Kusuda atranda ir parodo akimirkos tobulum\u0105.<\/p>\n<p><em>Donatos Kukyt\u0117s nuotraukos<\/em><\/p>\n","protected":false},"excerpt":{"rendered":"<p>\u201eTobulumas yra visur, jei tik mes pasirenkame j\u012f atpa\u017einti\u201c, \u2013 teigia Okakura Kazuko \u2013 filosofinio veikalo \u201eArbatos knyga\u201c (angl. The &#8230;<\/p>\n","protected":false},"author":1,"featured_media":1871,"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>\u201eKv\u0117pavimo\u201c tobulumas ir transparenti\u0161kumas - 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\/10\/20\/kvepavimo-tobulumas-ir-transparentiskumas\/\" \/>\n<meta property=\"og:locale\" content=\"lt_LT\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"\u201eKv\u0117pavimo\u201c tobulumas ir transparenti\u0161kumas - Lithuanian Dance Centre\" \/>\n<meta property=\"og:description\" content=\"\u201eTobulumas yra visur, jei tik mes pasirenkame j\u012f atpa\u017einti\u201c, \u2013 teigia Okakura Kazuko \u2013 filosofinio veikalo \u201eArbatos knyga\u201c (angl. 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