{"id":1893,"date":"2015-12-17T21:04:07","date_gmt":"2015-12-17T21:04:07","guid":{"rendered":"http:\/\/dance.lt\/new\/2015\/12\/17\/ikvepti-praeities\/"},"modified":"2015-12-17T21:04:07","modified_gmt":"2015-12-17T21:04:07","slug":"ikvepti-praeities","status":"publish","type":"post","link":"https:\/\/dance.lt\/new\/2015\/12\/17\/ikvepti-praeities\/","title":{"rendered":"\u012ekv\u0117pti praeities"},"content":{"rendered":"

Prie\u0161 k\u0105 dar gal\u0117t\u0173 nusitrinti kult\u016briniai skirtumai, jei ne prie\u0161 visaapimant\u012f \u017emogi\u0161kumo faktori\u0173. Kenzo Kusuda \u2013 choreografas, dr\u012fstantis eksperimentuoti pa\u010diose, rodos, eksperimentui nepalankiausiose erdv\u0117se. Jo darbai, parodyti Kaune, vietos \u201epatogumu\u201c atlik\u0117jams, o ir \u017ei\u016brovams, nepasi\u017eymi.<\/p>\n

Kaune Istorin\u0117 LR Prezident\u016bra viduje, kaip ir priklauso, \u012f\u0161ald\u017eiusi muziejinius reliktus. Visgi, dar XIX a. prezident\u016bros balkonuose vaizdu g\u0117r\u0117davosi Mariana Veriovkina \u2013 pa\u0161\u0117lusi fundator\u0117, atsidavusi kit\u0173 menini\u0173 talent\u0173 ugdymui. Avangardin\u0117s k\u016brybos pro\u0161vaist\u0117s vienaip ar kitaip plevendavo it kokios mistin\u0117s v\u0117l\u0117s prezident\u016bros pakampiuose. Visgi, kai XXI am\u017eiuje tarptautinio \u0161okio festivalio \u201eAura\u201c metu Istorin\u0117s Prezident\u016bros durys atsiv\u0117r\u0117 K. Kusudos spektakliui \u201eKv\u0117pavimas\u201c, buvo galima lengvai kilstel\u0117ti antakius. Nejau, tikrai? Ne kokia nors atitinkama istorijos (ir ne tik) paskaita, bet \u010dia, vitali\u0161kas \u0161okio ir muzikos duetas men\u0117je stebint Vytauto Did\u017eiojo portretui? Toks \u017eingsnis gal\u0117jo priversti ir \u017ei\u016brov\u0105 jaustis kiek nepatogiai, tad buvo sunku \u012fsivaizduoti, i\u0161 kur choreogarfas ir \u0161ok\u0117jas K. Kusuda turi tiek vidin\u0117s ramyb\u0117s ir atsipalaidavimo, jog gali prezident\u016broje jaustis kaip namie.<\/p>\n

Spektaklis \u201ePneu Pneu Pneu\u201c, pastatytas Kauno \u0161okio teatrui \u201eAura\u201c, \u2013 tarsi pirmojo K. Kusudos pasirodymo t\u0119sinys ta pa\u010dia kv\u0117pavimo ir dvasios tema. Laisvai \u012fkv\u0117pti? Laisvas kv\u0117pavimas \u2013 tai dar viena s\u0105saja su Istorine Prezident\u016bra. Laisv\u0117s daigas, pas\u0117tas ir i\u0161dyg\u0119s po carin\u0117s priespaudos met\u0173. Kitaip tariant, laisva choreografo dvasia it koks mistinis mediatorius, id\u0117ji\u0161kai pajau\u010dia bei i\u0161gyvena, sakykime net ne \u0161alies, o \u017emogi\u0161kuosius am\u017einuosius b\u016bties klausimus, kurie n\u0117ra susij\u0119 su kvantin\u0117s fizikos teorijomis, o da\u017eniausia \u201etik\u201c su paprast\u0105ja kasdienybe\/am\u017einybe. Stebuklai i\u0161tinka retai, o kasdienyb\u0119 turime i\u0161gyventi, kad ir kokia ji beb\u016bt\u0173, nuolatos. Niekas niekada negal\u0117sime jos atsisakyti. Tai id\u0117jinis pamatas, ant kurio statoma \u201ePneu pilis\u201c.<\/p>\n

\"\"<\/p>\n

K. Kusudos ir Patrio \u017didelevi\u010diaus duetas \u0161okio spektaklyje \u201ePneu Pneu Pneu\u201c pasipild\u0117 \u201eAuros\u201c \u0161ok\u0117j\u0173 gausa. Keistai nu\u017eym\u0117tas tauti\u0161kumo motyvais \u2013 lietuvi\u0161komis juostomis, apranga ir pabaigoje kiek pretenzingai skamban\u010diu Lietuvos himnu \u2013 spektaklis norom ar nenorom atspindi globalaus pasaulio kasdieni\u0161kum\u0105: spektaklio choreografas ir re\u017eisierius \u2013 japonas, gyvenantis Nyderlanduose, \u0161ok\u0117j\u0173 trup\u0117 \u2013 nuo Japonijos iki \u0160vedijos, Vokietijos ir, \u017einoma, Lietuvos, lietuvi\u0161ki atributai \u010dia atgyja Istorin\u0117je prezident\u016broje, kaip program\u0117l\u0117je pristatoma, stebint pa\u010diam Vytautui Did\u017eiajam. Kostiumi\u0173 detal\u0117s ir, kartais, tautini\u0173 \u0161oki\u0173 intarpais nuspalvintas spektaklis, kelia min\u010di\u0173 apie savik\u016br\u0105. Apie geb\u0117jim\u0105 b\u016bti pasaulio, o ne \u0161alies pilie\u010diu. Prisitaikym\u0105? Galb\u016bt. \u0160tai, Salmanas Rushadie, ra\u0161ytojas, kurio k\u016bryba ne vienoje \u0161alyje buvo u\u017edrausta, knygoje \u201e\u0160\u0117toni\u0161kos eil\u0117s\u201c ra\u0161\u0117: \u201eAnot vieno po\u017ei\u016brio, \u017emogus pasi\u0161ov\u0119s sukurti save, imasi Auk\u0161\u010diausiojo vaidmens; tai nenormalu, \u0161ventvagi\u0161ka, \u0161lyk\u0161tybi\u0173 \u0161lyk\u0161tyb\u0117. Antra vertus, jame galima \u012f\u017evelgti tragizm\u0105, o jo kovoje, jo ry\u017ete rizikuoti \u2013 didvyri\u0161kum\u0105: ne visi mutantai i\u0161gyvena. Arba sociopolitiniu po\u017ei\u016briu: dauguma persik\u0117l\u0117li\u0173 i\u0161moksta apsimetin\u0117ti ir gali virsti kauk\u0117mis.\u201c (Salman Rushadie \u201e\u0160\u0117toni\u0161kos eil\u0117s\u201c, p. 54).<\/p>\n

Choreografas teig\u0117, jog \u0161iuo spektakliu praversime kolektyvin\u0117s pas\u0105mon\u0117s duris. Neabejotina, jog tokiu b\u016bdu gal\u0117tume patirti visuotin\u0105 kv\u0117pavim\u0105. Visgi, kartais atrod\u0117, jog \u0161ok\u0117jams yra lengviau tur\u0117ti, negu b\u016bti (lai Erichas Frommas leid\u017eia pasinaudoti jo i\u0161mintimi). Prisidengti \u012fsigyta kauke tam tikroje vietoje, kuri da\u017enai reikalauja b\u016btent vienoki\u0173 ar kitoki\u0173 kauki\u0173. Patiems dalyvaujant \u0161iame kolektyviniame i\u0161gyvenime, skambant gyvai muzikai, kartais atrodydavo keista, ar toks kauk\u0117tas infantilumas yra tikslingas \u0161ok\u0117j\u0173 \u017eingsnis, ar tam tikras praeities \u0161ar\u017eas \u0161iandienos akimis, o gal \u0161okio pavirtimas teatru? Mutantas? Galb\u016bt. Visgi, der\u0117t\u0173 nepamir\u0161ti, jog \u0161iandienos pasaulyje vienokiais ar kitokiais mutantais esame visi. Be i\u0161imties.<\/p>\n

\u0160\u012fkart \u0161okyje tur\u0117jome per\u017eengti laiko ribas, ta\u010diau rod\u0117si, jog viskas liko nuspalvinta tarpukario spalvomis. Nesvarbu, ar tai damos ir d\u017eentelmeno duetas, ar studento (ex kaimo bernioko) \u0161\u0117lsmas su gra\u017euole blondine. Gyva muzika, \u012f kurios atlikim\u0105 \u012fsijungdavo ir pats K. Kusuda, ir \u0161ok\u0117jai, pripildyta \u017eaidimo element\u0173 ir kiekvieno \u0161ok\u0117jo \u201eu\u017esimetamos\u201c vienokios ar kitokios kauk\u0117s. Paprastumas, kurio tik\u0117jom\u0117s ir lauk\u0117me, geb\u0117jimas tiesiog b\u016bti ir kv\u0117puoti, pradingdavo m\u0117ginimuose tur\u0117ti \u2013 atrodyti, vaidinti, persik\u016bnyti.
\nPabaigoje nusilenk\u0117 violan\u010del\u0117. Tiksliau, P. \u017didelevi\u010dius ir jo instrumentas \u012f\u017eeng\u0117 \u012f scen\u0105. \u0160ok\u0117jams sugulus i\u0161 mikrofono \u0117m\u0117 sklisti niuniuojamas Lietuvos himnas. V\u0117lgi, pavir\u0161utinis naratyvas gana ai\u0161kus \u2013 visi esame savo namuose (nejau Prezident\u016br\u0105 gal\u0117tume traktuoti kitaip), i\u0161 paveikslo \u017evelgiant Vytautui, jaukiai tarsi gerdami arbat\u0105 ir r\u016bkydami cigar\u0105 imame ni\u016bniuoti Lietuvos himn\u0105. Kiek pateti\u0161ka tiesa? Ta\u010diau tai t\u0117ra s\u0105moningasis sluoksnis, jeigu dr\u012fsime atverti kolektyvin\u0117s pas\u0105mon\u0117s duris, suprasime, jog himnas t\u0117ra keli\u0173 \u0161ok\u0117j\u0173 ir muzikanto. Visiems kitiems tai yra i\u0161mokta daina spektaklio atlikimui (kas yra visi\u0161kai suprantama, mes, sustabdyti gatv\u0117je, tikrai nepani\u016bniuotume, pavyzd\u017eiui, \u0160vedijos arba Japonijos himno). Kiekvienas i\u0161 j\u0173 atsine\u0161a savo kv\u0117pavim\u0105 \u012f \u0161al\u012f, kurioje b\u016bna (nesvarbu Lietuv\u0105 ar koki\u0105 kit\u0105), ir savo kolektyvine patirtimi papildo \u0161iuo atveju archetipin\u0119 lietuvi\u0161k\u0105j\u0105 b\u016bt\u012f.<\/p>\n

\"\"<\/p>\n

M. Veriovkina nor\u0117dama suvaldyti savo libido, kad gal\u0117t\u0173 atsiduoti nesuinteresuotam gro\u017eio ir meno suvokimui ir darbui su k\u016br\u0117jais, u\u017esiimdamo specialiais pratimais toje pa\u010dioje Istorin\u0117je prezident\u016broje. Tai buvo savoti\u0161ka jos sublimacija. Pana\u0161u, kad Istorin\u0117s Prezident\u016bros erdv\u0117, pati \u0161aukiasi mistifikuot\u0173 k\u016br\u0117j\u0173 bu\u010dini\u0173. \u0160\u012fkart jie tur\u0117jo b\u016bti pripildyti kolektyvinio praeities i\u0161gyvenimo per kv\u0117pavim\u0105. Meditacija? Galb\u016bt. Visgi diptiku neder\u0117t\u0173 baigti. \u017di\u016brovas reikalauja tre\u010diosios dalies. Su galb\u016bt ma\u017eiau pretenzij\u0173 istorijai ir daugiau \u0161ok\u0117j\u0173 dr\u0105sos (o galb\u016bt perimtos ir \u012fsisamonintos choreografo patirties), leid\u017eian\u010dios ne vaidinti, bet b\u016bti. O juk b\u016bti men\u0117je su Vytautu Did\u017eiuoju n\u0117ra pats lengviausias u\u017edavinys. Be spiritizmo seans\u0173.<\/p>\n

Ramintos Chomskyt\u0117s ir Svetlanos Baturos nuotraukos<\/em><\/p>\n","protected":false},"excerpt":{"rendered":"

Prie\u0161 k\u0105 dar gal\u0117t\u0173 nusitrinti kult\u016briniai skirtumai, jei ne prie\u0161 visaapimant\u012f \u017emogi\u0161kumo faktori\u0173. Kenzo Kusuda \u2013 choreografas, dr\u012fstantis eksperimentuoti pa\u010diose, …<\/p>\n","protected":false},"author":1,"featured_media":1894,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":[],"categories":[19],"tags":[],"yoast_head":"\n\u012ekv\u0117pti praeities - 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\/12\/17\/ikvepti-praeities\/\" \/>\n<meta property=\"og:locale\" content=\"lt_LT\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"\u012ekv\u0117pti praeities - Lithuanian Dance Centre\" \/>\n<meta property=\"og:description\" content=\"Prie\u0161 k\u0105 dar gal\u0117t\u0173 nusitrinti kult\u016briniai skirtumai, jei ne prie\u0161 visaapimant\u012f \u017emogi\u0161kumo faktori\u0173. 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