{"id":18935,"date":"2026-09-16T10:58:15","date_gmt":"2026-09-16T07:58:15","guid":{"rendered":"https:\/\/dance.lt\/new\/?p=18935"},"modified":"2026-09-16T10:58:39","modified_gmt":"2026-09-16T07:58:39","slug":"pawelas-sakowiczius-ka-broniaus-kutaviciaus-muzika-atvere-jo-choreografijai","status":"publish","type":"post","link":"https:\/\/dance.lt\/new\/2026\/09\/16\/pawelas-sakowiczius-ka-broniaus-kutaviciaus-muzika-atvere-jo-choreografijai\/","title":{"rendered":"Pawelas Sakowiczius: k\u0105 Broniaus Kutavi\u010diaus muzika atv\u0117r\u0117 jo choreografijai"},"content":{"rendered":"

\u00a0\u201eK\u016bnas \u017eino, kaip b\u016bti pasimetusiam\u201c, \u2013 sako choreografas Pawelas Sakowiczius. \u0160i mintis lydi jo nauj\u0105 \u0161okio spektakl\u012f \u201eAbraxas\u201c, kur\u012f MMLAB teatras pristatys rugs\u0117jo 23 d. \u201eKablyje\u201c. K\u016brinio prad\u017eia \u2013 Broniaus Kutavi\u010diaus oratorija \u201ePaskutin\u0117s pagoni\u0173 apeigos\u201c, tapusi impulsu choreografijai ir visam spektaklio pasauliui. Prie\u0161 premjer\u0105 su P. Sakowicziumi kalbam\u0117s apie tai, kaip i\u0161 muzikos, judesio ir repeticij\u0173 proceso susiformavo \u201eAbraxas\u201c.<\/strong><\/p>\n

Kas jus patrauk\u0117 Broniaus Kutavi\u010diaus \u201ePaskutin\u0117se pagoni\u0173 apeigose\u201c? <\/strong><\/p>\n

Kai pirm\u0105 kart\u0105 i\u0161girdau \u201ePaskutines pagoni\u0173 apeigas\u201c, apie kurias man papasakojo draugas Gediminas Rimeika, \u0161i muzika mane i\u0161 karto su\u017eav\u0117jo. Pirmiausia patrauk\u0117 jos mastas ir tai, kaip choro, vargon\u0173 ir rago skambesys susijungia \u012f visum\u0105, kuri atrodo ne tiek sukomponuota, kiek i\u0161kasta i\u0161 \u017eem\u0117s gelmi\u0173. Gamtos pasaulio fig\u016bros \u0161iai muzikai suteikia savit\u0105 kosmologij\u0105 \u2013 kuria ne\u017emogi\u0161k\u0105, bet kartu labai fizi\u0161kai juntam\u0105 pasaul\u012f. Gana greitai supratau, kad tai n\u0117ra muzika, kuri\u0105 nor\u0117t\u0173si tiesiog iliustruoti judesiu. Atrod\u0117, kad pati muzika jau si\u016blo tam tikr\u0105 jud\u0117jimo logik\u0105 \u2013 per polifonij\u0105, pasikartojim\u0105 ir ritualin\u012f laik\u0105. Kutavi\u010diaus muzika man suteik\u0117 tvirt\u0105 strukt\u016br\u0105, nuo kurios gal\u0117jau atsispirti tyrin\u0117damas ir pa\u010di\u0105 tvark\u0105, ir jos praradim\u0105.<\/p>\n

Spektaklyje greta B. Kutavi\u010diaus muzikos skamba ir kompozitor\u0117s Agn\u0117s Matulevi\u010di\u016bt\u0117s k\u016bryba. Kod\u0117l nor\u0117jote sujungti \u0161iuos du muzikinius pasaulius?<\/strong><\/p>\n

Kutavi\u010diaus partit\u016bra yra monumentali, tam tikra prasme belaik\u0117, ta\u010diau kartu labai ai\u0161kiai priklauso savo laikui \u2013 joje juntami 1978-ieji. Nor\u0117jau greta jos kitos, \u0161iuolaiki\u0161kesn\u0117s muzikos, kuri ne tiesiog t\u0119st\u0173 Kutavi\u010diaus k\u016brin\u012f, bet j\u012f i\u0161judint\u0173 ir atvert\u0173 kit\u0105 perspektyv\u0105.<\/p>\n

Agn\u0117s Matulevi\u010di\u016bt\u0117s muzika nesistengia imituoti ar prat\u0119sti Kutavi\u010diaus oratorijos. Ji \u012f j\u0105 reaguoja, kartais jai prie\u0161tarauja, o i\u0161 \u0161ios \u012ftampos atsiranda ka\u017ekas naujo. Pana\u0161us principas veikia ir choreografijoje \u2013 esama strukt\u016bra i\u0161laikoma, bet kartu nuolat ardoma. \u0160i\u0173 dviej\u0173 muzikini\u0173 pasauli\u0173 susitikimas leid\u017eia spektaklyje sugretinti rituali\u0161k\u0105 praeities poj\u016bt\u012f su dabartimi.<\/p>\n

\"\"<\/a>Spektaklio \u201eAbraxas\u201c plakatas ir Pawel Sakowicz, K\u0119stu\u010dio \u017dilionio nuotr.<\/em><\/p>\n

K\u0105 rei\u0161kia spektaklio pavadinimas?<\/strong><\/p>\n

Abraxas \u2013 vardas, neturintis vienos ai\u0161kios reik\u0161m\u0117s. Skirtingose tradicijose jis siejamas su prie\u0161ingyb\u0117mis, telpan\u010diomis vienoje esyb\u0117je \u2013 vienove ir dvilypumu, tvarka ir chaosu. \u0160i prie\u0161prie\u0161\u0173 \u012ftampa artima ir pa\u010diam spektakliui: jame ai\u0161ki ritualin\u0117 strukt\u016bra nuolat susiduria su irimu, o k\u016bnas gali tuo pa\u010diu metu ir orientuotis, ir prarasti krypt\u012f. Abraxas taip pat nenurodo vieno konkretaus vaizdinio ar istorijos. Man buvo svarbu, kad ir pats spektaklio pavadinimas i\u0161laikyt\u0173 \u0161\u012f neapibr\u0117\u017etum\u0105.<\/p>\n

Spektaklyje \u201eAbraxas\u201c k\u016bnai krinta, praranda krypt\u012f, klaid\u017eioja, sukasi, kartais tarsi juda prie\u0161 save pa\u010dius. Kaip kartu su Oksana Grazniova, Ieva Navickaite ir Eivinu Dziena k\u016br\u0117te tok\u012f jud\u0117jim\u0105?<\/strong><\/p>\n

Daug kas atsirado i\u0161 improvizacini\u0173 u\u017eduo\u010di\u0173, paremt\u0173 s\u0105moningu pusiausvyros praradimu. Kritimas \u010dia nebuvo klaida, kuri\u0105 reik\u0117t\u0173 i\u0161taisyti \u2013 jis tapo viena pagrindini\u0173 jud\u0117jimo s\u0105lyg\u0173. Studijoje dirbome ne tiek su konkre\u010diomis formomis, kiek su b\u016bsenomis: k\u0105 rei\u0161kia beveik nukristi, paskutin\u0119 akimirk\u0105 atgauti pusiausvyr\u0105 ar leisti sukiniui t\u0119stis ilgiau, nei jis paprastai t\u0119st\u0173si.<\/p>\n

Oksana, Ieva ir Eivinas \u012f nestabilum\u0105 reagavo savaip, ir i\u0161 \u0161i\u0173 skirting\u0173 reakcij\u0173 pama\u017eu formavosi choreografija. Kaip pasteb\u0117jo m\u016bs\u0173 dramaturg\u0117 Anka Herbut, kartais atrod\u0117, tarsi k\u016bnus veikt\u0173 ka\u017ekas, kas pranoksta pat\u012f k\u016bn\u0105.<\/p>\n

Daug dirbome su svoriu ir judesio inercija, o muzikos strukt\u016bra kartais pertraukdavo ar pakeisdavo judesio krypt\u012f jam dar nepasibaigus. Ilgainiui tai, kas studijoje i\u0161 prad\u017ei\u0173 atrod\u0117 kaip chaosas, \u0117m\u0117 atskleisti savo vidin\u0119 logik\u0105.<\/p>\n

Esate sak\u0119s, kad pasitikite k\u016bnu. K\u0105 jums \u0161is pasitik\u0117jimas rei\u0161kia, kai k\u016bnas nebe\u017eino, kur eiti?<\/strong><\/p>\n

\u0160is pasitik\u0117jimas spektaklyje nei\u0161nyksta \u2013 jis tiesiog i\u0161bandomas ir gr\u012f\u017eta pasikeit\u0119s. Kai nebegalima remtis \u012fprastomis jud\u0117jimo trajektorijomis, k\u016bnas turi ie\u0161koti kit\u0173 b\u016bd\u0173 orientuotis \u2013 labiau improvizuoti, reaguoti \u012f kritim\u0105, svyravim\u0105 ar pusiausvyros praradim\u0105. Saky\u010diau, pasitik\u0117jimas pasikei\u010dia i\u0161 \u201ek\u016bnas \u017eino, kur eiti\u201c \u012f \u201ek\u016bnas \u017eino, kaip b\u016bti pasimetus\u201c. Man tai rei\u0161kia geb\u0117jim\u0105 i\u0161likti d\u0117mesingam ir budriam net tada, kai nebeai\u0161ku, kur jud\u0117ti toliau.<\/p>\n

Ar repeticijose buvo moment\u0173, kai pasimetimas nustojo b\u016bti tik id\u0117ja ir tapo realia patirtimi?<\/strong><\/p>\n

Taip, buvo repeticij\u0173, kai improvizacin\u0117s u\u017eduotys i\u0161 ties\u0173 i\u0161mu\u0161davo \u0161ok\u0117jus i\u0161 \u012fprastos orientacijos \u2013 prarasdavome laiko poj\u016bt\u012f, nebe\u017einodavome, kas tuo metu veda ar kurioje studijos vietoje esame. Tokios akimirkos ne visada buvo patogios, bet b\u016btent jos daugiausia ir i\u0161mok\u0117. Kai i\u0161 tikr\u0173j\u0173 pasimeti, tos b\u016bsenos nebereikia vaidinti. Sud\u0117tingiausia buvo suprasti, kaip \u0161i\u0105 patirt\u012f perkelti \u012f spektakl\u012f taip, kad j\u0105 gal\u0117t\u0173 pajusti ir \u017ei\u016brovas. Tod\u0117l k\u016brinyje pasimetim\u0105 kartais s\u0105moningai kuriame, o kartais leid\u017eiame jam i\u0161 ties\u0173 nutikti scenoje.<\/p>\n

Mi\u0161kas \u2013 svarbus spektaklio vaizdinys, artimas ir B. Kutavi\u010diaus muzikos pasauliui. K\u0105 jis jums leid\u017eia tyrin\u0117ti choreografijoje?<\/strong><\/p>\n

Mi\u0161kas man yra erdv\u0117 be tiesi\u0173 linij\u0173 ir ai\u0161kiai nustatyt\u0173 trajektorij\u0173. Tai visai kitokia aplinka nei \u017emogaus sukurta erdv\u0117, kurioje da\u017enai judame pagal i\u0161 anksto numatyt\u0105 tvark\u0105.<\/p>\n

Choreografijoje mi\u0161kas leid\u017eia vienu metu jud\u0117ti keliomis kryptims ir kei\u010dia tai, kaip k\u016bnai juda vienas kito bei erdv\u0117s at\u017evilgiu. Mi\u0161ko negali visi\u0161kai kontroliuoti \u2013 eidamas per j\u012f turi prie jo prisitaikyti ir leisti jam pakeisti tavo keli\u0105.<\/p>\n

Koki\u0105 patirt\u012f nor\u0117tum\u0117te, kad \u017ei\u016brovai i\u0161sine\u0161t\u0173 i\u0161 spektaklio \u201eAbraxas\u201c \u2013 ne tiek mint\u012f, kiek k\u016bni\u0161k\u0105 ar emocin\u012f poj\u016bt\u012f?<\/strong><\/p>\n

B\u016b\u010diau laimingas, jei po spektaklio likt\u0173 lengvas pasimetimo jausmas \u2013 ne erzinanti sumai\u0161tis, o \u0161iek tiek susvyrav\u0119s \u012fsitikinimas, kad visada \u017einome, kaip orientuotis pasaulyje. Nor\u0117\u010diau palikti poj\u016bt\u012f, kad galima jud\u0117ti ir b\u016bti jame kitaip, nei esame \u012fprat\u0119.<\/p>\n

Man apskritai svarbu, kad k\u016brinys pirmiausia paveikt\u0173 fizi\u0161kai ir emoci\u0161kai, o tik paskui skatint\u0173 apie j\u012f galvoti. Spektaklio \u201eAbaraxas\u201c atveju tai gal\u0117t\u0173 b\u016bti k\u016bni\u0161ka atmintis apie krentan\u010dius ir v\u0117l pusiausvyr\u0105 atgaunan\u010dius k\u016bnus. Nor\u0117\u010diau, kad po spektaklio k\u016bne likt\u0173 prisiminimas apie krentan\u010dius ir v\u0117l pusiausvyr\u0105 atgaunan\u010dius k\u016bnus. Kad bent trumpam pasikeist\u0173 tai, kaip \u017ei\u016brovas jau\u010dia savo k\u016bn\u0105 erdv\u0117je. Ir, \u017einoma, kad publika savo k\u016bnu pajust\u0173 ritmo trauk\u0105, bendr\u0105 puls\u0105 tarp jos ir \u0161ok\u0117j\u0173.<\/p>\n","protected":false},"excerpt":{"rendered":"

\u00a0\u201eK\u016bnas \u017eino, kaip b\u016bti pasimetusiam\u201c, \u2013 sako choreografas Pawelas Sakowiczius. \u0160i mintis lydi jo nauj\u0105 \u0161okio spektakl\u012f \u201eAbraxas\u201c, kur\u012f MMLAB …<\/p>\n","protected":false},"author":2,"featured_media":18936,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":[],"categories":[19],"tags":[],"yoast_head":"\nPawelas Sakowiczius: k\u0105 Broniaus Kutavi\u010diaus muzika atv\u0117r\u0117 jo choreografijai - 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\/09\/16\/pawelas-sakowiczius-ka-broniaus-kutaviciaus-muzika-atvere-jo-choreografijai\/\" \/>\n<meta property=\"og:locale\" content=\"lt_LT\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Pawelas Sakowiczius: k\u0105 Broniaus Kutavi\u010diaus muzika atv\u0117r\u0117 jo choreografijai - 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