{"id":1901,"date":"2015-12-29T11:38:38","date_gmt":"2015-12-29T11:38:38","guid":{"rendered":"http:\/\/dance.lt\/new\/2015\/12\/29\/minimali-akla-tikrove\/"},"modified":"2015-12-29T11:38:38","modified_gmt":"2015-12-29T11:38:38","slug":"minimali-akla-tikrove","status":"publish","type":"post","link":"https:\/\/dance.lt\/new\/2015\/12\/29\/minimali-akla-tikrove\/","title":{"rendered":"Minimali akla tikrov\u0117"},"content":{"rendered":"

\u0160iuolaikinio \u0161okio choreografo Vy\u010dio Jankausko pristatyti Lietuvos publikai nebereikia. Ilgus metus nuosekliai \u0117j\u0119s grynojo \u0161okio keliu, dabar \u012f poetizuotos choreografijos, tikslaus judesio ir filosofin\u0117s minties derin\u012f jis vis labiau \u017evelgia kaip \u012f savoti\u0161k\u0105 terp\u0119 stiliaus eksperimentams. Choreografin\u0117 leksika, rodosi, lieka ta pati, ta\u010diau su kiekvienu nauju spektakliu choreografinis brai\u017eas \u0161iek tiek kinta. Spektakliuose \u201eJudantys taikiniai\u201c (2011 m.) ir \u201eAritmijos\u201c (2013 m.) mat\u0117me ry\u0161kiau br\u0117\u017eiam\u0105 socialin\u0117s tematikos linij\u0105, o naujausiame darbe \u201eAkloji d\u0117m\u0117\u201c (2015 m.) V. Jankauskas linksta \u012f minimalizm\u0105, duodamas vali\u0105 improvizuotam judesiui.<\/p>\n

Spektaklio anotacijoje \u201eakloji d\u0117m\u0117\u201c pristatoma kaip medicininis terminas, kuriuo nusakoma kiekvieno \u017emogaus akies plotyje esanti d\u0117m\u0117, lemianti m\u016bs\u0173 reg\u0117jimo lauke atsirandant\u012f sklypel\u012f. Pastarojo nematome, ta\u010diau vaizduot\u0117 neju\u010diomis u\u017epildo \u0161i\u0105 reg\u0117jimo sprag\u0105 aplinkinio fono smulkmenomis. Taigi choreografas medicinin\u012f termin\u0105 perk\u0117l\u0119s \u012f asmenin\u0119 ir visuomenin\u0119 b\u016bt\u012f klausia, ar kartais toki\u0173 akl\u0173j\u0173 d\u0117mi\u0173 nesusikuriame kasdienyb\u0117je, ar neblokuojame nepageidaujam\u0173 regini\u0173, ar i\u0161 ties\u0173 matome realius vaizdus ir ar \u0161iuos vaizdus i\u0161 tikr\u0173j\u0173 matome savo akimis.<\/p>\n

Spektaklykje \u2013 dvi atlik\u0117jos. Giedr\u0117 Kirkilyt\u0117 \u017ei\u016brovus pasitinka atviru \u017evilgsniu, ramiai steb\u0117dama \u012feinan\u010diuosius, R\u016bta Butkus galv\u0105 dengia juodu paltu, sl\u0117pdama bet kok\u012f i\u0161orinio pasaulio vaizd\u0105. \u0160ok\u0117jos \u010dia tarsi \u012fk\u016bnija vien\u0105 ir t\u0105 pat\u012f \u017emog\u0173, jo reali\u0105 ir \u012fsivaizduojam\u0105 i\u0161or\u0119 arba vien\u0105 ir t\u0105 pat\u012f regin\u012f, suskilus\u012f \u012f tai, k\u0105 matai, ir tai, k\u0105 nori matyti. <\/p>\n

Ekrane \u012fsi\u017eiebus nespalvotai vaizdo projekcijai (vaizdo projekcij\u0173 k\u016br\u0117jai Le Fou<\/em>), tampame realios aplinkos steb\u0117tojais ir tuo pa\u010diu metu R. Butkus persona\u017eo akimis. \u010cia dvejinamas reg\u0117jimo laukas \u2013 objektyvus (visuomeninis) ir subjektyvus (asmeninis). Vaizdo perspektyva staiga kei\u010diasi \u2013 matome tai R. Butkus, tai G. Kirkilyt\u0117s persona\u017eo akimis. Toks sprendimas sufleruoja mint\u012f, jog realyb\u0117 ir m\u016bs\u0173 tikrov\u0117s matymas bei suvokimas skiriasi. Nepadeda ir akylas metafizinio pasaulio tyrin\u0117jimas \u2013 \u0161ok\u0117jos tyrin\u0117ja viena kit\u0105 liesdamos rankas, kojas, p\u0117das… <\/p>\n

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V. Jankauskas toliau rodo kiek intensyvesn\u012f judesin\u012f duet\u0105 sakydamas, jog mes nepaliaujamai \u012frodin\u0117jame savo ties\u0105, net ir tada, kai i\u0161 dalies pritariame kito argumentams (G. Kirkilyt\u0117 \u017eingsiu vis atsitraukia atgal, kol R. Butkus ekspresyviais judesiais ai\u0161kina savo mintis) arba kai teori\u0161kai absoliu\u010diai sutinkame su kito teiginiais (R. Butkus nusuka nugar\u0105 ir ramiai stovi, kol G. Kirkilyt\u0117 i\u0161sako savo ties\u0105). \u0160ioje scenoje \u0161ok\u0117jos beveik ne\u017ei\u016bri viena \u012f kit\u0105, beveik n\u0117ra kinestetinio k\u016bno kontakto, energija nukreipta tiesiogiai \u012f \u017ei\u016brovus, o kuriama atmosfera primena politin\u0117s agitacijos scenarij\u0173. \u0160ok\u0117jos agituoja \u010dia ne konkre\u010di\u0105 mint\u012f ar id\u0117j\u0105, bet pa\u010dios save ir savo k\u016bni\u0161kum\u0105. <\/p>\n

\u0160ioje scenoje geriausiai i\u0161ry\u0161k\u0117ja ir G. Kirkilyt\u0117s bei R. Butkus kuriam\u0173 persona\u017e\u0173 spalvos. G. Kirkilyt\u0117s persona\u017eas \u0161velnesnis, ta\u010diau ai\u0161kus, tiesus, susitelk\u0119s tarsi up\u0117s vanduo, nepaliaujamai tekantis savo vaga. R. Butkus kuriamas charakteris ver\u017elus, a\u0161trus, mai\u0161tingas tarsi uolien\u0173 lau\u017eiamas krioklys. Visgi R. Butkus \u012fk\u016bnytam persona\u017eui pritr\u016bksta kitokio (dar nematyto) spektro splav\u0173. Pana\u0161\u0173 keistos, kiek pami\u0161usios ir nevaldomos moters charakter\u012f jau mat\u0117me R. Butkus sukurtame ir jos pa\u010dios atliekamame spektaklyje \u201e5 gr vilties\u201c (2012 m.) bei choreograf\u0117s Airos Naginevi\u010di\u016bt\u0117s \u201eStiklo soduose\u201c (2015 m.). Spektaklyje \u201eAkloji d\u0117m\u0117\u201c R. Butkus pasiduoda ankstesnio charakterio sukurtiems \u0161tampams. O gaila. Nes jos ir G. Kirkilyt\u0117s kuriam\u0173 persona\u017e\u0173 kontrastas, turintis vizuali\u0105 gali\u0105, gal\u0117t\u0173 betarpi\u0161kai atspind\u0117ti pagrindin\u0119 choreografo mint\u012f.<\/p>\n

\u0160ok\u0117j\u0173 charakteriai ry\u0161kiausi b\u016btent \u0161ioje scenoje. Kitose spektaklio dalyse atlik\u0117j\u0173 charakteriai nublanksta, tampa pilki ar tikslingai slepiami kaip ir j\u0173 kostiumai (dailinink\u0117 Jolanda Imbrasien\u0117). Spalvinis spektaklio tonas varijuoja nuo balsvos iki juodos, tod\u0117l bendras vaizdas (\u0161vies\u0173 dailininkas Povilas Laurinaitis) kelia pilkos kasdienyb\u0117s \u012fsp\u016bd\u012f. Nat\u016bralu, kad \u0161\u012f kasdienin\u012f \u201epilkum\u0105\u201c norisi sl\u0117pti susikurto reginio atspindyje.<\/p>\n

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Choreografas spektaklyje kalba ir apie kra\u0161tutines situacijas, kai savo noru kasdienyb\u0117je renkam\u0117s matyti tik<\/em> akl\u0105j\u0105 d\u0117m\u0119, t.y. nematyti nieko arba gyventi savo fantazij\u0173 pasaulyje. \u010cia abi atlik\u0117jos, u\u017esimetusios juod\u0105 palt\u0105 ant galv\u0173, dabar jau dviese slepiasi nuo bet kokio i\u0161orinio vaizdo. Toks sprendimas, nerad\u0119s kulminacinio ta\u0161ko, stokoja skambesn\u0117s formuluot\u0117s: stebint \u0161i\u0105 scen\u0105 norisi \u012fsijausti ne \u012f esam\u0105 situacij\u0105, bet \u012f \u0161i\u0105 situacij\u0105 suk\u0117lusias prie\u017eastis ir aplinkybes. Deja, j\u0173 choreografas nepateikia, taigi ir sprendimai, kuomet \u017emogus nori pab\u0117gti nuo aplinkini\u0173 vaizd\u0173 \u012f u\u017edarus fantazijos reginius, ne\u012ftikina. <\/p>\n

Stipresn\u0117 atrodo tolesn\u0117 steb\u0117tojo ir stebimojo scena. G. Kirkilyt\u0117 ir R. Butkus vaik\u0161to po scen\u0105 ry\u017etingai, ta\u010diau yra \u012fkalinamos skirtingame auk\u0161tyje ir skirtingose vietose pakabint\u0173 kamer\u0173 vaizd\u0173. I\u0161 prad\u017ei\u0173 reali spektaklio data, u\u017efiksuota vaizdo projekcijos kamputyje, kiek trikdo. Norisi, j\u0105 nutrynus, m\u0117gautis realaus ir virtualaus vaizdo \u201eperdangomis\u201c, kelian\u010diomis nerimo kupin\u0105 atmosfer\u0105. Realiu laiku kei\u010diant filmuojamo vaizdo \u0161altin\u012f \u017ei\u016brovui siun\u010diama vis kita steb\u0117jimo informacija, visi tarsi tampame apsaugos darbuotojais. Atlik\u0117jos \u010dia jau\u010diasi stebimos, tod\u0117l arba slepiasi, arba demonstratyviai deklaruoja savo esat\u012f. \u0160ok\u0117jos fantazij\u0173 pasaul\u012f renkasi tada, kai nyksta paskutinis vaizdo kameros kadras. G. Kirkilyt\u0117 ir R. Butkus juodais paltais dengdamos akis slepia ne tik reg\u0117jimo lauk\u0105, bet \u201epaskendusios\u201c r\u016bbe slepia ir vis\u0105 k\u016bn\u0105. Toks choreografinis sprendimas intriguoja, ta\u010diau \u010dia pat v\u0117l i\u0161\u0161aukia ankstesnius klausimus: tai kas gi ver\u010dia \u017emog\u0173 sl\u0117ptis fantazij\u0173 pasaulyje? Kas \u017emoguje sukelia realaus pasaulio neigim\u0105? Ir kaip ir kod\u0117l atsiranda \u0161ios fikcijos automatizmas?<\/p>\n

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Choreografas \u012f \u0161iuos klausimus nesigilina. J\u012f labiau domina \u017emoni\u0173, gyvenan\u010di\u0173 akl\u0173j\u0173 d\u0117mi\u0173 \u0161e\u0161\u0117liuose, elgsena. \u0160i elgsena savo fizine i\u0161rai\u0161ka labai primena \u017ev\u0117relius \u2013 nedidelius, keistus \u017einduolius, \u0161okliuojan\u010dius savo paties nusibr\u0117\u017eta egzistencine trajektorija. Joje n\u0117ra kit\u0173 (\u017einduoli\u0173), tik tamsa ir judesio impulsai, tampantys gyvenimo varikliu.<\/p>\n

Spektaklio pabaigoje V. Jankauskas paspend\u017eia \u017ei\u016brovams sp\u0105stus: kai imame tik\u0117ti, jog \u017emogus, i\u0161silaisvin\u0119s i\u0161 j\u012f ribojan\u010dio \u201ejuodo\u201c reginio, pagaliau tampa realios tikrov\u0117s dalimi, \u010dia pat suprantame, kad tai tik fata morgana. \u0160ok\u0117jos tampa vieniu ir sukdamos galvas did\u017eiule amplitude pa\u010dios kuria \u201eakl\u0105sias d\u0117mes\u201c \u2013 mirg\u0117jim\u0105 ir tams\u0105 akyse. <\/p>\n

\u0160is jau dvyliktas choreografo V. Jankausko spektaklis kalba apie \u017emog\u0173, jo b\u016bt\u012f, pasaul\u0117\u017ei\u016br\u0105 ir pasirinkimus. Tikrov\u0117, rodoma per improvizuoto judesio stikl\u0105, atrodo esanti minimali, pilka ir i\u0161 dalies bevilti\u0161ka. \u201eAklojoje d\u0117m\u0117je\u201c tokios tikrov\u0117s analiz\u0117 visgi stokoja minties a\u0161trumo, nes spektaklis subyra \u012f atmosferin\u012f regin\u012f nepateikdamas platesnio prie\u017easties ir pasekm\u0117s konteksto. \u0160viesos g\u0119sta. Aklina tamsa.<\/p>\n

Vy\u010dio Jankausko \u0161okio teatro archyvo nuotraukos<\/em><\/p>\n","protected":false},"excerpt":{"rendered":"

\u0160iuolaikinio \u0161okio choreografo Vy\u010dio Jankausko pristatyti Lietuvos publikai nebereikia. Ilgus metus nuosekliai \u0117j\u0119s grynojo \u0161okio keliu, dabar \u012f poetizuotos choreografijos, …<\/p>\n","protected":false},"author":1,"featured_media":1902,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":[],"categories":[19],"tags":[],"yoast_head":"\nMinimali akla tikrov\u0117 - 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\/29\/minimali-akla-tikrove\/\" \/>\n<meta property=\"og:locale\" content=\"lt_LT\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Minimali akla tikrov\u0117 - Lithuanian Dance Centre\" \/>\n<meta property=\"og:description\" content=\"\u0160iuolaikinio \u0161okio choreografo Vy\u010dio Jankausko pristatyti Lietuvos publikai nebereikia. 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