{"id":2071,"date":"2016-12-23T01:31:06","date_gmt":"2016-12-23T01:31:06","guid":{"rendered":"http:\/\/dance.lt\/new\/2016\/12\/23\/siurrealistine-santykiu-analize\/"},"modified":"2016-12-23T01:31:06","modified_gmt":"2016-12-23T01:31:06","slug":"siurrealistine-santykiu-analize","status":"publish","type":"post","link":"https:\/\/dance.lt\/new\/2016\/12\/23\/siurrealistine-santykiu-analize\/","title":{"rendered":"Siurrealistin\u0117 santyki\u0173 analiz\u0117"},"content":{"rendered":"

Spektaklyje \u201eIlgesys\u201c kalbama apie santyki\u0173 problematik\u0105 ir m\u016bs\u0173 pas\u0105monin\u012f, siurrealistini\u0173 vaizdini\u0173 perpildyt\u0105 sapn\u0173 pasaul\u012f, kurio u\u017euominas galime atrasti savo kasdienyb\u0117je. Spektaklio k\u016br\u0117jai Ugn\u0117 Dievaityt\u0117 ir Koke Armero parodo, jog dviej\u0173, lemties suvest\u0173 \u017emoni\u0173 santykiai prasideda ne pirmojo susitikimo metu, bet santyki\u0173 u\u017euomazgos jau slypi anapusiniame pasaulyje arba yra u\u017eprogramuoti m\u016bs\u0173 pas\u0105mon\u0117je. K\u016br\u0117jai poros santykius analizuoja ir realyb\u0117s, ir metafizinio pasaulio kontekstuose. Dviej\u0173 \u017emoni\u0173 fig\u016bros \u0161i\u0173 pasauli\u0173 sintez\u0117je tampa lau\u017eyt\u0173 form\u0173 gyviais, priklausom\u0173 vienas nuo kito. <\/p>\n

\"\"
\nNuotrauk\u0173 autorius – Miguel Berrocal<\/p>\n

Nor\u0117dami tai perteikti, k\u016br\u0117jai apie metus praleid\u017eia improvizuodami, gilindamiesi \u012f savo sielos gelmes ir \u012f pavir\u0161i\u0173 i\u0161traukia pas\u0105mon\u0117je t\u016bnan\u010dius abstrak\u010dius \u012fvaizd\u017eius. Tokiu b\u016bdu k\u016br\u0117jai stengiasi parodyti dviej\u0173 \u017emoni\u0173 santyki\u0173 sud\u0117tingum\u0105, balans\u0105 tarp meil\u0117s ir agresijos, aistros ir intymumo tro\u0161kimo. Spektaklyje orientuojamasi \u012f prisilietimus, apsikabinimus kaip subtiliausi\u0105 ir reik\u0161mingiausi\u0105 dviej\u0173 \u017emoni\u0173 komunikacijos b\u016bd\u0105. K\u016br\u0117jai naudoja vienas kito k\u016bn\u0105 kaip atramas, subtiliai glaud\u017eiasi, m\u0117gaujasi vienas kito prisilietimu \u2013 tai padeda kurti spektaklio intymumo jausm\u0105. <\/p>\n

Pirmoje spektaklio dalyje matome abstrakt\u0173, auksin\u0117je \u0161viesoje skendint\u012f pasaul\u012f, kuris sk\u0119sta r\u016bke ir tirpstan\u010dio va\u0161ko kvape. Dvi susilenkusios, lau\u017eyt\u0173 form\u0173 animalistin\u0117s fig\u016bros i\u0161nyra i\u0161 r\u016bko ir plasnoja savo ilgomis rankomis it art\u0117jantys ar tolstantys pauk\u0161\u010diai. Judesiams greit\u0117jant skrydis tampa sav\u0119s plakimo seansu, kur\u012f \u012fgarsina vis greit\u0117jantis b\u016btybi\u0173 kv\u0117pavimas. Greitus judesius pakei\u010dia mink\u0161tesni judesiai, o b\u016btyb\u0117s, ore \u017eaisdamos su savo rank\u0173 judesiais, tampa vienas kito atrama. Net pas\u0105mon\u0117je \u0161ie du gyviai yra kartu; jie egzistuoja tame pa\u010diame siurrealistiniame pasaulyje, kuriame j\u0173 k\u016bnai \u012fgauna abstrak\u010dius animalistinius bruo\u017eus. J\u0173 susiliej\u0119 k\u016bnai \u012fgauna susir\u0117musi\u0173 v\u0117\u017ei\u0173 \u012fvaizd\u017eius, kurie i\u0161 l\u0117to atsitraukia ir pradeda \u010diuo\u017ein\u0117ti, tarsi bandyt\u0173 pasiekti realyb\u0119, i\u0161nirti i\u0161 sapno. K. Armero desperati\u0161kai bando pavyti U. Dievaityt\u0119, atiduodamas tam visas j\u0117gas. Jis neriasi link \u0161viesos, o prarad\u0119s j\u0117gas stengiasi atgauti kv\u0117pavim\u0105 ir savo k\u016bno kontrol\u0119. Nuo \u0161io momento prasideda antroji spektaklio dalis, kuri vyksta realyb\u0117je, k\u016br\u0117j\u0173 kasdienyb\u0117je. <\/p>\n

\"\"<\/p>\n

K. Armero yra savo k\u016bno vergas. Sn\u016bduriuodamas jis pajau\u010dia, kaip k\u016bnas \u012fsitempia ir atsileid\u017eia. K\u016bnas diktuoja savo taisykles panirdamas \u012f vis greitesnius ir skaudesnius traukulius, kol K. Armero gali tik aik\u010dioti ir kent\u0117ti. Tai primena moment\u0105, kai s\u0105mon\u0117 jau prabudusi, bet k\u016bnas vis dar neveiklus. Esi visi\u0161kai priklausomas nuo k\u016bno diktuojam\u0173 s\u0105lyg\u0173.<\/p>\n

\u0160\u012f skaud\u0173 moment\u0105 sustabdo U. Dievaityt\u0117s apkabinimai, i\u0161 kuri\u0173 K. Armero bando i\u0161sinerti. I\u0161 to gimsta judviej\u0173 kova, pilna perne\u0161im\u0173, permetim\u0173 ir, be abejo, aistros. Jie kovoja vienas su kitu, \u0161i\u0105 kov\u0105 a\u0161trina besikei\u010diantis ap\u0161vietimas, kuris i\u0161 m\u0117lynos ir raudonos spalvos virsta oran\u017eine. Meil\u0117 virsta agresija, j\u0173 santykiai abiems kelia skausm\u0105. Kova baigiama k\u016bn\u0173 susiliejimu ir meil\u0117s aktu, kurio metu, besiridendami ant \u017eem\u0117s jie stumia vienas kito veid\u0105. \u0160iek tiek atsitrauk\u0119, gul\u0117dami vienas prie\u0161ais kit\u0105, jie pradeda ritmingai kilnotis, kv\u0117pavimas ima da\u017en\u0117ti. J\u0173 nugaros susilie\u010dia, k\u016bnai susilieja ir \u0161viesa u\u017eg\u0119sta, paskandindama j\u0173 susiglaudim\u0105 tamsoje.<\/p>\n

\"\"<\/p>\n

Spektaklis \u201eIlgesys\u201c yra jautri, keliais a\u0161tresniais judesiais pagardinta vizualin\u0117 poema intymiam \u017emoni\u0173 tarpusavio ry\u0161iui. K\u016br\u0117jai nepabijojo b\u016bti pa\u017eeid\u017eiamais ir kliautis i\u0161 improvizacijos kilusiais \u012fvaizd\u017eiais ir vienas kito pajautimu, kad perteikt\u0173 \u017ei\u016brovui \u0161i\u0173 ry\u0161i\u0173 teikiam\u0105 dvasin\u0119 palaim\u0105. Pagyvindami spektakl\u012f i\u0161 pas\u0105mon\u0117s kylan\u010diais vaizdiniais, erotizmu bei perkeldami \u017ei\u016brov\u0105 i\u0161 pas\u0105mon\u0117s \u012f real\u0173j\u012f buitin\u012f pasaul\u012f, k\u016br\u0117jai suk\u016br\u0117 menin\u012f keli\u0105 i\u0161 m\u016bs\u0173 vidinio pasaulio \u012f i\u0161orin\u012f. Tokiu b\u016bdu jie parod\u0117, jog nereikia bijoti savo k\u016bni\u0161kumo, intymaus ry\u0161io su kitu \u017emogumi ir atvira \u0161irdimi priimti visus santykiuose kylan\u010dius i\u0161\u0161\u016bkius.<\/p>\n

\u201e\u0160okio pasaulyje: naujienos, \u012fvykiai, j\u0173 vertinimas ir komentarai\u201c projekt\u0105 dalinai remia Spaudos, radijo ir televizijos r\u0117mimo fondas.
\n\"\"<\/p>\n","protected":false},"excerpt":{"rendered":"

Spektaklyje \u201eIlgesys\u201c kalbama apie santyki\u0173 problematik\u0105 ir m\u016bs\u0173 pas\u0105monin\u012f, siurrealistini\u0173 vaizdini\u0173 perpildyt\u0105 sapn\u0173 pasaul\u012f, kurio u\u017euominas galime atrasti savo kasdienyb\u0117je. …<\/p>\n","protected":false},"author":1,"featured_media":2072,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":[],"categories":[19],"tags":[],"yoast_head":"\nSiurrealistin\u0117 santyki\u0173 analiz\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\/2016\/12\/23\/siurrealistine-santykiu-analize\/\" \/>\n<meta property=\"og:locale\" content=\"lt_LT\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Siurrealistin\u0117 santyki\u0173 analiz\u0117 - Lithuanian Dance Centre\" \/>\n<meta property=\"og:description\" content=\"Spektaklyje \u201eIlgesys\u201c kalbama apie santyki\u0173 problematik\u0105 ir m\u016bs\u0173 pas\u0105monin\u012f, siurrealistini\u0173 vaizdini\u0173 perpildyt\u0105 sapn\u0173 pasaul\u012f, kurio u\u017euominas galime atrasti savo kasdienyb\u0117je. ...\" \/>\n<meta property=\"og:url\" content=\"https:\/\/dance.lt\/new\/2016\/12\/23\/siurrealistine-santykiu-analize\/\" \/>\n<meta property=\"og:site_name\" content=\"Lithuanian Dance Centre\" \/>\n<meta property=\"article:published_time\" content=\"2016-12-23T01:31:06+00:00\" \/>\n<meta property=\"og:image\" content=\"https:\/\/dance.lt\/new\/wp-content\/uploads\/cms\/2071_Lithuanian_Dance_vizualizacija1.png\" \/>\n\t<meta property=\"og:image:width\" content=\"419\" \/>\n\t<meta property=\"og:image:height\" content=\"525\" \/>\n<meta name=\"twitter:card\" content=\"summary_large_image\" \/>\n<meta name=\"twitter:label1\" content=\"Written by\" \/>\n\t<meta name=\"twitter:data1\" content=\"maksimas\" \/>\n\t<meta name=\"twitter:label2\" content=\"Est. reading time\" \/>\n\t<meta name=\"twitter:data2\" content=\"3 minut\u0117s\" \/>\n<script type=\"application\/ld+json\" class=\"yoast-schema-graph\">{\"@context\":\"https:\/\/schema.org\",\"@graph\":[{\"@type\":\"WebSite\",\"@id\":\"https:\/\/dance.lt\/new\/#website\",\"url\":\"https:\/\/dance.lt\/new\/\",\"name\":\"Lithuanian Dance Centre\",\"description\":\"LDC\",\"potentialAction\":[{\"@type\":\"SearchAction\",\"target\":{\"@type\":\"EntryPoint\",\"urlTemplate\":\"https:\/\/dance.lt\/new\/?s={search_term_string}\"},\"query-input\":\"required name=search_term_string\"}],\"inLanguage\":\"lt-LT\"},{\"@type\":\"ImageObject\",\"@id\":\"https:\/\/dance.lt\/new\/2016\/12\/23\/siurrealistine-santykiu-analize\/#primaryimage\",\"inLanguage\":\"lt-LT\",\"url\":\"https:\/\/dance.lt\/new\/wp-content\/uploads\/cms\/2071_Lithuanian_Dance_vizualizacija1.png\",\"contentUrl\":\"https:\/\/dance.lt\/new\/wp-content\/uploads\/cms\/2071_Lithuanian_Dance_vizualizacija1.png\",\"width\":419,\"height\":525},{\"@type\":\"WebPage\",\"@id\":\"https:\/\/dance.lt\/new\/2016\/12\/23\/siurrealistine-santykiu-analize\/#webpage\",\"url\":\"https:\/\/dance.lt\/new\/2016\/12\/23\/siurrealistine-santykiu-analize\/\",\"name\":\"Siurrealistin\\u0117 santyki\\u0173 analiz\\u0117 - 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