{"id":2097,"date":"2017-01-04T16:25:14","date_gmt":"2017-01-04T16:25:14","guid":{"rendered":"http:\/\/dance.lt\/new\/2017\/01\/04\/matuojant-saugumo-ribas\/"},"modified":"2017-01-04T16:25:14","modified_gmt":"2017-01-04T16:25:14","slug":"matuojant-saugumo-ribas","status":"publish","type":"post","link":"https:\/\/dance.lt\/new\/2017\/01\/04\/matuojant-saugumo-ribas\/","title":{"rendered":"Matuojant saugumo ribas"},"content":{"rendered":"

Kai kurie \u017emon\u0117s ne\u0161iojasi men\u0105 savyje. Jiems nereikia i\u0161galvoti netik\u0117t\u0173 menini\u0173 sprendim\u0173 ar interpretacij\u0173, nereikia sl\u0117ptis u\u017e vaizdo projekcij\u0173 ar grandiozin\u0117s scenografijos, nes jie patys savaime yra k\u016briniai, kuriuos \u012fdomu steb\u0117ti. O jeigu ne\u012fdomu \u2013 aplinka j\u0173 nei\u0161gelb\u0117s, nes visa k\u016brinio dinamika vis tiek koncentruojasi tame judan\u010diame \u201epadar\u0117lyje\u201c, kurian\u010diame metaforas pirmiausia savo k\u016bnu ir jo b\u016bsen\u0173 kaita.<\/p>\n

R\u016bta Butkus yra viena toki\u0173 menininki\u0173. Tiesa, ji pati savo darbuose naudoja ir giganti\u0161kas konstrukcijas, ir gamtos materijas, tik jos k\u016bryboje tai grei\u010diau tampa inspiracija, \u017ei\u016brovui padedan\u010dia interpretuoti scenin\u012f tekst\u0105 ir netgi leid\u017eian\u010dia tik\u0117tis ka\u017eko konkretaus, ap\u010diuopiamo. Tarsi ta materija \u2013 \u0161iaudai, gele\u017eis\u2026 \u2013 b\u016bt\u0173 raktas, leid\u017eiantis \u012feiti ten, kur jau i\u0161ai\u0161k\u0117ja \u0161iuolaikinio R. Butkaus \u0161okio esm\u0117. Ta\u010diau taip yra ne visada. Lapkri\u010dio prad\u017eioje pristatytame performanse \u201eMII4II \u017dmoni\u0173 parkas\u201c didel\u0119 dal\u012f tu\u0161\u010dios Ruperto inkubatoriaus erdv\u0117s u\u017e\u0117musi gele\u017ein\u0117 konstrukcija pirmiausia atsine\u0161\u0117 savo tem\u0105 ir tik paskui tapo rams\u010diu k\u016br\u0117jos pasirodymui.<\/p>\n

\"\"
\nNuotrauk\u0173 autor\u0117 – Laima Stasiulionyt\u0117<\/p>\n

\u017di\u016brovus, \u012f\u0117jusius \u012f vien\u0105 i\u0161 Ruperto erdvi\u0173, pasitinka prieblanda ir joje paskend\u0119s Sigitos \u0160imk\u016bnait\u0117s \u201emetalo lau\u017eas\u201c; su visu tuo mai\u0161osi ir Mi\u0161os Skalskio muzika, kuri, be abejo, neturi jokios melodijos ir nepasakoja joki\u0173 istorij\u0173 \u2013 tik kuria darn\u0105 tarp vis\u0173 erdv\u0117je veikian\u010di\u0173 element\u0173. Prisipa\u017einsiu \u2013 neperskai\u010diusi performanso apra\u0161ymo, kuriame teigiama, jog viskas kurta atsispiriant nuo \u0161iandienini\u0173 \u012fvyki\u0173 Europoje, neb\u016b\u010diau apie tai n\u0117 pagalvojusi. <\/p>\n

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Objektai ir atmosfera pirmiausia primin\u0117 sumai\u0161t\u012f, vert\u0117 jaustis nepatogiai, netgi erzino. Tarsi visas \u201eMII4II \u017dmoni\u0173 parko\u201c kontekstas b\u016bt\u0173 ved\u0119s prie tokios dirglios b\u016bsenos: sekmadienio vakaras, diena, kai at\u0161alo oras, Ruperto inkubatorius, pasiekiamas absoliu\u010diai nelogi\u0161kai va\u017eiuojant autobusu nuo stotel\u0117s, kurioje tamsiu paros metu vert\u0117t\u0173 nestov\u0117ti… Galiausiai patekus \u012f erdv\u0119 toliau ka\u017eko lauki, nes \u017ei\u016brovai \u012fleid\u017eiami steb\u0117ti ekspozicijos ir nepateikiama joki\u0173 \u017eenkl\u0173, kada ir kokia forma prasid\u0117s atlik\u0117jos pasirodymas. Ilgainiui akys apsipranta su prieblanda ir atbunda vaiki\u0161ki instinktai bei poreikiai \u2013 palakstyti aplinkui, patikrinti, i\u0161 ko padarytos konstrukcijos, u\u017elipti jomis \u012f vir\u0161\u0173. Ir \u010dia teko susidurti su \u012fdomiu rei\u0161kiniu, savoti\u0161ka \u201etarp\u201c situacija: vadinamasis metalo lau\u017eas sukonstruotas taip, kad, regis, kiekvienas lankytojas gali \u012f j\u012f \u012feiti, u\u017elipti, liesti, suptis ant virb\u0173. Ta\u010diau suaug\u0119s \u017emogus \u017eino, kad scena (net jei realios, o juo labiau tradicin\u0117s scenos n\u0117ra) yra \u0161ventas dalykas ir dekoracij\u0173 rankomis liesti nevalia, tod\u0117l prilaiko save nuo erdv\u0117s si\u016blomo interaktyvumo vien d\u0117l sen\u0173 \u012fsitikinim\u0173. Netgi tuo atveju, kai pats vaik\u0161to \u201evaidybos\u201c aik\u0161tel\u0117je.<\/p>\n

\"\"<\/p>\n

O k\u0105, jei \u017ei\u016brovas prie\u0161 ir per (nes po tai dar\u0117 jau visi) \u0161ok\u0117jos pasirodym\u0105 \u012feit\u0173 \u012f labai ai\u0161kiai apribot\u0105 atlik\u0117jos erdv\u0119 ir pats tapt\u0173 veikian\u010diuoju arba scenografijos dalimi? Tokia galimyb\u0117 kol kas atrodo \u012fdomiausia performanso dalis \u2013 \u017ei\u016brovas never\u010diamas \u012fsitraukti \u012f veiksm\u0105, ta\u010diau tam sukuriama palanki aplinka. D\u017eiugina pa\u010di\u0173 meninink\u0173 vidin\u0117 laisv\u0117 \u2013 jie nebijo ne\u017einios, kuri\u0105 gali \u012fne\u0161ti neprognozuojami ir nepasiruo\u0161\u0119 pa\u0161aliniai \u017emon\u0117s. \u0160is aspektas stipriai prisideda prie tikrojo performatyvumo vystymosi Lietuvoje, leid\u017eia \u017ei\u016brovui suvokti savo vaidmen\u012f performanso \u017eanre. M\u016bs\u0173 \u0161alyje apie tai kalb\u0117ti aktualu, nes pernelyg da\u017enai performansais vis dar apib\u016bdinami nei\u0161baigti darbai arba k\u016briniai, kuriuos sunku suprasti ir \u017ei\u016brovams, ir patiems k\u016br\u0117jams.<\/p>\n

Pati R. Butkus pasirodo netik\u0117tai \u2013 nesustojus ties kampu, kuriame atlik\u0117ja t\u016bno nuo pat \u017ei\u016brov\u0173 \u012fleidimo prad\u017eios, gali i\u0161kart ir nepasteb\u0117ti, jog ka\u017ekur prasid\u0117jo naujas veiksmas. Naujas, nes iki tol aplink vaik\u0161\u010dioj\u0119 (ir galb\u016bt svarst\u0119 \u2013 l\u012fsti ar nel\u012fsti) steb\u0117tojai jau k\u016br\u0117 \u201e\u017dmoni\u0173 park\u0105\u201c. Scenografijos fone R. Butkus atrodo tarsi \u012fkalinta did\u017eiuliame \u201ekeli\u0173 kambari\u0173\u201c narve. Ta\u010diau ar \u0161ok\u0117ja \u010dia yra i\u0161 ties\u0173 \u012fkalinta ir apribota? Juk ji yra laisva jud\u0117ti kaip tik nori, gali medituojant perb\u0117gti \u012f kit\u0105 erdv\u0117s kra\u0161t\u0105, keisti drabu\u017eius, judesius, ritm\u0105. Tuo tarpu \u017ei\u016brovai, R. Butkus perb\u0117gus \u012f kit\u0105 \u201ekambar\u012f\u201c, staiga tampa bej\u0117giais, nes paleid\u017eia j\u0105 i\u0161 savo reg\u0117jimo lauko. K\u0105 daryti tuomet? Jud\u0117ti kartu su ja? Visgi atsisakymas \u017eengti per pa\u010di\u0105 konstrukcij\u0105 ir v\u0117l apriboja \u2013 \u017ei\u016brovas turi keliauti aplinkui ir brautis pro kitus stebin\u010diuosius, pro \u017emoni\u0173 park\u0105, ir, \u017einoma, toki\u0173 \u201ebesibraunan\u010di\u0173\u201c ne vienas. Galiausiai narvas tampa labirintu, i\u0161 kurio i\u0161\u0117jim\u0105 randa ir pati R. Butkus. Vos jai i\u0161\u0117jus \u010dia sug\u016b\u017ei visi kiti \u2013 reikia praeiti, i\u0161bandyti, paland\u017eioti. Nes dabar jau galima. Dabar jau saugu ir \u201epadoru\u201c.<\/p>\n

\"\"
\nNuotraukos autorius – Bon Bon<\/p>\n

Gr\u012f\u017etant prie Europos \u012fvyki\u0173, kurie ir buvo performanso i\u0161eities ta\u0161kas, pirmiausia \u012f akis krinta tu\u0161tumos tematika \u2013 erdv\u0117je sklandanti nykuma primena tiek per kar\u0105 po bombardavimo apleist\u0105 teritorij\u0105, tiek \u017emoni\u0173 nuniokot\u0105 gamt\u0105 (\u017emoni\u0173 parkas, nes be \u017emoni\u0173 nieko kito jame nebeliko), tiek u\u017edar\u0105 get\u0105, kuriame nuo pasaulio atribotas kitoks \u017emogus \u2013 pab\u0117g\u0117lis, laikomas na\u0161ta j\u012f priglaudusiai valstybei. Ir \u0161itame rate veikia asmuo, ma\u017eas ir nematomas, migruojantis, ta\u010diau niekur nerandantis sau vietos. Jis juda kaip laikas \u2013 kartais ypatingai l\u0117tai, atsargiai atsikeldamas, slysdamas siena kaip slysta laikrod\u017eio rodykl\u0117; o kartais grei\u010diau, netgi \u017eaibi\u0161kai, \u0161luodamas visk\u0105 savo kelyje; kartais sugr\u012f\u017edamas, kur jau buvo ir v\u0117l eidamas ratu.<\/p>\n

\u012evykiai Europoje ir pasaulyje kasdien primena, jog mes nesame saug\u016bs. O i\u0161 ties\u0173 niekada ir nebuvome \u2013 nesaugumas \u017emones visuomet st\u016bm\u0117 \u012f priek\u012f ir ragino ie\u0161koti ka\u017eko, kas pad\u0117t\u0173 \u017emogui gyventi ilgiau ir kokybi\u0161kiau. \u201eTeatras turi b\u016bti vieta, kurioje kiekvienas jaust\u0173si saugus\u201c, \u2013 ne taip seniai Twitter<\/em> paskyroje postringavo Donaldas Trumpas. Galb\u016bt tod\u0117l kartais geriau i\u0161eiti i\u0161 teatro ir su tomis pa\u010diomis id\u0117jomis apsistoti galerijoje ar paties susir\u0119stoje metalo lau\u017eo kr\u016bvoje.<\/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":"

Kai kurie \u017emon\u0117s ne\u0161iojasi men\u0105 savyje. Jiems nereikia i\u0161galvoti netik\u0117t\u0173 menini\u0173 sprendim\u0173 ar interpretacij\u0173, nereikia sl\u0117ptis u\u017e vaizdo projekcij\u0173 ar …<\/p>\n","protected":false},"author":1,"featured_media":2098,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":[],"categories":[19],"tags":[],"yoast_head":"\nMatuojant saugumo ribas - 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\/2017\/01\/04\/matuojant-saugumo-ribas\/\" \/>\n<meta property=\"og:locale\" content=\"lt_LT\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Matuojant saugumo ribas - Lithuanian Dance Centre\" \/>\n<meta property=\"og:description\" content=\"Kai kurie \u017emon\u0117s ne\u0161iojasi men\u0105 savyje. 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