{"id":2221,"date":"2017-06-27T08:58:29","date_gmt":"2017-06-27T08:58:29","guid":{"rendered":"http:\/\/dance.lt\/new\/2017\/06\/27\/nuotaikinga-agonija\/"},"modified":"2017-06-27T08:58:29","modified_gmt":"2017-06-27T08:58:29","slug":"nuotaikinga-agonija","status":"publish","type":"post","link":"https:\/\/dance.lt\/new\/2017\/06\/27\/nuotaikinga-agonija\/","title":{"rendered":"Nuotaikinga agonija"},"content":{"rendered":"<p>\u201eGegu\u017e\u0117s 19 d. Men\u0173 spaustuv\u0117s Juodojoje sal\u0117je festivalio sve\u010diai i\u0161vys nuotaiking\u0105 \u0161iuolaikinio \u0161okio spektakl\u012f \u201eAgonija\u201c, \u2013 \u0161itaip apie naujausi\u0105 dvide\u0161imtme\u010dio jubiliej\u0173 \u0161ven\u010dian\u010dio Vy\u010dio Jankausko \u0161okio teatro spektakl\u012f skamb\u0117jo spaudos prane\u0161imai. Logi\u0161kai nesuderinamas b\u016bdvard\u017eio ir daiktavard\u017eio lipdinys \u201enuotaikinga agonija\u201c k\u0117l\u0117 ir \u0161ypsen\u0105, ir smalsum\u0105, ir nerim\u0105, k\u0105 gi pamatysime scenoje. Choreografas savo \u017ei\u016brovams, prisipa\u017einsiu \u2013 ir kritikams, paspend\u0117 sp\u0105stus, nes i\u0161 ties\u0173 sceninis vyksmas nustebino judesine spektaklio rai\u0161ka, lengvumu, \u0161viesiais tamsaus (agonijos) rei\u0161kinio pot\u0117piais, \u017eaisminga persona\u017e\u0173 konkurencija, net ir manipuliacinis \u017eiaurumas \u2013 ir tas buvo \u017eaismingas.<\/p>\n<p>Spektaklis prasid\u0117jo \u017ei\u016brovams \u012feinant \u012f teatro sal\u0119 \u2013 scenoje mat\u0117me tris atlik\u0117jas Giedr\u0119 Kirkilyt\u0119, Sigit\u0105 Jura\u0161kait\u0119 ir Giedr\u0119 Stankevi\u010di\u016bt\u0119 kv\u0117puojant, medituojant, stovint ant galvos, t.y. besiruo\u0161iant spektakliui. \u012e scen\u0105 \u012f\u0117jus ketvirtajai \u0161ok\u0117jai Gretai Grinevi\u010di\u016btei veiksmas i\u0161 ties\u0173 prasid\u0117jo \u2013 atlik\u0117ja \u017eod\u017eiu, \u017evilgsniais ir judesiais buvo raginama, v\u0117liau net ver\u010diama groti mu\u0161amaisiais. Trij\u0173 ir vienos atlik\u0117jos i\u0161skaidymas i\u0161 karto suponavo mint\u012f, jog choreografas v\u0117l kalba apie visuomen\u0117s ir individo konflikt\u0105 (\u0161is konfliktas itin ry\u0161kiai buvo matomas 2013 m. sukurtame spektaklyje \u201eAritmijos\u201c). Naujausiame darbe choreogafas spektaklio mint\u012f band\u0117 formuluoti abstrak\u010diau \u2013 spektaklio anotacijoje jis klaus\u0117, \u201ek\u0105 rei\u0161kia b\u016bti \u017emogumi, ar tikrai \u017emogus yra tapatus sau toks, kok\u012f suk\u016br\u0117 gamta, l\u0117m\u0117 prigimtis [&#8230;]\u201c. Spektaklyje \u201eAgonija\u201c judesin\u0117 rai\u0161ka leido perskaityti konkretesn\u0119 mint\u012f, jog kalba vis tiek sukasi apie individ\u0105, kuris ver\u010diamas paklusti visuomen\u0117je nusistov\u0117jusioms normoms (G. Grinevi\u010di\u016bt\u0117 ver\u010diama groti mu\u0161amaisiais), ver\u010diamas eiti visuotinai priimtu keliu, nepriimami jo norai, tiksliau \u2013 nenoras, daryti tai, ko pra\u0161oma, nesuprantama laisva individo valia priimti tik jam b\u016bdingus sprendimus. Faktas, jog mai\u0161taujantis individas neturi balso visuomen\u0117je, i\u0161rei\u0161ktas metaforos pagalba \u2013 mu\u0161am\u0173j\u0173 lazdeles G. Grinevi\u010di\u016bt\u0117 \u012fsikando dantimis ir \u0161oko u\u017ekim\u0161ta burna.<\/p>\n<p><img loading=\"lazy\" src=\"http:\/\/dance.lt\/files\/images\/295717\/Agonija4_490x327.jpg\" width=\"490\" height=\"327\" alt=\"\" data-large=\"http:\/\/dance.lt\/files\/images\/295717\/Agonija4.jpg\" class=\"js-zoom-image\" \/><\/p>\n<p>V\u0117liau keli\u0173 sekund\u017ei\u0173 atotr\u016bkiu atlikdamos t\u0105 pa\u010di\u0105 judesi\u0173 kartort\u0119 atlik\u0117jos ruo\u0161\u0117si var\u017eyboms. Prie\u0161 visuotinai nusistov\u0117jausias normas? Prie\u0161 pat\u012f save? Ar visgi var\u017eyboms su laiku? Var\u017eybos \u012fvyko ne i\u0161 karto. Pirmiau buvo atliktas individo valios testas \u2013 G. Grinevi\u010di\u016bt\u0117 kit\u0173 trij\u0173 atlik\u0117j\u0173 buvo ver\u010diama \u0161okin\u0117ti u\u017e\u0117musi kvap\u0105. \u010cia fizi\u0161kai priart\u0117jome prie pa\u010dio agonijos rei\u0161kinio.<\/p>\n<p>Tolesn\u0117 judesini\u0173 metafor\u0173 seka eskalavo individo ir grup\u0117s tarpusavio ry\u0161ius: kai G. Grinevi\u010di\u016bt\u0117s persona\u017eas tariamai vadovavo kit\u0173 trij\u0173 mar\u0161ui, pastarosios sukurdamos paklusnumo iliuzij\u0105 i\u0161 ties\u0173 individ\u0105 vijosi ir persekiojo; jam suteikusi tariam\u0105 gali\u0105 (G. Grinevi\u010di\u016btei perduodamas mikrofonas) grup\u0117 individo tiesomis nepatik\u0117jo, jo argumentams nepritar\u0117 (G. Kirkilyt\u0117s, S. Jura\u0161kait\u0117s ir G. Stankevi\u010di\u016bt\u0117s persona\u017eai intensyviai jud\u0117j\u0119 nei\u0161leido n\u0117 vieno kv\u0117ptel\u0117jimo G. Grinevi\u010di\u016btei prie j\u0173 l\u016bp\u0173 priki\u0161us mikrofon\u0105). Po nevykusi\u0173 bandym\u0173 \u012frodyti savo tiesas individas tapo savoti\u0161ka visuomen\u0117s marionete \u2013 tokia, kuri nebetiki nei savimi, nei kitais. \u010cia \u012fvyko spektaklio l\u016b\u017eis: kiekviena atlik\u0117ja \u0117jo \u0161okti savame \u0161vies\u0173 \u0161altinio \u012f\u017eiebtame rate, o G. Grinevi\u010di\u016bt\u0117 s\u0117do prie mu\u0161am\u0173j\u0173. Taip, ji tikrai \u0117m\u0117 mu\u0161ti mu\u0161amaisiais, taip \u012fprasmindama savo bevais\u012f pasiprie\u0161inim\u0105. Choreografas tarsi apibendrino, jog tur\u0117dami apsisprendimo laisv\u0119 vis tiek u\u017esisukame gyvenimo rate (rutinoje?) ir ne\u017eymiai imam\u0117s daryti tai, ko i\u0161 m\u016bs\u0173 reikalaujama. O gal V. Jankauskas nor\u0117jo parodyti, jog eidami gyvenimo keliu, kaip pats teigia spektaklio anotacijoje, \u201e\u017emon\u0117s bei daiktai patiria \u012fvairias transformacijas, \u012fgaudami naujus, jiems ne\u012fprastus pavidalus, funkcijas ir reik\u0161mes\u201c. Ta\u010diau \u017emogaus prie\u0161inimasis transfomacijoms, primestoms funkcijoms ir iliuzin\u0117ms j\u0173 reik\u0161m\u0117ms spektaklyje buvo toks ry\u0161kus, kad patik\u0117ti \u0161iuo teiginiu negal\u0117jau. \u012etikinamesnis atrod\u0117 \u017emogaus susitaikymo su esama b\u016btimi scenarijus.<\/p>\n<p><img loading=\"lazy\" src=\"http:\/\/dance.lt\/files\/images\/295717\/Agonija3_490x283.jpg\" width=\"490\" height=\"283\" alt=\"\" data-large=\"http:\/\/dance.lt\/files\/images\/295717\/Agonija3.jpg\" class=\"js-zoom-image\" \/><\/p>\n<p>B\u016bt\u012f choreografas spektaklyje pavaizdavo spalving\u0105, am\u017ein\u0105 ir universali\u0105 \u2013 ant did\u017eiulo polietileno lak\u0161to juodai atspausti skirting\u0173 \u0161rift\u0173 \u017eod\u017eiai bylojo: \u201e<em>[doen\u2018t matter if you are \u2013 I.G.] men or women, black or white or yellow, left or right, local or alien, good or bad, wife or spinster, pretty or invisible, amateur or professional [&#8230;]<\/em>\u201c. \u012edomu pasirod\u0117 tai, jog \u0161ioje permatomoje paslankioje polietileno sienoje choreografas i\u0161skai\u010diav\u0119s vis\u0105 eil\u0119 fiziolofini\u0173, profesini\u0173 ar socialini\u0173 \u017emogaus skirtum\u0173, savojo sakinio taip ir nepabaig\u0117. Bet tikriausiai tai visai nebesvarbu. G. Grinevi\u010di\u016bt\u0117 \u010dia karp\u0117 \u012fvairi\u0173 dyd\u017ei\u0173 kvadratus ir sta\u010diakampius tarsi atverdama langus \u012f sav\u0105j\u0105 tikrov\u0119, o i\u0161karpytas dalis d\u0117jo, glaud\u0117, spaud\u0117 prie sav\u0119s ir \u017ei\u016br\u0117jo lyg \u012f savoti\u0161kai laim\u0117t\u0173 trof\u0117j\u0173 (savo \u012frodyt\u0173 ties\u0173?) dalis. \u0160i scena v\u0117l ry\u0161kiai primin\u0117 min\u0117t\u0105sias \u201eAritmijas\u201c, kuomet \u0161ok\u0117ja Riikka Ihalainen spektakliui \u012fpus\u0117jus buvo apkarstoma daugybe por\u0173 bat\u0173. Nors abiej\u0173 spektakli\u0173 \u012fvaizd\u017eiai buvo labai pana\u0161\u016bs, mintys visgi skyr\u0117si: jei R. Ihalainen \u201eAritmijose\u201c nuo bat\u0173 por\u0173 sunkumo buvo spaud\u017eiama prie \u017eem\u0117s, taip \u012fk\u016bnydama inivido socialin\u0119 na\u0161t\u0105 ir pareigas, tai G. Grinevi\u010di\u016bt\u0117 \u201eAgonijoje\u201c pati spaud\u0117 lengvas polietileno i\u0161karpas prie k\u016bno, kurias kitos trys atlik\u0117jos nup\u016bt\u0117, taip \u012fprasmindamos min\u010di\u0173, \u012fsitikinim\u0173 ir nuostat\u0173 \u012fvairov\u0119 bei nepastovum\u0105.<\/p>\n<p><img loading=\"lazy\" src=\"http:\/\/dance.lt\/files\/images\/295717\/Agonija6_490x327.jpg\" width=\"490\" height=\"327\" alt=\"\" data-large=\"http:\/\/dance.lt\/files\/images\/295717\/Agonija6.jpg\" class=\"js-zoom-image\" \/><\/p>\n<p>Keturias spektaklio atlik\u0117jas buvo \u012fdomu steb\u0117ti viso spektaklio metu. Ry\u0161kiausia \u010dia nedvejotinai buvo G. Grinevi\u010di\u016bt\u0117 \u2013 ir judesine, ir muzikine, ir aktorine prasm\u0117mis. Atlik\u0117ja i\u0161laik\u0117 susitelkim\u0105, minties kait\u0105, subtiliai perteik\u0117 skirtingas savojo persona\u017eo charakterio spalvas; taigi, i\u0161 ties\u0173 buvo tas spalvingas ak\u012f traukiantis individas pilkoje \u017emoni\u0173 mas\u0117je. Scenoje nustebino ir ma\u017eai matyta G. Stankevi\u010di\u016bt\u0117. \u0160iek tiek silpnesn\u0117s (lyginant su kitomis) fizin\u0117s rai\u0161kos \u0161ok\u0117ja, spinduliavo pasitik\u0117jimu savimi ir ak\u012f trauk\u0117 savo mimika, vaidmens pajautimu. S. Jura\u0161kait\u0117, pa\u017e\u012fstama kaip gaivali\u0161ko judesio atlik\u0117ja, ir \u0161iame spektaklyje buvo nepralenkiama savo fizine j\u0117ga. Atrod\u0117, jog ji yra toji grup\u0117s lyder\u0117, kuri visus suagituoja, suburia, \u012ftikina, sukelia (tariam\u0105) politin\u012f a\u017eiota\u017e\u0105 ir tuo naudodamasi veda mini\u0105 pirmyn. Kiek silpnesn\u0117, kaip ne keista, \u0161\u012fkart pasirod\u0117 ilgamet\u0117 V. Jankausko \u0161okio teatro \u0161ok\u0117ja G. Kirkilyt\u0117, ta\u010diau ne fizine, bet aktorine gama. G. Kirkilyt\u0117s ilg\u0173 rank\u0173 ir koj\u0173 mostai, iki begaly\u0117s i\u0161ilginti judesiai kiekviename V. Jankausko spektaklyje atrodo esantys tikra puo\u0161mena. \u0160\u012fkart choreografas, akcentav\u0119s id\u0117jin\u0119 spektaklio pus\u0119, paki\u0161o koj\u0105 G. Kirkilyt\u0117s fizinei rai\u0161kai, nes pyktel\u0117jusio, valdingo ir kiek aroganti\u0161ko persona\u017eo amplua G. Kirkilytei atrod\u0117 svetimas.<\/p>\n<p>Gird\u0117dami \u017eod\u012f \u201eagonija\u201c, rei\u0161kiant\u012f tarpin\u0119 b\u016bsen\u0105 tarp gyvenimo ir mirties, j\u012f automati\u0161kai siejame su merd\u0117jimu. Merd\u0117jimo V. Jankausko spektaklyje \u201eAgonija\u201c nemat\u0117me, ta\u010diau ry\u0161kiausiai mat\u0117me manipuliacin\u012f trij\u0173 atlik\u0117j\u0173 \u017eiaurum\u0105 atskirtosios at\u017evilgiu, o agonijos metu pasirei\u0161kiant\u012f tr\u016bk\u010diojant\u012f \u012fkv\u0117pim\u0105 ir i\u0161kv\u0117pim\u0105 gird\u0117jome kaip \u0161io \u017eiauraus manipuliacinio \u017eaidimo pasekm\u0119. Fizinis jud\u0117jimas buvo sud\u0117tas taip, jog tapome \u0161i\u0173 manipuliacini\u0173 \u017eaidim\u0173 vojeristais. Ir \u0161is vojeristinis steb\u0117jimas buvo toks stiprus, o vaizdas taip trauk\u0117 ak\u012f, jog kiekviena scena nor\u0117josi m\u0117gautis i\u0161ties ilgai. Visas spektaklio \u201eAgonija\u201c pie\u0161inys buvo nutapytas lengvais judesiais, \u0161viesiomis spalvomis, linksma muzika. Keistas naratyvin\u0117s minties ir choreografinio pie\u0161inio oksimoronas. O gal choreografas netiesiogiai teig\u0117, jog steb\u0117dami agonijoje esant\u012f \u017emog\u0173, savoti\u0161kai prisilie\u010diame prie u\u017edrausto vaisiaus \u2013 \u0161iapus ir anapus?<\/p>\n<p>Ar tai rei\u0161kia, kad dvide\u0161imt \u0161okio teatro met\u0173 \u017eymi vieno etapo pabaig\u0105 ir nujau\u010dia kito etapo prad\u017ei\u0105? Ar menin\u0117 choreografo patirtis, \u017eaismingai pateikta mirties metafora, ironizuoja apie ilgamet\u012f k\u016brybos keli\u0105 ir \u012f ne\u017einomyb\u0119 nusidriekusi\u0105 ateit\u012f? Tikriausiai. Taigi, choreografui ir visam jo \u0161okio teatrui belieka palink\u0117ti \u0161tai tokio lengvo ir nuotaikingo \u201eper\u0117jimo\u201c i\u0161 vieno etapo \u012f kit\u0105 ir toki\u0173 pat \u0161viesi\u0173 ir \u017eemi\u0161kai spalving\u0173 met\u0173 tolesniame k\u016brybos tarpsnyje. Ir \u017einoma, be manipuliacinio (kult\u016bros politik\u0173) \u017eaidimo.<\/p>\n<p><em>Dmitrijaus Matvejevo nuotraukos<\/em><\/p>\n<p>\u201e\u0160okio pasaulyje: naujienos, \u012fvykiai, j\u0173 vertinimas ir komentarai\u201c projekt\u0105 dalinai remia Spaudos, radijo ir televizijos r\u0117mimo fondas. <\/p>\n<p><img loading=\"lazy\" src=\"http:\/\/dance.lt\/files\/images\/920077\/678_fa044950eac6eb87e3cbce964f4f1836_5_490x277.jpg\" width=\"490\" height=\"277\" alt=\"\" data-large=\"http:\/\/dance.lt\/files\/images\/920077\/678_fa044950eac6eb87e3cbce964f4f1836_5.jpg\" class=\"js-zoom-image\" \/><\/p>\n","protected":false},"excerpt":{"rendered":"<p>\u201eGegu\u017e\u0117s 19 d. Men\u0173 spaustuv\u0117s Juodojoje sal\u0117je festivalio sve\u010diai i\u0161vys nuotaiking\u0105 \u0161iuolaikinio \u0161okio spektakl\u012f \u201eAgonija\u201c, \u2013 \u0161itaip apie naujausi\u0105 dvide\u0161imtme\u010dio &#8230;<\/p>\n","protected":false},"author":1,"featured_media":2222,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":[],"categories":[19],"tags":[],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v17.8 - https:\/\/yoast.com\/wordpress\/plugins\/seo\/ -->\n<title>Nuotaikinga agonija - 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\/06\/27\/nuotaikinga-agonija\/\" \/>\n<meta property=\"og:locale\" content=\"lt_LT\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Nuotaikinga agonija - Lithuanian Dance Centre\" \/>\n<meta property=\"og:description\" content=\"\u201eGegu\u017e\u0117s 19 d. 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