{"id":2305,"date":"2017-11-29T17:47:51","date_gmt":"2017-11-29T17:47:51","guid":{"rendered":"http:\/\/dance.lt\/new\/2017\/11\/29\/sudyges-ikvepimas-interpretuosime-veliau\/"},"modified":"2017-11-29T17:47:51","modified_gmt":"2017-11-29T17:47:51","slug":"sudyges-ikvepimas-interpretuosime-veliau","status":"publish","type":"post","link":"https:\/\/dance.lt\/new\/2017\/11\/29\/sudyges-ikvepimas-interpretuosime-veliau\/","title":{"rendered":"Sudyg\u0119s \u012fkv\u0117pimas. Interpretuosime v\u0117liau"},"content":{"rendered":"

Neseniai teko i\u0161girsti teorij\u0105, kad i\u0161mani\u0173j\u0173 technologij\u0173 ekranuose projektuojami vaizdai \u017emones taip traukia d\u0117l spinduliuojamos \u0161viesos ry\u0161kumo, nustelbian\u010dio (bent jau Lietuvoje) aplink\u0105 ap\u0161vie\u010dian\u010di\u0173, pro debesis vos prasiskverbian\u010di\u0173 spinduli\u0173 \u0161vies\u0105. Tai tarsi jokia naujiena \u2013 dirbtin\u0117 \u0161viesa buityje naudojama kam nors ry\u0161kinti, o rengini\u0173 metu ji nukreipia publikos d\u0117mes\u012f ten, kur jis tur\u0117t\u0173 b\u016bti koncentruojamas. Pastarasis atvejis mums toks \u012fprastas, kad neretai vos i\u0161sijungus vienoms \u0161viesoms ir \u012fsijungus kitoms nat\u016braliai nutylame ir nukreipiame savo intencijas link nu\u0161viestos erdv\u0117s. XXI am\u017eiuje tai yra beveik neatskiriama teatrinio ritualo dalis, nors prie\u0161 pus\u0119 am\u017eiaus \u017eymusis lenk\u0173 teatro re\u017eisierius Jerzy\u2018s Grotowskis teig\u0117 \u012fsitikin\u0119s, kad ap\u0161vietimas (apie medijas kalbos dar nebuvo) yra vienas faktori\u0173, be kuri\u0173 teatras gal\u0117t\u0173 puikiausiai egzistuoti.<\/p>\n

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\nNuotraukos: Glasses’n beard photography<\/p>\n

\u0160iandien \u0161vies\u0173 dail\u0117 bei vaizdo projekcijomis kuriamas menas paprastai suvokiami ir pristatomi kaip ypatingas scenos men\u0173 privalumas, \u017eenklinantis k\u016brinio inovatyvum\u0105 ir d\u0117mes\u012f esamojo laikotarpio aktualijoms. Kvie\u010diant \u017emones \u012f tokius spektaklius jiems \u017eadami vaizdai, koki\u0173 \u017ei\u016brovai n\u0117ra mat\u0119, ir potyriai, koki\u0173 jie n\u0117ra tur\u0117j\u0119. Tokios patirtys tik\u0117tinos, ta\u010diau \u0161iek tiek prie\u0161tarauja logikai, kuri vis d\u0117lto diktuoja, kad steb\u0117ti scenos meno k\u016brinius \u017emon\u0117s eina pirmiausia d\u0117l gyv\u0173 patir\u010di\u0173, atsirandan\u010di\u0173 susid\u016brus \u010dia ir dabar veikiantiems k\u016bnams; tuo tarpu ekranai kaip priemon\u0117s da\u017eniau sutinkami kitose meno \u0161akose. Be abejo, \u0161iais laikais nustatin\u0117ti meno \u0161ak\u0173 ar \u017eanr\u0173 ribas b\u016bt\u0173 visi\u0161kai neprasminga \u2013 tarpdisciplini\u0161kumas sveikintinas ir skatinamas, nes b\u016btent tai yra bene vienintelis kelias siekiant sukurti tai, kas dar nematyta ir negird\u0117ta. Ta\u010diau pats faktas, kad menas, kurio esm\u0117 t\u016bkstantme\u010dius buvo gyvas atlik\u0117jo ir \u017ei\u016brovo\/vartotojo santykis, vie\u0161ai reklamuojamas kaip si\u016blantis \u201enegyvos\u201c energijos inspiruojamas patirtis, \u0161iek tiek glumina. Kitas dalykas \u2013 scenos mene tai gal\u0117t\u0173 b\u016bti netik\u0117ta patirtis, ta\u010diau ar \u0161i\u0173 laik\u0173 \u017emogui tokios patirtys yra ma\u017eiau \u012fprastos nei gyvas kontaktas?<\/p>\n

Prie\u0161 parodant spektaklio \u201eRozetos akmuo\u201c premjer\u0105 k\u016br\u0117jai (choreograf\u0117 ir atlik\u0117ja \u017divil\u0117 Virkutyt\u0117, vaizdo projekcij\u0173 menininkas Ed Grimoldby, muzika – J\u016bra Elena \u0160edyt\u0117 ir Andrius \u0160iurys) spaudoje kalb\u0117dami apie spektakl\u012f tikino, kad b\u016btent sensorin\u0117s projekcijos, kuriamos specialiai \u0161ok\u0117jams skirta programa \u201eIzadora\u201c, yra i\u0161skirtinis spektaklio \u017eenklas. Scenoje matomas judantis \u017emogaus k\u016bnas, kurio t\u0105sa tampa ekrane projektuojami vaizdai. \u0160i id\u0117ja \u017ei\u016brov\u0173 at\u017evilgiu nebuvo tiksliai i\u0161pildyta d\u0117l visi\u0161kai buitin\u0117s prie\u017easties \u2013 turb\u016bt tik pusei \u017ei\u016brov\u0173 buvo suteikta galimyb\u0117 pamatyti toki\u0105 k\u016bno ir ekrane kuriamo vaizdo s\u0105jung\u0105, koki\u0105 tik\u0117josi atskleisti k\u016br\u0117jai. \u017di\u016brovai Men\u0173 spaustuv\u0117s Juodojoje sal\u0117je buvo susodinti keturiomis eil\u0117mis \u2013 dvi ant \u017eem\u0117s, dvi ant pakyl\u0173. Ta\u010diau turb\u016bt tik ar\u010diausiai scenos esan\u010dios pirmosios ir auk\u0161\u010diausiai pakeltos ketvirtosios eili\u0173 \u017ei\u016brovai gal\u0117jo nuolat matyti \u0161ok\u0117j\u0105 \u017d. Virkutyt\u0119, kuri nema\u017e\u0105 spektaklio dal\u012f jud\u0117jo gul\u0117dama ant \u017eem\u0117s bei \u0161iek tiek i\u0161keldama kai kurias k\u016bno dalis. <\/p>\n

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Likusiems tai daryti trukd\u0117 prakti\u0161kai viename lygyje s\u0117din\u010di\u0173 \u017ei\u016brov\u0173 nugaros. Tokiomis aplinkyb\u0117mis daliai \u017ei\u016brov\u0173 pagrindiniu spektaklio veik\u0117ju tapo ekranas, o kartas nuo karto jo prie\u0161akyje atsirandantis k\u016bnas \u2013 ekrano turinio pasikeitimo ir \u012fveiksminimo stimuliatoriumi. Tai n\u0117ra savaime neigiamas rei\u0161kinys, ta\u010diau \u0161iuo atveju dingo pa\u010di\u0173 k\u016br\u0117j\u0173 \u012fvardinta projekcij\u0173 kaip \u017emogaus min\u010di\u0173 ir emocij\u0173 t\u0105sos prasm\u0117. D\u0117l problemati\u0161ko matomumo pasikeit\u0117 visa spektaklio filosofija, kuri, kaip teig\u0117 patys k\u016br\u0117jai, ir k\u0105 galima buvo suprasti stebint spektakl\u012f, tur\u0117jo b\u016bti i\u0161eities ta\u0161ku individuali\u0173 publikos nari\u0173 patir\u010di\u0173 atgijimui.<\/p>\n

Spektaklio, o tiksliau \u2013 k\u016bno dramaturgija \u201eRozetos akmenyje\u201d bene tradici\u0161kiausia (tod\u0117l nesunkiai perskaitoma), koki\u0105 tik galima sugalvoti \u0161iuolaikinio \u0161okio spektakliui \u2013 \u017emogaus gimimas, vystymasis ir pasaulio, jo rei\u0161kini\u0173 (\u0161iuo atveju \u2013 komunikacijos su aplinka) atradimas. Spektaklio prad\u017eia nes\u0105moningai gr\u0105\u017eina \u012f nesenus kito Men\u0173 spaustuv\u0117je sukurto darbo \u201eContemporary?\u201c (2013) laikus, kai spektaklio prad\u017eioje keliolika minu\u010di\u0173 trys \u0161ok\u0117jai \u201edaiginosi\u201c, kaip v\u0117liau tai apib\u016bdino Pauliaus Tamol\u0117s persona\u017eas. \u201eRozetos akmenyje\u201c atsispindi tokia choreografija, kokia \u201eContemporary?\u201c pristatyta kaip, pavadinkim, lietuvi\u0161ka \u0161ablonin\u0117. Tiesa, turint omenyje, kad \u201eRozetos akmens\u201c k\u016br\u0117jai kompiuterin\u0117s programos \u201eIzadora\u201c naudojim\u0105 pristato kaip ma\u017eai m\u016bs\u0173 publikai pa\u017e\u012fstam\u0105 rei\u0161kin\u012f ir kaip vien\u0105 esmini\u0173 spektaklio komponent\u0173, \u012fprastesnis turinio pasirinkimas atrodo suprantamas \u2013 pana\u0161u, kad pati programa pirmiausia remiasi \u012f tyrin\u0117jim\u0105, tad kod\u0117l gi spektaklio choreografijos nepaskirti \u017emogaus sav\u0119s pa\u017einimo procesui. Procesui, kuris atskleid\u017eia gyvyb\u0117s skleidim\u0105si, pirm\u0105 susid\u016brim\u0105 su i\u0161oriniais dirgikliais, bandym\u0105 pritapti, i\u0161silaikyti apribotoje aplinkoje, bla\u0161kym\u0105si tarp to, k\u0105 tau apie tave sako tavo k\u016bnas, ir to, kaip t\u0105 pat\u012f k\u016bn\u0105 transformuoti nor\u0117t\u0173 aplinka, \u012f kuri\u0105 patenki d\u0117l ne\u017einom\u0173 prie\u017eas\u010di\u0173. <\/p>\n

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\u012etak\u0173 eil\u0117 gal\u0117t\u0173 atrodyti taip: \u0161ok\u0117jos galvoje gimstantys aplinkos nulemti dirgikliai \u2013 k\u016bno reakcija \u2013 projekcij\u0173 \u201ereakcija\u201c (\u017emogaus veiksm\u0173 \u012ftaka i\u0161oriniam pasauliui) \u2013 proto ir k\u016bno reakcija \u012f \u201egimusias\u201c projekcijas. \u010cia ratas gal\u0117t\u0173 u\u017esidaryti ir cirkuliuoti, ta\u010diau glumina tai, kad \u0161ok\u0117jos k\u016bnas \u012f ekrane veikian\u010dias projekcijas, regis, visai nereaguoja. Kitaip sakant, \u0161ok\u0117ja turi ry\u0161\u012f su ekranu, ta\u010diau nepalaiko kontakto su k\u016bno sukeltomis ekrane atsiskleid\u017eian\u010diomis \u201epasekm\u0117mis\u201c. Tokiu atveju k\u016bnas i\u0161 tyrin\u0117jimo objekto tampa abstrak\u010diai tapan\u010diu teptuku arba spalvot\u0105 sm\u0117l\u012f \u017earstan\u010dia ranka, kuri juda priklausomai nuo savo pas\u0105mon\u0117s, ta\u010diau nesiekia sukurti nieko konkretaus.<\/p>\n

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Rozetos akmens reik\u0161m\u0119 \u017einome nuo mokyklos laik\u0173 \u2013 tai akmuo, pad\u0117j\u0119s i\u0161\u0161ifruoti senov\u0117s egiptie\u010di\u0173 ra\u0161t\u0105 ir perskaityti tai, k\u0105 siek\u0117 \u012fam\u017einti m\u016bs\u0173 prot\u0117viai. Vienas svarbiausi\u0173 atradim\u0173, leidusi\u0173 i\u0161pl\u0117sti komunikacijos su Senov\u0117s laikais ribas. Pavadinimas spektakliui, regis, puikiai parinktas \u2013 veiksmo, judesio vystymas \u010dia i\u0161 ties\u0173 primena Rozetos akmens istorij\u0105. Atrasta netaisyklingos formos materija pradedama analizuoti, \u0161lifuoti ir palaipsniui i\u0161leid\u017eia \u012f pasaul\u012f tam tikrus kodus, atverian\u010dius naujas patirtis \u017dem\u0117s gyventojams. Pagrindinis skirtumas b\u016bt\u0173 toks, kad Rozetos akmuo turi savyje kod\u0105, kur\u012f \u017emon\u0117s tur\u0117jo suvokti vien savo pastangomis ir \u0161io suvokimo tikslas bei prasm\u0117 buvo gana ai\u0161k\u016bs. Spektakio atveju pats objektas deda pastangas tam, kad b\u016bt\u0173 suvoktas aplinkos ir kartais pradeda atrodyti, kad k\u016br\u0117jai pernelyg intensyviai stengiasi generuoti naujas prasmes, trukdydami \u017ei\u016brovui vystyti savo interpretacijas. Tuo tarpu prasmi\u0173 stinga, jos pradeda kartotis, o galb\u016bt tiesiog \u017emogaus (\u0161iuo atveju galiu kalb\u0117ti tik apie save) smegenys nesugeba pakelti tiek naujos informacijos ir pra\u0117jus ma\u017edaug pusei spektaklio (nors trukm\u0117 t\u0117ra 45 minut\u0117s) mintys tiesiog nebeateina \u012f galv\u0105, nes, regis, jau buvo pasakyta pakankamai daug, ta\u010diau neleista mintims vystytis. Galb\u016bt prasmingiau b\u016bt\u0173 \u017eadinti \u017ei\u016brovo susidom\u0117jim\u0105 procesu, o ne stengtis \u012ftikinti, koks prasmingas yra kiekvienas \u017eingsnis spektaklyje. <\/p>\n

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Spektaklis \u201eRozetos akmuo\u201c atrodo atviras poky\u010diams ir savianalizei, tad nestebint\u0173, jei po keleto m\u0117nesi\u0173 jis subr\u0119st\u0173 ir stipriai pasikeist\u0173, atrasdamas naujus kelius komunikuojant tiek su negyvomis technologijomis, tiek su gyvais \u017ei\u016brovais. Tada b\u016bt\u0173 galima ne tik \u017ead\u0117ti netik\u0117tas patirtis, bet ir i\u0161 ties\u0173 jas teikti viso spektaklio metu inspiruojant \u017ei\u016brovo analiz\u0119 ir leid\u017eiant jam pab\u016bti su savo atradimais. Taip pat praverst\u0173 \u017ei\u016brov\u0173 susodinimas taip, kad visi gal\u0117t\u0173 ai\u0161kiai matyti scenoje vykstant\u012f veiksm\u0105. Labai pra\u0161au.<\/p>\n

\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>\n","protected":false},"excerpt":{"rendered":"

Neseniai teko i\u0161girsti teorij\u0105, kad i\u0161mani\u0173j\u0173 technologij\u0173 ekranuose projektuojami vaizdai \u017emones taip traukia d\u0117l spinduliuojamos \u0161viesos ry\u0161kumo, nustelbian\u010dio (bent jau …<\/p>\n","protected":false},"author":1,"featured_media":2306,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":[],"categories":[19],"tags":[],"yoast_head":"\nSudyg\u0119s \u012fkv\u0117pimas. Interpretuosime v\u0117liau - 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\/11\/29\/sudyges-ikvepimas-interpretuosime-veliau\/\" \/>\n<meta property=\"og:locale\" content=\"lt_LT\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Sudyg\u0119s \u012fkv\u0117pimas. Interpretuosime v\u0117liau - Lithuanian Dance Centre\" \/>\n<meta property=\"og:description\" content=\"Neseniai teko i\u0161girsti teorij\u0105, kad i\u0161mani\u0173j\u0173 technologij\u0173 ekranuose projektuojami vaizdai \u017emones taip traukia d\u0117l spinduliuojamos \u0161viesos ry\u0161kumo, nustelbian\u010dio (bent jau ...\" \/>\n<meta property=\"og:url\" content=\"https:\/\/dance.lt\/new\/2017\/11\/29\/sudyges-ikvepimas-interpretuosime-veliau\/\" \/>\n<meta property=\"og:site_name\" content=\"Lithuanian Dance Centre\" \/>\n<meta property=\"article:published_time\" content=\"2017-11-29T17:47:51+00:00\" \/>\n<meta property=\"og:image\" content=\"https:\/\/dance.lt\/new\/wp-content\/uploads\/cms\/2305_23231351_10155951708587948_3869603795335071294_n.jpg\" \/>\n\t<meta property=\"og:image:width\" content=\"960\" \/>\n\t<meta property=\"og:image:height\" content=\"600\" \/>\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=\"6 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\/2017\/11\/29\/sudyges-ikvepimas-interpretuosime-veliau\/#primaryimage\",\"inLanguage\":\"lt-LT\",\"url\":\"https:\/\/dance.lt\/new\/wp-content\/uploads\/cms\/2305_23231351_10155951708587948_3869603795335071294_n.jpg\",\"contentUrl\":\"https:\/\/dance.lt\/new\/wp-content\/uploads\/cms\/2305_23231351_10155951708587948_3869603795335071294_n.jpg\",\"width\":960,\"height\":600},{\"@type\":\"WebPage\",\"@id\":\"https:\/\/dance.lt\/new\/2017\/11\/29\/sudyges-ikvepimas-interpretuosime-veliau\/#webpage\",\"url\":\"https:\/\/dance.lt\/new\/2017\/11\/29\/sudyges-ikvepimas-interpretuosime-veliau\/\",\"name\":\"Sudyg\\u0119s \\u012fkv\\u0117pimas. 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