{"id":3458,"date":"2018-11-07T14:21:13","date_gmt":"2018-11-07T12:21:13","guid":{"rendered":"http:\/\/dance.lt\/new\/?p=3458"},"modified":"2018-11-07T15:01:00","modified_gmt":"2018-11-07T13:01:00","slug":"vangus-karoliu-ir-lynu-ritualas","status":"publish","type":"post","link":"https:\/\/dance.lt\/new\/2018\/11\/07\/vangus-karoliu-ir-lynu-ritualas\/","title":{"rendered":"Vangus karoli\u0173 ir lyn\u0173 ritualas"},"content":{"rendered":"

Rudeniui \u012fpus\u0117jus ir atsisveikinus su ypa\u010d gra\u017eia \u201ebob\u0173 vasara\u201c, prisimenu studij\u0173 laikus. Laikotarp\u012f, kai bla\u0161kiausi tarp teatr\u0173 ra\u0161ydama recenzijas, kaupdama med\u017eiag\u0105 baigiamiesiems darbams ir aistringai diskutuodama su bendrakursiais apie teatro ir \u0161okio naujienas. Dabar menotyrin\u0117ms aistroms nurimus, \u012fdomu paanalizuoti savo po\u017ei\u016brio \u012f \u0161ok\u012f poky\u010dius. Tam geras pagrindas yra Airos Naginevi\u010di\u016bt\u0117s \u0161okio spektaklis \u201eChimeros karoliai\u201c, kur\u012f analizavau 2016 metais. Kaip A. Naginevi\u010di\u016bt\u0117 po de\u0161imties met\u0173 sugr\u012f\u017eta \u012f gimt\u0105j\u012f Kaun\u0105 pristatyti savo k\u016bryb\u0105, taip a\u0161 gr\u012f\u017etu prie jos spektaklio analiz\u0117s. Ar \u0161okio spektaklyje vis dar akcentuojama moters esyb\u0117 ir misti\u0161kumas? Kaip \u0161ie keleri metai pakeit\u0117 choreograf\u0117s stilistik\u0105, jos buvusi\u0173 studen\u010di\u0173 judesi\u0173 \u017eodyn\u0105? Ar \u0161is spektaklis aktualus \u0161iandienos kontekste?<\/p>\n

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Nuotrauka: Laura Urbonavi\u010di\u016bt\u0117<\/span><\/em><\/p>\n

2016 metais matyta spektaklio versija pasi\u017eym\u0117jo stilistiniu vieningumu, puikiai deran\u010diu su rituali\u0161kumu pasi\u017eymin\u010dia Vlado Dieninio muzika, metaforine Ar\u016bno Adomai\u010dio scenografija ir savo stilistik\u0105 gryninusi\u0173 \u0161ok\u0117j\u0173 (Gretos Grinevi\u010di\u016bt\u0117s, Sigitos Jura\u0161kait\u0117s, Godos Laurinavi\u010di\u016bt\u0117s, Agniet\u0117s Lisi\u010dkinait\u0117s ir Erikos Vizbarait\u0117s) judesi\u0173 junginiais. Spektaklyje buvo kuriami moter\u0173 vaizdiniai, \u012fk\u016bnijantys mitini\u0173 b\u016btybi\u0173 tvirtyb\u0119, am\u017einum\u0105, neatimant j\u0173 moteri\u0161kos prigimties. Senesn\u0117 \u201eChimeros karoli\u0173\u201c versija primin\u0117 vizualin\u0119 giesm\u0119 apie moters prigimties sud\u0117tingum\u0105. Ji buvo gimdytoja, \u017eini\u0173 ne\u0161\u0117ja, aistros simbolis ir b\u016btyb\u0117, savyje \u012fk\u016bnijanti tiek mirt\u012f, tiek prisik\u0117lim\u0105. Naujoje versijoje visi \u0161ie aspektai abstrahuojami taip, kad bet koks stipresnis ar ry\u0161kesnis moters \u012fvaizdis i\u0161blunka, praranda savo stipryb\u0119 ir \u012ftaigum\u0105. Skaitant apra\u0161ym\u0105 susidaro \u012fsp\u016bdis, kad spektaklio k\u016br\u0117jai nori k\u016brin\u012f pritaikyti platesnei \u017ei\u016brov\u0173 auditorijai, tod\u0117l daugiau koncentruojasi \u012f judesio, muzikos ir scenografijos derm\u0119, o ne \u012f su moteri\u0161kumu susijusi\u0173 id\u0117j\u0173 i\u0161gryninim\u0105. Ne\u017einia, kas l\u0117m\u0117 \u0161\u012f pokyt\u012f, bet Kauno publika \u0161\u012fkart pamat\u0117 id\u0117ji\u0161kai vang\u0173 k\u016brin\u012f.<\/p>\n

Dabartin\u0117je \u201eChimeros karoli\u0173\u201c versijoje scenografiniai sprendimai nepakito ir jie vis dar yra \u012fdom\u016bs metaforas m\u0117gstantiems \u017ei\u016brovams. \u0160okio spektaklyje esan\u010dios galvos su ky\u0161an\u010diais metaliniais lynais reprezentuoja m\u016bs\u0173 mentalin\u012f baga\u017e\u0105, kuriuo \u0161ok\u0117jos spektaklyje groja arba veria savo patirtis. Ypa\u010d \u012fdomi scena, kai G. Laurinavi\u010di\u016bt\u0117 juda i\u0161 \u0161i\u0173 lyn\u0173 sukurtame kal\u0117jime, juos bla\u0161kydama ir stabdydama, i\u0161 j\u0173 kurdama triuk\u0161mo simfonij\u0105. Ji yra \u012fkalinta \u0161iame kal\u0117jime, ta\u010diau atranda vidin\u0119 laisv\u0119 ir lynus panaudoja savo asmeninei muzikai kurti. Tai simbolizuoja m\u016bs\u0173 buvim\u0105 primestose taisykl\u0117se, socialin\u0117se normose ir m\u016bs\u0173 siek\u012f atrasti dvasin\u0119 laisv\u0119.<\/p>\n

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Nuotrauka: Laura Urbonavi\u010di\u016bt\u0117<\/span><\/em><\/p>\n

Kitas \u012ftaigus lyn\u0173 (be galv\u0173) panaudojimo b\u016bdas \u2013 tai j\u0173 sustatyta eil\u0117, primenanti pirmyk\u0161\u010dio namo sienas. U\u017e j\u0173 auksine spalva ap\u0161viestos \u0161ok\u0117jos vaizduoja namus saugan\u010dias deives, kurios pabaigoje yra tarsi perveriamos lyn\u0173 ir \u012fkalinamos \u012fsivaizduojamo namo sienose.<\/p>\n

\"\"<\/p>\n

Nuotrauka: Martynas Aleksa<\/span><\/em><\/p>\n

Lygindama abiej\u0173 versij\u0173 \u0161ok\u012f, pastebiu, kad naujojoje versijoje moteri\u0161ki \u012fvaizd\u017eiai suabstraktinami, tr\u016bksta \u012ftaigi\u0173 choreografini\u0173 moment\u0173. Vis d\u0117lto naujausioje versijoje labiausiai i\u0161ry\u0161k\u0117ja G. Grinevi\u010di\u016bt\u0117s solo momentai. Nors ji taip pat \u012fk\u016bnija i\u0161 perl\u0173 j\u016bros i\u0161nyran\u010di\u0105 ir \u012fvairi\u0173 norm\u0173 slegiam\u0105 moteri\u0161k\u0105 b\u016btyb\u0119, ta\u010diau jos perteiktas deformuotas, demoni\u0161kas gyvis yra stipriausias persona\u017eas \u0161okio spektaklyje. Jos k\u016bno deformacijos, meistri\u0161kas ir \u012ftaigus skirting\u0173 charakteri\u0173 perteikimas ir puiki judesi\u0173 kokyb\u0117 leid\u017eia jai sukurti psichologi\u0161kai ir fizi\u0161kai deformuot\u0105, siurrealistin\u012f moters \u012fvaizd\u012f. Tuo tarpu S. Jura\u0161kait\u0117, ankstesn\u0117je versijoje \u012fsp\u016bdingai \u012fk\u016bnijusi moters kar\u017eyg\u0117s-kat\u0117s dvilypum\u0105, \u0161iame spektaklyje atrodo paskendusi savo pa\u010dios judesi\u0173 \u017eodyne ir stilistikoje. Fizin\u0117s stipryb\u0117s ir puikios \u0161okio technikos ji nepraranda, bet jos \u012ftaigumas ir geb\u0117jimas \u017eaisti skirtingomis moters charakteristikomis dabartin\u0117je versijoje atrodo i\u0161bl\u0117s\u0119s. Tai pritaikytina ir kitoms spektaklyje \u0161okusioms \u0161ok\u0117joms. Spektaklio vizualinei kokybei jos neprideda nieko unikalaus, savito ar paveikaus. \u0160ok\u0117jos tarsi kartoja prie\u0161 penkerius metus (2013 metais \u012fvyko spektaklio premjera) sukurtas kombinacijas, nieko naujo nesukurdamos ir neprid\u0117damos. Galb\u016bt spektaklio k\u016br\u0117jams pritr\u016bko laiko arba noro atlikti naujas spektaklio tematikos paie\u0161kas?<\/p>\n

\"\"<\/p>\n

Nuotrauka: Laura Urbonavi\u010di\u016bt\u0117<\/span><\/em><\/p>\n

Dabartin\u0117je \u201eChimeros karoli\u0173\u201c versijoje tikimasi pamatyti \u0161ok\u0117j\u0173 ir pa\u010dios choreograf\u0117s k\u016brybin\u012f virsm\u0105, \u017einant \u0161i\u0173 menininki\u0173 k\u016brybin\u0119 biografij\u0105. Tai nerei\u0161kia, kad \u0161ok\u0117jos turi atlikti virtuozi\u0161k\u0105 choreografij\u0105 ar scenoje demonstruoti kitus savo geb\u0117jimus. Jos turi provokuoti \u017ei\u016brov\u0105, o save skatinti ie\u0161koti nauj\u0173 judesio ir ekspresijos galimybi\u0173 spektaklio temos ribose. Prie\u0161ingu atveju nesvarbu, kokio lygio b\u016bt\u0173 \u00a0atlik\u0117j\u0173 fiziniai geb\u0117jimai, nesvarbu, kaip virtuozi\u0161kai jie atlieka judesi\u0173 junginius, \u0161ok\u0117jai scenoje bus tik judantys objektai, kuriuos \u017ei\u016brovai vangiai seks akimis. Choreografus skatin\u010diau \u0161ok\u0117j\u0173 privalumus panaudoti \u012fvairiapusi\u0161kiau gilinant ir vystant spektaklio turin\u012f. Antraip k\u016brinys u\u017esikonservuos ir \u0161ok\u0117j\u0173 judesiuose atsispind\u0117s senos formos ir id\u0117jos, kurios jiems ir \u017ei\u016brovams laikui b\u0117gant taps nebeaktualios.<\/p>\n

Gr\u012f\u017etant prie spektaklio id\u0117j\u0173, sunku pasakyti, k\u0105 tiksliai k\u016brybin\u0117 komanda siekia perteikti. Ankstesn\u0117je versijoje \u017ei\u016brovai mat\u0117 moters esyb\u0117s ir dvasin\u0117s stipryb\u0117s paie\u0161kas, kurios skleid\u0117si kiekviename spektaklio elemente. Naudodama misticizmu ir rituali\u0161kumu dvelkian\u010di\u0105 muzik\u0105, metafori\u0161k\u0105 scenografij\u0105 ir skirtingas jaun\u0173j\u0173 \u0161ok\u0117j\u0173 judesio stilistikas, A. Naginevi\u010di\u016bt\u0117 pateik\u0117 konkret\u0173 savo vaizduot\u0117s pasaulio regin\u012f. Nors feministin\u0117 tematika gal\u0117jo b\u016bti labiau i\u0161vystyta, ta\u010diau teatrali\u0161ku dramatizmu ir rituali\u0161kumu nuspalvinta k\u016bryba leido \u017ei\u016brovams m\u0117gautis spektakliu kaip apeiginiu \u0161okio ritualu. Naujojoje versijoje visos buvusios id\u0117jos nublanksta, o persona\u017e\u0173 egzistenciniai skausmai ir transformacijos tampa pretekstu atlik\u0117joms vangiai atlikti savo \u012fprastus judesi\u0173 junginius. Susidaro \u012fsp\u016bdis, kad spektaklio tematika patiems k\u016br\u0117jams yra atgyvenusi ir nebeaktuali. Tad kod\u0117l \u017ei\u016brovams tai tur\u0117t\u0173 b\u016bti aktualu?<\/p>\n

\"\"<\/p>\n

Nuotrauka: Martynas Aleksa<\/span><\/em><\/p>\n

Pastebima, kad da\u017enai scenoje matome pasirodymus, kur svarbiausia tampa judesio technikos ir choreografini\u0173 jungini\u0173 demonstracija, o ne i\u0161keltos temos ar problemos vizualin\u0117 analiz\u0117. Neseniai Kaune vyk\u0119s tarptautinis \u0161okio festivalis \u201eAura 28\u201c parod\u0117 pavyzd\u017eius, kaip \u0161ok\u012f galima panaudoti visuomenini\u0173 ir socialini\u0173 problem\u0173 dekonstrukcijai, d\u0117mesio centre i\u0161laikant judes\u012f. Vienas i\u0161 j\u0173 buvo trup\u0117s \u201eBlack velvet\u201c \u0161okio spektaklis \u201eArchitekt\u016bra ir archetipai\u201c, analizuojantis kaip egzistuojantys ir primetami idealai ir strukt\u016bros veikia m\u016bs\u0173 egzistencij\u0105 ir kaip galima dekonstruotas socialines strukt\u016bras panaudoti atrandant savo vidin\u0119 laisv\u0119. Vis dar malonu prisiminti Shamelio Pittso solo, kai per kiekvien\u0105 k\u016bno raumen\u012f kuriasi ir susinaikina su vyri\u0161kumo stereotipais susij\u0119 skauduliai, bei Mirelle Martins ekspresyv\u0173 veid\u0105, kuriame u\u017efiksuotas juodaod\u0117s moters skausmas ir stipryb\u0117. \u0160ie pavyzd\u017eiai rodo, kad \u0161okio spektaklis turi ne vien demonstruoti \u0161ok\u0117j\u0173 privalumus ar kurti gra\u017eiai apipavidalint\u0105 scenin\u012f vaizd\u0105, bet skatinti naujai pa\u017evelgti \u012f mus supan\u010dias problemas. Jeigu k\u016br\u0117j\u0173 tikslas yra analizuoti judesio, muzikos ir objekt\u0173 derm\u0119 konkre\u010dioje estetin\u0117je stilistikoje, tegu tas smalsumas atsiskleid\u017eia spektaklyje. Antraip spektaklis taps fotografi\u0161kai gra\u017ei\u0173 akimirk\u0173 kolia\u017eu.<\/p>\n

Naujausia \u0161okio teatro AIROS spektaklio \u201eChimeros karoliai\u201c versija atskleid\u017eia k\u016br\u0117j\u0173 u\u017esisklendim\u0105 savo pa\u010di\u0173 stilistikose ir vang\u0173 nor\u0105 t\u0119sti anks\u010diau kelt\u0173 tem\u0173 analiz\u0119 ir reprezentacij\u0105. \u0160\u012f k\u016brin\u012f rekomenduo\u010diau pa\u017ei\u016br\u0117ti teatro myl\u0117tojams, kurie nori susipa\u017einti su \u0161iuolaikiniu \u0161okiu, bet bijo, kad jo nesupras. \u0160io \u0161okio spektaklio teatrali\u0161kumas, ai\u0161ki individuali \u0161ok\u0117j\u0173 judesi\u0173 stilistika ir lengvai suprantamas scenini\u0173 element\u0173 metafori\u0161kumas yra puiki \u012f\u017eanga nedr\u0105siam, bet smalsiam teatro \u017ei\u016brovui.<\/p>\n

____________________________<\/p>\n

Nor\u0117dami daugiau su\u017einoti apie \u0161okio spektakl\u012f \u201eChimeros karoliai\u201c, si\u016blau perskaityti ankstesni\u0105j\u0105 spektaklio recenzij\u0105.<\/a><\/p>\n

Spektaklio premjera \u012fvyko 2013 metais.<\/p>\n

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

Rudeniui \u012fpus\u0117jus ir atsisveikinus su ypa\u010d gra\u017eia \u201ebob\u0173 vasara\u201c, prisimenu studij\u0173 laikus. Laikotarp\u012f, kai bla\u0161kiausi tarp teatr\u0173 ra\u0161ydama recenzijas, kaupdama …<\/p>\n","protected":false},"author":2,"featured_media":3459,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":[],"categories":[19],"tags":[],"yoast_head":"\nVangus karoli\u0173 ir lyn\u0173 ritualas - 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\/2018\/11\/07\/vangus-karoliu-ir-lynu-ritualas\/\" \/>\n<meta property=\"og:locale\" content=\"lt_LT\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Vangus karoli\u0173 ir lyn\u0173 ritualas - Lithuanian Dance Centre\" \/>\n<meta property=\"og:description\" content=\"Rudeniui \u012fpus\u0117jus ir atsisveikinus su ypa\u010d gra\u017eia \u201ebob\u0173 vasara\u201c, prisimenu studij\u0173 laikus. 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