{"id":3619,"date":"2018-12-20T16:37:14","date_gmt":"2018-12-20T14:37:14","guid":{"rendered":"http:\/\/dance.lt\/new\/?p=3619"},"modified":"2021-01-27T14:19:23","modified_gmt":"2021-01-27T12:19:23","slug":"buti-teciu-visuomene-savimi","status":"publish","type":"post","link":"https:\/\/dance.lt\/new\/2018\/12\/20\/buti-teciu-visuomene-savimi\/","title":{"rendered":"B\u016bti t\u0117\u010diu, visuomene, savimi"},"content":{"rendered":"

Kartais i\u0161 \u0161ok\u012f vertinan\u010di\u0173 teatro kritik\u0173 pasi\u0161aipoma d\u0117l j\u0173 polinkio kiekvienoje detal\u0117je ie\u0161koti prasmi\u0173, metafor\u0173 ar linijin\u0117s dramaturgijos, nors k\u016br\u0117jai akcentuoja k\u0105 kita. Apie \u0161ok\u0117jos-aktor\u0117s Gretos Grinevi\u010di\u016bt\u0117s k\u016bryb\u0105 teatr\u0105 nagrin\u0117ti pratusiems \u017emon\u0117ms kalb\u0117ti lengviau \u2013 \u010dia i\u0161ties egzistuoja simboliai, metaforos, citatos (ne vien \u0161okio lauko), o kai kas spektakliuose netgi paai\u0161kinama tekstu.<\/p>\n

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Nuotraukos – Viktorija Lankauskait\u0117<\/em><\/p>\n

Galb\u016bt tod\u0117l atrodo, kad \u0161ios k\u016br\u0117jos darbai (\u012fskaitant B&B duet\u0105) \u012fgyja edukacin\u0119 funkcij\u0105 \u2013 \u0161iuolaikinio \u0161okio \u201ebijantiems\u201c \u017emon\u0117ms tai gal\u0117t\u0173 b\u016bti \u017eingsnis link susidraugavimo su \u017eanru: pasi\u016blymas atsiduoti matomo k\u016bno ir jo judesi\u0173 keliamiems potyriams, i\u0161laikant galimyb\u0119 bet kada atsiremti \u012f tai, kas atrodo \u012fprasta, saugu, pa\u017e\u012fstama.<\/p>\n

G. Grinevi\u010di\u016bt\u0117s monospektaklio \u201e\u0160okis dulki\u0173 siurbliui ir t\u0117\u010diui\u201c premjera \u012fvyko kovo m\u0117nes\u012f. Tai buvo triuk\u0161mingas, daugyb\u0119 detali\u0173 (televizori\u0173, ekrane transliuojamas G. Grinevi\u010di\u016bt\u0117s ir P. Markevi\u010diaus suvaidintas \u017einom\u0173 film\u0173 scenas, alaus skardines, final\u0105 su blizgu\u010di\u0173 lietumi…) \u012ftrauk\u0119s pasirodymas, kuriame rekvizitas neretai u\u017ego\u017edavo pa\u010di\u0105 \u0161ok\u0117j\u0105. Lapkri\u010dio m\u0117nes\u012f rodytas stipriai pasikeit\u0119s spektaklis \u2013 kur kas tvir\u010diau suri\u0161tas, li\u016bdnesnis ir pateisin\u0119s sprendim\u0105 detal\u0117mis u\u017ego\u017eti gyv\u0105 \u017emog\u0173, b\u016btent tai tampa viena svarbiausi\u0173 spektaklio tem\u0173.<\/p>\n

\u201eSpektakl\u012f skiriu t\u0117\u010diui, kuris mane u\u017eaugino; o siurblys atsirado tod\u0117l, kad t\u0117tis, matydamas kaip chaoti\u0161kai siurbiu, man visada sakydavo, jog kaip siurbi, taip ir gyveni savo gyvenim\u0105,\u201c \u2013 ma\u017edaug taip spektaklio metu k\u016br\u0117ja paai\u0161kina jo pavadinim\u0105. G. Grinevi\u010di\u016bt\u0117s persona\u017eas patiria daugyb\u0119 gyvenim\u0173, drauge su jais \u2013 transformacijas. Scenoje ji \u2013 bligzu\u010diuose besimaudanti \u017evaig\u017ed\u0117, energinga, moteri\u0161ka (pop kult\u016bros prasme), pati viena gebanti u\u017epildyti vis\u0105 \u201ejuod\u0105 de\u017eut\u0119\u201c. Gr\u012f\u017eus namo viskas kei\u010diasi \u2013 mergina tampa ma\u017eyte blankia fig\u016br\u0117le, sk\u0119stan\u010dia fotelyje, ekran\u0173 gausyb\u0117je, alaus skardin\u0117se ir ry\u0161kesni\u0173, televizijoje bei kine \u0161m\u0117\u017euojan\u010di\u0173 \u017evaig\u017ed\u017ei\u0173 spindesy. Ironi\u0161ka alaus reklama (visos skardin\u0117s nuda\u017eytos baltai, o \u017eodis ALUS sulietas taip, kad teisi\u0161kai niekas negal\u0117t\u0173 prikibti), siaubo filmai, romantiniai filmai apie tikr\u0105 arba perkam\u0105 meil\u0119 \u2013 tokiais malonumais u\u017epildytas spektaklio pasaulis. Tiksliau \u2013 t\u0117\u010dio pasaulis arba j\u012f primenantis, kai \u0161eimos nario n\u0117ra \u0161alia.<\/p>\n

Televizorius spektaklyje tampa vienintelio scenoje veikian\u010dio persona\u017eo antagonistu, su kuriuo mergina priversta nuolat kovoti. D\u0117l ko? Tik\u0117tina, d\u0117l t\u0117\u010dio d\u0117mesio. Vien tik save pasi\u016blyti galintis gyvas \u017emogus konkuruoja su ekrane matomais rei\u0161kiniais, kurie sukurti maloniems poj\u016b\u010diams, patiriamiems i\u0161vengiant gyv\u0173 \u017emoni\u0173 kompanijos ir jos sukeliam\u0173 \u201enepatogum\u0173\u201c (nesutampan\u010di\u0173 nuomoni\u0173, poreikio prisitaikyti ir t.t.). Scenoje besim\u0117tantys pom\u0117g\u012f i\u0161gerti liudijantys atributai (nors mergina ir jos t\u0117tis \u201eneturi rimt\u0173<\/em> problem\u0173 su alkoholiu\u201c) regisi kiek iliustratyv\u016bs, ypa\u010d \u0161ok\u0117jai pa\u010diai imant skardines ir vaizduojant i\u0161g\u0117rin\u0117jim\u0105. Lapkri\u010dio m\u0117nes\u012f \u0161is motyvas i\u0161naudotas prasmingiau \u2013 g\u0117rim\u0105 vaizduojan\u010diais judesiais k\u016br\u0117ja akcentavo nuolatin\u012f pasikartojim\u0105, sukim\u0105si nam\u0173, buities rate. Nepaisant to, kad \u0161is ratas prie\u0161tarauja asmenyb\u0117s charakteriui ir svajon\u0117ms, j\u012f norisi prisijaukinti, prisipratinti \u2013 juk tai vieninteliai namai, kuriuos mergina turi. \u0160is motyvas lydi vis\u0105 spektakl\u012f \u2013 \u017emogaus bandymas savo ne\u012fr\u0117minam\u0105 charakter\u012f priri\u0161ti prie buities, kurioje tenka gyventi, ir supratimas, kad kartais netgi suaug\u0119s siurbti taip ir nei\u0161moksti.<\/p>\n

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Spektaklyje ry\u0161k\u016bs du prie\u0161ing\u0173 kryp\u010di\u0173 vektoriai \u2013 t\u0117tis (id\u0117ja) nat\u016braliai tolsta nuo savo keliu \u017eengian\u010dios dukters (k\u016bnas), kuri bando suart\u0117ti, tik dar labiau i\u0161ry\u0161kindama nuotol\u012f. Spektaklio prad\u017eioje auksin\u0117s spalvos triko vilkinti, auk\u0161takulnius avinti, pasida\u017eiusi mergina palaidais plaukais palaipsniui atsisako vadinamosios moteri\u0161kos atributikos, susiri\u0161dama plaukus ir u\u017esivilkdama vyro \u0161vark\u0105. Taip parodomas ne\u012ftik\u0117tinai stiprus poreikis tur\u0117ti \u017emog\u0173 \u0161alia \u2013 negal\u0117dama to padaryti, spektaklio heroj\u0117 pati juo tampa. Nepaisant to, kad \u201e\u0160ok\u012f dulki\u0173 siurbliui ir t\u0117\u010diui\u201c galima skaityti kaip \u017eenkl\u0173 rinkin\u012f, jis atrodo paremtas ne tik s\u0105moningai pasirinktais simboliais, bet ir k\u016br\u0117jos poj\u016b\u010diais bei refleksijomis \u2013 pastarieji turb\u016bt ir yra tai, k\u0105 G. Grinevi\u010di\u016bt\u0117 siekia perduoti publikai. \u017dinant \u0161ok\u0117jos-aktor\u0117s k\u016brybin\u0119 biografij\u0105, teatro elementai jos spektakliuose nestebina, ta\u010diau spektaklyje \u201e\u0160okis dulki\u0173 siurbliui ir t\u0117\u010diui\u201c \u0161ie elementai ne visada kuria naujas prasmes ar si\u016blo netik\u0117t\u0105 po\u017ei\u016brio kamp\u0105 \u2013 kartais tiesiog \u017eemi\u0161kiau paai\u0161kina \u017ei\u016brovui, \u012f k\u0105, kaip ir kod\u0117l reaguoja atlik\u0117ja. \u010cia turiu omenyje did\u017ei\u0105j\u0105 dal\u012f spektaklyje girdimo teksto \u2013 merginos, laidos ved\u0117jo, t\u0117\u010dio, kai kuriais atvejais ir film\u0173 ar dain\u0173 \u017eod\u017eius. Dauguma tekst\u0173, be abejo, susij\u0119 su neverbalin\u0117se scenose transliuojama informacija, ta\u010diau kartais \u017eod\u017eiais taip puikiai paai\u0161kinama esm\u0117, kad u\u017ekertamas kelias interpretacijai. Be to, tekstin\u0117s scenos nuolat primena, kad spektaklis paremtas tikra \u0161ok\u0117jos patirtimi \u2013 taip skatinama \u017ei\u016brovo empatija. Ir tai gal\u0117t\u0173 pasirodyti vienareik\u0161mi\u0161kai girtina.<\/p>\n

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Spektaklyje naudojama dokumentin\u0117 med\u017eiaga \u2013 G. Grinevi\u010di\u016bt\u0117s ir jos t\u0117\u010dio pokalbio telefonu \u012fra\u0161as, kuris lapkri\u010dio spektaklyje skamb\u0117jo labai neai\u0161kiai ir jei neb\u016bt\u0173 gird\u0117tas anks\u010diau, tikriausiai b\u016bt\u0173 buv\u0119 ne\u012fmanoma suprasti, apie k\u0105 kalb\u0117tasi. Galb\u016bt spektaklio k\u016br\u0117jai to ir siek\u0117 \u2013 nors i\u0161 atsakym\u0173 akivaizdu, kad pokalbio metu jo dalyviai vienas kit\u0105 gird\u0117jo puikiai, \u017ei\u016brovams \u012fra\u0161as tapo dar vienu atstumo, du pasaulius skirian\u010dios miglos simboliu. \u012e kit\u0105 emocin\u012f lygmen\u012f spektaklio veik\u0117j\u0105 perkelia radijo laida, kurioje ji nebei\u0161laiko savyje to, kas jai i\u0161 ties\u0173 svarbu. Ta\u010diau eterio laiko u\u017etenka tik pikanti\u0161koms detal\u0117ms, tad laidos ved\u0117jas pertraukin\u0117ja ir tildo kalban\u010di\u0105j\u0105 (kiek per daug). Nors mergina nepasiduoda, \u0161ioje scenoje kalbomis ir a\u0161aromis atskleid\u017eiama daugiausiai nevilties. Tokia rai\u0161ka skatina empatij\u0105, o kadangi spektaklyje pakankamai dokumentin\u0117s med\u017eiagos, \u017ei\u016brovas pradeda u\u017ejausti ne tik persona\u017e\u0105, bet ir pa\u010di\u0105 k\u016br\u0117j\u0105. \u017di\u016brovus tai tur\u0117t\u0173 sujaudinti, ta\u010diau analizei tai kelia sunkum\u0173 \u2013 pradedi jaustis tarsi nagrin\u0117tum ne k\u016brin\u012f, o realius dviej\u0173 \u017emoni\u0173 santykius. \u0160iek tiek nejauku.<\/p>\n

Vienas universaliausi\u0173 itin asmeni\u0161ko spektaklio motyv\u0173 \u2013 butaforin\u0117je aplinkoje sk\u0119stantis ma\u017eas \u017emogus, i\u0161 paskutini\u0173j\u0173 besistengiantis konkuruoti su materialiais, perkamais malonumais. Atsid\u016brusi nam\u0173 aplinkoje mergina akimirksniu \u201esuma\u017e\u0117ja\u201c \u2013 j\u0105 go\u017eia did\u017eiulis mink\u0161tas fotelis, kuriame ji murkdosi, negal\u0117dama i\u0161sivaduoti. Mil\u017eini\u0161kas ekranas ir jame transliuojami vaizdai bei garsai dominuoja scenoje, nukreipia d\u0117mes\u012f nuo atlik\u0117jos ir\/arba sukuria muzik\u0105 jos \u0161okiui. Trikd\u017eiai, fragmenti\u0161kumas, pasikartojimas atsiskleid\u017eia projekcijose ir \u0161ok\u0117jos bandymuose i\u0161silaisvinti i\u0161 fotelio. Veiksm\u0105 perskrod\u017eia tu\u0161\u010di\u0173 glam\u017eom\u0173 ir m\u0117tom\u0173 skardini\u0173 garsai, papildydami televizijos kuriam\u0105 muzik\u0105 ir kurdami ausiai nemalon\u0173 kasdien\u0117s buities aid\u0105. Vaizdo projekcijose k\u016br\u0117jai \u017ei\u016brovui nes\u0105moningai \u012fsi\u016blo \u017eaidim\u0105 \u201eatsp\u0117k film\u0105\u201c: steb\u0117damas akivaizd\u017eiai matytas kopijuojamas scenas, pajunti azart\u0105 prisiminti, koks tai k\u016brinys. Pirm\u0105 kart\u0105 \u017ei\u016brint spektakl\u012f filmuota med\u017eiaga traukia ak\u012f labiau nei k\u016br\u0117jos k\u016bnas. \u017di\u016brint spektakl\u012f antr\u0105 kart\u0105, projekcij\u0173 turinys jau pa\u017e\u012fstamas, tod\u0117l ekran\u0105 priimi kaip simbol\u012f, o ne savaranki\u0161k\u0105 turin\u012f, generuojant\u012f \u201eveik\u0117j\u0105\u201c. D\u0117mes\u012f s\u0105moningai pradedi kreipti \u012f atlik\u0117j\u0105, o ekranas lieka ausiai nemaloniu trikd\u017eiu, leid\u017eian\u010diu fizi\u0161kai pajusti, kaip \u017emog\u0173 ir jo tyl\u0105 \u201epjauna\u201c kiekviename \u017eingsnyje informacij\u0105 transliuojan\u010dios technologijos. Taigi ekrano ir \u017emogaus kova spektaklyje \u201e\u0160okis dulki\u0173 siurbliui ir t\u0117\u010diui\u201c egzistuoja formos ir turinio lygmenyse \u2013 pirmasis nukreipia d\u0117mes\u012f nuo gyvo k\u016bno ir tai galima suvokti ne kaip re\u017eis\u016brin\u012f netikslum\u0105, bet kaip problemos iliustracij\u0105. Juk kas n\u0117ra nust\u016bm\u0119s gyvo \u017emogaus \u012f \u0161al\u012f, kad gal\u0117t\u0173 \u012fd\u0117miai \u017evelgti \u012f televizoriaus, kompiuterio ar telefono ekran\u0105?<\/p>\n

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Tekste kalb\u0117ta tik apie spektaklio id\u0117jos autor\u0119, choreograf\u0119 ir atlik\u0117j\u0105 Gret\u0105 Grinevi\u010di\u016bt\u0119, ta\u010diau analizuojant detales akivazidu, kad \u201e\u0160ok\u012f dulki\u0173 siurbliui ir t\u0117\u010diui\u201c k\u016br\u0117 didel\u0117 komanda. I\u0161ties \u2013 premjeros vakar\u0105 nusilenkti scenoje susirinko ne\u012fpratai mil\u017eini\u0161kas monospektaklio k\u016br\u0117j\u0173 b\u016brys: re\u017eisierius Paulius Markevi\u010dius, dramaturg\u0117 Kristina Steiblyt\u0117, kompozitorius Vladas Dieninis, \u0161vies\u0173 dailininkas Julius Kur\u0161is, kostium\u0173 dailinink\u0117 R\u016bta Kyguolyt\u0117, video autor\u0117 Saul\u0117 Bliuvait\u0117, operator\u0117 Vismant\u0117 Ruzgait\u0117 ir video \u0161vies\u0173 dailininkas Jurgis Matulevi\u010dius. Galb\u016bt ka\u017ekuris lenktis nei\u0161\u0117jo \u2013 neteko skai\u010diuoti. Svarbu, kad spektaklio, kurio pavadinimas teigia \u0161ok\u012f, k\u016br\u0117j\u0173 komanda atskleid\u017eia jo \u2013 ir \u0161okio meno apskritai \u2013 tarpdisciplini\u0161kum\u0105. Taip pat d\u017eiugina, kad pasir\u016bpinti spektaklio elementais kvie\u010diami savo srities profesionalai ir id\u0117j\u0173 autoriai nebesistengia patys \u201eap\u017eioti\u201c vis\u0173 sudedam\u0173j\u0173 spektaklio dali\u0173.<\/p>\n

\u0160okis, teatras, kinas, muzika \u2013 t\u0117\u010dio pa\u017einimui tokie pat svarb\u016bs elementai kaip ir fotelis, televizorius bei alaus skardin\u0117s. O dulki\u0173 siurblys b\u016btinas, kad pa\u017eintum pati save. Vadinasi, \u201e\u0160okis dulki\u0173 siurbliui ir t\u0117\u010diui\u201c \u2013 tai spektaklis apie sav\u0119s ir t\u0117\u010dio pa\u017einim\u0105. Apie s\u0105jung\u0105 dviej\u0173 \u017emoni\u0173, kuri\u0173 vardai, profesijos, apib\u016bdinimai viename sakinyje i\u0161 pirmo \u017evilgsnio galb\u016bt visi\u0161kai nedera.<\/p>\n","protected":false},"excerpt":{"rendered":"

Kartais i\u0161 \u0161ok\u012f vertinan\u010di\u0173 teatro kritik\u0173 pasi\u0161aipoma d\u0117l j\u0173 polinkio kiekvienoje detal\u0117je ie\u0161koti prasmi\u0173, metafor\u0173 ar linijin\u0117s dramaturgijos, nors k\u016br\u0117jai …<\/p>\n","protected":false},"author":2,"featured_media":3631,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":[],"categories":[9],"tags":[],"yoast_head":"\nB\u016bti t\u0117\u010diu, visuomene, savimi - 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\/12\/20\/buti-teciu-visuomene-savimi\/\" \/>\n<meta property=\"og:locale\" content=\"lt_LT\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"B\u016bti t\u0117\u010diu, visuomene, savimi - Lithuanian Dance Centre\" \/>\n<meta property=\"og:description\" content=\"Kartais i\u0161 \u0161ok\u012f vertinan\u010di\u0173 teatro kritik\u0173 pasi\u0161aipoma d\u0117l j\u0173 polinkio kiekvienoje detal\u0117je ie\u0161koti prasmi\u0173, metafor\u0173 ar linijin\u0117s dramaturgijos, nors k\u016br\u0117jai ...\" \/>\n<meta property=\"og:url\" content=\"https:\/\/dance.lt\/new\/2018\/12\/20\/buti-teciu-visuomene-savimi\/\" \/>\n<meta property=\"og:site_name\" content=\"Lithuanian Dance Centre\" \/>\n<meta property=\"article:published_time\" content=\"2018-12-20T14:37:14+00:00\" \/>\n<meta property=\"article:modified_time\" content=\"2021-01-27T12:19:23+00:00\" \/>\n<meta property=\"og:image\" content=\"https:\/\/dance.lt\/new\/wp-content\/uploads\/2018\/12\/42059628_317243002164234_1356309156922916864_o-1.jpg\" \/>\n\t<meta property=\"og:image:width\" content=\"5046\" \/>\n\t<meta property=\"og:image:height\" content=\"2833\" \/>\n<meta name=\"twitter:card\" content=\"summary_large_image\" \/>\n<meta name=\"twitter:label1\" content=\"Written by\" \/>\n\t<meta name=\"twitter:data1\" content=\"dance\" \/>\n\t<meta name=\"twitter:label2\" content=\"Est. reading time\" \/>\n\t<meta name=\"twitter:data2\" content=\"8 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\/2018\/12\/20\/buti-teciu-visuomene-savimi\/#primaryimage\",\"inLanguage\":\"lt-LT\",\"url\":\"https:\/\/dance.lt\/new\/wp-content\/uploads\/2018\/12\/42059628_317243002164234_1356309156922916864_o-1.jpg\",\"contentUrl\":\"https:\/\/dance.lt\/new\/wp-content\/uploads\/2018\/12\/42059628_317243002164234_1356309156922916864_o-1.jpg\",\"width\":5046,\"height\":2833},{\"@type\":\"WebPage\",\"@id\":\"https:\/\/dance.lt\/new\/2018\/12\/20\/buti-teciu-visuomene-savimi\/#webpage\",\"url\":\"https:\/\/dance.lt\/new\/2018\/12\/20\/buti-teciu-visuomene-savimi\/\",\"name\":\"B\\u016bti t\\u0117\\u010diu, visuomene, savimi - 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