{"id":429,"date":"2018-03-22T10:00:20","date_gmt":"2018-03-22T08:00:20","guid":{"rendered":"http:\/\/dance.lt\/new\/?p=429"},"modified":"2018-04-05T14:38:52","modified_gmt":"2018-04-05T11:38:52","slug":"trise-apie-choreografo-liepsnas-tarp-siuolaikinio-sokio-spektaklio-priemoniu-sienu","status":"publish","type":"post","link":"https:\/\/dance.lt\/new\/2018\/03\/22\/trise-apie-choreografo-liepsnas-tarp-siuolaikinio-sokio-spektaklio-priemoniu-sienu\/","title":{"rendered":"Trise apie choreografo liepsnas tarp \u0161iuolaikinio \u0161okio spektaklio priemoni\u0173 sien\u0173"},"content":{"rendered":"

Autorius: Bo\u017eena Gudalevi\u010d<\/p>\n

Nuotrauk\u0173 autorius: Dmitrijus Matvejevas<\/p>\n

Trise, i\u0161 pirmo \u017evilgsnio, besirengiantys \u0161okti apie savo liepsnas, u\u017esidegim\u0105, tarp savo paties sien\u0173 arba galimybi\u0173 bei rib\u0173. Tik pirm\u0105 syk\u012f du vyrai ir moteris, o v\u0117liau, po nepiln\u0173 8 met\u0173 dvi moterys ir vyras. Tai pirma skirtis tarp choreografo Vy\u010dio Jankausko spektaklio \u201eLiepsnos vir\u0161 \u0161altojo kalno\u201c 45 minu\u010di\u0173 trukm\u0117s pastatymo 2010 m. ir 2018 m. kovo 13 d. pristatytos redakcijos, rodytos Juodojoje sal\u0117je Men\u0173 spaustuv\u0117je, Vilniuje.<\/p>\n

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Spektaklio pavadinime kalnas spektaklio apra\u0161e jau virsta siena, o gal tai savaranki\u0161kas d\u0117muo? O liepsna, jei ji ant kalno ir tod\u0117l vir\u0161, arba pakaln\u0117je, bet tiek stipri ir didel\u0117, kad liepsnoja vir\u0161 kalno – metafora kar\u0161\u010dio, \u0161ilumos, jausm\u0173, atitirpina vir\u0161\u016bnes arba kitaip nepasiekiamo \u0161alt\u012f arba degina (naikina) vir\u0161\u016bn\u0117s siekiamyb\u0119. Liepsna \u2013 tai \u017emogaus b\u016bsena. V. Jankauskas jau pavadinimu sufleruoja apie prie\u0161ingybi\u0173 tam tikr\u0105 konkurencin\u0119 s\u0105veik\u0105 (liepsnos \u2013 \u0161alta; vir\u0161 \u2013 kalnas), ta\u010diau kartu ir harmonizuojan\u010di\u0105 \u017emog\u0173, o apra\u0161ymas tai tik sustiprina. \u0160okama apie atram\u0105 teikian\u010dias sienas, atspirt\u012f siekiant u\u017esibr\u0117\u017eto, ta\u010diau kartu jos riboja \u017emog\u0173. Ir \u0161okam\u0105 apie \u017emogaus b\u016bsena tarp sien\u0173, kurios vienu metu teikia u\u017euov\u0117j\u0105, kitu \u2013 ribotum\u0105. \u017dvelgiant \u012f poeti\u0161kum\u0105 sufleruojant\u012f spektaklio pavadinim\u0105, spektaklio apra\u0161\u0105, kylantys klausymai apie liepsnos, kalno, sienos metaforas nukreipia atsigr\u0119\u017eti \u012f pat\u012f choreograf\u0105 2010 metais, jo mintis apie tuometin\u012f savo k\u016brin\u012f. 2010 metais V. Jankauskas spektakl\u012f pristat\u0117 kaip dviej\u0173 met\u0173 brandint\u0105 k\u016brin\u012f, siekiant judesiu perteikti egzistencines \u017emogaus patirtis. Prie\u0161 2010 m. gruod\u017eio 19 d. spektaklio premjer\u0105 choreografas kalb\u0117jo, kad \u201e\u0160altasis kalnas \u2013 pats \u017emogus su savo apsisprendimais ir pasiry\u017eimais, kuriuos tirpdo \u012fvairi\u0173 kolizij\u0173 liepsnos.\u201c Taigi, spektaklyje trys pagrindiniai metaforiniai d\u0117menys: kalnas \u2013 \u017emogus, liepsna \u2013 \u017emogaus b\u016bsena, siena \u2013 \u017emogaus ribos. Ir 2018 m. k\u016brinys kalba apie t\u0105 pat\u012f – apie egzistencin\u0119 \u017emogaus patirt\u012f, kitaip, b\u016bsen\u0105 apspr\u0119st\u0105 savo galimybi\u0173 rib\u0173, juos per\u017eengiant, jomis save apsaugant, jose gyvenant, kokius i\u0161gyvenimus \u017emogaus galimyb\u0117s suteikia pa\u010diam \u017emogui.<\/p>\n

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Paskutinis \u0161io choreografo sukurtas naujas k\u016brinys \u2013 \u0161okio spektaklis \u201eAgonija\u201c savo pavadinimu kreip\u0117 \u012f biblijin\u0119 istorij\u0105, kai po Paskutin\u0117s Vakarien\u0117s J\u0117zus \u0117jo \u012f Alyv\u0173 kaln\u0105 melstis ir ne vienas kaip iki tol, o pirm\u0105 syk\u012f kartu pasikviet\u0119s savo mokinius – Petr\u0105, Jok\u016bb\u0105, Jon\u0105. J\u0117zus maldos metu prad\u0117jo nuog\u0105stauti, sielotis, kad jo misija persmelkta nepakeliamu persekiojimu, atmetimu, prie\u0161i\u0161kumu. J\u0117zus i\u0161gyveno vieni\u0161um\u0105, baim\u0119 prie\u0161 Dievo – T\u0117vo plano realizavim\u0105, vyko vidin\u0117 J\u0117zaus kova, kan\u010dia, \u012f\u017eanga \u012f merd\u0117jim\u0105 prie\u0161 mirt\u012f. J\u0117zus, besimeld\u017eiantis Alyv\u0173 kalne, jaut\u0117 agonij\u0105. Spektaklio apra\u0161yme taip pat buvo i\u0161keltas egzistencinis klausymas – k\u0105 rei\u0161kia b\u016bti \u017emogumi? Ta\u010diau judesio rai\u0161ka, komponavimas, re\u017eis\u016bra \u0161i\u0173 dviej\u0173 paskutini\u0173 choreografo k\u016brini\u0173 (\u201eAgonija\u201c \u2013 naujas, \u201eLiepsnos vir\u0161 \u0161altojo kalno\u201c \u2013 atnaujinta versija) labai skirtinga. Geometrines fig\u016bras brai\u017ean\u010diais judesiais gr\u012fstas, \u0161ok\u0117jams vis atsispiriant ar atsiremiant \u012f balt\u0105 sien\u0105 spektaklis \u201eLiepsnos vir\u0161 \u0161altojo kalno\u201c yra poeti\u0161kas k\u016brinys, ir tokiu lieka 2018 met\u0173 versijoje. Vyrauja individualus \u0161okis, nors esam\u0105 ir duet\u0173, \u0161okio trise (kontaktinio \u0161okio), perteikiama individuali patirtis, \u017emogaus santyk\u012f su savimi. Judesiais rei\u0161kiama b\u016bsena, kai ta pati siena, vienu atveju tarnauja atspirtimi, atrama, prie kurios gr\u012f\u017etama, ta\u010diau kitu \u2013 gniu\u017edo, kalina. Ry\u0161kesnis \u0161ok\u0117jo kontaktas su atrama, siena (tiek statmena, stovin\u010dia kaip spektaklio dekoracij\u0105 u\u017e \u0161ok\u0117j\u0173; tiek guls\u010dia, t.y. grindimis). \u017di\u016brovas 45 minutes regi pat\u012f \u0161ok\u012f, \u0161e\u0161\u0117li\u0173 (arba ap\u0161vietimo) ir atlik\u0117j\u0173 santyk\u012f. Muzika, vietomis pakankamai kontrastingai aptakiems judesiams, yra tranki, \u0161iame k\u016brinyje u\u017eima antraplan\u012f vaidmen\u012f. Tuo tarpu \u201eAgonija\u201c – \u017eaismingas k\u016brinys, turintis sarkazmo, didesn\u0117s ritmikos, kuri\u0105 kuria muzika. Scenografija ry\u0161kesn\u0117, daugiau vaidybos \u0161ok\u0117j\u0173 atlikime. Ry\u0161kesn\u0117 \u0161ok\u0117j\u0173 tarpusavio kontaktin\u0117 improvizacija (mizanscenos kuomet \u0161ok\u0117j\u0173 tarpusavio santykis rodomuose spektakliuose kas karta vis gali skirtis, priklausomai nuo pa\u010di\u0173 \u0161ok\u0117j\u0173 pasirinkimo). \u201eAgonija\u201c kalba apie santyk\u012f \u017emogaus su visuomene, patiriama gniu\u017edym\u0105 i\u0161 visuomen\u0117s. Nors siekiamyb\u0117 \u017emogaus abiej\u0173 spektakli\u0173 atveju perteikiama ta pati \u2013 i\u0161silaisvinimas. \u201eAgonija\u201c \u012fsir\u0117\u017eia kaip jaunesniam \u017ei\u016brovui aktualesnis k\u016brinys. Jauname am\u017eiuje visuomen\u0117, jos \u012ftaka \u017emogaus pasirinkimams labiau sureik\u0161minama, o neretai visuomen\u0117s reik\u0161m\u0117, priklausomyb\u0117 nuo jos ir priklausimas jai (tam tikrai \u017emoni\u0173 grupei) ir i\u0161 tuo kylantys i\u0161gyvenimai netgi perd\u0117dami. \u201eLiepsnos vir\u0161 \u0161altojo kalno\u201c galimai artimesnis brandesniam \u017ei\u016brovui, nes brandus \u017emogus suvokia, kad tik jis pats kuria savo b\u016bsenas.<\/p>\n

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V. Jankauskas, kalbintas prie\u0161 \u201eLiepsnos vir\u0161 \u0161altojo kalno\u201c spektaklio premjer\u0105 \u0161.m. kovo 13 d., pripa\u017e\u012fsta, kad b\u016btent jaunosios kartos \u0161ok\u0117jai savo atlikimu paskatino j\u012f ry\u017etis sugr\u0105\u017einti \u012f V. Jankauskio \u0161okio teatro repertuar\u0105 \u0161\u012f spektakl\u012f. Choreografas spektaklyje atsigr\u0119\u017ei\u0105 \u012f jaunim\u0105, ne turiniu (jo jis nekei\u010dia), o turinio perteikimu – choreograf\u0105 domina jaunesn\u0117s kartos \u0161ok\u0117j\u0173 judesiai, rai\u0161ka apie savo b\u016bsen\u0105, kuomet j\u0173 paties ribotumas vienu kartu juos apsaugo, kitu \u2013 juos apriboja, anga\u017euoja. Taigi, antra skirtis, tarp 2010 m. ir 2018 m. spektakli\u0173 versijos, tai pats choreografas, kuris pirmoje spektaklio versijoje \u0161oko kartu su Tautvilu Gurevi\u010diumi, R\u016bta Butkus, o 2018 m. steb\u0117jo spektakl\u012f kartu su \u017ei\u016brovais \u012f jaunesn\u0117s kartos \u0161ok\u0117jus: Giedr\u0119 Kirkilyt\u0119, Lin\u0105 Puod\u017eiukait\u0119, Mari\u0173 Pinig\u012f. M. Pinigis labiausiai kreip\u0117 d\u0117mes\u012f \u012f save savo judesi\u0173 tikslumu, ai\u0161kumu, energija, ry\u0161kumu. Vietomis atrod\u0117 dominuojantis.<\/p>\n

Iki \u0161.m. kovo 13 d. atnaujinto savo senojo spektaklio parodymo \u017ei\u016brovams, V. Jankauskas \u0161io k\u016brinio rodymo i\u0161vakar\u0117se paskelbtame interviu atvyrauja apie \u0161iuolaikinio \u0161okio spektakli\u0173 nauj\u0173 priemoni\u0173 paie\u0161kos siekiamyb\u0119. Galime steb\u0117ti, kaip savo vienu paskutini\u0173j\u0173 k\u016brini\u0173 \u201eAgonija\u201c choreografas leid\u017eiasi \u012f \u0161iuolaikinio \u0161okio spektakli\u0173 priemoni\u0173 paie\u0161kas, kai \u0161iuolaikinio \u0161okio spektaklyje didel\u012f vaidmen\u012f atlieka ap\u0161vietimas, muzika, scenoje regimi daiktai (b\u016bgnas, plastikin\u0117 danga su u\u017era\u0161ais, mikrofonas), slogus ir garsus alsavimas, perteikiantis \u017emogaus b\u016bsen\u0105. Ta\u010diau i\u0161 jo paties atsigr\u0119\u017eimo \u012f \u201eLiepsnas vir\u0161 \u0161altojo kalno\u201c, galime \u012f\u017evelgti savoti\u0161k\u0105 \u0161io choreografo parei\u0161kim\u0105, kad visgi \u0161okio spektaklyje yra svarbiausia pats \u0161okis. \u0160okis dominuoja muzikos, \u0161vies\u0173, scenografijos, temos ar perteikiam\u0173 i\u0161gyvenim\u0173, emocij\u0173 at\u017evilgiu. Spektaklis suteikia galimyb\u0119 \u017ei\u016brovui koncentruotis \u012f pa\u010dius \u0161ok\u0117jus, j\u0173 judesius, judesi\u0173 atlikim\u0105, kuris neatskiriamas nuo \u0161i\u0173 \u0161ok\u0117j\u0173 \u012fgyto \u0161okio pagrindo, patirties. Kitaip, koncentruotis \u012f gryn\u0105 \u0161ok\u012f \u0161okio spektaklyje, kurio kitimas priklauso tik nuo \u0161ok\u0117jo individualios \u0161okio patirties.<\/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

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Autorius: Bo\u017eena Gudalevi\u010d Nuotrauk\u0173 autorius: Dmitrijus Matvejevas Trise, i\u0161 pirmo \u017evilgsnio, besirengiantys \u0161okti apie savo liepsnas, u\u017esidegim\u0105, tarp savo paties …<\/p>\n","protected":false},"author":2,"featured_media":348,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":[],"categories":[19],"tags":[],"yoast_head":"\nTrise apie choreografo liepsnas tarp \u0161iuolaikinio \u0161okio spektaklio priemoni\u0173 sien\u0173 - 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\/03\/22\/trise-apie-choreografo-liepsnas-tarp-siuolaikinio-sokio-spektaklio-priemoniu-sienu\/\" \/>\n<meta property=\"og:locale\" content=\"lt_LT\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Trise apie choreografo liepsnas tarp \u0161iuolaikinio \u0161okio spektaklio priemoni\u0173 sien\u0173 - 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