{"id":4337,"date":"2019-05-05T13:42:51","date_gmt":"2019-05-05T10:42:51","guid":{"rendered":"http:\/\/dance.lt\/new\/?p=4337"},"modified":"2021-01-27T13:59:20","modified_gmt":"2021-01-27T11:59:20","slug":"nbs19-is-dramblio-kaulo-ir-mesos-skulpturos-irgi-kencia-melynuju-kulturos-darbininku-sou","status":"publish","type":"post","link":"https:\/\/dance.lt\/new\/2019\/05\/05\/nbs19-is-dramblio-kaulo-ir-mesos-skulpturos-irgi-kencia-melynuju-kulturos-darbininku-sou\/","title":{"rendered":"NB\u0160\u201919: \u201eI\u0161 dramblio kaulo ir m\u0117sos \u2013 skulpt\u016bros irgi ken\u010dia\u201c. M\u0117lyn\u0173j\u0173 kult\u016bros darbinink\u0173 \u0161ou"},"content":{"rendered":"

Lietuvos \u0161okio informacijos centras informuoja, kad \u0161iame straipsnyje pateikiama asmenin\u0117 autoriaus nuomon\u0117.<\/em><\/p>\n

\u201eKai \u017emon\u0117s mir\u0161ta, jie \u012feina \u012f istorij\u0105. Kai skulpt\u016bros mir\u0161ta, jos \u012feina \u012f men\u0105. \u0160i mirties botanika yra tai, k\u0105 mes vadiname kult\u016bra\u201c, \u2013 sakoma 1953 metais sukurtame Alaino Resnais ir Chriso Markerio filme \u201eSkulpt\u016bros irgi mir\u0161ta\u201c. M\u016bs\u0173 \u2013 \u0161iuolaikinio \u0161okio ir j\u012f supan\u010dio lauko \u2013 kult\u016br\u0105 i\u0161 esm\u0117s gal\u0117jome pamatyti festivalio \u201eNaujasis Baltijos \u0161okis\u201c atidarymo vakar\u0105 gegu\u017e\u0117s 2 d. Vilniuje. I\u0161skirtin\u0117mis chic<\/i> suknel\u0117mis pasidabinusios Lietuvos \u0161okio ir informacijos centro darbuotojos su festivalio vadove prie\u0161aky, buvusi kult\u016bros ministr\u0117 ir daug kit\u0173 garbi\u0173 valstyb\u0117s tarnautoj\u0173, kult\u016bros lauko darbinink\u0173, eilini\u0173 \u017ei\u016brov\u0173, galin\u010di\u0173 vieno gegu\u017e\u0117s vakaro pramogai skirti 20-40 eur\u0173 i\u0161 savo biud\u017eeto. Visi jie at\u0117jo pasi\u017ei\u016br\u0117ti Portugalijoje kurian\u010dios \u0161okio meninink\u0117s Marlene Monteiro Freitas 2014 metais sukurto darbo \u201eI\u0161 dramblio kaulo ir m\u0117sos \u2013 skulpt\u016bros irgi ken\u010dia\u201c. Kaip matome, spektaklio pavadinime \u012fkomponuota filmo pavadinimo parafraz\u0117.<\/p>\n

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

Spektaklio metu scen\u0105 u\u017epildo keturi \u0161ok\u0117jai ir trys muzikantai. J\u0173 k\u016bnai aprengti m\u0117lynos, darbinink\u0173 spalvos, drabu\u017eiais \u2013 kr\u016btines dengian\u010diu \u0161arvu bei brid\u017eais \u0161ok\u0117jams ir lengvais, \u012fvairi\u0173 kov\u0173 sportinink\u0173 stiliaus chalat\u0117liais muzikantams. Veidai grimuoti \u2013 pary\u0161kintos aki\u0173 arba l\u016bp\u0173 i\u0161rai\u0161kos. Kur ne kur pabaltinti kaklai, sprandai, pe\u010diai. Kojos nuo keli\u0173 i\u0161teptos juodai, juodi ta\u0161kai \u017eymi alk\u016bnes. Sidabrinio tinklelio pir\u0161tin\u0117s dengia rank\u0173 pla\u0161takas. Apie tai m\u0105stydama, prisimenu drabu\u017eius lietuvi\u0161kuose \u0161okio spektakliuose \u2013 kaip da\u017enai \u201esueina\u201c paprastos trikota\u017ein\u0117s suknel\u0117s arba kiti judesio nevar\u017eantys kasdieniai drabu\u017eiai. Portugal\u0173 \u0161ok\u0117jams pritupin\u0117jant i\u0161ry\u0161k\u0117ja ma\u017ea ir ne\u012fkyri, bet vis d\u0117lto paveiki brid\u017e\u0173 detal\u0117 \u2013 atskiros kelni\u0173 dalys sujungtos taip, kad atrodyt\u0173, jog jos praply\u0161usios, priekyje ir u\u017epakalyje \u017eioj\u0117jan\u010diuose tarpuose ak\u012f traukt\u0173 kitos spalvos med\u017eiaga. Kostiumai, kaip asimetriniu principu sukomponuota scenografija bei \u0161viesos \u2013 stiprus teatro menininko Yannicko Fouassierio ind\u0117lis \u012f Marlene\u00a0Monteiro\u00a0Freitas k\u016brin\u012f.<\/p>\n

Rai\u0161kius kostiumus papildo ir rai\u0161kus judesys. Grojant didelio aktyvumo, a\u0161tri\u0173 rytieti\u0161k\u0173 tembr\u0173 hard trance<\/i> stiliaus muzikai, atlik\u0117jai juda nelyginant l\u0117l\u0117s. Jud\u0117jimo principas atsiskleid\u017eia, kai atlik\u0117jai kei\u010dia savo buvimo viet\u0105, vaik\u0161to \u2013 per kelius nelinkstan\u010diomis kojomis, ribotai lankstomomis rankomis. Kai \u0161ok\u0117jai sustoja vienoje vietoje, j\u0173 p\u0117dos dirba taip, kad gali pasirodyti, jog choreografijai panaudoja visas fizi\u0161kai \u012fmanomas p\u0117d\u0173 pozicijas. Kai jie v\u0117l pajuda, tipena ma\u017eais \u017eingsneliais, formuoja tam tikras kompozicijas erdv\u0117je. Jie varto akis, j\u0173 veiduose \u2013 \u0161imtai keis\u010diausi\u0173 mimik\u0173 ir n\u0117 akimirkos pas mus taip \u012fprasto \u201eneutralaus\u201c no face<\/i>. Kartais, pasigirdus i\u0161t\u0119stam pavojaus sirenos signalui, jie trumpam sustingsta. Tada v\u0117l keliauja, nenormaliai judindami \u012fvairias k\u016bno dalis. Retkar\u010diais juda pagal tam tikr\u0105 ritm\u0105, trenkdami \u012f vien\u0105 i\u0161 \u0161e\u0161i\u0173 mu\u0161am\u0173j\u0173 l\u0117k\u0161\u010di\u0173. Scena pana\u0161i \u012f gyv\u0105 audiovizualin\u012f paveiksl\u0105, tobulai organizuot\u0105 pagal auk\u0161\u010diausius estetikos d\u0117snius, kuris, u\u017euot skelb\u0119s g\u0117r\u012f, gro\u017e\u012f, meil\u0119, \u0161ven\u010dia grotesk\u0105. Man po truput\u012f darosi bloga, bet vis d\u0117lto ie\u0161kau, k\u0105 \u0161is ekspresyvus reginys duoda man, jums, m\u016bs\u0173 gyvenimui. Juk esu kult\u016bros dalis ir esu \u010dia tod\u0117l, kad v\u0117liau apie \u0161\u012f darb\u0105 atskleis\u010diau ka\u017ek\u0105 daugiau, ko galb\u016bt j\u016bs nepasteb\u0117jote arba nesuteik\u0117te tam reik\u0161m\u0117s.<\/p>\n

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Jeigu pa\u017ei\u016br\u0117tume min\u0117t\u0105 Alaino Resnais ir Chriso Markerio film\u0105, pamatytum\u0117me ten daug afrikieti\u0161k\u0173 kauki\u0173, kuriose i\u0161ry\u0161kintos tam tikros veido dalys \u2013 l\u016bpos, akys, skruostai, veidai i\u0161ilginti arba suapvalinti. Tai ne tik \u017emoni\u0173, bet ir gyv\u016bn\u0173 veidai. Rodos, spektaklyje naudojamas \u0161is afrikie\u010di\u0173 meno principas \u2013 suma\u017einti arba i\u0161didinti tam tikrus elementus. Spektaklyje \u0161okan\u010dios Betty Tchomanga solo scenose galima pasteb\u0117ti afrikieti\u0161ko \u0161okio elementus, ta\u010diau u\u017euot \u0161okusi ilgomis rankomis, \u0161ok\u0117ja jas \u201esutrumpina\u201c apsivydama jas per nugar\u0105 ir vizualiai i\u0161 torso i\u0161leisdama ne \u017east\u0105 ir dilb\u012f, o trump\u0105 pla\u0161tak\u0105. Jei norite tai pamatyti, \u012fsivaizduokite, kaip afro\u0161okius \u0161oka \u017emogus, kuris per k\u016bno vidur\u012f yra \u017emogus-nyk\u0161tukas. Atleiskite u\u017e groteski\u0161k\u0105 vaizdin\u012f, bet spektaklyje j\u0173 mat\u0117me vis\u0105 palet\u0119. Betty\u00a0Tchomanga rado ir kaip \u201esutrumpinti\u201c kojas, ta\u010diau tai \u0161velnesnis sprendimas, i\u0161reik\u0161tas daugiau per judes\u012f, o ne per fizinio tr\u016bkumo iliuzij\u0105. Turint omenyje Afrikos istorij\u0105, kolonijin\u0119 Portugalijos praeit\u012f ir tai, kad spektaklio k\u016br\u0117ja yra i\u0161 \u017daliojo Ky\u0161ulio Respublikos (valstyb\u0117s, esan\u010dios ma\u017edaug u\u017e 500 km \u012f vakarus nuo Afrikos, 1975 metais paskelbusios nepriklausomyb\u0119 nuo Portugalijos), \u010dia galima ie\u0161koti politini\u0173 \u017einu\u010di\u0173. Ta\u010diau tiesiogiai, be jokios papildomos informacijos mes, lietuviai, negalime to pamatyti.<\/p>\n

Vienas i\u0161 \u0161ok\u0117j\u0173, Andreasas Merkas, stojo prie mikrofono pasakoti istorij\u0105, kurios negird\u0117jau \u2013 lyg b\u016bt\u0173 be\u017ed\u017eion\u0117, jis kartais mu\u0161\u0117si \u012f kr\u016btin\u0119 ir \u012f kakt\u0105, o mane tai trikd\u0117. V\u0117liau, akimirk\u0105 nuostabiai pasvyrav\u0119, lyg b\u016bt\u0173 v\u0117jo bla\u0161komos aguonos lauke, keturi \u0161ok\u0117jai stojo prie mikrofon\u0173 dainuoti apie tai, kad mano k\u016bnas yra narvas, sulaikantis mane nuo \u0161okio su tais, kuriuos a\u0161 myliu, o protas yra raktas, per kur\u012f a\u0161 galiu i\u0161laisvinti savo siel\u0105. Dar Marlene\u00a0Monteiro\u00a0Freitas pasivert\u0117 be\u017ed\u017eione, nuostabiai imituodama rank\u0173, koj\u0173, liemens judesius, \u017evelgdama \u012f \u017ei\u016brovus ir \u0161iepdama dantis. Tai labai stiprus vaizdinys, turint mintyje ir tai, kad mumyse vis dar yra lik\u0119 supratimo, jog moteris scenoje turi b\u016bti gra\u017ei. Marlene\u00a0Monteiro\u00a0Freitas buvo nepaprastai gra\u017ei, bet ir \u0161lyk\u0161ti, be galo gyvuli\u0161ka vienu metu. (Suprantu, kad a\u0161 pati sau prie\u0161tarauju, bet turb\u016bt tai labai sud\u0117tinga paai\u0161kinti; apskritai sud\u0117tinga ai\u0161kinti(s) men\u0105, bet toks mano darbas, man u\u017e tai moka.) Ilgainiui tai, kas vyko scenoje, pavirto vergyst\u0117s k\u016bnui imitacija \u2013 mat\u0117me valgymo, g\u0117rimo, sekso pantomim\u0105. \u0160ok\u0117j\u0173 judesiai pasiek\u0117 begarsio kino temp\u0105. Man tai \u0117m\u0117 atsiduoti nuvalkiota vartotoji\u0161kumo kritika, primin\u0117 Birut\u0117s Letukait\u0117s darbus, o jos \u010dia nebuvo (?), bet buvo kiti \u0161iuolaikiniai menininkai ir meno garbintojai. Galb\u016bt, jeigu prie\u0161 kokius penkerius metus kas b\u016bt\u0173 vie\u0161ai pasak\u0119s, jog k\u016bnas \u017emog\u0173 apriboja, o protas i\u0161laisvina, i\u0161 laim\u0117s tam \u017emogui b\u016b\u010diau i\u0161bu\u010diavusi rankas ir kojas. Bet \u0161iandien man jau neatrodo, kad turi prasm\u0119 menas, i\u0161 savo auk\u0161to bok\u0161to bylojantis vien\u0105 ar kit\u0105 \u201eties\u0105\u201c.<\/p>\n

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Vien\u0105 akimirk\u0105 gyvo paveikslo jud\u0117jimas prad\u0117jo stoti \u2013 ne\u017einia, \u010dia meninink\u0173 juokelis, ar ne, bet pasirod\u0117, kad Marlene\u00a0Monteiro\u00a0Freitas rimtai susi\u017eeid\u0117. Taip rimtai, kad buvo stabdomas spektaklis. Susikoncentravau \u012f tolimiausi\u0105 ir tamsiausi\u0105 scenos kamp\u0105, kur link buvo vedama \u201esu\u017ealotoji\u201c, band\u017eiau \u012f\u017ei\u016br\u0117ti, kas jai nutiko, ar i\u0161 eisenos suprasi, k\u0105 jai skauda. Lyg atliepdamas mano atjaut\u0105, visu \u0161velnumu prad\u0117jo skamb\u0117ti Piotro \u010caikovskio \u201ePas De Deux\u201c i\u0161 baleto \u201eSpragtukas\u201c. Ir tada, b\u016btent tada, kai supratau kad viskas buvo \u017eiaurus atlik\u0117j\u0173 juokas, \u201esu\u017ealotoji\u201c atsisuko dar groteski\u0161kesne poza, pir\u0161tais i\u0161bedusi sau akis, o l\u016bpas pavertusi krauju sr\u016bvan\u010diais m\u0117sos gabalais. Ups… Man rodos, kad tokia publikos provokacija per\u017eengia visas konvencijas ir kaip menin\u0117 priemon\u0117 gali b\u016bti pateisinama tik j\u0105 atitinkamo turinio atveju. Bet atrodo, kad \u201eI\u0161 dramblio kaulo ir m\u0117sos…\u201c turinys ir t\u0117ra \u0161ita grotesko \u0161vent\u0117.<\/p>\n

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Po pauz\u0117s Andreasas\u00a0Merkas \u0117jo bendrauti su publika, o jo be\u017ed\u017eioni\u0161kas elgesys primin\u0117 Rubeno \u00d6stlundo 2017 met\u0173 filmo \u201eKvadratas\u201c epizod\u0105. Filme aristokrati\u0161ka publika u\u017e \u0161iurk\u0161t\u0173 performans\u0105 menininkui tiesiog i\u0161vagojo snuk\u012f. Eidamas \u012f \u017ei\u016brovus, Andreasas\u00a0Merkas buvo visai \u0161alia man\u0119s, a\u0161 jau\u010diu jo rankos, atsived\u0117jan\u010dios ir kalan\u010dios \u012f jo kr\u016btin\u0117s kiaut\u0105, j\u0117g\u0105. A\u0161 ma\u010diau, k\u0105 jis daro, bet nenor\u0117jau \u010dia b\u016bti ir \u012f tai \u017ei\u016br\u0117ti. Man buvo bloga. Bet a\u0161 nenor\u0117jau Aandreasui\u00a0Merkui duoti \u012f snuk\u012f. \u017di\u016br\u0117jau \u012f Lander\u0105 Patrick\u0105 ir galvojau apie tuo pa\u010diu grotesko principu sukurt\u0105 jo ir Jono Lopeso spektakl\u012f \u201eAdorabilis\u201c, festivalyje \u201eNaujasis Baltijos \u0161okis\u201c parodyt\u0105 2017 metais. \u201eAdorabilis\u201c \u0161vent\u0117 gro\u017e\u012f, meilum\u0105, simpati\u0161kum\u0105, tuo tarpu \u201eI\u0161 dramblio kaulo ir m\u0117sos…\u201c \u0161vent\u0117 grotesk\u0105. Finale savo veidus jie pavert\u0117 med\u016bzomis, l\u016bpas i\u0161pl\u0117t\u0119 plastikiniais dariniais. Ir vos tik spektaklis baig\u0117si, grei\u010diau u\u017e bet koki\u0105 mint\u012f, pirmoji i\u0161 savo k\u0117d\u0117s reik\u0161mingai ploti pa\u0161oko buvusi kult\u016bros ministr\u0117. Ir paskui j\u0105 i\u0161 savo k\u0117d\u017ei\u0173 pakilo daug kit\u0173 garbi\u0173 valstyb\u0117s tarnautoj\u0173, kult\u016bros lauko darbinink\u0173, eilini\u0173 \u017ei\u016brov\u0173, galin\u010di\u0173 vieno gegu\u017e\u0117s vakaro pramogai skirti 20-40 eur\u0173 i\u0161 savo biud\u017eeto, i\u0161skirtin\u0117mis chic<\/i> suknel\u0117mis pasidabinusios Lietuvos \u0161okio ir informacijos centro darbuotojos su festivalio vadove prie\u0161aky. Ir tai buvo dar didesn\u0117 grotesko \u0161vent\u0117, provincijos kult\u016bros \u201egaling\u0173j\u0173\u201c \u0161ou, kur kart\u0105 per metus galima pademonstruoti gali\u0105. Atrodo, man nor\u0117josi vemti.<\/p>\n

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Po audring\u0173 aplodisment\u0173, kuriuos jie pri\u0117m\u0117 su plastikiniais dariniais ant l\u016bp\u0173, Landeras\u00a0Patrickas papra\u0161\u0117 dar trupu\u010dio d\u0117mesio. Pagal Nina Simone \u012fra\u0161o Montreux festivalyje fonogram\u0105 jie atliko \u201eFeelings\u201c, \u012fkalb\u0117dami ir \u017eodinius intarpus. Nuo j\u0173 l\u016bp\u0173 nukrito jas i\u0161tempiantys plastikiniai dariniai, j\u0173 veidai atsipalaidavo ir, nors groteskas liko balsuose, kelias akimirkas \u0161ok\u0117j\u0173 akyse, rodos, gal\u0117jai pamatyti j\u0173 pa\u010di\u0173 sielas. Man nor\u0117josi verkti.<\/p>\n

Pirm\u0105j\u012f 2019 m. Naujojo Baltijos \u0161okio vakar\u0105 Marlene\u00a0Monteiro\u00a0Freitas grotesko fone pama\u010diau, kad m\u016bs\u0173 kult\u016broje darbininkai vietoj kuklaus prezident\u0117s \u0161varkelio d\u0117vi prabangius Antuanet\u0117s r\u016bbus. \u201eDemokrati\u0161kasis\u201c scenos menas, \u201eantieliti\u0161kasis\u201c \u0161iuolaikinis \u0161okis vietoj demokratijos man pasi\u016bl\u0117 elito diktat\u016br\u0105. \u0160itoje grotesko \u0161vent\u0117je, provincijos kult\u016bros \u201egaling\u0173j\u0173\u201c \u0161ou a\u0161 tro\u0161kau, kad menas tarnaut\u0173 ne tam, kad ka\u017ekas gal\u0117t\u0173 pademonstruoti gali\u0105, o tam, kad patiriant dalykus kartu, leist\u0173 apie juos kalb\u0117tis, vest\u0173 prie sprendim\u0173, kaip visiems mums geriau ar gra\u017eiau gyventi.<\/p>\n","protected":false},"excerpt":{"rendered":"

Lietuvos \u0161okio informacijos centras informuoja, kad \u0161iame straipsnyje pateikiama asmenin\u0117 autoriaus nuomon\u0117. \u201eKai \u017emon\u0117s mir\u0161ta, jie \u012feina \u012f istorij\u0105. Kai …<\/p>\n","protected":false},"author":2,"featured_media":4339,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":[],"categories":[9],"tags":[],"yoast_head":"\nNB\u0160\u201919: \u201eI\u0161 dramblio kaulo ir m\u0117sos \u2013 skulpt\u016bros irgi ken\u010dia\u201c. M\u0117lyn\u0173j\u0173 kult\u016bros darbinink\u0173 \u0161ou - 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\/2019\/05\/05\/nbs19-is-dramblio-kaulo-ir-mesos-skulpturos-irgi-kencia-melynuju-kulturos-darbininku-sou\/\" \/>\n<meta property=\"og:locale\" content=\"lt_LT\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"NB\u0160\u201919: \u201eI\u0161 dramblio kaulo ir m\u0117sos \u2013 skulpt\u016bros irgi ken\u010dia\u201c. M\u0117lyn\u0173j\u0173 kult\u016bros darbinink\u0173 \u0161ou - Lithuanian Dance Centre\" \/>\n<meta property=\"og:description\" content=\"Lietuvos \u0161okio informacijos centras informuoja, kad \u0161iame straipsnyje pateikiama asmenin\u0117 autoriaus nuomon\u0117. \u201eKai \u017emon\u0117s mir\u0161ta, jie \u012feina \u012f istorij\u0105. 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