{"id":4505,"date":"2019-05-16T15:50:55","date_gmt":"2019-05-16T12:50:55","guid":{"rendered":"http:\/\/dance.lt\/new\/?p=4505"},"modified":"2021-01-27T13:57:10","modified_gmt":"2021-01-27T11:57:10","slug":"nbs19-kanados-sokio-vakaras-siuzetas-kurio-nebuvo","status":"publish","type":"post","link":"https:\/\/dance.lt\/new\/2019\/05\/16\/nbs19-kanados-sokio-vakaras-siuzetas-kurio-nebuvo\/","title":{"rendered":"NB\u0160\u201919: Kanados \u0161okio vakaras. Siu\u017eetas, kurio nebuvo"},"content":{"rendered":"

Viena \u0161iemetinio festivalio \u201eNaujasis Baltijos \u0161okis\u201c tendencij\u0173 \u2013 kvietimas pasinerti \u012f scenoje vystomus procesus ir juos patirti, nuo\u0161aly paliekant bet kok\u012f rezultatyvum\u0105, nes k\u016bno, jud\u0117jimo tyrimai bei analiz\u0117 niekada nesibaigia. Tokie spektakliai prilygsta procesams, kurie \u017ei\u016brovams gali atverti naujus b\u016bdus steb\u0117ti rei\u0161kinius scenoje, o paraleliai \u2013 savo pa\u010di\u0173 reakcijas.<\/p>\n

Daugyb\u0117 \u0161iuolaikinio \u0161okio atstov\u0173 kelet\u0105 pastar\u0173j\u0173 de\u0161imtme\u010di\u0173 nebeie\u0161ko prie\u017easties-pasekm\u0117s ry\u0161iais gr\u012fst\u0173 siu\u017eet\u0173, leisdami \u0161okiui ir jud\u0117jimui stimuliuoti poj\u016b\u010dius, si\u016blyti patirtis, konkre\u010di\u0105 simbolik\u0105 palikdami antrame plane arba jos visai atsisakydami. Gera \u017einia bijantiems to nesuprasti: da\u017enai autoriai palieka kiekvienam \u017ei\u016brovui visi\u0161k\u0105 laisv\u0119 interpretuoti. Tai pa\u017eym\u0117jo ir spektaklio \u201ebang bang\u201c k\u016br\u0117jas Manuelis Roque\u2019as diskusijoje, reziumavusioje du t\u0105 pat\u012f vakar\u0105 parodytus Kanados \u0161okio meninink\u0173 darbus.<\/p>\n

\"\"<\/p>\n

\u201ebang bang\u201c, D. Matvejevo nuotr.
\n<\/em><\/p>\n

Manuelio Roque\u2019o \u201ebang bang\u201c ir Emile\u2019io Pineault drauge su \u0161vies\u0173 dailininku Julienu Brunu bei garso dizaineriu Jo\u00ebliu Lavoie kuriamas spektaklis \u201eNormal\u016bs tro\u0161kimai\u201c \u2013 du atskiri k\u016briniai, gegu\u017e\u0117s 8 dien\u0105 Vilniuje \u017ei\u016brovui gal\u0117j\u0119 tapti dviem to paties spektaklio dalimis. Ne vien tod\u0117l, kad abu \u2013 vyr\u0173 monospektakliai, turintys bendr\u0173 detali\u0173 (po itin intensyvios fizin\u0117s veiklos \u2013 ilgesn\u0117 pauz\u0117, ka\u017ekuriuo momentu pasklinda d\u016bmai, etc.), be to, juose neatsiejamu atlik\u0117jo partneriu tampa \u0161viesos ir\/ar muzika. Jei stebi spektaklius vien\u0105 po kito, gali atrasti istorij\u0105, kurioje \u017emogus nepaliaujamai juda, nugal\u0117damas begal\u0119 kli\u016b\u010di\u0173, ta\u010diau galiausiai jo k\u016bnas atsisako veikti. I\u0161 prad\u017ei\u0173 \u017emogui tai t\u0117ra dar vienas i\u0161\u0161\u016bkis, kur\u012f reikia \u012fveikti \u2013 nepaisant, regis, nunykusi\u0173 kaul\u0173 jud\u0117ti vis dar padeda svorio centre besikoncentruojanti j\u0117ga. Jos neu\u017etenka, kad palaikytum reikaling\u0105 form\u0105, ta\u010diau ji dar leid\u017eia k\u016bnui keisti pozicij\u0105. Vis d\u0117lto \u017emogus, kurio istorij\u0105 stebime vieno vakaro diptike, netampa atsisakymo pasiduoti metafora. Jis sustoja, apsvarsto ir galiausiai pasuka kitu keliu \u2013 tuo, kuriame i\u0161gyvenimui ar savirai\u0161kai nepakanka vien sav\u0119s paties, kadangi \u00a0b\u016btina griebtis papildom\u0173 priemoni\u0173. \u201eNormaliuose tro\u0161kimuose\u201c jos pasirodo rekvizito pavidalu. Pana\u0161iai kei\u010diasi ir absurdo samprata. Prad\u017eioje vyrav\u0119 beprasmi\u0161ko Sizifo darbo motyvai antro spektaklio metu vystosi komi\u0161ka linkme: galime pasteb\u0117ti, kokiais \u017eaviai juokingais tampame, bes\u0105lygi\u0161kai siekdami savo tiksl\u0173.<\/p>\n

\"\"<\/p>\n

\u201eNormal\u016bs tro\u0161kimai\u201c, D. Matvejevo nuotr.<\/em><\/p>\n

Atviro, vaiki\u0161ko veido Manuelis Roque\u2019as ir tamsiaplaukis, barzdotas, grie\u017et\u0173 antaki\u0173, r\u016bstaus \u017evilgsnio Emile\u2018is Pineault vizualiai nepaprastai skirtingi. Ir tai t\u0117ra vienas i\u0161 kriterij\u0173, lemian\u010di\u0173, kad pirmasis spektaklis atrodo pilnas vilties ir noro eiti pirmyn, o antrasis \u012f \u017emogaus galimybes \u017evelgia kur kas kriti\u0161kiau ir ironi\u0161kiau. Kitas kriterijus \u2013 spektakli\u0173 k\u016brimo aplinkyb\u0117s. Prie\u0161 15 met\u0173 akrobato karjer\u0105 baig\u0119s Manuelis Roque\u2019as k\u016bn\u0105 tyrin\u0117ja \u0161okio priemon\u0117mis, o \u0161\u012fkart jo paie\u0161kos u\u017esit\u0119s\u0117 iki kelion\u0117s \u012f kalnus, kuriuose teko susidurti su nekontroliuojama ir nesukalbama gamta. Tokia patirtis i\u0161moko, jog kartais nelieka nieko kita, kaip tik prisitaikyti, priimti situacij\u0105, jud\u0117ti toliau ir jokiu b\u016bdu neprisileisti min\u010di\u0173 apie kelio pabaig\u0105.<\/p>\n

\"\"<\/p>\n

\u201ebang bang\u201c, D. Matvejevo nuotr.<\/em><\/p>\n

Emile\u2018o Pineault meno pagrindas \u2013 taip pat akrobatika. Tik \u0161ia veikla jis u\u017esiima iki \u0161iol ir b\u016btent akrobatini\u0173 kanon\u0173 bei j\u0173 poveikio k\u016bnui kritika tapo i\u0161eities ta\u0161ku pirmam k\u016br\u0117jo monospektakliui \u201eNormal\u016bs tro\u0161kimai\u201c. Taigi dviej\u0173 k\u016br\u0117j\u0173 i\u0161 Kanados patirtys ir geb\u0117jimai pana\u0161\u016bs, o santykiai su savo k\u016bnais ir j\u0173 tyrimo prizm\u0117s stipriai skiriasi. Pirmasis klausia, kiek ilgai ir kiek toli mus gali nune\u0161ti vien fizin\u0117s pastangos ir kiek galime t\u0119sti kelion\u0119 vien valios pagalba. Antrasis kvie\u010dia svarstyti paradoks\u0105 \u2013 kad sukurtum atlik\u0117jo ir \u017ei\u016brov\u0173 laisv\u0117s poj\u016b\u010dius stimuliuojant\u012f jud\u0117jim\u0105, privalai i\u0161mokti daug taisykli\u0173 ir \u012fvertinti savo ribotum\u0105.<\/p>\n

\"\"<\/p>\n

\u201eNormal\u016bs tro\u0161kimai\u201c, D. Matvejevo nuotr.<\/em><\/p>\n

Akivaizd\u017eiai skiriasi ir k\u016br\u0117j\u0173 pasirinktos vizualios priemon\u0117s. Spektaklyje \u201ebang bang\u201c Roque\u2019as yra vienintelis \u012ftak\u0105 veiksmui scenoje darantis \u017emogus. Scenografijos spektaklis neturi, muzika ir ap\u0161vietimas sukurti i\u0161 anksto, tad veiksmas, \u012fsp\u016bdis, energija \u010dia generuojami vienintelio, niekad nesustojan\u010dio \u017emogaus. Netgi jo mar\u0161kin\u0117liai \u012fvairiomis spalvomis nusida\u017eo tik suprakaitavus \u2013 nuo dideli\u0173 fizini\u0173 pastang\u0173. Toks prakaito \u012fvaizdinimas tapo \u017eaviu b\u016bdu nemaloni\u0105 \u017emogaus fiziologijos dal\u012f panaudoti estetikai. Tai, kuri maloni akiai.<\/p>\n

Emile\u2018o Pineault tyrimo reprezentacijos aplinka kur kas labiau \u201eapdorota\u201c \u2013 baltas linoleumas, \u017eemai pakabinta lempa, po kuria jis auga, \u201edaiginasi\u201d (kaip toks jud\u0117jimas apib\u016bdintas spektaklyje \u201eContemporary?\u201c), o v\u0117liau atsiranda pripu\u010diamas dangaus \u0161ok\u0117jas, atlik\u0117jo pastangomis i\u0161sitiesiantis iki keli\u0173 metr\u0173 \u016bgio. \u010cia taip pat atrandame Roque\u2019o spektaklio id\u0117j\u0173 t\u0119sin\u012f \u2013 bet kokiam veikimui reikalingos fizin\u0117s \u017emogaus pastangos. Kad veikt\u0173 rekvizitas, reikalinga \u017emogaus energija. Net ir \u0161iandien \u012f gatves i\u0161va\u017eiavus savaeig\u0117ms transporto priemon\u0117ms, be minimalios kontrol\u0117s n\u0117 viena j\u0173 nepajud\u0117t\u0173 i\u0161 vietos \u2013 gyvoji \u017emogaus energija reikalinga bet kurio mechanizmo veiklai. Tas pats \u201eNormaliuose tro\u0161kimuose\u201c galioja muzikai ir \u0161viesoms, kurios \u010dia neturi grie\u017etos partit\u016bros \u2013 remdamiesi preliminariu pie\u0161iniu, garso bei ap\u0161vietimo choreografij\u0105 menininkai Jo\u00eblis Lavoie ir Julienas Brunas kuria improvizuodami.<\/p>\n

\"\"<\/p>\n

\u201eNormal\u016bs tro\u0161kimai\u201c, Glasses\u2019n beard photography nuotrauka<\/em><\/p>\n

Toki\u0173 d\u0117sni\u0173 kontekste Pineault ironizuoja akrobatikos, o i\u0161 ties\u0173 \u2013 bet kurios meno r\u016b\u0161ies pramogin\u012f pagrind\u0105. Dirbu, prakaituoju, nusi\u017eeminu, kad parody\u010diau ka\u017ek\u0105 netik\u0117to, juokingo, didingo, kas sukelt\u0173 kuo didesn\u012f \u012fsp\u016bd\u012f ir palikt\u0173 \u017ei\u016brovus be amo. Pati Pineault situacija leid\u017eia i\u0161 to juoktis nesity\u010diojant: tai menininkas, \u012fveik\u0119s \u201ekruvino\u201c darbo etap\u0105, vadinasi, kvestionuojantis savo paties keli\u0105. \u0160i patirtis suteikia reikaling\u0105 svor\u012f ir pripildo pasirodym\u0105 saviironijos, savianaliz\u0117s, kvestionuojan\u010dios asmenin\u0119 atsakomyb\u0119 ir viet\u0105 sistemoje.<\/p>\n

Vienkartinis kanadie\u010di\u0173 \u0161okio diptikas tapo \u017emogaus gyvenimo metafora \u2013 ne visuomet s\u0105moningai kontroliuojama, nesibaigian\u010dia kelione pirmyn. O galb\u016bt viskas daug papras\u010diau ir ne apie tai.<\/p>\n","protected":false},"excerpt":{"rendered":"

Viena \u0161iemetinio festivalio \u201eNaujasis Baltijos \u0161okis\u201c tendencij\u0173 \u2013 kvietimas pasinerti \u012f scenoje vystomus procesus ir juos patirti, nuo\u0161aly paliekant bet …<\/p>\n","protected":false},"author":2,"featured_media":4506,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":[],"categories":[9],"tags":[],"yoast_head":"\nNB\u0160\u201919: Kanados \u0161okio vakaras. Siu\u017eetas, kurio nebuvo - 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\/16\/nbs19-kanados-sokio-vakaras-siuzetas-kurio-nebuvo\/\" \/>\n<meta property=\"og:locale\" content=\"lt_LT\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"NB\u0160\u201919: Kanados \u0161okio vakaras. 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