{"id":4667,"date":"2019-06-03T16:40:49","date_gmt":"2019-06-03T13:40:49","guid":{"rendered":"http:\/\/dance.lt\/new\/?p=4667"},"modified":"2021-01-27T13:55:41","modified_gmt":"2021-01-27T11:55:41","slug":"kunai-ir-erdves-festivalio-naujasis-baltijos-sokis-19-spektakliai-iii","status":"publish","type":"post","link":"https:\/\/dance.lt\/new\/2019\/06\/03\/kunai-ir-erdves-festivalio-naujasis-baltijos-sokis-19-spektakliai-iii\/","title":{"rendered":"K\u016bnai ir erdv\u0117s. Festivalio \u201eNaujasis Baltijos \u0161okis \u201919\u201c spektakliai (III)"},"content":{"rendered":"

\u201eCocoonDance\u201c, \u201eImpulsas\u201c<\/strong><\/p>\n

Scenoje t\u012fsan\u010dius k\u016bnus akimirkai paslepia tamsa. \u012esi\u017eiebus \u0161viesai, jie jau i\u0161sid\u0117st\u0119 kitose vietose. Netrukus tylus tamsaus techno<\/em> motyvas i\u0161judina \u201eCocoonDance\u201c \u0161ok\u0117jus Alvaro Esteban\u0105, Werner\u012f Nigg\u0105 ir Andr\u00e1sas D\u00e9ri.<\/p>\n

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Dmitrijaus Matvejevo nuotr.<\/em><\/p>\n

Pasirodymo prad\u017eioje \u012f akis krinta dr\u0105s\u016bs, simbolin\u012f kr\u016bv\u012f turintys kostiumai. Atlik\u0117jai vilki casual<\/em> stiliaus mar\u0161kin\u0117lius, d\u017einsus, avi sportiniais bateliais, ta\u010diau j\u0173 galvas dengia juodos nailonin\u0117s kauk\u0117s. Viena vertus, tai mai\u0161to simbolis \u2013 pasl\u0117ptas veidas leid\u017eia i\u0161laikyti anonimi\u0161kum\u0105 per protestus ar demonstracijas. Kauk\u0117 audrina fantazijas apie kitoki\u0105 ateit\u012f. Kita vertus, tai siaubo simbolis \u2013 galvos u\u017edengiamos k\u016bnams be gyvyb\u0117s \u017eenkl\u0173. Nuo giljotinos, elektros k\u0117d\u0117s iki dykumoje pjaunam\u0173 galv\u0173 \u2013 veido sl\u0117pimas \u017eymi prie\u0161mirtinio \u017evilgsnio baim\u0119.<\/p>\n

Tarsi egzistuodami tarp gyv\u0173j\u0173 ir mirusi\u0173j\u0173 trys \u0161ok\u0117jai juda neatsipl\u0117\u0161dami nuo \u017eem\u0117s. Lyg gyvi numir\u0117liai jie pakl\u016bsta ekstati\u0161kai techno<\/em> muzikai. Galiausiai visi kartu pakyla tik tam, kad netrukus suglebt\u0173. Tarp mai\u0161to ekstaz\u0117s ir belaikio siaubo \u012fkalinti k\u016bnai prieglobst\u012f randa pulsuojan\u010dioje muzikoje. \u010cia jud\u0117jimas neturi pabaigos, tik laikinas atokv\u0117pio akimirkas. \u201eImpulsas\u201c tyrin\u0117ja vietos nerandan\u010di\u0105 savast\u012f, plytin\u010di\u0105 tarp mirtimi alsuojan\u010dios statikos ir gyvyb\u0119 \u017eadan\u010dio jud\u0117jimo.<\/p>\n

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Dmitrijaus Matvejevo nuotr.<\/em><\/p>\n

Netik\u0117tai \u012fvyksta l\u016b\u017eis \u2013 galvas sl\u0117pusi med\u017eiaga krenta ant \u017eem\u0117s ir ritualas \u012fgyja \u017emogi\u0161k\u0105 veid\u0105. Tarsi nelaukta laisv\u0117, \u0161is atgautas \u017emogi\u0161kumas sutrikdo \u0161ok\u0117jus. Kur\u012f laik\u0105 jie ie\u0161ko i\u0161rai\u0161kos b\u016bd\u0173, leisian\u010di\u0173 sukurti nauj\u0105 santyk\u012f su garsu ir erdve. Bendryst\u0117 ir kaita, \u012fk\u016bnyta park\u016bru<\/em> paremtoje choreografijoje, tampa \u0161iuo nauju santykiu. Tenka pripa\u017einti, kad gr\u0117smingas \u0161okis daro stipresn\u012f \u012fsp\u016bd\u012f. \u201eImpulsas\u201c techno<\/em> ritmu juda tarp vitali\u0161ko judesio ir nei\u0161matuojamos baim\u0117s. Pasirodyme kuriamos naujos santyki\u0173 formos primena mirties ritual\u0105.<\/p>\n

Emile Pineault, \u201eNormal\u016bs tro\u0161kimai\u201c<\/strong><\/p>\n

Viskas prasideda nuo pailgos lempos, skleid\u017eian\u010dios \u012f\u017e\u016bliai \u0161ai\u017e\u0173 gars\u0105 ir ro\u017ein\u0119 \u0161vies\u0105. \u0160is objektas tapo pirminiu motyvu, i\u0161 kurio i\u0161sivyst\u0117 intensyvumu pulsuojantis Emile\u2019io Pineault pasirodymas \u201eNormal\u016bs tro\u0161kimai\u201c.<\/p>\n

\"\"<\/p>\n

Dmitrijaus Matvejevo nuotr.<\/em><\/p>\n

Scenoje gulintis k\u016bnas, pajut\u0119s \u0161viesos ir garso bangas, tr\u016bk\u010diodamas ima artintis prie \u0161viestuvo, savo judesiais \u012fk\u016bnydamas nematom\u0173 bang\u0173 ritm\u0105. Jau pa\u010dioje pasirodymo prad\u017eioje sujaukiama matoma \/ nematoma perskyra. Pama\u017eu intensyv\u0117janti, Jo\u00eblio Lavoie gyvai atliekama noise \/ ambient<\/em> muzika vis labiau \u012ftraukia scenoje akrobati\u0161kai judant\u012f k\u016bn\u0105. Garsas, k\u016bnas ir \u0161viesa (valdoma Julieno Bruno) formuoja vizual\u0173 asamblia\u017e\u0105. Nykstan\u010diose perskyrose tarp materialaus ir nematerialaus, tarp matoma ir nematoma atsiskleid\u017eia \u201eNormali\u0173 tro\u0161kim\u0173\u201c ontologinis gro\u017eis. Pineault pasirodymas si\u016blo \u017evilgsn\u012f \u012f k\u016bn\u0105, besiprie\u0161inant\u012f perskyrai tarp \u017emogaus ir aplinkos.<\/p>\n

Nusikratydama tik\u0117jimo absoliu\u010dia \u0161okio galia \u201eNormali\u0173 tro\u0161kim\u0173\u201c k\u016brybin\u0117 grup\u0117 stabdo pasirodym\u0105. \u012esp\u016bdinga akrobatika paremta choreografija nutr\u016bksta ir monoliti\u0161ka spektaklio atmosfera i\u0161sisklaido. Vietoje to \u017ei\u016brovai i\u0161vysta po scen\u0105 vaik\u0161tant\u012f Pineault, neskubiai d\u0117liojant\u012f dekoracijas. Simboli\u0161ki veiksmai nurodo \u012f monotoni\u0161k\u0173 i\u0161likimo ritual\u0173 kupin\u0105 pasaul\u012f, kuriame turime gyventi.<\/p>\n

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Dmitrijaus Matvejevo nuotr.<\/em><\/p>\n

\u201eNormal\u016bs tro\u0161kimai\u201c atskleid\u017eia skirtingus tikrov\u0117s sluoksnius ir k\u016bno \u012fsitraukimo \u012f aplink\u0105 lygius. Nykstantis dualizmas tarp a\u0161<\/em> ir mano gyvenamoji aplinka<\/em> ver\u010dia i\u0161 naujo \u012fvertinti \u017emogaus pozicij\u0105 b\u016bties hierarchijoje. Galb\u016bt esame \u012fsipainioj\u0119 ir veikiami aplinkos daugiau, negu nor\u0117tume pripa\u017einti.<\/p>\n

Annamaria Ajmone,<\/strong> \u201eTrigeris\u201c<\/strong><\/p>\n

Prie\u0161 prasidedant Annamarios Ajmone pasirodymui, MO muziejuje susirink\u0119 \u017ei\u016brovai buvo papra\u0161yti renginio metu likti savo vietose. Tai buvo pirmoji u\u017euomina \u012f netrukus \u012fvyksian\u010di\u0105 \u017ei\u016brov\u0173 ir atlik\u0117jo santykio transformacij\u0105.<\/p>\n

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Dmitrijaus Matvejevo nuotr.<\/em><\/p>\n

Pirmiausia der\u0117t\u0173 pasid\u017eiaugti, kad paliktos tradicija tapusios \u201eMen\u0173 spaustuv\u0117s\u201c sal\u0117s ir ie\u0161koma alternatyvi\u0173 erdvi\u0173. Tiesa, MO muziej\u0173 pavadinti alternatyvia erdve b\u016bt\u0173 pernelyg dr\u0105su, ta\u010diau \u0161ioki\u0105 toki\u0105 \u012fvairesnio santykio su miestu formavimo prad\u017ei\u0105 \u0161iemet festivalyje galima \u012f\u017evelgti. Galb\u016bt \u0161is \u017eingsnis pristabdys \u201eNaujojo Baltijos \u0161okio\u201c virsm\u0105 privilegijuotu socialiniu ritualu.<\/p>\n

\u201eTrigeris\u201c \u0161iame kontekste gali b\u016bti suvoktas tiek kaip dar viena \u012fsitvirtinan\u010dio socialinio ritualo dalis, tiek kaip m\u0117ginimas kvestionuoti \u012fprastus kult\u016brinius kodus. Nuleist\u0105 galv\u0105 ir nuolanki\u0105 poz\u0105, kuria Ajmone pasitiko \u017ei\u016brovus, greitai kei\u010dia ekspresyvi choreografija.<\/p>\n

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Dmitrijaus Matvejevo nuotr.<\/em><\/p>\n

Mechani\u0161kais judesiais \u2013 energingu rankos sukimu, sustojimu, pasisukimu \u2013 prasid\u0117j\u0119s pasirodymas netrukus pasklinda erdv\u0117je ir ima nepaisyti \u012fsivaizduojamos scenos apribojim\u0173. \u0160ok\u0117ja juda po vis\u0105 MO muziejaus vestibiul\u012f, nesibaimindama palikti publikos \u017ei\u016bros lauko. Erdv\u0117 nelinkusi pasiduoti Ajmone si\u016blomai choreografijai \u2013 muziejus nelink\u0119s priimti judraus eksponato. Vis d\u0117lto disonansas tarp judan\u010dio k\u016bno ir specifin\u0117s muziejaus erdv\u0117s kuria savit\u0105 estetin\u0119 patirt\u012f.<\/p>\n

Jeigu galima teigti, kad MO muziejus simboli\u0161kai meta i\u0161\u0161\u016bk\u012f Ajmone, tai ji savo choreografija vali\u016bki\u0161kai transformuoja \u0161ok\u0117jos ir publikos hierarchij\u0105 . Jud\u0117dama tarp glaustai sustatyt\u0173 \u017ei\u016brov\u0173 k\u0117d\u017ei\u0173, ji kaitalioja pasirodymo ritm\u0105 ir primena publikos buvim\u0105. Rank\u0173 judesiai, trumpi prisilietimai ir \u017evilgsnis \u017eaismingai kvestionuoja stebin\u010diojo ir stebimojo santyk\u012f. Tad \u201eTrigeris\u201c ne tik kitaip suvokia pasirodymo erdv\u0119, bet ir kartu kvestionuoja vien\u0105 esmini\u0173 kult\u016brini\u0173 kod\u0173 \u2013 steb\u0117tojo privilegij\u0105.<\/p>\n

James Batchelor,<\/strong> \u201eHipererdv\u0117\u201c<\/strong><\/p>\n

Jameso Batcheloro judesiai suteikia vilties. Skulpt\u016bri\u0161ka \u201eHipererdv\u0117s\u201c choreografija metodi\u0161kai tiria ir ple\u010dia k\u016bno galimybes kalb\u0117ti apie pasaul\u012f u\u017e kasdienio suvokimo rib\u0173.<\/p>\n

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Dmitrijaus Matvejevo nuotr.<\/em><\/p>\n

Batcheloras tupi ant pilk\u0161v\u0173 MO muziejaus grind\u0173. Pusnuogio nedidel\u0117mis, abstrak\u010diomis tatuiruot\u0117mis nus\u0117to k\u016bno judesiai l\u0117ti tarsi atgyjan\u010dios skulpt\u016bros pirmasis susid\u016brimas su netik\u0117tai \u012fgyta jud\u0117jimo laisve. Nuo pirm\u0173 pasirodymo akimirk\u0173 \u0161ok\u0117jo k\u016bnas tampa erdv\u0117s prat\u0119simu. Lengvai ir grak\u0161\u010diai savo judesiais Batcheloras \u012fk\u016bnija sustingusias, aptakias Danielio Libeskindo projektuoto pastato formas. Ta\u010diau \u0161okantis k\u016bnas, kitaip nei nejudrios pastato strukt\u016bros, pasiduoda transformacijai.<\/p>\n

Morgano Hickinbothamo gyvo garso pasirodymas papildo nejaukiai tikslius Batcheloro judesius, atskleid\u017eian\u010dius ribos tarp to, k\u0105 suvokiame kaip \u017emogi\u0161ka ir ne\u017emogi\u0161ka, trapum\u0105.<\/p>\n

\"\"<\/p>\n

Dmitrijaus Matvejevo nuotr.<\/em><\/p>\n

Ekspedicij\u0173 Antarktidoje \u012fkv\u0117pta choreografija \u0161ok\u0117jo k\u016bn\u0105 transformuoja \u012f geografin\u0117mis koordinat\u0117mis neapribot\u0105 objekt\u0105. Kiekvienas Batcheloro judesys aktyvuoja milijonus mums nematom\u0173 proces\u0173 \u2013 nuo raumen\u0173 susitraukim\u0173 ir s\u0105nari\u0173 linki\u0173 iki mikrob\u0173 persiskirstymo ir l\u0105steli\u0173 tr\u016bki\u0173. Toks k\u016bnas ne kalba apie pasaulyje vykstan\u010dius sud\u0117tingus procesus, o yra j\u0173 dalis. Steb\u0117ti pasirodym\u0105 rei\u0161kia matyti tik mikroskopin\u0119 dal\u012f to, kas i\u0161 ties\u0173 vyksta.<\/p>\n

\u201eHipererdv\u0117\u201c sukelia estetin\u012f pasig\u0117r\u0117jim\u0105 k\u016bno galimyb\u0117mis, ta\u010diau daug svarbesn\u0117 pasirodymo j\u0117ga yra jo potencialas atverti vibruojant\u012f, ta\u010diau nematom\u0105 pasaulio kism\u0105. K\u016bnas tampa ne tik metafora, bet \u0161io da\u017enai nepastebimo proceso dalimi.<\/p>\n","protected":false},"excerpt":{"rendered":"

\u201eCocoonDance\u201c, \u201eImpulsas\u201c Scenoje t\u012fsan\u010dius k\u016bnus akimirkai paslepia tamsa. \u012esi\u017eiebus \u0161viesai, jie jau i\u0161sid\u0117st\u0119 kitose vietose. Netrukus tylus tamsaus techno motyvas …<\/p>\n","protected":false},"author":2,"featured_media":4672,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":[],"categories":[9],"tags":[],"yoast_head":"\nK\u016bnai ir erdv\u0117s. Festivalio \u201eNaujasis Baltijos \u0161okis \u201919\u201c spektakliai (III) - 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\/06\/03\/kunai-ir-erdves-festivalio-naujasis-baltijos-sokis-19-spektakliai-iii\/\" \/>\n<meta property=\"og:locale\" content=\"lt_LT\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"K\u016bnai ir erdv\u0117s. Festivalio \u201eNaujasis Baltijos \u0161okis \u201919\u201c spektakliai (III) - Lithuanian Dance Centre\" \/>\n<meta property=\"og:description\" content=\"\u201eCocoonDance\u201c, \u201eImpulsas\u201c Scenoje t\u012fsan\u010dius k\u016bnus akimirkai paslepia tamsa. \u012esi\u017eiebus \u0161viesai, jie jau i\u0161sid\u0117st\u0119 kitose vietose. 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