{"id":4699,"date":"2019-06-06T15:11:46","date_gmt":"2019-06-06T12:11:46","guid":{"rendered":"http:\/\/dance.lt\/new\/?p=4699"},"modified":"2021-01-27T13:54:36","modified_gmt":"2021-01-27T11:54:36","slug":"impulsai-avys-sviesos-vitrinos","status":"publish","type":"post","link":"https:\/\/dance.lt\/new\/2019\/06\/06\/impulsai-avys-sviesos-vitrinos\/","title":{"rendered":"Impulsai: avys, \u0161viesos, vitrinos"},"content":{"rendered":"

Steb\u0117ti daug ma\u017e\u0173 dalyk\u0173 \u2013 daug sunkiau, nei vien\u0105 didel\u012f. Gal d\u0117l to mano santykis su mug\u0117mis, kuriose vienas menas bando perr\u0117kti kit\u0105, o tre\u010dias \u2013 u\u017elind\u0119s u\u017e kampo, kurio gal nepamatysi, o ketvirtas \u2013 \u012fskandinantis taip, kad visa kita tampa tai valandai nebe\u012fdomu, net jeigu yra \u012fdomu, \u2013 sud\u0117tingas. Pana\u0161iai ir su \u017eanru, kuris vadinamas popuri: kai gauni daug, bet po truput\u012f, kai nesp\u0117ji \u012fs\u0117sti \u012f traukin\u012f, \u012flipi tik viena koja ir tuoj pat esi i\u0161svied\u017eiamas, ir v\u0117l lipi, ir v\u0117l vietos \u2013 tik kojai…<\/p>\n

Lietuvos nacionalinio operos ir baleto teatro baleto trup\u0117s meno vadovo Krzysztofo Pastoro sumanytas, \u0161iemet jau a\u0161tunt\u0105 kart\u0105 vyk\u0119s \u201eK\u016brybinis impulsas\u201c savo pavadinimu, ko gero, apibr\u0117\u017eia ir atmosfer\u0105: tai \u2013 baleto atlik\u0117j\u0173 choreografiniai impulsai, trumpi ir lakoni\u0161ki, bet drauge \u2013 reik\u0161mingi arba noru i\u0161reik\u0161ti kaip \u012fmanoma daugiau, arba pastanga per trump\u0105 laik\u0105 sujudinti pasirinkt\u0105 tem\u0105 kuo giliau. Nesl\u0117psiu, jog, k\u0105 tik i\u0161k\u0117lus koj\u0105 i\u0161 \u201eNaujojo Baltijos \u0161okio\u201919\u201c, \u012fnerti \u012f tok\u012f choreografin\u012f prad\u017eiamoksl\u012f \u2013 nelengva. Ta\u010diau renginio misija \u2013 paskatinti baleto atlik\u0117jus kurti, m\u0105styti apie nuosavas koncepcijas, tapti tais, kurie sprend\u017eia, \u017eino ir i\u0161dr\u012fsta, atrodo vertinga.<\/p>\n

Julijos Stankevi\u010di\u016bt\u0117s \u201edaug, v\u0117lu, toli, n\u0117ra\u201c \u2013 vienintelis, prakirt\u0119s od\u0105 tikru jausmu. Jo stipryb\u0117 \u2013 vientisa istorija, leidusi sutelkti d\u0117mes\u012f \u012f du choreografi\u0161kai savitus, vien savo buvimu \u012fdomius k\u016bnus (Mel Bombardo, Aistis Kavaliauskas).<\/p>\n

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Nuotraukos: Martynas Aleksa<\/em><\/p>\n

Tarp \u0161i\u0173 k\u016bn\u0173 \u2013 labai lengva, vienas kito svoriais \u017eaid\u017eianti, kasdienyb\u0117s \u012fspaud\u0173 turinti dinamika, kurios i\u0161ri\u0161imas \u2013 Jos rankos, nurengian\u010dios nueinan\u010dio Jo mar\u0161kinius, ir Jos rankos, juos apsivelkan\u010dios. Retsykiais, rodos, judesys labai infantilus, \u2013 jie gaudo vienas kit\u0105 u\u017e kuln\u0173, \u012fsuka u\u017e kakl\u0173, m\u0117to vienas kito pla\u0161takas, bendrauja alk\u016bn\u0117mis; ir tuoj pat pereinantis \u012f gilumin\u012f \u2013 i\u0161einam\u0105 keliais, i\u0161gulim\u0105 nugaromis, prikibus prie \u017eem\u0117s. Tai link vienas kito, tai \u012f save, vis gr\u012f\u017etant \u012f tem\u0105 \u2013 santyk\u012f su pa\u010diu savimi, artimum\u0105 sau, sav\u0119s pri\u0117mim\u0105 ir praradim\u0105 kito<\/em> egzistencijos fone. Julija kuria laisv\u0105j\u012f \u0161ok\u012f, kuriame k\u016bnai atpalaiduoti, artikuliuojantys paprast\u0105, ta\u010diau autenti\u0161k\u0105, atpa\u017e\u012fstam\u0105 emocin\u0119 linij\u0105, gal d\u0117l to toki\u0105 artim\u0105 ir \u0161iuolaikinio \u0161okio estetikai, ir mums \u2013 pasaulio gyventojams.<\/p>\n

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Baltas kostiumas, plika galva, auk\u0161takulniai ir H\u00e4ndelis \u2013 tai Au\u0161ros Krasauskait\u0117s darbas \u201eLeisk man verkti\u201c, \u012fdomus savo tikslia koncepcija, ie\u0161kantis, kas mumyse dar lik\u0119 tikra, po kiek sluoksni\u0173 pasl\u0117pta mistin\u0117 \u017emogaus dievi\u0161kumo dalel\u0117. I\u0161skirtiniai Urt\u0117s Barei\u0161yt\u0117s judesiai \u2013 vienu metu ir gle\u017eni, ir tvirti, tai \u017emogi\u0161kai plasti\u0161ki \u2013 galintys pie\u0161ti choreografin\u012f pie\u0161in\u012f rodomuoju pir\u0161tu, tai liudijantys plastikinio manekeno egzistencij\u0105 vitrinoje.<\/p>\n

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Manekeno, kuris eina tiesiomis kojomis, gri\u016bna tiesiu liemeniu, juda kapotai ir schemati\u0161kai. \u0160alia viso to \u2013 i\u0161rai\u0161kingas, ta\u010diau ne hipertrofuotas veidas, i\u0161kylantis i\u0161 gyvenim\u0105 \u012fver\u017eusio kostiumo. Regis, tikrai nereik\u0117jo miniati\u016bros u\u017ebaigti iliustracija \u2013 i\u0161sivadavimu i\u0161 \u0161varko, jo trenkimu \u012f grindis ir staigiu nugriuvimu \u010dia pat, paskui, \u2013 taip buvo sugriauta ir \u012f\u017emoginta vitrinos realyb\u0117, kurios stiprioji pus\u0117 \u2013 vis ta pati, nepajudinama pirk mane<\/em> b\u016bsena.<\/p>\n

Vaidos \u0160niurevi\u010di\u016bt\u0117s \u201eMira\u017eas\u201c \u2013 masyviausias renginio etiudas, paskandin\u0119s choreografiniame chaose, ta\u010diau turintis pasiteisinim\u0105: sapni\u0161k\u0105 realyb\u0119, mira\u017eo jausm\u0105, kuriame viskas tiesa ir viskas galima. Keturios sunkios juodos suknel\u0117s, viena ilga raudona ir du triko sulygina lytis \u2013 \u010dia visi sijonuoti, visi ekspresyv\u016bs ir savo rai\u0161ka intensyv\u016bs. Choreografei svarbus vaizduot\u0117s faktorius \u2013 begalyb\u0117, kuri savo t\u0119stinumu pranoksta tikrov\u0119.<\/p>\n

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Begalin\u0117 evoliucija b\u016bdinga ir choreografinei linijai: ji \u2013 kaip vis atsinaujinantis mira\u017eas, skrod\u017eiamas akinan\u010di\u0173 \u0161vies\u0173, derinantis sunkius ir lengvus, flow<\/em> ir staccato<\/em> manier\u0173 judesius. \u012edomiausia minut\u0117 \u2013 \u012f sapno chaos\u0105 \u012fsiver\u017eiantis Mantas Dara\u0161kevi\u010dius, kuris raudono sijono sukiniais i\u0161trina buvusias taisykles ir atne\u0161a savas. Kiekvienas j\u012f sutik\u0119s \u0161ok\u0117jas perima nauj\u0105 b\u016bd\u0105 b\u016bti ir net paliktas vienas juda lyg u\u017egautas, lyg \u012fsuktas. Mantas \u010dia \u2013 inspiracija, impulsas, kei\u010diantis mira\u017eo nors sapni\u0161k\u0105, ta\u010diau status quo<\/em>.<\/p>\n

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Solo \u0161okis, kuriame partnere tampa \u0161viesa, \u2013 Gohar Mkrtchyan \u201eThe Spotlight\u201c, i\u0161siskyr\u0119s ai\u0161kia logine strukt\u016bra, kanoniniu pasakojimu su nelaiminga prad\u017eia ir laiminga pabaiga. Tai \u00a0vienas iliustratyviausi\u0173 darb\u0173, kuriame tiesiogiai eksploatuojama tema, \u2013 kolizija tarp visuomen\u0117s norm\u0173 ir asmenini\u0173 nor\u0173. Choreograf\u0117 kelia klausim\u0105 \u2013 ar einame ten, kur norime, ar kur diktuoja kiti?<\/p>\n

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Haruka Ohno kuria dramati\u0161k\u0105 charakter\u012f: i\u0161 prad\u017ei\u0173 b\u0117ga paskui \u017emog\u0173 pamir\u0161tan\u010dius, nesulaukian\u010dius, i\u0161duodan\u010dius \u0161viesos ta\u0161kus, v\u0117liau vidumi i\u0161silaisvina ir prisi\u0161aukia pla\u010diai pasklidusi\u0105, u\u017etenkam\u0105, pamaitinan\u010di\u0105 \u0161vies\u0105. \u0160okyje \u2013 daug prie\u0161inimosi normoms, mainymosi tarp sav\u0173 judesi\u0173 ir tarp judesi\u0173, kurie lyg primetami kit\u0173, lyg kontroliuojami i\u0161 vir\u0161aus. Miniati\u016bros happy end\u2019as<\/em> \u2013 \u0161viesos ta\u0161kai \u012fsi\u017eiebia ten, kur ateina \u0161ok\u0117ja, \u2013 \u0161tai ji, nugal\u0117jusi \u0161viesos diktat\u016br\u0105. Gal per daug naivu, ta\u010diau labai tikslu.<\/p>\n

Likusius tris darbus \u2013 \u201eSheep or not\u201c, \u201e259\u201c ir \u201eDomino efektas\u201c \u2013 norisi jungti \u012f bendr\u0105 pie\u0161in\u012f, mat pana\u0161\u016bs j\u0173 jausminiai t\u016briai, akcentuojantys am\u017ein\u0105 \u012fvairi\u0173 asmenybi\u0173 polilog\u0105, ir choreografin\u0117s manieros, artimos klasikiniam baletui. Buvimas visuomenin\u0117je strukt\u016broje ir dr\u0105sa joje tapti savimi \u2013 Isaac Evans miniat\u016bros \u201eSheep or not\u201c pagrindin\u0117 id\u0117ja.<\/p>\n

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\u010cia regime konfrontacij\u0105 tarp Jos, kan\u010dios kupinu veidu, ir likusi\u0173 keturi\u0173 \u2013 art\u0117jan\u010di\u0173 i\u0161 tamsos, apsupan\u010di\u0173, vieno \u017emogaus rankomis priiman\u010di\u0173, kit\u0173 trij\u0173 rankomis \u2013 atstumian\u010di\u0173. Etiudui b\u016bdinga atpa\u017e\u012fstama dramin\u0117 logika: svetimk\u016bnio integracijos \u012f egzistuojan\u010di\u0105 sistem\u0105 sunkumai; ma\u017ea \u017eaism\u0117s, nema\u017ea stereotip\u0173 ir i\u0161didintos emocij\u0173 rai\u0161kos. Nors nusp\u0117jama dramaturgin\u0117 evoliucija kuri\u0105 blank\u0173 \u012fsp\u016bd\u012f, choreografin\u0117 estetika atrodo profesionali ir u\u017etikrinta.<\/p>\n

Koncepcija sudomin\u0119s, ta\u010diau j\u0105 miglotai tei\u0161pild\u0119s darbas \u2013 \u201e259\u201c, inspiruotas Londono \u0160v. Pauliaus katedroje esan\u010dios \u0160nab\u017edesi\u0173 galerijos. Id\u0117ja, jog galerijoje su\u0161nab\u017ed\u0117jus \u017eod\u012f, jis ima suktis ratu ir pasiekia s\u0117dint\u012fj\u012f prie\u0161ais, o gyvenime norint b\u016bti i\u0161girstam paprastai reikia r\u0117kti, choreograf\u0117s Jade Longley sumanyta transliuoti kaip laisva abstrakcija. \u012edomesni akcentai \u2013 aki\u0173, aus\u0173, burn\u0173 dengimas vieni kitiems, lyg i\u0161laisvinantis leidimas ne visk\u0105 matyti, ne visk\u0105 gird\u0117ti, ne visk\u0105 kalb\u0117ti, kam \u0161iuolaikyb\u0117je, regis, nebeturime galimybi\u0173. Savitos, nors retos, bendros k\u016bn\u0173 skulpt\u016bros, originali rank\u0173 choreografija. Vis d\u0117lto kit\u0173 eskiz\u0173 kontekste \u201e259\u201c pritr\u016bko koncepcijos ai\u0161kumo ir ka\u017eko, kas leist\u0173 \u012fsid\u0117m\u0117ti, i\u0161skirt\u0173.<\/p>\n

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Gaivus, jaunatvi\u0161kas \u2013 Nacionalin\u0117s \u010ciurlionio men\u0173 mokyklos moksleivi\u0173 \u201eDomino efektas\u201c. Mildos Luckut\u0117s ir Dorot\u0117jos Navickait\u0117s k\u016brybinis darbas \u017eavi v\u0117jo jausmu, akustine gamtos atmosfera, poj\u016b\u010diu, lyg ketveriuk\u0117 \u0161okt\u0173 ant pasaulio kra\u0161to. Tas poj\u016btis ateina galb\u016bt i\u0161 j\u0173 siun\u010diamos dar ne visai apvaldytos, savaip laisvos judesio energijos. Tyrin\u0117dami, kaip vieno \u017emogaus veiksmai paveikia kit\u0105, jaunieji \u0161ok\u0117jai ir ie\u0161ko vienas kito, ir kuria atskiras istorijas, ir jungiasi, ir skirstosi. J\u0173 judesys, gal ne visad sinchroni\u0161kas, u\u017ekuria ir traukia tuo \u0161\u0117lsmu, kur\u012f leid\u017eia gana apibr\u0117\u017eta choreografin\u0117 stilistika.<\/p>\n

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Nors \u201eK\u016brybinis impulsas\u201919\u201c, \u0161\u012fkart vyk\u0119s LITEXPO, mug\u0117s \u201eArtVilnius\u201919\u201c metu, savo atmosfera primin\u0117 galb\u016bt labiau bi\u010diuli\u0161k\u0105 pasivaik\u0161\u010diojim\u0105 po skirtingas k\u016brybines stovyklas, nei profesionalaus \u0161okio vakar\u0105, vis d\u0117lto impulso jausmas apimti sp\u0117jo. Impulso, kaip laiko, kada \u012fkvepi ir nori pasauliui pasakyti labai daug, gal net visk\u0105, gal net visaip.<\/p>\n

 <\/p>\n","protected":false},"excerpt":{"rendered":"

Steb\u0117ti daug ma\u017e\u0173 dalyk\u0173 \u2013 daug sunkiau, nei vien\u0105 didel\u012f. Gal d\u0117l to mano santykis su mug\u0117mis, kuriose vienas menas …<\/p>\n","protected":false},"author":2,"featured_media":4703,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":[],"categories":[9],"tags":[],"yoast_head":"\nImpulsai: avys, \u0161viesos, vitrinos - 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\/06\/impulsai-avys-sviesos-vitrinos\/\" \/>\n<meta property=\"og:locale\" content=\"lt_LT\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Impulsai: avys, \u0161viesos, vitrinos - Lithuanian Dance Centre\" \/>\n<meta property=\"og:description\" content=\"Steb\u0117ti daug ma\u017e\u0173 dalyk\u0173 \u2013 daug sunkiau, nei vien\u0105 didel\u012f. 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