{"id":7407,"date":"2020-02-10T18:36:07","date_gmt":"2020-02-10T16:36:07","guid":{"rendered":"http:\/\/dance.lt\/new\/?p=7407"},"modified":"2020-02-10T18:36:07","modified_gmt":"2020-02-10T16:36:07","slug":"siuolaikinio-sokio-ir-violonceles-derme-atvere-nauja-meno-nisa","status":"publish","type":"post","link":"https:\/\/dance.lt\/new\/2020\/02\/10\/siuolaikinio-sokio-ir-violonceles-derme-atvere-nauja-meno-nisa\/","title":{"rendered":"\u0160iuolaikinio \u0161okio ir violon\u010del\u0117s derm\u0117 atv\u0117r\u0117 nauj\u0105 meno ni\u0161\u0105"},"content":{"rendered":"

Prie\u0161 kelis metus u\u017esimezgusi k\u016brybin\u0117 partneryst\u0117 tarp \u0161okio ir muzikos profesional\u0173 Klaip\u0117doje \u012fkv\u0117p\u0117 eil\u0119 ribas tarp skirting\u0173 meno sri\u010di\u0173 trinan\u010di\u0173 spektakli\u0173. Kiekviename j\u0173 \u2013 vis naujas, nesikartojantis pasaulis, nauja jo kalba ir taisykl\u0117s. Paskutinieji spektakliai buvo statomi su vie\u0161in\u010diomis labai skirtingo brai\u017eo \u0161iuolaikinio \u0161okio \u017evaig\u017ed\u0117mis. Su Nyderlanduose gyvenan\u010diu japonu choreografu ir \u0161ok\u0117ju Kenzo Kusuda buvo statytas spektaklis \u201eOneiro\u201c, su dan\u0173 choreografu Palle Granh\u00f8j \u2013 \u201eBol\u00e9ro – Extended\u201c. Pilnas sales per premjeras surink\u0119 spektakliai vasar\u012f bus rodomi Vilniaus, Kauno ir Klaip\u0117dos publikai.<\/strong><\/p>\n

\u00a0\"\"<\/strong>
\n\u0160okio ir muzikos spektaklis \u201eBol\u00e9ro – Extended\u201c. Dmitrijaus Matvejevo nuotrauka<\/em><\/p>\n

I\u0161 edukacijos i\u0161augusi partneryst\u0117<\/strong><\/p>\n

Klaip\u0117dos kamerinio orkestro meno vadovas, violon\u010delininkas, V\u0161\u012e \u201eViolon\u010deli\u0173 muzika\u201c direktorius Mindaugas Ba\u010dkus visada dega naujomis id\u0117jomis. Jam yra tek\u0119 dalyvauti labai \u012fvairiuose projektuose, susijusiuose su \u0161iuolaikiniu menu, bet pa\u017eintis su \u0160eiko \u0161okio teatru tapo lemtingu pos\u016bkiu. Violon\u010delininkas \u012f \u0161ok\u0117jus kreip\u0117si ie\u0161kodamas \u012fdomios formos vaikams skirtai edukacijai, bet prad\u0117j\u0119s bendrauti su teatro vadove, choreografe ir \u0161ok\u0117ja Agnija \u0160eiko suprato, kad juos sieja daug bendr\u0173 dalyk\u0173. Kalb\u0117damas apie partneryst\u0119 su \u0161iuolaikinio \u0161okio profesionalais M. Ba\u010dkus tikino, kad darbas kartu praturtina abi puses, \u201emes papildome vieni kitus \u2013 labai \u012fdomu kai \u0161ok\u0117jo k\u016bno judesiuose matai muzik\u0105 ir jauti choreografij\u0105 muzikoje. Supranti, kad kiekvienas garsas veikia \u017emog\u0173, per jo intelekt\u0105, emocijas. Muzikantai, steb\u0117dami \u0161ok\u0117jus, taip pat groja kitaip. Man labai \u012fdomi \u0161i sinergija\u201c.<\/p>\n

\u0160eiko \u0161okio teatro vadov\u0117 A. \u0160eiko papild\u0117 muzikant\u0105 sakydama, kad violon\u010del\u0117s scenoje suteikia spektakliui gyvumo, \u201egyva muzika spektaklyje, \u0161ok\u0117j\u0173 judesiuose atveria papildom\u0105 matmen\u012f. Muzika tokiu atveju n\u0117ra fonas ar atmosferos k\u016brimo priemon\u0117. Ji tampa aktyviu spektaklio elementu\u201c. Anot choreograf\u0117s, svarbiausia, kad spektaklis tur\u0117t\u0173 stipri\u0105 id\u0117j\u0105, dramaturgin\u0119 linij\u0105, muzika ir \u0161okis turi jungtis prasmingai.<\/p>\n

Violon\u010delininkas svarst\u0117, kad nors meno pasaulis pilnas individualist\u0173, trinant ribas tarp meno r\u016b\u0161i\u0173, vienijantis galima pasiekti \u012fdomi\u0173 rezultat\u0173, \u201esusiburia komanda dirbanti nauja kryptimi, naujoje ni\u0161oje. Svarbus ir socialinis procesas \u2013 b\u016bdami kartu galime suburti didesn\u0119 klausytoj\u0173 ir \u017ei\u016brov\u0173 auditorij\u0105, stipriau paveikti miesto kult\u016brin\u012f lauk\u0105\u201c.<\/p>\n

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\n\u0160okio ir muzikos spektaklis \u201eOneiro\u201c. Egl\u0117s Sabaliauskait\u0117s nuotrauka<\/em><\/p>\n

I\u0161\u0161\u016bkis \u2013 susikalb\u0117ti<\/strong><\/p>\n

Anot M. Ba\u010dkaus ne kiekvienam muzikantui, kaip ir turb\u016bt ne kiekvienam \u0161ok\u0117jui tinka skirtingas meno r\u016b\u0161is jungianti k\u016bryba. \u201eJei \u017emogus konservatyvus ir nori ramiai gyventi darydamas tai, k\u0105 moka geriausiai, jam gali nesinor\u0117ti dalyvauti tokiuose eksperimentuose. Jei nemoka improvizuoti scenoje \u2013 muzikantas panikuos. Tas pats ir su \u0161ok\u0117jais, galb\u016bt jis ar ji gali improvizuoti, bet nemoka jud\u0117ti pagal grie\u017et\u0105 schem\u0105. Labai daug kas priklauso nuo asmenini\u0173 ir profesini\u0173 savybi\u0173\u201c.\u00a0 Muzikantas taip pat pabr\u0117\u017e\u0117, kad improvizacija scenoje nerei\u0161kia grojimo bet kaip, \u201espektaklyje gali b\u016bti daug improvizacijos bet tik su s\u0105lyga, kad atlik\u0117jams patinka toks rai\u0161kos b\u016bdas ir jie yra pasiruo\u0161\u0119 tai daryti profesionaliai, nesugriaudami k\u016brinio, jausdami jo prad\u017ei\u0105 ir pabaig\u0105, komunikuodami. Jei ant scenos \u2013 tarpusavyje nekomunikuojantys \u017emon\u0117s ir visai laisva rai\u0161kos forma \u2013 rezultatas bus nes\u0117kme\u201c.<\/p>\n

Meno sri\u010di\u0173 suliejimas, rib\u0173 trynimas atveria nauj\u0105 erdv\u0119, tarpin\u0119 zon\u0105, kurioje n\u0117ra laiko patikrint\u0173 taisykli\u0173. Pasak A. \u0160eiko, svarbu, kad susitikusieji toje zonoje nejaust\u0173 nerimo, \u201esvarbu jaustis laisvai. \u0160ok\u0117jai nat\u016braliai yra laisvesni, visa j\u0173 esyb\u0117 linkusi eksperimentuoti. Klasikin\u0117s muzikos atlik\u0117jai labiau jau\u010dia ribas, jiems ne visada lengva jas per\u017eengti. \u0160iuo atveju Mindaugas Ba\u010dkus yra dovana \u2013 jis atviras, nebijo b\u016bti toje keistoje tarpin\u0117je zonoje. Tai \u2013 retas atvejis. Ne\u017einau, kiek Lietuvoje muzikant\u0173, kurie taip atvirai nert\u0173 \u012f tokius eksperimentus. Tai kainuoja daug energijos, reikalauja daug savikritikos, bet kartu tai ir did\u017eiulis augimas link ka\u017eko naujo\u201c.<\/p>\n

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\n\u0160okio ir muzikos spektaklis \u201eBol\u00e9ro – Extended\u201c. Dmitrijaus Matvejevo nuotrauka<\/em><\/p>\n

Filosofi\u0161kas japonas ir grie\u017etas danas<\/strong><\/p>\n

\u0160eiko \u0161okio teatro ir Mindaugas Ba\u010dkaus su jo globojamais violon\u010delininkais partneryst\u0117s s\u0105skaitoje jau keturi spektakliai, \u201eMet\u0173 laikai\u201c, \u201eMano Piteris Penas\u201c (pastarasis peln\u0117 net du \u201eAuksinius scenos kry\u017eius\u201c u\u017e choreografij\u0105 ir muzik\u0105), \u201eOneiro\u201c ir \u201eBol\u00e9ro – Extended\u201c. Pastarieji du buvo kuriami kartu su \u017eymiais \u0161iuolaikinio \u0161okio k\u016br\u0117jais i\u0161 u\u017esienio. Pasak M. Ba\u010dkaus, sprendimas kviesti choreografus i\u0161 svetur susij\u0119s su noru nesustoti viename jau rastame kelyje, nuolat ie\u0161koti nauj\u0173 \u0161okio ir muzikos derm\u0117s galimybi\u0173, nauj\u0173 \u017evilgsnio perspektyv\u0173.<\/p>\n

Apie ribin\u0117s b\u016bsenos magij\u0105 pasakojantis \u201eOneiro\u201c spektaklis, \u012fkv\u0117ptas Davido Lango k\u016brinio, \u201eWorld to come\u201c (liet. Ateisiantis pasaulis<\/em>), kur\u012f jis para\u0161\u0117 po rugs\u0117jo 11-osios tragedijos, augo bendradarbiaujant su Nyderlanduose gyvenan\u010diu japonu choreografu ir \u0161ok\u0117ju Kenzo Kusuda. Savita gyvenimo filosofija i\u0161siskiriantis menininkas j\u0105 pritaik\u0117 ir savo spektaklyje. \u201eBendraujant su K. Kusuda labiausiai \u012fstrigo jo vidinis balansas. B\u016bdamas \u0161alia jo jausdavausi labai nurim\u0119s, niekada nesistengiu konkuruoti k\u016bryboje, bet su juo ramyb\u0117 buvo labai ry\u0161ki. Jis taip pat nesuplanuoto, nuolatinio k\u016brybinio vystymo \u0161alininkas \u2013 dirbant su juo nuolat vykdavo ie\u0161kojimas, nebuvo grie\u017etos ir baigtin\u0117s formos. Tokie menininkai laikomi solistais \u2013 gali daryti bet kada ir bet k\u0105\u201c, \u2013 pasakojo M. Ba\u010dkus. Jam antrinusi A. \u0160eiko pabr\u0117\u017e\u0117, kad japonas choreografas scenoje kuria tok\u012f vyksm\u0105, kuris tiek \u017ei\u016brintiems, tiek prisid\u0117jusiems prie jo vystymo leid\u017eia kitaip pa\u017ei\u016br\u0117ti \u012f \u012fprastais laikomus dalykus, \u201eK. Kusuda moka \u012fsi\u017ei\u016br\u0117ti ir \u017eav\u0117tis net labai \u012fprastais dalykais. \u201eOneiro\u201c spektaklyje jis nuostabiai, nuo\u0161ird\u017eiai ir pagarbiai prieina prie instrumento kaip naujo, nepa\u017einto objekto. Labai \u012fdomu \u017ei\u016br\u0117ti kaip jis violon\u010del\u0119 atrand\u0105 kaip k\u016bn\u0105, atskir\u0105 atlik\u0117j\u0105 scenoje. Tai buvo atradimas ir man, ir Mindaugui\u201c.<\/p>\n

\"\"
\n\u0160okio ir muzikos spektaklis \u201eOneiro\u201c. Egl\u0117s Sabaliauskait\u0117s nuotrauka<\/em><\/p>\n

Legendinis dan\u0173 choreografas Palle Granh\u00f8j k\u016br\u0117 \u201eBol\u00e9ro – Extended\u201c choreografij\u0105. \u0160is choreografas savo k\u016bryboje da\u017enai derina \u0161iuolaikin\u012f \u0161ok\u012f ir klasikin\u0119 muzik\u0105. Id\u0117ja violon\u010del\u0117mis atlikti \u201eBol\u00e9ro\u201c \u2013 vien\u0105 \u017eymiausi\u0173 pranc\u016bz\u0173 kompozitoriaus Maurice Ravelio k\u016brini\u0173 orkestrui kilo M. Ba\u010dkui. Kurdamas choreografij\u0105 P. Granh\u00f8jus pasitelk\u0117 autorin\u0119 obstrukcijos technik\u0105, ribojan\u010di\u0105 \u0161ok\u0117j\u0173 judesius ir lemian\u010di\u0105 specifin\u012f pasikartojan\u010dios ritmikos jud\u0117jim\u0105, gr\u012fst\u0105 \u201eBol\u00e9ro\u201c muzika. Spektaklio metu muzika yra savitai dekonstruojama, atliekama vienos ar a\u0161tuoni\u0173 violon\u010deli\u0173. \u012edomu, jog spektaklis tapo pirmuoju pasaulyje 1 valandos trukm\u0117s \u201eBol\u00e9ro\u201c. Pasak M. Ba\u010dkaus darbas su dan\u0173 choreografu buvo nauja patirtis, \u201edirbant su juo buvo ma\u017eiau neapibr\u0117\u017etumo. P. Granh\u00f8jus turi savo technik\u0105, schemas ir labai ai\u0161kiai jas taiko. Teliko juo sekti\u201c.<\/p>\n

\u0160okio ir muzikos spektakl\u012f \u201eOneiro\u201c<\/strong> bus galima pamatyti vasario 11 d., 19 val. \u201eMen\u0173 spaustuv\u0117je\u201c Vilniuje, vasario 13 d., 18.30 val. \u201eKult\u016bros fabrike\u201c, Klaip\u0117doje, vasario 15 d., 18 val. Kauno kameriniame teatre<\/p>\n

\u0160okio ir muzikos spektaklis \u201eBol\u00e9ro\u2013Extended\u201c<\/strong> vasario 22 d. 19 val. bus rodomas \u201eMen\u0173 spaustuv\u0117je\u201c Vilniuje, o vasario 23 d., 18 val. Nacionaliniame Kauno dramos teatre.<\/p>\n","protected":false},"excerpt":{"rendered":"

Prie\u0161 kelis metus u\u017esimezgusi k\u016brybin\u0117 partneryst\u0117 tarp \u0161okio ir muzikos profesional\u0173 Klaip\u0117doje \u012fkv\u0117p\u0117 eil\u0119 ribas tarp skirting\u0173 meno sri\u010di\u0173 trinan\u010di\u0173 …<\/p>\n","protected":false},"author":2,"featured_media":7408,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":[],"categories":[1],"tags":[],"yoast_head":"\n\u0160iuolaikinio \u0161okio ir violon\u010del\u0117s derm\u0117 atv\u0117r\u0117 nauj\u0105 meno ni\u0161\u0105 - 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\/2020\/02\/10\/siuolaikinio-sokio-ir-violonceles-derme-atvere-nauja-meno-nisa\/\" \/>\n<meta property=\"og:locale\" content=\"lt_LT\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"\u0160iuolaikinio \u0161okio ir violon\u010del\u0117s derm\u0117 atv\u0117r\u0117 nauj\u0105 meno ni\u0161\u0105 - 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