{"id":778,"date":"2018-05-16T10:55:01","date_gmt":"2018-05-16T07:55:01","guid":{"rendered":"http:\/\/dance.lt\/new\/?p=778"},"modified":"2018-05-16T11:48:39","modified_gmt":"2018-05-16T08:48:39","slug":"figuros-dviese-daryti-tai-ko-negali-po-viena","status":"publish","type":"post","link":"https:\/\/dance.lt\/new\/2018\/05\/16\/figuros-dviese-daryti-tai-ko-negali-po-viena\/","title":{"rendered":"\u201eFig\u016bros\u201c \u2013 dviese daryti tai, ko negali po vien\u0105"},"content":{"rendered":"

 <\/p>\n

\u201eVaj\u0117, u\u017e k\u0105 jie taip kankina savo \u017ei\u016brov\u0105?\u201c, galvojau steb\u0117dama Lizos Baliasnajos ir Sidney\u02bcaus Barneso spektakl\u012f \u201eFig\u016bros\u201c. Nors L.\u00a0Baliasnaja kur\u012f laik\u0105 buvo \u017einoma kaip Kauno \u0161okio teatro \u201eAura\u201c \u0161ok\u0117ja, svarbu pasteb\u0117ti, kad ji kartu su kolega S. Barnesu baig\u0117 Belgijos P.A.R.T.S. \u0161okio mokykl\u0105 (2016 m.). Studijos jiems suteik\u0117 tam tikr\u0105 brai\u017e\u0105 \u2013 Men\u0173 spaustuv\u0117s Ki\u0161enin\u0117je sal\u0117je parodytas spektaklis buvo pana\u0161esnis \u012f choreografini\u0173 tyrin\u0117jim\u0173 pristatym\u0105 nei \u012f pramogin\u012f, \u017ei\u016brovui pataikaujant\u012f pasirodym\u0105. Toki\u0173 darb\u0173 Lietuvos scenoje reta, tad pa\u017evelkime, k\u0105 mums pasi\u016bl\u0117 presti\u017ein\u0117s mokyklos absolventai.<\/p>\n

\"\"<\/p>\n

Nuotrauk\u0173 autorius: Yair Meyuhas, \u201eMarch Hare 2018\u201c Kelim Choreography Center<\/em><\/p>\n

<\/div>\n

\u201eFig\u016bros\u201c prasideda skambant \u0161ai\u017eiai S.\u00a0Barneso elektronikai. Muzika turi savo melodij\u0105, bet jos negirdime, ji spengia ausyse lyg \u012fsp\u0117jimo signalas. \u012e scen\u0105 \u017eengia du atlik\u0117jai ir akimirkai sustingsta ties pirm\u0105ja fig\u016bra.<\/p>\n

\u012e scen\u0105 plieskia beveik dienos ry\u0161kumo \u0161viesa. Netrukus jie jau kei\u010dia savo pad\u0117tis ir sustoja kitokiose pozicijose. Muzika i\u0161nyksta, o jie tylomis sustingsta ir v\u0117l pereina prie kitos fig\u016bros, sustingsta ir v\u0117l pereina, lyg treniruot\u0173si pakeisti kolegas Ivo\u00a0Dimchevo \u201eSkulpt\u016brose\u201c.<\/p>\n

\u0160viesa nesikei\u010dia.<\/p>\n

\u012e akis krenta L.\u00a0Baliasnajos ir S.\u00a0Barneso partneri\u0161kumas, j\u0173 k\u016bnai scenoje vienas kit\u0105 papildo. Ar man taip atrodo, ar visa tai \u2013 apie vyr\u0105 ir moter\u012f, bandan\u010dius b\u016bti kartu?<\/p>\n

Akivaizd\u017eiai specialiai suderinti atlik\u0117j\u0173 kostiumai. Abu vilki aksomo blizgesio turin\u010dius mar\u0161kin\u0117lius ir kelnes. L.\u00a0Baliasnaja pasirinko violetin\u0119, o S.\u00a0Barnesas \u2013 rud\u0105 spalv\u0105. Jie skirtingi, bet b\u016bdami kartu vienas kit\u0105 papildo.<\/p>\n

\u0160viesa nesikei\u010dia. \u0160ok\u0117jams judant drabu\u017eiai mirga.<\/p>\n

Viskas vyksta neapsakomai l\u0117tai. Jie kei\u010dia savo pad\u0117tis ir sustoja kitokiose pozicijose, sustingsta ir v\u0117l pereina. Visi\u0161koje tyloje.<\/p>\n

\"\"<\/p>\n

Prisimenu, kaip sunku buvo \u017ei\u016br\u0117ti Meg Stuart spektakl\u012f \u201eViolet\u201c (2011, Avinjono teatro festivalis). Ten buvo penki \u0161ok\u0117jai, kiekvienas atliekantys skirtingus judesius, o vietoj tylos siaut\u0117jo koks \u0161imtas triuk\u0161mo (angl. noise<\/em>) muzikos garso takeli\u0173.<\/p>\n

L. Baliasnaja ir S.\u00a0Barnesas sustingsta ir v\u0117l pereina prie kitos fig\u016bros. \u0160ios nesipina \u012f jok\u012f naratyv\u0105, tarpusavyje labiau sietinos pagal savo kilm\u0119, fizin\u012f \u0161altin\u012f ar k\u016bno dalis, kurios yra svarbios joms atlikti.<\/p>\n

Ima atrodyti, kad \u0161is darbas \u2013 tai eskizas.<\/p>\n

Staiga atlikdami vien\u0105 fig\u016br\u0105 \u0161ok\u0117jai ima skleisti gars\u0105. \u201eUh!\u201c \u2013 vyri\u0161kas ir stiprus, kaip sm\u016bgis. Imi gird\u0117ti j\u0173 kv\u0117pavim\u0105. \u201eUh!\u201c kelet\u0105 kart\u0173 kartojasi fizinio darbo ritmu ir jungiasi su sustabdytos fig\u016bros vaizdu.<\/p>\n

Netrukus v\u0117l tyla.<\/p>\n

Tokiame minimalistiniame darbe \u201eUh!\u201c rezonuoja labai stipriai.<\/p>\n

Stuart \u201eViolet\u201c \u017ei\u016brovai tur\u0117jo stengtis, kad tarp spektaklyje kuriamo triuk\u0161mo atrast\u0173 savo prasm\u0119. \u201eFig\u016brose\u201c \u017ei\u016brovams teko stengtis, kad i\u0161sivalyt\u0173 nuo triuk\u0161mo savo viduje ir atrast\u0173 prasm\u0119 spektaklyje.<\/p>\n

Tarp fig\u016br\u0173 daug\u0117ja vis sud\u0117tingesni\u0173. Atrodo, lyg L.\u00a0Baliasnaja ir S.\u00a0Barnesas P.A.R.T.S. \u0161okio mokykloje b\u016bt\u0173 \u012fgav\u0119 akrobatikos pradmenis. Galb\u016bt ten akrobatikos pradmenys \u0161ok\u0117jams privalomi?<\/p>\n

Po truput\u012f \u201eFig\u016bros\u201c virsta \u012f meditacij\u0105. Jie sustingsta ir v\u0117l pereina, o mes stebime, kaip jie dirba. V\u0117l sugr\u012f\u017eta garsinis \u201eUh!\u201c motyvas, \u0161\u012fkart ai\u0161kiai gird\u0117ti du balsai. Dabar garsas mus veikia dar stipriau.<\/p>\n

\"\"<\/p>\n

L. Baliasnaja apver\u010diama auk\u0161tyn kojomis ir \u017eemyn galva nusileid\u017eia iki s\u0117din\u010dio S.\u00a0Barneso juosmens. Subjektyviai \u017ei\u016brint, tai turb\u016bt gra\u017eiausias spektaklio momentas, kur\u012f \u012fk\u016bnija emociniu \u0161velnumu artimas, subtiliai i\u0161 keturi\u0173 p\u0117d\u0173 sukomponuotas rombas.<\/p>\n

Tebet\u0119sdami fig\u016bras, atlik\u0117jai \u012fveda garsin\u0119 mu\u0161am\u0173j\u0173 partij\u0105. Beatbox<\/em> principu atsiranda garsai \u201ePf\u201c, \u201eK\u0161\u201c, \u201e\u010c\u0161\u201c, i\u0161 kuri\u0173 kaip tikra muzikant\u0117 ritm\u0105 vysto L.\u00a0Baliasnaja.<\/p>\n

Nors dar yra erdv\u0117s nuskamb\u0117ti tylai, atlik\u0117jai \u017ei\u016brovams pateikia daugiau impuls\u0173.<\/p>\n

Mes dar nepastebime, kaip l\u0117tai ima g\u0119sti \u0161viesa.<\/p>\n

Prie k\u016bno kuriamo ritmo atlik\u0117jai prijungia melodij\u0105, vystom\u0105 i\u0161 garso \u201eMmmm\u201c. Prie\u0161 kelias akimirkas scenoje mat\u0117me tik vaizd\u0105, o \u0161tai dabar L.\u00a0Baliasnaja ir S.\u00a0Barnesas jau gyvai kuria garso takel\u012f.<\/p>\n

Atlik\u0117jai sustingsta ir v\u0117l pereina prie kitos fig\u016bros. Jos v\u0117l kartojamos nuo prad\u017ei\u0173. Su raminan\u010dia melodija scena vis labiau temsta, \u0161viesos sukuria intymesn\u0119 ir jaukesn\u0119 erdv\u0119.<\/p>\n

\u0160ok\u0117jai miksuoja kelias melodijas. \u201eMmmm\u201c i\u0161sivysto \u012f ilgesing\u0105 \u201e\u016a\u016b\u016b\u016b\u201c.<\/p>\n

L. Baliasnaja ir S.\u00a0Barnes\u02bcas sustingsta ir v\u0117l pereina prie kitos fig\u016bros. Daina i\u0161dainuojama tekstu ir ai\u0161kiai nuskamba \u201eI am you\u201c. Tekstas i\u0161dainuojamas pagal S.\u00a0Barneso elektronikoje skamb\u0117jusi\u0105 melodij\u0105.<\/p>\n

U\u017emir\u0161\u0119 spektaklio sunkum\u0105 gailim\u0117s, kad jis jau baigiasi.<\/p>\n

\"\"<\/p>\n

L. Baliasnajai ir S.\u00a0Barnesui pavyko \u012fgyvendinti savo id\u0117j\u0105 \u2013 sukurti spektakl\u012f, kuriame jie gal\u0117t\u0173 atlikti tam tikras k\u016bno praktikas (tame tarpe ir beatbox\u0105<\/em>) ir dviese sukurt\u0173 ka\u017ek\u0105 daugiau, negu jie gal\u0117t\u0173 atlikti po vien\u0105. Nepaisant to, kad spektaklis atrod\u0117 sunkiai \u017ei\u016brimas ir nepretenduoja \u012f pramogini\u0173 gretas, visgi jauniesiems k\u016br\u0117jams pavyko i\u0161laikyti tiksli\u0105, \u012fdomi\u0105 ir prasming\u0105 dramaturgin\u0119 linij\u0105. Dar daugiau \u2013 jiems pavyko scenoje b\u016bti ir judesiu, ir muzika, ir scenografija, ir netgi skleisti \u0161vies\u0105 nuo savo k\u016bn\u0173. Alaino Platelio darbe \u201enicht schlafen\u201c mat\u0117me, kaip tai naudojama \u012fsitvirtinusi\u0173 choreograf\u0173 darbuose. O festivalyje \u201eNaujasis Baltijos \u0161okis\u201c, nepaisant publikos pom\u0117gi\u0173, tur\u0117t\u0173 b\u016bti vietos eksperimentiniams jaun\u0173j\u0173 choreograf\u0173 darbams.<\/p>\n

 <\/p>\n

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

  \u201eVaj\u0117, u\u017e k\u0105 jie taip kankina savo \u017ei\u016brov\u0105?\u201c, galvojau steb\u0117dama Lizos Baliasnajos ir Sidney\u02bcaus Barneso spektakl\u012f \u201eFig\u016bros\u201c. Nors L.\u00a0Baliasnaja …<\/p>\n","protected":false},"author":2,"featured_media":782,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":[],"categories":[19],"tags":[],"yoast_head":"\n\u201eFig\u016bros\u201c \u2013 dviese daryti tai, ko negali po vien\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\/2018\/05\/16\/figuros-dviese-daryti-tai-ko-negali-po-viena\/\" \/>\n<meta property=\"og:locale\" content=\"lt_LT\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"\u201eFig\u016bros\u201c \u2013 dviese daryti tai, ko negali po vien\u0105 - Lithuanian Dance Centre\" \/>\n<meta property=\"og:description\" content=\"  \u201eVaj\u0117, u\u017e k\u0105 jie taip kankina savo \u017ei\u016brov\u0105?\u201c, galvojau steb\u0117dama Lizos Baliasnajos ir Sidney\u02bcaus Barneso spektakl\u012f \u201eFig\u016bros\u201c. 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