{"id":809,"date":"2018-05-28T15:13:57","date_gmt":"2018-05-28T12:13:57","guid":{"rendered":"http:\/\/dance.lt\/new\/?p=809"},"modified":"2018-05-29T11:28:58","modified_gmt":"2018-05-29T08:28:58","slug":"nicht-schlafen-burzuazinis-muzikinis-teatras","status":"publish","type":"post","link":"https:\/\/dance.lt\/new\/2018\/05\/28\/nicht-schlafen-burzuazinis-muzikinis-teatras\/","title":{"rendered":"\u201enicht schlafen\u201c \u2013 bur\u017euazinis muzikinis teatras"},"content":{"rendered":"

\u201eBelg\u0173 teatras mane erzina savo sterilumu. Tai \u2013 bur\u017euazinis teatras, kuriame taisyklingai \u0161nekama, profesional\u016bs aktoriai gerai vaidina labai gra\u017eioje scenoje, ta\u010diau visa tai man\u0119s nelie\u010dia, nes kalbama apie pasaul\u012f, kuris man\u0119s nedomina.\u201c <\/em>Alainas Platelis 1995 m. interviu LRT televizijos laidai, re\u017eisierius Juozas Javaitis.<\/p>\n

\u0160i\u0173 met\u0173 festivalio \u201eNaujasis Baltijos \u0161okis\u201c u\u017edarymo spektaklis buvo ir did\u017eiausias festivalio \u012fvykis. Po ilgos pertraukos \u012f Lietuv\u0105 atvyko belg\u0173 choreografas ir re\u017eisierius Alainas Platelis su trupe Ballets C de la B, kad du vakarus Lietuvos publikai parodyt\u0173 savo 2016 met\u0173 k\u016brin\u012f \u201enicht schlafen\u201c (\u201eNemiegokite\u201c).<\/p>\n

\"\"<\/p>\n

Nuotauk\u0173 autorius: Dmitrijus Matvejevas<\/em><\/p>\n

Nors ne visi bilietai \u012f spektaklius buvo i\u0161parduoti, pasirodymo lauk\u0117 ir v\u0117liau aptarin\u0117jo nema\u017eas b\u016brys kult\u016bra besidomin\u010di\u0173 \u017emoni\u0173. Tad \u012fdomu pa\u017evelgti, kaip \u0161io choreografo k\u016bryba atrodo prab\u0117gus 23 metams nuo 1995-\u0173j\u0173 met\u0173 festivalio \u201eLIFE\u201c, kai A.\u00a0Platelis pirm\u0105kart atvyko \u012f Lietuv\u0105 su spektakliu \u201eBonjour, Madame\u201c (\u201eLaba diena, ponia\u201c).<\/p>\n

Taigi, gegu\u017e\u0117s<\/span> 12-13 dienomis Lietuvos nacionalinio dramos teatro did\u017eiojoje sal\u0117s scenoje mat\u0117me devynis \u0161ok\u0117jus \u2013 a\u0161tuonis vyrus ir vien\u0105 moter\u012f, \u2013 \u0161okan\u010dius dviej\u0173 arkli\u0173 \u201emait\u0173\u201c, t. y. nat\u016bralaus dyd\u017eio arkli\u0173 k\u016bn\u0173 skulpt\u016br\u0173 (scenograf\u0117 Berlinde De Bruyckere) fone. Scenoje pasirod\u0119 tvarkingais paprastais kasdieniais drabu\u017eiais, \u0161ok\u0117jai juos netrukus pavert\u0117 \u012f draiskanas (u\u017eb\u0117gant u\u017e aki\u0173 visam spektaklio vystymuisi reikia pasakyti, kad kostium\u0173 dailinink\u0117s Dorine Demuynck ind\u0117lis kuriant spektaklio erdv\u0119 i\u0161 ties\u0173 ypatingas). \u201enicht schlafen\u201c metu dominavo austr\u0173 kompozitoriaus Gustavo Mahlerio muzika i\u0161 jo simfonij\u0173 bei dain\u0173 cikl\u0173, o spektakliui \u012fpus\u0117jus ji buvo jungiama su afrikieti\u0161komis, Kongo gen\u010di\u0173 inspiruotomis dainomis (spektaklio kompozitorius Stevenas Prengelsas).<\/p>\n

\"\"<\/p>\n

Spektaklio prad\u017eioje krito \u012f akis tai, kad A.\u00a0Platelio darbe vis\u0105 \u012fsp\u016bd\u012f \u0161ok\u0117j\u0173 trup\u0117, scenografija ir muzika kuria kartu. Scenos reginys nepaprastai esteti\u0161kas ir apgalvotas, o choreografija sukomponuota i\u0161 judesio ir atlik\u0117j\u0173 tarpusavio santyki\u0173 kontrast\u0173. Atlik\u0117jams \u0161okant sunku i\u0161skirti atskirus judesius \u2013 A.\u00a0Platelis kalba ne atskirais \u017eod\u017eiais, kaip daro vis daugiau \u0161iuolaikini\u0173 choreograf\u0173, o ilgomis, i\u0161vystytomis ir tiksliomis choreografin\u0117mis fraz\u0117mis. Joje jungiami \u012fvair\u016bs plek\u0161nojimai, mojavimai rankomis, \u0161okin\u0117jimai, klasikinio \u0161okio elementai kaip battement jet\u00e9<\/em>, \u0161\u016bk\u010diojimai. Judesio ir muzikos santykis ypatingas \u2013 abu elementai vienas kit\u0105 lydi glaud\u017eiai, galima \u012f\u017evelgti ritmikos, melodingumo ir variacij\u0173 atsikartojimus, ta\u010diau n\u0117ra iliustratyvumo. Skambant Adagietto i\u0161 Simfonijos nr. 5 arba \u201eO Mensch! Gib acht!\u201c i\u0161 Simfonijos nr. 3 spektaklio \u017ei\u016brovai gali i\u0161gyventi ypatingas akimirkas. Vis d\u0117lto scenoje judesys pask\u0119sta tarp kit\u0173 scenos element\u0173, choreografas \u0161ok\u012f aukoja teatrui ir \u017eadina i\u0161vystyto, \u0161imtaprocentinio \u0161okio alk\u012f. Nors reginys suteikia daug jutimini\u0173 impuls\u0173, re\u017eisierius truput\u012f erzina \u017ei\u016brov\u0105, ty\u010dia pasi\u016blydamas s\u0105moningai iki galo nei\u0161pildyt\u0105 atlikim\u0105. \u017di\u016brovas taip pat provokuojamas ir scenoje nevisai \u012fprastu elgesiu \u2013 garsiu atlik\u0117j\u0173 raug\u0117jimu ar skriemuli\u0173 cypimu keliant arklio lavono imitacij\u0105. Tai spektakliui suteikia \u017eaidybinio atspalvio ir, be jokios abejon\u0117s, atpalaiduoja publik\u0105.<\/p>\n

Fragmentai i\u0161 Belgijos baleto teatro LES BALLETS C. DE LA B. spektaklio \u201eBonjour, madame…\u201c<\/em><\/a><\/p>\n

Nors 1993-iaisiais metais sukurto A.\u00a0Platelio spektaklio \u201eBonjour, Madame\u201c matyti neteko, pakanka per\u017ei\u016br\u0117ti LRT archyvin\u0119 med\u017eiag\u0105, kad pasteb\u0117tum, jog ir tada, ir \u0161iandien re\u017eisierius ir choreografas naudoja tuos pa\u010dius elementus. Abiejuose spektakliuose svarbi muzika ir garsai, \u0161okis jungiamas su teatrali\u0161kais elementais. Judesiai, da\u017enai paimti i\u0161 fizin\u0117s rai\u0161kos kasdieniame gyvenime, gali b\u016bti stilizuojami arba paliekami paprasti, lyg b\u016bt\u0173 nat\u016bral\u016bs. Taip A.\u00a0Platelis naudojasi klasikiniu metodu ir lyg Williamas Shakespeare\u02bcas jungia auk\u0161t\u0105 ir \u017eem\u0105. Muzikiniame audinyje A.\u00a0Platelis jungia klasikin\u0119 ir liaudies, egzotin\u012f atspalv\u012f turin\u010di\u0105 muzik\u0105. Simfonini\u0173 orkestr\u0173 \u012fgrot\u0105 garso takel\u012f papildo gyvi atlik\u0117j\u0173 \u0161\u016bk\u010diojimai ir kitokie skleid\u017eiami garsai. Netgi kartu \u0161okan\u010di\u0173 atlik\u0117j\u0173 provokavimas nurengin\u0117jant \u2013 ir tai tuo metu jau buvo atrasta ir naudojama! Akivaizdu, kad beveik \u0161e\u0161iasde\u0161imties met\u0173 re\u017eisierius ir choreografas laikosi savo stiliaus ir menini\u0173 priemoni\u0173 rinkinio nepriklausomai nuo nagrin\u0117jamos temos ar problemos. Tod\u0117l kaip scenos meninink\u0105 A.\u00a0Platel\u012f labiau priskir\u010diau prie moderni\u0173, o ne prie \u0161iuolaikini\u0173 meninink\u0173.<\/p>\n

Fragmentai i\u0161 Belgijos baleto teatro LES BALLETS C. DE LA B. spektaklio \u201eBonjour, madame…\u201c<\/em><\/a><\/p>\n

Susitikime su Vilniaus publika festivalio \u201eNaujasis Baltijos \u0161okis\u201c metu, A.\u00a0Platelis atkreip\u0117 d\u0117mes\u012f, kad abiejuose Vilniuje parodytuose spektakliuose dominuoja vyrai. \u0160iuos du darbus jungia ir tai, kad scenoje svarbus atlik\u0117j\u0173 santykis su kitais \u2013 abiej\u0173 spektakli\u0173 centre bendrai b\u016bnantys ir tarpusavyje konfliktuojantys \u017emon\u0117s. Rodos kaip ir tada, taip ir \u0161iandien re\u017eisieriui r\u016bpi bendras \u017emonijos i\u0161gyvenimas ir galimyb\u0117s i\u0161nykti, susinaikinti pavojus. Nors, kaip jau min\u0117jau, neteko matyti viso\u00a0 \u201eBonjour, Madame\u201c, i\u0161 atsiliepim\u0173 dary\u010diau i\u0161vad\u0105, kad \u201enicht schlafen\u201c j\u012f primena kuriamomis konflikti\u0161komis aplinkyb\u0117mis, o naujajame A.\u00a0Platelio k\u016brinyje vilties ir galimyb\u0117s nesusinaikinti ne ma\u017eiau nei ankstesniajame.<\/p>\n

\"\"<\/p>\n

Vis d\u0117lto, jei \u201eBonjour, Madame\u201c buvo skiriamas tuometiniams pasaulio vargingiesiems, \u201enicht schlafen\u201c siekia kalb\u0117ti apie G.\u00a0Mahlerio laik\u0173 pasaul\u012f \u2013 pasaul\u012f iki I pasaulinio karo. Dirbdami prie spektaklio k\u016br\u0117jai r\u0117m\u0117si Philippo Blomo knyga \u201eVertigo metai: Europa 1900-1914\u201c. J\u0173 po\u017ei\u016briu, pasaulis \u0161iuo metu i\u0161gyvena pana\u0161i\u0105 situacij\u0105 kaip tuomet, kai vie\u0161ojoje erdv\u0117je buvo nuolat aptarin\u0117jamos naujos technologijos, globalizacija, terorizmas, socialin\u0117s \u012ftampos, naujos komunikacijos priemon\u0117s. Pasaulis jud\u0117jo pirmyn ir niekas ne\u017einojo, kur tai nuves. Vis d\u0117lto \u017ei\u016brint spektakl\u012f sceninis veiksmas pyn\u0117si \u012f abstrak\u010di\u0105 istorij\u0105, tr\u016bko nuorod\u0173 ir asociacij\u0173 su konkre\u010diais Moderni\u0173j\u0173 laik\u0173, o ne am\u017einybe dvelkian\u010diais \u017emoni\u0173 konfliktais. Jeigu A.\u00a0Platelio darb\u0105 palyginsime su \u0161iemet festivalyje matyta Oonos Doherty \u201eVilties med\u017eiokle\u201c, gal\u0117sime pasakyti, kad \u201enicht schlafen\u201c apskritai neprobleminis k\u016brinys: belg\u0173 k\u016br\u0117jas u\u017ekabina daug \u012fvairi\u0173 tem\u0173, bet spektaklio eklekti\u0161kumas trukdo joms i\u0161sivystyti.<\/p>\n

\"\"<\/p>\n

Dirbdamas prie spektaklio re\u017eisierius ir choreografas \u012f k\u016brybin\u012f proces\u0105 pilnai \u012ftraukia ir k\u016brybinius bendra\u017eygius. Be jo paties ir devyni\u0173 \u0161ok\u0117j\u0173, prie \u201enicht schlafern\u201c dirbo dar septyni \u017emon\u0117s ir jie gal\u0117jo teikti savo pasi\u016blymus. Galb\u016bt tai viena prie\u017eas\u010di\u0173, kod\u0117l spektaklyje matome labai daug \u012fvairi\u0173 ir neb\u016btinai tarpusavyje besisiejan\u010di\u0173 element\u0173: scenoje vienu metu gali jungtis trys ar daugiau skirting\u0173 plan\u0173; devyni \u0161ok\u0117jai vilki skirtingomis aprangomis, ypa\u010d didel\u012f \u012fsp\u016bd\u012f kelia nuply\u0161usios kle\u0161n\u0117s, kari\u0161ka kepur\u0117 su \u017evaig\u017ede, mar\u0161kin\u0117liai su \u0161irdute arba g\u0117l\u0117ta sportin\u0117 striuk\u0117; greta G.\u00a0Mahlerio girdime Kongo gen\u010di\u0173 stiliaus inspiruotas dainas ir karvi\u0173 skambalus, dialog\u0105 hebraj\u0173 ir arab\u0173 kalbomis, matome Kristaus gyvenimo istorijos elementus, \u0161amani\u0161kas apeigas, greta butaforini\u0173 arkli\u0173 i\u0161kam\u0161\u0173 spektaklyje veikia ir ritualin\u0117 lazda, medinis peilis, palutes primenan\u010dios med\u017eiagos skiaut\u0117s…<\/p>\n

\"\"<\/p>\n

Spektaklyje pasi\u016blydamas daug detali\u0173, v\u0117lyvojo romantizmo muzikos fone, A.\u00a0Platelis tampa labai jutimi\u0161kai \u017ei\u016brimas. Jutimi\u0161ki buvo ankstesniuose festivaliuose \u201eNaujasis Baltijos \u0161okis\u201c matyti Sashos Waltz \u201eK\u016bnai\u201c ar Marie Chouinard \u201ebODY_rEMIX\/gOLDBERG_vARIATIONS\u201c, ta\u010diau pagrindin\u0117 \u201enicht schlafen\u201c problema ta, kad \u010dia n\u0117ra jokio i\u0161\u0161\u016bkio \u017ei\u016brovo intelektui. Rodos, A.\u00a0Platelis pernelyg gerai \u017eino, kaip patenkinti juslinius publikos poreikius ir tuo naudojasi, lyg b\u016bt\u0173 ne \u0161iuolaikinis menininkas, o komercinio teatro re\u017eisierius. D\u0117l ma\u017eiau i\u0161reik\u0161to \u0161okio ir dominuojan\u010di\u0173 kit\u0173 men\u0173 \u201enicht schlafen\u201c priskir\u010diau muzikinio teatro \u017eanrui, o d\u0117l santykio su publika \u2013 \u0161iuolaikiniam bur\u017euaziniam teatrui. Prat\u0119siant prie\u0161 23 metus J.\u00a0Javai\u010dio laidoje i\u0161sakytas Rolando Rastausko mintis, galima teigti, kad \u0161iandien A.\u00a0Platelis vis dar yra laisv\u0117s scenoje aprai\u0161ka. Ta\u010diau \u0161iandien atvir\u0105 nerv\u0105 \u017eymiai tiksliau kabina jaunesn\u0117s kartos menininkai. \u012edomu, ar tai \u2013 nei\u0161vengiamas menininko raidos kelias?<\/p>\n

\u017di\u016br\u0117ti vis\u0105 J.\u00a0Javai\u010dio laid\u0105 apie A.\u00a0Platelio \u201eBonjour, Madame\u201c<\/em>.<\/a><\/p>\n

 <\/p>\n

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

\u201eBelg\u0173 teatras mane erzina savo sterilumu. Tai \u2013 bur\u017euazinis teatras, kuriame taisyklingai \u0161nekama, profesional\u016bs aktoriai gerai vaidina labai gra\u017eioje scenoje, …<\/p>\n","protected":false},"author":2,"featured_media":810,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":[],"categories":[19],"tags":[],"yoast_head":"\n\u201enicht schlafen\u201c \u2013 bur\u017euazinis muzikinis teatras - 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\/28\/nicht-schlafen-burzuazinis-muzikinis-teatras\/\" \/>\n<meta property=\"og:locale\" content=\"lt_LT\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"\u201enicht schlafen\u201c \u2013 bur\u017euazinis muzikinis teatras - Lithuanian Dance Centre\" \/>\n<meta property=\"og:description\" content=\"\u201eBelg\u0173 teatras mane erzina savo sterilumu. 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