{"id":9618,"date":"2020-11-23T19:03:47","date_gmt":"2020-11-23T17:03:47","guid":{"rendered":"http:\/\/dance.lt\/new\/?p=9618"},"modified":"2021-01-27T13:09:34","modified_gmt":"2021-01-27T11:09:34","slug":"kuryba-kaip-priemone-nebebuti-vienam","status":"publish","type":"post","link":"https:\/\/dance.lt\/new\/2020\/11\/23\/kuryba-kaip-priemone-nebebuti-vienam\/","title":{"rendered":"K\u016bryba kaip priemon\u0117 nebeb\u016bti vienam"},"content":{"rendered":"

Meno k\u016briniai \u2013 kaip ir juos reflektuojantys tekstai \u2013 visuomet yra asmeni\u0161ki ir pirmiausiai pasakoja apie j\u0173 autorius. Steb\u0117dami dokumentinio teatro ir asmenin\u0117mis patirtimis paremt\u0173 spektakli\u0173 populiar\u0117jim\u0105 suprantame, kad kuo toliau, tuo ma\u017eiau menininkai tai maskuoja. \u012e \u0161\u012f pos\u016bk\u012f galima \u017evelgti per socialini\u0173 tinkl\u0173 prizm\u0119, analizuojant ekshibicionistinius \u017emoni\u0173 polinkius. Vis d\u0117lto pravartu pasteb\u0117ti ir kur kas siauresnio rato interesus apib\u016bdinant\u012f rei\u0161kin\u012f \u2013 terapin\u012f tokio meno poveik\u012f.<\/p>\n

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\nNuotrauk\u0173 autorius: Dainius Putinas (Dainius Photo)<\/em><\/p>\n

Paprastai k\u016br\u0117jai patys deklaruoja, kad vienas svarbiausi\u0173 spektaklio tiksl\u0173 \u2013 patiems suprasti save ir pasidalinti patirtimis su \u017ei\u016brovais, galb\u016bt i\u0161gyvenan\u010diais pana\u0161ias situacijas ar emocijas. Kai tam pasirenkama menin\u0117 i\u0161rai\u0161ka, logi\u0161ka vertinti k\u016brin\u012f, atsi\u017evelgiant \u012f scenoje naudojam\u0173 priemoni\u0173 poveik\u012f. Ta\u010diau k\u016br\u0117jams darbuose atveriant traumuojan\u010dias patirtis, kriti\u0161kas \u017evilgsnis i\u0161 \u0161alies darosi kiek pavojingas. Pirma \u2013 tokiais atvejais k\u016br\u0117jai tampa kur kas jautresni; antra \u2013 tam, kad suprastume ir paai\u0161kintume, kaip tokie k\u016briniai veikia, reikalingi psichologijos ar psichoterapijos \u017eini\u0173 pagrindai, nes menin\u0117s priemon\u0117s, kurias esame prat\u0119 analizuoti, \u0161iais atvejais t\u0117ra si\u016blai istorijoms ar emocijoms sutvirtinti.<\/p>\n

Lapkri\u010dio 14 dien\u0105 Meno ir mokslo laboratorija i\u0161 savo b\u016bstin\u0117s Vokie\u010di\u0173 gatv\u0117je tiesiogiai transliavo Gretos Grinevi\u010di\u016bt\u0117s spektakl\u012f \u201e\u0160okis skalbimo ma\u0161inai ir mamai\u201c. Tai \u2013 antroji k\u016br\u0117jos sumanyto triptiko dalis, sekanti 2018-aisiais \u012fvykusi\u0105 \u201e\u0160okio dulki\u0173 siurbliui ir t\u0117\u010diui\u201c premjer\u0105. Interviu prie\u0161 spektakl\u012f k\u016br\u0117ja teig\u0117 ne\u017einojusi, kaip \u0161okti mirusiai mamai, nes jos beveik neprisimena. Tik\u0117tina, kad tai (galb\u016bt pas\u0105moningai) tapo viena prie\u017eas\u010di\u0173 pakviesti prisijungti scenos partner\u012f \u2013 \u0161ok\u0117j\u0105 ir choreograf\u0105 Andri\u0173 Katin\u0105. Jis tapo ap\u010diuopiamu rams\u010diu temoje, kurioje G. Grinevi\u010di\u016bt\u0117 nerado u\u017e ko kibtis, ta\u010diau vis tiek jaut\u0117 (kaip suprantu i\u0161 interviu<\/a><\/strong> ir jos savireprezentacijos spektaklyje) nenumaldom\u0105 poreik\u012f ja kalb\u0117ti.<\/p>\n

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Atramos poreikis paai\u0161k\u0117ja spektaklio prad\u017eioje, kai kalb\u0117dama su A. Katinu telefonu, \u0161ok\u0117ja pasitikslino: \u201ePab\u016bsi kartu?\u201c, o jis atsak\u0117: \u201e\u017dinoma. O k\u0105, galvojai \u2013 paliksiu?\u201c Tai \u2013 viena i\u0161 tiksliai parinkt\u0173 spektaklio detali\u0173, kuriose persidengia fragmenti\u0161kas prisiminimas ir vientisa, ry\u0161ki, tikra emocija to prisiminimo at\u017evilgiu. Kitaip sakant, viename ta\u0161ke jungiasi i\u0161bluk\u0119s subjekto vaizdas ir ry\u0161kios emocijos to subjekto at\u017evilgiu.<\/p>\n

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\u201e\u0160okis skalbimo ma\u0161inai ir mamai\u201c sukurtas i\u0161 tarsi atsitiktini\u0173 dalyk\u0173 \u2013 pokalbio telefonu, atlik\u0117j\u0173 improvizacij\u0173 su p\u0117dkeln\u0117mis, dviej\u0173 skalbimo ma\u0161in\u0173 scenografijos, etc.. Ilgainiui integruojami trumpi epizodai, netik\u0117tai atveriantys akis ir paai\u0161kinantys pasirinktus sceninius sprendimus. Tod\u0117l spektaklio metu kelis kartus aplanko jausmas, tarsi ilg\u0105 laik\u0105 spr\u0119stum u\u017edavin\u012f ir negal\u0117tum atrasti tinkamo pri\u0117jimo, o tuomet staiga atkreiptum d\u0117mes\u012f \u012f detal\u0119-sprendimo rakt\u0105 ir viskas i\u0161sispr\u0119st\u0173 greitai bei skland\u017eiai. Toks atrasto kelio d\u017eiaugsmas kyla min\u0117tame atlik\u0117j\u0173 pokalbio epizode, taip pat i\u0161girdus, kad G. Grinevi\u010di\u016bt\u0117s mama turguje pardavin\u0117davo p\u0117dkelnes, bei paskutinio skalbimo ma\u0161in\u0173 \u0161okio metu, kai vienas prietais\u0173 pradeda jud\u0117ti ir reikalauti d\u0117mesio i\u0161 kito \u2013 gyvyb\u0117s \u017eenkl\u0173 nerodan\u010dio. Lygiai kaip keliolika minu\u010di\u0173 anks\u010diau dar\u0117 pati atlik\u0117ja.<\/p>\n

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Toks \u0161okio spektaklio k\u016brimo principas yra tarsi pusiausvyros paie\u0161ka tarp abstraktaus k\u016brinio, reikalaujan\u010dio asmeninio s\u0105moningo \u017ei\u016brovo \u012fsitraukimo, bei paprastai ir ai\u0161kiai atliekamo vien\u0105 tem\u0105 reprezentuojan\u010dio darbo. \u201e\u0160okis skalbimo ma\u0161inai ir mamai\u201c sukuria s\u0105lygas \u017ei\u016brovui jaustis sutrikusiam, o tada, neu\u017elaikydamas tokioje b\u016bsenoje per ilgai, pasi\u016blo nuorod\u0105, kaip i\u0161 to i\u0161eiti.<\/p>\n

\u0160iuo metu daugiausiai klausim\u0173 kelia du dalykai. Pirmasis \u2013 A. Katino pasirodymas, kuriam \u012fvykti pagal plan\u0105 sutrukd\u0117 pandemijos lemti apribojimai. Jis buvo nufilmuotas ir transliuojamas kair\u0117je pus\u0117je pad\u0117tame kompiuterio ekrane, prakti\u0161kai neatlikdamas jokio vaidmens. \u017di\u016brovai j\u012f mat\u0117 fragmenti\u0161kai, tad nebuvo kaip susidaryti \u012fsp\u016bd\u012f, nepavyko pamatyti \u0161ios spektaklio dalies vientisumo ir ry\u0161io su kitais elementais. Prie\u0161ingai nutiko pokalbi\u0173 scenose \u2013 A. Katino balsas tam tikra prasme tapo G. Grinevi\u010di\u016bt\u0117s mamos \u012fvaizd\u017eiu \u2013 ka\u017ekuo, kas visada \u0161alia, nesvarbu, ar to ka\u017eko klausoma, ar tai atstumiama, ar \u012f tai kabinamasi kaip \u012f vienintel\u012f ir svarbiausi\u0105 ry\u0161\u012f, prie\u0161nuod\u012f nuo vienatv\u0117s.<\/p>\n

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Kitas klausim\u0173 keliantis epizodas \u2013 G. Grinevi\u010di\u016bt\u0117s kreipimasis \u012f mam\u0105, prisipa\u017e\u012fstant, kad ant jos pyksta, j\u0105 kaltina. Negaliu \u017einoti, kas scenos metu vyko atlik\u0117jos viduje, ta\u010diau susidar\u0117 \u012fsp\u016bdis, kad ji realiai i\u0161gyveno li\u016bdes\u012f, kan\u010di\u0105, pykt\u012f, skausm\u0105, ilges\u012f. Tokios akimirkos \u017ei\u016brovus paveikia labiausiai ir neabejoju, kad \u0161\u012fkart nutiko pana\u0161iai. Pati manau, kad toks pasirinkimas \u0161iek tiek pavojingas.<\/p>\n

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Pirma \u2013 laikausi pozicijos, kad atlik\u0117jas scenoje netur\u0117t\u0173 i\u0161 tikr\u0173j\u0173 kent\u0117ti. Prie\u0161ingu atveju meno k\u016brinys pagimdomas \u017ealos s\u0105skaita, tampa kiek ekshibicionisti\u0161kas bei (net jei k\u016br\u0117ja s\u0105moningai to nesiekia) manipuliuoja \u017ei\u016brovais, nepalikdamas jiems kitos i\u0161eities, kaip tik u\u017ejausti, gail\u0117ti. Antra \u2013 \u0161ios scenos paveikumas ilgainiui ma\u017e\u0117s, nes kartojant skaud\u017eius i\u0161gyvenimus, procesas suveiks kaip psichoterapija: kartojant t\u0105 pat\u012f, emocijos slops. Neabejoju, kad \u201e\u0160okis skalbimo ma\u0161inai ir mamai\u201c tapo tam tikra terapija pa\u010diai atlik\u0117jai, juolab, ji apie tai beveik atvirai kalba interviu. \u010cia mano kompetencijos baigiasi, u\u017eleisdamos viet\u0105 norui, kad tokio pob\u016bd\u017eio darb\u0105 analizuot\u0173 profesional\u016bs psichologai. Tai b\u016bt\u0173 nepaprastai \u012fdomu ir, neabejoju, paskatint\u0173 platesnes menines analizes be poreikio i\u0161likti empati\u0161kais.<\/p>\n

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Prie \u201e\u0160okio skalbimo ma\u0161inai ir mamai\u201c prisid\u0117jo kur kas ma\u017eiau \u017emoni\u0173 nei kuriant \u201e\u0160ok\u012f dulki\u0173 siurbliui ir t\u0117\u010diui\u201c, ta\u010diau \u0161\u012fkart pasirinkt\u0173j\u0173 ind\u0117lis itin ry\u0161kus. Kompozitor\u0117s Agn\u0117s Matulevi\u010di\u016bt\u0117s kurta muzika, istorij\u0173 ir lop\u0161ini\u0173 \u012fra\u0161ai bei kompiliacijos tapo savaranki\u0161ku veik\u0117ju, dar vienu G. Grinevi\u010di\u016bt\u0117s scenos partneriu. Tai veik\u0117jas, gim\u0119s i\u0161 \u0161iandienin\u0117s atlik\u0117jos aplinkos, kuri\u0105 ji susik\u016br\u0117 vien savo j\u0117gomis, be mamos palaikymo. Tokiame pasaulyje dalis rei\u0161kini\u0173 veikia nepriklausomai nuo \u0161ok\u0117jos veiksm\u0173, o dalis kuria pana\u0161i\u0105 dram\u0105, kaip G. Grinevi\u010di\u016bt\u0117s monologas mamai. Tai sufleruoja dalies balsus \u012fra\u0161iusi\u0173j\u0173 \u017emoni\u0173 kalb\u0117jimo tonas.<\/p>\n

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Neabejoju, kad kuriant daugyb\u0119 id\u0117j\u0173 ir i\u0161rai\u0161kos priemoni\u0173 integruojan\u010dio spektaklio tvark\u0105 daug prisid\u0117jo dramaturg\u0117s Kristina Steiblyt\u0117 ir Sigita Iva\u0161kait\u0117. \u201e\u0160okyje skalbimo ma\u0161inai ir mamai\u201c egzistuoja keletas skirting\u0173 \u017eodinio teksto form\u0173: gyvas pokalbis, \u012fra\u0161yti pasakojimai, paruo\u0161ti monologai, dainos. Tam, kad viskas jungt\u0173si su \u0161okio tekstu, kad k\u016brinys, likdamas i\u0161trauka i\u0161 gyvenimo, visgi tur\u0117t\u0173 \u012f\u017eang\u0105 ir i\u0161vadas, svarbu atrasti nat\u016brali\u0105 veiksmo kait\u0105 ir jungtis. Prie\u0161ingu atveju k\u016brinys b\u016bt\u0173 lik\u0119s pakaitomis sud\u0117liot\u0173 \u201e\u0161ok\u0117ji\u0161k\u0173\u201c ir \u201evaidybi\u0161k\u0173\u201c scen\u0173 vaizdiniu. G. Grinevi\u010di\u016bt\u0117s spektaklyje i\u0161rai\u0161k\u0173 kaita nekelia logikos klausim\u0173, be to, \u010dia puikiai apskai\u010diuota kiekvienai scenai reikalinga laiko trukm\u0117.<\/p>\n

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\u201e\u0160okis skalbimo ma\u0161inai ir mamai\u201c kompiuterio ekrane i\u0161liko emoci\u0161kai ry\u0161kus ir paveikus. Galb\u016bt to pakanka \u2013 juk k\u016br\u0117ja nesl\u0117p\u0117, kad k\u016brinys gim\u0117 i\u0161 stipri\u0105 emocij\u0105 k\u0117lusio poreikio, i\u0161 b\u016btinyb\u0117s. Drauge svarbu pasteb\u0117ti, kad meninis spektaklio apipavidalinimas i\u0161 principo tikslus, adekvatus, vientisas, o i\u0161lik\u0119 problemos bus sprend\u017eiamos atradus koronaviruso vakcin\u0105.<\/p>\n

Ir kol tai \u012fvyks, galb\u016bt i\u0161sikristalizuos ir pa\u010di\u0173 emocionaliausi\u0173 scen\u0173 esm\u0117.<\/p>\n

—<\/p>\n

Projekt\u0105 \u201e\u0160okio, cirko aktualijos: analiz\u0117, naujienos, ugdymas\u201c dalinai finansuoja Spaudos, radijo ir televizijos r\u0117mimo fondas.<\/p>\n

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

Meno k\u016briniai \u2013 kaip ir juos reflektuojantys tekstai \u2013 visuomet yra asmeni\u0161ki ir pirmiausiai pasakoja apie j\u0173 autorius. Steb\u0117dami dokumentinio …<\/p>\n","protected":false},"author":2,"featured_media":9626,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":[],"categories":[9],"tags":[],"yoast_head":"\nK\u016bryba kaip priemon\u0117 nebeb\u016bti vienam - 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\/11\/23\/kuryba-kaip-priemone-nebebuti-vienam\/\" \/>\n<meta property=\"og:locale\" content=\"lt_LT\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"K\u016bryba kaip priemon\u0117 nebeb\u016bti vienam - Lithuanian Dance Centre\" \/>\n<meta property=\"og:description\" content=\"Meno k\u016briniai \u2013 kaip ir juos reflektuojantys tekstai \u2013 visuomet yra asmeni\u0161ki ir pirmiausiai pasakoja apie j\u0173 autorius. 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