{"id":9906,"date":"2020-12-23T18:06:30","date_gmt":"2020-12-23T16:06:30","guid":{"rendered":"http:\/\/dance.lt\/new\/?p=9906"},"modified":"2021-02-03T12:13:17","modified_gmt":"2021-02-03T10:13:17","slug":"laura-simkute-sokiui-scena-nebutina-arba-kaip-ne-tik-isnaudoti-bet-ir-pranokti-aplinkybes","status":"publish","type":"post","link":"https:\/\/dance.lt\/new\/2020\/12\/23\/laura-simkute-sokiui-scena-nebutina-arba-kaip-ne-tik-isnaudoti-bet-ir-pranokti-aplinkybes\/","title":{"rendered":"Laura \u0160imkut\u0117. \u0160okiui scena neb\u016btina, arba Kaip ne tik i\u0161naudoti, bet ir pranokti aplinkybes"},"content":{"rendered":"

\u0160iandieniame kontekste, kalbant apie scenos menus, ne\u012fmanoma nepamin\u0117ti \u2013 pandemija pakoregavo m\u016bs\u0173 \u012fpro\u010dius ir patyrim\u0105. Filmus \u017ei\u016br\u0117ti per ma\u017eus ekranus buvome \u012fprat\u0119 (kaip kitaip pa\u017ei\u016br\u0117ti jau seniai kino teatruose neberodom\u0105 klasik\u0105?), o gyvumu, buvimu \u010dia ir dabar varom\u0173 \u0161okio ar teatro darb\u0173 steb\u0117jimas virtualiai i\u0161 prad\u017ei\u0173 k\u0117l\u0117 oportunistin\u012f geismo kult\u016brai jausm\u0105.<\/p>\n

Paskui, susipratus, kokios prastos vaizdo prasme kokyb\u0117s darbus tenka steb\u0117ti, geism\u0105 pakeit\u0117 nuobodulys ir klausimas \u201eKiek galima?\u201c, nes \u0161itokiu b\u016bdu paremtai medij\u0173 draugystei nebuvo lemta i\u0161sipildyti. Da\u017eniausiai per kameros \u017evilgsn\u012f vis prasimu\u0161davo noras parodyti teatr\u0105 tok\u012f, koks jis b\u016bna gyvai, nors, atrodo, reik\u0117t\u0173 kaip tik pam\u0117ginti rasti bendr\u0105 vardikl\u012f \u2013 pasitelkus kameros \u017evilgsn\u012f sukurti nauj\u0105 patirt\u012f.<\/p>\n

Pandemija pakoregavo ne tik scenos men\u0173 patyrim\u0105, bet ir festivalin\u0119 patirt\u012f \u2013 buvimo bendruomen\u0117je \u0161vent\u0119 ima keisti buvimo su savimi \u0161vent\u0117. Kiekvien\u0105 k\u016brin\u012f patiri individualiai, sau, kokia nori tvarka, kokiu nori laiku \u2013 i\u0161band\u0117me nam\u0173 kino festivalius, metas buvo paragauti ir virtualaus \u201eNaujojo Baltijos \u0161okio\u201c \u2013 festivalio, kur\u012f \u0161okio bendruomen\u0117 ir \u012fvardija kaip buvimo kartu \u0161vent\u0119.<\/p>\n

Organizatoriai, regis, naiviai nesitik\u0117jo, kad pavyks k\u016brinius parodyti gyvai, \u2013 juk festival\u012f kart\u0105 jau teko nukelti, tod\u0117l b\u016bt\u0173 buv\u0119 apmaudu, jei b\u016bt\u0173 tek\u0119 kartoti scenarij\u0173. Pasiruo\u0161\u0117 atsargin\u012f plan\u0105 ir pristat\u0117 \u0161okio film\u0173 \u2013 neilg\u0173, \u012fvairi\u0173 ir laisvai 30 dien\u0173 prieinam\u0173 internete \u2013 program\u0105.<\/p>\n

Kaip vardikl\u012f, jungiant\u012f \u0161i\u0105 program\u0105, norisi pamin\u0117ti veikim\u0105 kartu su medija, o ne prie\u0161 j\u0105. \u0160okio filmai sukurti taip, kad juos galima vis\u0173 pirma ir \u017ei\u016br\u0117ti kaip trumpametra\u017eius filmus, \u2013 u\u017e j\u0173 slypi apgalvota vaizdo re\u017eis\u016bra, leid\u017eianti judan\u010diam k\u016bnui veikti kartu su monta\u017eu, muzika, o ne tiesiog be papildomos minties, be meninio u\u017emojo perteikti tai, k\u0105 b\u016bt\u0173 galima pamatyti scenoje.<\/p>\n

Programoje \u2013 11 film\u0173, apr\u0117pian\u010di\u0173 pla\u010di\u0105 auditorij\u0105: nuo klasikos m\u0117g\u0117jams pritaikyto baleto \u201e\u017dizel\u201c iki naujojo cirko element\u0173 turin\u010di\u0173 \u201eDid\u017ei\u0173j\u0173 vaiduokli\u0173\u201c. Tad atrasti savo film\u0105 tur\u0117t\u0173 b\u016bti nesunku kiekvienam.<\/p>\n

Lietuvi\u0161k\u0105j\u0105 film\u0173 program\u0105 vienijantis vardiklis \u2013 lauko erdvi\u0173 i\u0161naudojimas, scenos fizinis prapl\u0117timas. Judesys u\u017e juodos d\u0117\u017eut\u0117s i\u0161eina ir organi\u0161kai \u012fsilieja \u012f pla\u010dias ir neapr\u0117piamas kopas ar mil\u017eini\u0161kus mi\u0161kus. Toks net, galima sakyti, reveransas laisvei. Toks i\u0161\u0117jimas u\u017e praple\u010dia ir dramaturgines galimybes b\u016btent filmo prasme \u2013 i\u0161 karto nebelieka \u201e\u010dia b\u016btinai spektaklis\u201c prieskonio ir galima tiesiog susidaryti \u012fsp\u016bd\u012f \u2013 filmo herojai vietoj verbalin\u0117s renkasi judesio kalb\u0105, ir kone eksperimentinio kino pavyzdys.<\/p>\n

\"\"<\/a>Kadras i\u0161 filmo \u201eTankyn\u0117\u201c<\/em><\/p>\n

\u017dinoma, skiriasi lygmenys, kuriais pasiduota kino taisykl\u0117ms: u\u017esienio programos filmai, kuri\u0173, tik\u0117tina, nema\u017ea dalis lauk\u0117 labiausiai, yra kaip tik ma\u017eiausiai filmai \u2013 labiau gerai nufilmuoti sceniniai pastatymai. \u0160is apib\u016bdinimas visi\u0161kai tinka baletui \u201e\u017dizel\u201c, kuris tiesiogine to \u017eod\u017eio prasme ir yra spektaklio \u012fra\u0161as. \u201eKlounai\u201c, kuri\u0173, deja, pamatyti jau nepavyks, \u2013 irgi d\u0117\u017eut\u0117je veikiantis k\u016brinys, kur\u012f i\u0161ve\u017ea dinami\u0161kas judesys ir kartu su choreografija veikianti kamera, tinkamai ved\u017eiojanti ir re\u017eisuojanti \u017evilgsn\u012f. \u201eDidieji vaiduokliai\u201c irgi pra\u0161osi sceninio patyrimo, ta\u010diau pasirinktos lokacijos padeda sukurti papildomo monumentalumo \u012fsp\u016bd\u012f.<\/p>\n

Monumentalus ir lietuvi\u0161kas \u201eDirbtinis\u201c \u2013 minimalistin\u0117 muzika kop\u0173 vaizduose s\u0105veikauja su preki\u0173 \u017eenklo \u201eBalenciaga\u201c vertais kostiumais ir pagal muzik\u0105 veikian\u010diu monta\u017eu. Muzikos ir monta\u017eo s\u0105veika \u2013 turb\u016bt vienas i\u0161 veiksni\u0173, padedan\u010di\u0173 dar geriau pasinerti \u012f b\u016btent estetin\u012f \u0161okio film\u0173 pasaul\u012f, u\u017esimir\u0161tant, kad did\u017eiausias d\u0117mesys lyg ir tur\u0117t\u0173 b\u016bti skirtas k\u016bno plastikai.<\/p>\n

\"\"<\/a>Kadras i\u0161 filmo \u201eDirbtinis\u201c<\/em><\/p>\n

\u0160tai giliuose mi\u0161kuose nufilmuota \u201eTankyn\u0117\u201c i\u0161 visos programos turb\u016bt ar\u010diausiai kino kaip kino \u2013 yra visas naratyvas, kuris dar ir \u012f\u017eodinamas, ai\u0161kiai susipa\u017e\u012fstame su veik\u0117jais, j\u0173 kuriamais santykiais, i\u0161girstame esmin\u012f konflikt\u0105. Staigaus monta\u017eo kuriama \u012ftampa vis did\u0117ja ai\u0161k\u0117jant, kokia lemtis laukia veikian\u010di\u0173j\u0173, \u2013 \u0161okis \u0161iame filme tiesiog pranyksta ir, atrodo, \u0161okan\u010di\u0173j\u0173 plasti\u0161kas nerangumas tampa persona\u017eine ypatybe, veikian\u010dia lyg tarp kitko.<\/p>\n

\u201eLow Air\u201c \u0161okio filmas \u201e\u017daidimas baigtas\u201c savo estetika yra labai arti muzikinio vaizdo klipo \u2013 sunku suprasti, kas vyksta, ta\u010diau \u017eaidimas \u0161viesomis, vietomis, kostiumais ir stati\u0161kumu kuria \u012fsp\u016bd\u012f, tarytum b\u016btum papuol\u0119s \u012f tamsius elitini\u0173 Berlyno klub\u0173 r\u016bsius. Tamsu, kausto prie ekrano, sklinda kietumo \u012fsp\u016bdis. Saldainis akims, ir neb\u016btina i\u0161manyti \u0161okio, kad gal\u0117tum m\u0117gautis.<\/p>\n

Kaip savo scenin\u0117s versijos t\u0119sinys suveikia \u201eSomaholidays\u201c, kuris atrodo kaip draug\u0173 kompanijos \u012fam\u017eintas ypa\u010d smagus pasibuvimas gamtoje \u2013 atitr\u016bkimas nuo realyb\u0117s mi\u0161ke, pabuvimas kitoje realyb\u0117je, patir\u010di\u0173 prisirinkimas, mentalin\u0117 ir fizin\u0117 kelion\u0117 viename. Ypatinga estetika filmas gal ir nepasi\u017eymi, bet visuma veikia \u2013 tikslas pateisina priemones.<\/p>\n

 <\/p>\n

\"\"<\/a> Kadras i\u0161 filmo \u201e\u017daidimas baigtas\u201c<\/em><\/p>\n

Ypa\u010d meditatyv\u016bs ir visi\u0161k\u0105 ramyb\u0119 kadrais perteikiantys yra filmai \u201ePo oda\u201c ir \u201eMA 108\u201c \u2013 kopos, saul\u0117 ir sm\u0117lis kuria atitinkam\u0105 nusiteikim\u0105 \u2013 vaizdai teka tarytum j\u016bros padiktuotu ritmu \u2013 l\u0117tai, leid\u017eiant \u012fsi\u017ei\u016br\u0117ti, gal net pasiskandinti mintyse.<\/p>\n

Jei norite egzotini\u0173 vaizd\u0173, vert\u0117t\u0173 \u012fsijungti \u201eSakura Dream\u201c. Lietuvio akiai pritaikyti japoni\u0161kos \u0161ventyklos vaizdai \u2013 ry\u0161k\u016bs ir traukiantys ak\u012f, o kino prasme atliktas nemenkas darbas \u2013 monta\u017eas priver\u010dia sutelkti d\u0117mes\u012f ir kamera tinkamai pasukioja \u017evilgsn\u012f \u012f detales, kurios padeda susigaudyti visame vyksme.<\/p>\n

\u201eM(e)&M(other)\u201c \u2013 emocijomis \u017eaid\u017eiantis filmas ne tik pasirinkta mamos ir s\u016bnaus ry\u0161io tema, bet ir kino priemon\u0117mis \u2013 \u010dia susiduriame su iliustratyvia muzika, kuri diktuoja \u017ei\u016brovui jausm\u0105, \u2013 kamera, gretinanti mam\u0105 ir s\u016bn\u0173, br\u0117\u017eianti tarytum nematom\u0105 tilt\u0105 tarp j\u0173, tik dar labiau padeda i\u0161ry\u0161kinti jautrum\u0105 ir asmeni\u0161kum\u0105, \u012fgaunant\u012f dokumentalumo atspalv\u012f.<\/p>\n

\"\"<\/a>Kadras i\u0161 filmo \u201eMA 180\u201c<\/em><\/p>\n

I\u0161 pirmo \u017evilgsnio gali pasirodyti, kad \u0161okio filmai pameta, atrodo, esmin\u012f savo atstovaujamos meno krypties element\u0105 \u2013 \u0161ok\u012f, ta\u010diau, \u017evelgiant i\u0161 \u017ei\u016br\u0117jimo per ekran\u0105 perspektyvos, kaip tik subalansuoja visk\u0105 taip, kad \u017ei\u016brovas, net ir tas, kuris \u012f \u0161ok\u012f gyvai nevaik\u0161to, gal\u0117t\u0173 patirti \u017ei\u016br\u0117jimo malonum\u0105, pasig\u0117r\u0117ti b\u016btent si\u016bloma estetika.<\/p>\n

Saky\u010diau, tai parodo, kaip puikiai scenos menas gali s\u0105veikauti su kino medija, tereikia atrasti prizm\u0119, per kuri\u0105 abu elementai, nebandydami paneigti vienas kito, sukurt\u0173 bendr\u0105 produkt\u0105. Ir \u0161iuo atveju atrodo, kad \u0161okio film\u0173 \u017eanras (kuris, beje, n\u0117ra naujiena) \u2013 pavyzdys, kaip prisitaikymas prie aplinkybi\u0173 kuria kokyb\u0119 ir padeda pranokti, i\u0161pl\u0117sti \u012fprastin\u0117mis laikomas ribas ir i\u0161 pandemin\u0117s situacijos i\u0161pe\u0161ti k\u016brybin\u012f aukso puod\u0105.<\/p>\n

Lauros \u0160imkut\u0117s \u0161oki\u0173 film\u0173 ap\u017evalga skamb\u0117jo per LRT KLASIKOS laid\u0105 \u201ePilno metro\u201c.<\/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":"

\u0160iandieniame kontekste, kalbant apie scenos menus, ne\u012fmanoma nepamin\u0117ti \u2013 pandemija pakoregavo m\u016bs\u0173 \u012fpro\u010dius ir patyrim\u0105. Filmus \u017ei\u016br\u0117ti per ma\u017eus ekranus …<\/p>\n","protected":false},"author":2,"featured_media":9702,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":[],"categories":[9],"tags":[],"yoast_head":"\nLaura \u0160imkut\u0117. \u0160okiui scena neb\u016btina, arba Kaip ne tik i\u0161naudoti, bet ir pranokti aplinkybes - 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\/12\/23\/laura-simkute-sokiui-scena-nebutina-arba-kaip-ne-tik-isnaudoti-bet-ir-pranokti-aplinkybes\/\" \/>\n<meta property=\"og:locale\" content=\"lt_LT\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Laura \u0160imkut\u0117. \u0160okiui scena neb\u016btina, arba Kaip ne tik i\u0161naudoti, bet ir pranokti aplinkybes - Lithuanian Dance Centre\" \/>\n<meta property=\"og:description\" content=\"\u0160iandieniame kontekste, kalbant apie scenos menus, ne\u012fmanoma nepamin\u0117ti \u2013 pandemija pakoregavo m\u016bs\u0173 \u012fpro\u010dius ir patyrim\u0105. 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