{"id":32181,"date":"2023-07-23T12:50:01","date_gmt":"2023-07-23T10:50:01","guid":{"rendered":"https:\/\/www.nemunas.press\/?p=32181"},"modified":"2023-07-23T13:50:43","modified_gmt":"2023-07-23T11:50:43","slug":"milo-rau-dokumentinis-teatras-tarp-realaus-ir-neegzistuojancio","status":"publish","type":"post","link":"https:\/\/www.nemunas.press\/straipsniai\/milo-rau-dokumentinis-teatras-tarp-realaus-ir-neegzistuojancio\/","title":{"rendered":"MILO RAU DOKUMENTINIS TEATRAS: TARP REALAUS IR NEEGZISTUOJAN\u010cIO"},"content":{"rendered":"<p>[vc_row row_type=&#8221;row&#8221; use_row_as_full_screen_section=&#8221;no&#8221; type=&#8221;full_width&#8221; text_align=&#8221;left&#8221; background_animation=&#8221;none&#8221; css_animation=&#8221;&#8221;][vc_column][vc_column_text el_class=&#8221;post_txt&#8221;]<em>Vienas ry\u0161kiausi\u0173 art\u0117jan\u010dio Vilniaus tarptautinio teatro festivalio \u201eSirenos\u201c sve\u010di\u0173\u00a0\u2013 \u0161veicar\u0173 re\u017eisierius Milo Rau. \u012e diskusijas socialin\u0117mis temomis besileid\u017eiantis, \u017ei\u016brov\u0105 provokuojantis politini\u0173, dokumentini\u0173 spektakli\u0173 ir vieno prie\u0161taringiausiai vertinam\u0173 pastar\u0173j\u0173 met\u0173 teatro manifest\u0173 autorius intensyviai kovoja u\u017e sav\u0105j\u012f realyb\u0117s teatr\u0105, dr\u0105siai analizuodamas \u012fvairias socialines traumas. Jis taip pat yra kino k\u016br\u0117jas, sociologas, ra\u0161ytojas. Anks\u010diau Milo ilg\u0105 laik\u0105 reng\u0117 reporta\u017eus i\u0161 konflikt\u0173 zon\u0173, \u0160iaur\u0117s Irako ir Sirijos, o 2007-aisiais \u012fk\u016br\u0117 Tarptautin\u012f politin\u0117s \u017emog\u017eudyst\u0117s institut\u0105 (<\/em>International Institute of Political Murder<em>). Jau rugs\u0117j\u012f \u201eSirenose\u201c jis pristatys spektakl\u012f \u201ePakartojimas. Histoire(s) du th\u00e9\u00e2tre (I)\u201c (tai nuo 2018-\u0173j\u0173 pl\u0117tojamo ciklo dalis), su profesionali\u0173 ir neprofesionali\u0173 aktori\u0173 komanda atkuriant\u012f Ihsane\u2019o Jarfi nu\u017eudymo byl\u0105.<\/em><!--more--><\/p>\n<h6>\u0160i\u0173 met\u0173 festivalio tema\u00a0\u2013 \u017eodis. Kok\u012f j\u012f matote \u0161iandieniniame teatre? Min\u0117tame j\u016bs\u0173 spektaklyje sakoma: \u201eVaidinti\u00a0\u2013 tai tarsi pristatyti pic\u0105, bet svarbu ne pristatymo veiksmas, o pati pica.\u201c Kas \u0161iuo atveju yra tekstas\u00a0\u2013 vienas i\u0161 prieskoni\u0173 ar pagrindinis ingredientas?<\/h6>\n<p>Teatras tur\u0117t\u0173 b\u016bti k\u016brybin\u0117s praktikos platforma. Man kelia abejoni\u0173, kai remiamasi vien nusistov\u0117jusiu repertuaru ir laikomasi kanoninio teksto principo, ne\u012fsileid\u017eiant originalios minties. Aktoriai tur\u0117t\u0173 patys rinktis savo \u017eod\u017eius, tod\u0117l nesutinku su tradiciniu po\u017ei\u016briu. Man teko garb\u0117 de\u0161imtmet\u012f bendradarbiauti su puikiu aktoriumi i\u0161 Belgijos\u00a0\u2013 Johanu Leysenu. Jis dirbo net Holivude, taip pat ir su Godard\u2019u! Pasi\u017eym\u0117jo i\u0161skirtiniu k\u016brybi\u0161kumu, o meno formos esm\u0117 jam rei\u0161k\u0117 labai daug. Leyseno \u017einia buvo ai\u0161ki: \u201eNeapsimeskite, kad esate ka\u017ekas daugiau ar genialaus. Ver\u010diau sutelkite d\u0117mes\u012f \u012f tai, k\u0105 galite pasi\u016blyti. Esate \u012fsipareigoj\u0119 istorijai ir jos liudininkams. Tod\u0117l j\u016bs\u0173 pareiga\u00a0\u2013 pristatyti istorij\u0105, pana\u0161iai, kaip pristatyti pic\u0105.\u201c Vis d\u0117lto manau, jog reik\u0117t\u0173 akcentuoti ne pristatant\u012f asmen\u012f, o turin\u012f. Svarbu ne menininkas, o menas, tikrov\u0117 ir akimirka, kuri\u0105 sukuriame. Pasaulis apima visk\u0105, ta\u010diau kartu neturi jokios reik\u0161m\u0117s. Da\u017enai teigiu, kad ne tik tekstas, bet ir skaitytojas suteikia jam prasm\u0119. \u017dodis n\u0117ra galutinis ta\u0161kas.<\/p>\n<h6>Vis d\u0117lto, ar sutiktum\u0117te, kad j\u016bs\u0173 teatre \u017eod\u017eiai\u00a0\u2013 tiksliausias \u012frankis analizuoti visuomenei, \u017emonijai?<\/h6>\n<p>Gal\u0117\u010diau pasakyti: \u201eAteik ar\u010diau.\u201c Vienoje situacijoje tai reik\u0161t\u0173 \u201ei\u0161dr\u012fsk, ir a\u0161 tave u\u017emu\u0161iu\u201c, o kitoje\u00a0\u2013 \u201ei\u0161dr\u012fsk, ir a\u0161 tave apkabinsiu\u201c. Be konteksto \u0161i fraz\u0117 neturi ai\u0161kios prasm\u0117s. \u017dod\u017ei\u0173 reik\u0161m\u0117 priklauso nuo situacijos bei aplinkos, kurioje jie vartojami. Studijuodamas lingvistik\u0105 su\u017einojau, kad \u017eod\u017eiai turi tiek savo pastovi\u0105 simbolin\u0119 vert\u0119, tiek kit\u0105\u00a0\u2013 atsirandan\u010di\u0105 konkre\u010diomis aplinkyb\u0117mis. Tod\u0117l nem\u0117gstu, kai kas nors i\u0161 mano teksto ar interviu i\u0161traukia sakin\u012f ir apkaltina mane netinkamu palyginimu su Holokaustu ar kokiu nors moraliniu po\u017ei\u016briu abejotinu teiginiu. Pamat\u0119 visum\u0105, \u017emon\u0117s suprast\u0173, kad tik pajuokavau. Taigi, kontekstas yra svarbiausia.<\/p>\n<h6>D\u0117l kokios prie\u017easties susidom\u0117jote atk\u016brimo (<em>re-enactment<\/em>) metodu? Ar tai b\u016bdas sujungti tyrim\u0105 ir jo pristatym\u0105, taip priart\u0117jant prie realyb\u0117s?<\/h6>\n<p>Nagrin\u0117dami seniausius \u017einomus meno pavyzd\u017eius (tarkime, Lasko urvuose esan\u010dius pie\u0161inius, vaizduojan\u010dius med\u017eiokl\u0119), susim\u0105stome, d\u0117l ko \u0161ie nebuvo abstrakt\u016bs ar pompasti\u0161ki, ry\u0161kiaspalviai. Kod\u0117l autorius savo k\u016briniu neatliko ritualinio akto su simbolin\u0117mis aukomis dievams? Vietoje to jis vaizdavo ai\u0161k\u0173 \u012fvyk\u012f. Manau, tai ir yra meno esm\u0117\u00a0\u2013 noras perteikti, kas \u012fvyko, leid\u017eiant kitiems suprasti, kas esame. Realaus veiksmo atspindys.[\/vc_column_text][\/vc_column][\/vc_row][vc_row row_type=&#8221;row&#8221; use_row_as_full_screen_section=&#8221;no&#8221; type=&#8221;full_width&#8221; text_align=&#8221;left&#8221; background_animation=&#8221;none&#8221; css_animation=&#8221;&#8221;][vc_column][vc_column_text]<\/p>\n<p>[\/vc_column_text][\/vc_column][\/vc_row][vc_row row_type=&#8221;row&#8221; use_row_as_full_screen_section=&#8221;no&#8221; type=&#8221;full_width&#8221; text_align=&#8221;left&#8221; background_animation=&#8221;none&#8221; css_animation=&#8221;&#8221;][vc_column][vc_btn title=&#8221;Pirkti \u017eurnal\u0105&#8221; style=&#8221;classic&#8221; shape=&#8221;square&#8221; color=&#8221;white&#8221; link=&#8221;url:http%3A%2F%2Fwww.nemunas.press%2Fproduktas%2Fnemunas-nr-7-2023%2F&#8221;][\/vc_column][\/vc_row]<\/p>\n","protected":false},"excerpt":{"rendered":"<p>[vc_row row_type=&#8221;row&#8221; use_row_as_full_screen_section=&#8221;no&#8221; type=&#8221;full_width&#8221; text_align=&#8221;left&#8221; background_animation=&#8221;none&#8221; css_animation=&#8221;&#8221;][vc_column][vc_column_text el_class=&#8221;post_txt&#8221;]Vienas ry\u0161kiausi\u0173 art\u0117jan\u010dio Vilniaus tarptautinio teatro festivalio \u201eSirenos\u201c sve\u010di\u0173\u00a0\u2013 \u0161veicar\u0173 re\u017eisierius Milo Rau. \u012e diskusijas socialin\u0117mis temomis besileid\u017eiantis, \u017ei\u016brov\u0105 provokuojantis politini\u0173, dokumentini\u0173 spektakli\u0173 ir vieno prie\u0161taringiausiai vertinam\u0173 pastar\u0173j\u0173 met\u0173 teatro manifest\u0173 autorius intensyviai kovoja u\u017e sav\u0105j\u012f realyb\u0117s teatr\u0105, dr\u0105siai analizuodamas \u012fvairias socialines traumas&#8230;.<\/p>\n","protected":false},"author":1,"featured_media":32182,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_FSMCFIC_featured_image_caption":"","_FSMCFIC_featured_image_nocaption":"","_FSMCFIC_featured_image_hide":"","footnotes":""},"categories":[570,148,110,553],"tags":[559],"class_list":["post-32181","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-2023-07","category-perkami_str","category-straipsniai","category-straipsniu-archyvas-2023","tag-scenos-menai"],"aioseo_notices":[],"wps_subtitle":"Kalbino Ignas Zalieckas","_links":{"self":[{"href":"https:\/\/www.nemunas.press\/wm-api\/wp\/v2\/posts\/32181","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.nemunas.press\/wm-api\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.nemunas.press\/wm-api\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.nemunas.press\/wm-api\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/www.nemunas.press\/wm-api\/wp\/v2\/comments?post=32181"}],"version-history":[{"count":1,"href":"https:\/\/www.nemunas.press\/wm-api\/wp\/v2\/posts\/32181\/revisions"}],"predecessor-version":[{"id":32183,"href":"https:\/\/www.nemunas.press\/wm-api\/wp\/v2\/posts\/32181\/revisions\/32183"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.nemunas.press\/wm-api\/wp\/v2\/media\/32182"}],"wp:attachment":[{"href":"https:\/\/www.nemunas.press\/wm-api\/wp\/v2\/media?parent=32181"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.nemunas.press\/wm-api\/wp\/v2\/categories?post=32181"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.nemunas.press\/wm-api\/wp\/v2\/tags?post=32181"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}