{"id":22934,"date":"2025-10-17T00:10:14","date_gmt":"2025-10-17T00:10:14","guid":{"rendered":"https:\/\/www.europesays.com\/lv\/22934\/"},"modified":"2025-10-17T00:10:14","modified_gmt":"2025-10-17T00:10:14","slug":"tehnologijas-saturam-vai-grandiozam-sovam-recenzija-par-izradi-orakuls-dailes-teatri","status":"publish","type":"post","link":"https:\/\/www.europesays.com\/lv\/22934\/","title":{"rendered":"Tehnolo\u0123ijas saturam vai grandiozam \u0161ovam? Recenzija par izr\u0101di “Or\u0101kuls” Dailes te\u0101tr\u012b"},"content":{"rendered":"

P\u0113c “ROTKHO” pan\u0101kumiem Luka\u0161a Tvarkovska v\u0101rds Latvijas te\u0101tr\u012b saist\u0101s ar noteiktiem kvalit\u0101tes standartiem, tradicion\u0101lo te\u0101tra pieredzi papla\u0161inot ar bag\u0101t\u012bgu tehnolo\u0123iju izmantojumu. Likumsakar\u012bgi, ka Dailes te\u0101tris<\/a>, turpinot eiropeisko kursu, izv\u0113l\u0113jies turpin\u0101t sadarb\u012bbu ar Tvarkovski, re\u017eisora otrajam iestud\u0113jumam R\u012bg\u0101 k\u013c\u016bstot par vienu no tehniski sare\u017e\u0123\u012bt\u0101kajiem un d\u0101rg\u0101kajiem projektiem Latvijas te\u0101tra v\u0113stur\u0113.<\/p>\n

Trilo\u0123ijas efekts<\/p>\n

Izr\u0101di “Or\u0101kuls” var skat\u012bt gan k\u0101 suver\u0113nu skatuves notikumu Latvijas te\u0101tr\u012b, gan k\u0101 otro da\u013cu no re\u017eisora iecer\u0113t\u0101s t\u0101 saukt\u0101s zin\u0101tnes trilo\u0123ijas. Pirms gada Lietuvas Nacion\u0101laj\u0101 dr\u0101mas te\u0101tr\u012b Vi\u013c\u0146\u0101 tapus\u012b trilo\u0123ijas pirm\u0101 da\u013ca “Kvanta” <\/a>(“Quanta”) iez\u012bm\u0113 gan hronolo\u0123isku, gan tematisku kontekstu “Or\u0101kulam”, t\u0101d\u0113\u013c, m\u0113rojot ce\u013cu uz kaimi\u0146valsti, te\u0101tra interesentiem noteikti b\u016btu v\u0113rts \u0161o iestud\u0113jumu iek\u013caut savos pl\u0101nos.<\/p>\n

“Kvantas” darb\u012bba nosac\u012bti risin\u0101s 1938. gad\u0101 \u0160veices k\u016brortviesn\u012bc\u0101 “Les Moires”, kur\u0101 neskaidros apst\u0101k\u013cos tiekas pasaul\u0113 vado\u0161ie kvantu fizi\u0137i. Lai gan abu izr\u0101\u017eu dramatur\u0123iju veidoju\u0161as da\u017e\u0101das autores, gan Ankas Herbutas “Or\u0101kul\u0101”, gan D\u017eoannas Bernar\u010dikas “Kvant\u0101” t\u0101 veidota p\u0113c l\u012bdz\u012bgiem principiem \u2013 domin\u0113 ne l\u012bdz galam atrisin\u0101ti si\u017eetiski aizmet\u0146i, v\u0113st\u012bjumu b\u016bv\u0113jot no aktieru veidotaj\u0101m improviz\u0101cij\u0101m un et\u012bd\u0113m par da\u017e\u0101d\u0101m t\u0113m\u0101m, kuras ab\u0101s izr\u0101d\u0113s ir l\u012bdz\u012bgas \u2013 laiks, liktenis, indiv\u012bda noz\u012bme v\u0113stures lielaj\u0101 meh\u0101nism\u0101 \u2013, un galu gal\u0101 caur pag\u0101tnes mot\u012bviem non\u0101kot pie apokaliptiska m\u016bsdienu pasaules un n\u0101kotnes redz\u0113juma, kur\u0101 cilv\u0113ce k\u013c\u016bst par upuri pa\u0161as izgudrojumiem \u2013 atomiero\u010diem (“Kvant\u0101”) vai m\u0101ksl\u012bgajam intelektam (“Or\u0101kul\u0101”). “Or\u0101kula” kontekst\u0101 interesanta ir ar\u012b si\u017eetisk\u0101 saikne, ko re\u017eisors uzb\u016bv\u0113 starp ab\u0101m izr\u0101d\u0113m, proti, Nele Savi\u010denko, kura “Kvant\u0101” ir valdon\u012bga un barga viesn\u012bcas “Le Moires” \u012bpa\u0161niece Sofija, un R\u012btis Salad\u017eus, \u0137\u012bmijas profesors Verners Haizenbergs, kur\u0161 cen\u0161as patur\u0113t nosl\u0113pum\u0101 savu int\u012bmo dz\u012bvi laik\u0101, kad homoseksu\u0101lisms ir krimin\u0101li sod\u0101ms, atkal satiekas izr\u0101d\u0113 “Or\u0101kuls” kara laik\u0101 Ble\u010dlij\u0101, main\u012bju\u0161i v\u0101rdus un turpinot izdz\u012bvot nu jau cit\u0101s lom\u0101s.<\/p>\n

Lasiet ar\u012b<\/p>\n

\"Taisn\u012bguma<\/a>\"Birojs<\/a>Caur kameras filtru<\/p>\n

Kaut ar\u012b Luka\u0161s Tvarkovskis formul\u0113, ka vi\u0146a pieeja darbam ar aktieri ir pa vidu starp te\u0101tra un kino metod\u0113m, “Or\u0101kuls” tom\u0113r ir konsekventi kinematogr\u0101fisks skatuves darbs, kur\u0101 aktiera nepastarpin\u0101ta, “dz\u012bva” v\u0113ro\u0161ana bez kameru starpniec\u012bbas \u013cauta vien da\u017eos mirk\u013cos, piem\u0113ram, garaj\u0101 jau piemin\u0113to lietuvie\u0161u aktieru Neles Savi\u010denko (Hel\u0113na Dankane \/ Sofija) un R\u012b\u0161a Salad\u017eus (Verners Morgen\u0161terns \/ Haizenbergs) dialog\u0101, kas akcent\u0113 gan abu nosl\u0113pumain\u0101s pirmskara biogr\u0101fijas, gan Ble\u010dlijas parka daudzvalod\u012bgo vidi, kur pie v\u0101cu \u0161ifr\u0113\u0161anas ma\u0161\u012bnas “Enigma” koda uzlau\u0161anas str\u0101d\u0101ja ne tikai Lielbrit\u0101nijas, bet ar\u012b citu valstu gai\u0161\u0101kie pr\u0101ti. Ta\u010du pamat\u0101 “Or\u0101kuls” skat\u012bt\u0101ju uzrun\u0101 caur kameras filtru, t\u0101d\u0113j\u0101di pied\u0101v\u0101jot apzin\u0101ti modific\u0113tu un deform\u0113tu skatuves darb\u012bbas atveidojumu, kur\u0101 mums \u013cauts redz\u0113t to, ko re\u017eisors (izr\u0101des kontekst\u0101 var\u0113tu min\u0113t pat soli t\u0101l\u0101k \u2013 m\u0101ksl\u012bgais intelekts) v\u0113las, lai m\u0113s redz\u0113tu.<\/p>\n

\"Tehnolo\u0123ijasFoto: Marko Rass. Luka\u0161s Tvarkovskis Dailes te\u0101tra izr\u0101des “Or\u0101kuls” m\u0113\u0123in\u0101jum\u0101 <\/p>\n

Kino valodai rakstur\u012bgo dinamisko mont\u0101\u017eas principu pastiprina groz\u0101m\u0101s skatuves ripas izmantojums, transform\u0113jamas un p\u0101rb\u012bd\u0101mas skatuves platformas, kuras te savienojas, te pa\u0161\u0137iras, apvienojot vair\u0101kas telpas vien\u0101 vai radot atsevi\u0161\u0137us darb\u012bbas punktus, kuriem iesp\u0113jams sekot simult\u0101ni. Izr\u0101des uzb\u016bve ir tehniski sare\u017e\u0123\u012bta, l\u012bdz\u0101s aktieriem par vienl\u012bdz svar\u012bgiem ansamb\u013ca dal\u012bbniekiem padarot operatorus un skatuves str\u0101dniekus, kuri ne velti izr\u0101des beig\u0101s paklan\u012bties n\u0101k pirms aktieriem un no kuru precizit\u0101tes ir atkar\u012bga visa izr\u0101des meh\u0101nisma nevainojama darbo\u0161an\u0101s.<\/p>\n

\u0160aj\u0101 kontekst\u0101 vienl\u012bdz gr\u016bts uzdevums ir dots ar\u012b aktieriem, proti, sp\u0113l\u0113t nevis te\u0101tra, bet kino pieklusin\u0101taj\u0101 un nians\u0113taj\u0101 tehnik\u0101, rad\u012bt intri\u0123\u0113jo\u0161us t\u0113lus, kuriem b\u016btu interesanti sekot l\u012bdzi \u010detru stundu garaj\u0101 dekonstru\u0113taj\u0101 st\u0101sta narat\u012bv\u0101, turkl\u0101t eksist\u0113t t\u0113l\u0101, ar\u012b neesot tie\u0161\u0101 kameras fokus\u0101. Faktiski Tvarkovska rad\u012btaj\u0101 skatuves pasaul\u0113 t\u0113li klejo k\u0101 laiktelp\u0101 pazudu\u0161as b\u016btnes, pag\u0101tnei sajaucoties ar tagadnes un n\u0101kotnes mot\u012bviem, ko prec\u012bzi iez\u012bm\u0113 izv\u0113rstais teju dejiskais prologs, kur\u0101 varo\u0146i ekr\u0101n\u0101 tiek pieteikti glu\u017ei k\u0101 filmas s\u0101kuma titros, lai skat\u012bt\u0101js neapmald\u012btos t\u0113lu sist\u0113m\u0101. At\u0146emot tie\u0161u ener\u0123\u0113tisko saiti ar skat\u012bt\u0101ju, aktieri to kompens\u0113 ar intens\u012bvu skatienu dramatur\u0123iju, radot zemtekstus gan pateiktajam, gan nepateiktajam. <\/p>\n

\"Tehnolo\u0123ijasFoto: Marko Rass. Skats no Dailes te\u0101tra izr\u0101des “Or\u0101kuls” <\/p>\n

Kinematogr\u0101fiska harisma un psiholo\u0123iski pamatota partner\u012bba veidojas starp trim nosac\u012btiem skatuves p\u0101riem: nenoliedzama ir savstarp\u0113j\u0101 vilkme gan starp M\u0101rti\u0146a Meiera matem\u0101tikas \u0123\u0113niju Alanu Tj\u016bringu un Ilzes \u0136uzules-Skrasti\u0146as intelektu\u0101lo D\u017eoannu, gan jaun\u012bbas entuziasma motiv\u0113tajiem kol\u0113\u0123iem \u2013 Madaras Vi\u013c\u010dukas Adu Lovi un Kl\u0101va Kristapa Ko\u0161ina Tomiju B\u0113r\u010du. Psiholo\u0123iski fascin\u0113jo\u0161s ir Kata\u017einas Osipovas anal\u012btisk\u0101s \u017eurn\u0101listes Reivenas St\u0101rkas un Art\u016bra Skrasti\u0146a “Google” programm\u0113t\u0101ja Bleika Lemoina dialogs TV raid\u012bjum\u0101, kura vad\u012bbu pamaz\u0101m p\u0101r\u0146em m\u0101ksl\u012bgais intelekts. Tom\u0113r vair\u0101ku aktieru eksistence kameras priek\u0161\u0101 robe\u017eojas ar p\u0101rs\u0101tin\u0101tu grima\u0161u vai daudznoz\u012bm\u012bgu skatienu tira\u017e\u0113\u0161anu, kas ekr\u0101nos redzamo darb\u012bbu br\u012b\u017eiem padara sam\u0101kslotu un negaum\u012bgu. <\/p>\n

Problem\u0101tiska \u0161\u0137iet ar\u012b izv\u0113le vair\u0101kus b\u016btiskus dialogus b\u0101z\u0113t divos “celi\u0146os”, proti, risin\u0101t paral\u0113li, aktieriem atrodoties da\u017e\u0101dos skatuves segmentos un run\u0101jot it k\u0101 vienam caur otru. Interesanti iecer\u0113tais pa\u0146\u0113miens realiz\u0101cij\u0101 rada iekritienus temp\u0101, aktieriem m\u0101ksl\u012bgi gaidot partneru galav\u0101rdu, turkl\u0101t dramatur\u0123ijas vienk\u0101r\u0161ot\u0101 leksika apvienojum\u0101 ar pal\u0113nin\u0101to runu br\u012b\u017eiem rada komiski stiliz\u0113tu “viegl\u0101s valodas” iespaidu.<\/p>\n

Tumsas \u0113n\u0101<\/p>\n

Tvarkovska uzticamais rado\u0161ais kompanjons scenogr\u0101fs Fabj\u0113ns Led\u0113 rad\u012bjis telpu, kas ir radik\u0101li at\u0161\u0137ir\u012bga izr\u0101des pirmaj\u0101 un otraj\u0101 c\u0113lien\u0101 \u2013 s\u0101kum\u0101 ir v\u0113sturiski prec\u012bzi iek\u0101rtota vide, kas darb\u012bbu ier\u0101m\u0113 1941. gada Anglijas realit\u0101t\u0113, notikumiem s\u0101kotn\u0113ji pie\u0161\u0137irot pseidodokument\u0101lu ietvaru (ar\u012b kost\u012bmu m\u0101kslinieces Svenjas Gasenas devums ir smalki izstr\u0101d\u0101ts, iez\u012bm\u0113jot katra t\u0113la individu\u0101lo raksturu vai profesiju caur t\u0113rpa deta\u013c\u0101m). Tom\u0113r otraj\u0101 da\u013c\u0101 viss krasi apv\u0113r\u0161as otr\u0101di, k\u0101 izv\u0113r\u0161ot uz \u0101ru ap\u0123\u0113rba oderi, \u2013 sp\u0113les telpa k\u013c\u016bst izteikti nosac\u012bta, pirmaj\u0101 c\u0113lien\u0101 iepaz\u012btos varo\u0146us ievietojot m\u0101ksl\u012bg\u0101 intelekta p\u0101rvald\u012bt\u0101 m\u0101ksl\u012bg\u0101 realit\u0101t\u0113, kur\u0101 nav c\u0113lo\u0146sakar\u012bgas darb\u012bbas vai psiholo\u0123iskas motiv\u0101cijas, ir tikai sap\u0146u (las\u012bt \u2013 murgu) est\u0113tiku atg\u0101dino\u0161a eksistence, atk\u0101rtojoties un sapl\u016bstot da\u017e\u0101diem kust\u012bbu, v\u0101rdu, gaismu, ska\u0146u impulsiem. <\/p>\n

\"Tehnolo\u0123ijasFoto: Marko Rass<\/p>\n

Tumsas \u0113n\u0101 iez\u012bm\u0113jas t\u0113lu savstarp\u0113jie aizvainojumi, agresija, nosl\u0113pumi, ta\u010du re\u017eisors tiem ne\u013cauj izaugt l\u012bdz psiholo\u0123iski motiv\u0113t\u0101m attiec\u012bb\u0101m, st\u0101stam paliekot dekonstru\u0113tu aizmet\u0146u l\u012bmen\u012b un galveno uzman\u012bbu veltot skat\u012bt\u0101ja sensoru kairin\u0101\u0161anai. Gaismas uzplaiksn\u012bjumi, d\u016bmi, bieza tumsa, termokameru un infrasarkano kameru nedabiski ko\u0161\u0101s kr\u0101sas, deform\u0113ti \u0137erme\u0146u silueti, d\u0101rdo\u0161a m\u016bzika, vibr\u0101cija \u2013 tas viss ilgsto\u0161\u0101 metr\u0101\u017e\u0101 p\u0101rbauda skat\u012bt\u0101ja fizisko iztur\u012bbu, ska\u0146ai un gaismai iedarbojoties ne tikai caur to pamatfunkciju \u2013 redzes un dzirdes l\u012bmen\u012b \u2013, bet k\u013c\u016bstot par imers\u012bvu pieredzi, kur\u0101 skat\u012bt\u0101js gribot negribot tiek iesaist\u012bts ar visu \u0137ermeni, jutek\u013ciem, ma\u0146\u0101m.<\/p>\n

\u0160eit “Or\u0101kula” kontekst\u0101 savuk\u0101rt rodas d\u012bvains paradokss \u2013 kaut ar\u012b re\u017eisors uzsver, ka vi\u0146am “medijs ir v\u0113st\u012bjums”, proti, forma ir da\u013ca no satura, Dailes te\u0101tra iestud\u0113jum\u0101, \u0161\u0137iet, p\u0101rk\u0101pts tas trauslais balanss, kas tehnolo\u0123isko atbalstu no saturu veidojo\u0161a elementa p\u0101rv\u0113rtis par grandiozu \u0161ovu. Otr\u0101 c\u0113liena izv\u0113rstais okultisma seanss (sveiciens Toma Trei\u0146a “Burvju kalnam” Valmieras te\u0101tr\u012b) \u0161\u0137iet k\u0101 neoblig\u0101ta, kaut iespaid\u012bga piedeva, kas \u012bsti neiek\u013caujas izr\u0101des pamatv\u0113st\u012bjum\u0101, savuk\u0101rt fin\u0101la aina ar Vitas V\u0101rpi\u0146as aktrises Hedijas Lam\u0101ras sarunu grima kr\u0113sl\u0101 un atz\u012b\u0161anos bail\u0113s novecot izr\u0101des izska\u0146ai pievieno nelielu \u0161\u0137ipsnu didaktikas un sentimenta.<\/p>\n

Tr\u012bs salauzti likte\u0146i<\/p>\n

Pret\u0113ji Dailes te\u0101tra rekl\u0101mas materi\u0101lu rad\u012btajam iespaidam, M\u0101rti\u0146a Meiera Alans Tj\u016brings \u2013 m\u016bsdienu datora “t\u0113vs” un Otr\u0101 pasaules kara nacistu zi\u0146ojumu \u0161ifr\u0113\u0161anas ma\u0161\u012bnas “Enigma” atkod\u0113t\u0101js \u2013 nav izr\u0101des galvenais t\u0113ls, jo t\u0101di ir tr\u012bs \u2013 l\u012bdz\u0101s Tj\u016bringam, kura person\u012bba iedvesmojusi izcilo 2014. gada kinofilmu “Imit\u0101cijas sp\u0113le” ar Benediktu Kamberba\u010du<\/a> titullom\u0101, “Or\u0101kula” centr\u0101 ir ar\u012b divi citi \u0123\u0113niji \u2013 Vitas V\u0101rpi\u0146as kino ikona Hedija Lam\u0101ra, kuras dz\u012bves sapnis ir tikt atpaz\u012btai nevis p\u0113c vi\u0146as kinolom\u0101m vai jaunekl\u012bg\u0101s Sniegbalt\u012btes sejas, bet gan p\u0113c vi\u0146as zin\u0101tniskajiem izgudrojumiem, un Art\u016bra Skrasti\u0146a Bleiks Lemoins \u2013 programmat\u016bras in\u017eenieris, kur\u0161 pazi\u0146ojis, ka m\u0101ksl\u012bgajam intelektam piem\u012bt individu\u0101la apzi\u0146a, turpinot tic\u0113t \u0161im apgalvojumam pat p\u0113c tam, kad vi\u0146\u0161 atlaists no “Google”. <\/p>\n

\"Tehnolo\u0123ijasFoto: Marko Rass<\/p>\n

Visiem trim varo\u0146iem re\u017eisors atv\u0113l aptuveni vien\u0101di ilgu skatuves laiku, gaismu m\u0101ksliniekam Eugenijam Saba\u013causkim izce\u013cot vi\u0146us starme\u0161u gaism\u0101 un t\u0101d\u0113j\u0101di simboliski atg\u0101dinot pasaulei par vi\u0146u sasniegumiem un salauztajiem likte\u0146iem, ar kuru biogr\u0101fiskaj\u0101m nians\u0113m iesp\u0113jams iepaz\u012bties bag\u0101t\u012bgaj\u0101 izr\u0101des programmas gr\u0101mati\u0146\u0101. T\u0101d\u0113\u013c izr\u0101des beig\u0101s r\u0101d\u012btie garie titri ar varo\u0146u biogr\u0101fiju aprakstiem rada jaut\u0101jumu \u2013 vai rado\u0161\u0101 komanda nav pa\u013c\u0101vusies uz to, ka izr\u0101des v\u0113st\u012bjums pietiekami skaidri izst\u0101st\u012bs \u0161o tr\u012bs varo\u0146u st\u0101stu?<\/p>\n

\"\"<\/p>\n

Seko “Delfi” ar\u012b Instagram<\/a> un YouTube<\/a> profil\u0101 \u2013 pievienojies, lai uzzin\u0101tu svar\u012bg\u0101ko un interesant\u0101ko pirmais!<\/p>\n

Publik\u0101cijas saturs vai t\u0101s jebk\u0101da apjoma da\u013ca ir aizsarg\u0101ts autorties\u012bbu objekts Autorties\u012bbu likuma izpratn\u0113, un t\u0101 izmanto\u0161ana bez izdev\u0113ja at\u013caujas ir aizliegta. Vair\u0101k lasi \u0161eit<\/a>