Te\u0101tra trupas Kvadrifrons jaun\u0101 izr\u0101de S\u0113ri kr\u0101ca \u016bdens vi\u013c\u0146i ir neparasts darbs Latvijas dramatisko te\u0101tru repertu\u0101ra aktu\u0101laj\u0101 ainav\u0101. Form\u0101li raksturojot \u2013 stundu gar\u0161 bezteksta duelis, kur\u0101 divi jauni un atl\u0113tiski v\u012brie\u0161i \u2013 dejot\u0101js R\u016bdolfs Gedi\u0146\u0161 un aktieris \u0100ris Matesovi\u010ds \u2013 sniedz augsta l\u012bme\u0146a skatuves c\u012b\u0146as paraugdemonstr\u0113jumu. B\u016bt\u012bbu defin\u0113jot \u2013 profesion\u0101li kvalitat\u012bvs fizisk\u0101 te\u0101tra paraugs, k\u0101du Latvij\u0101 nekad nav bijis daudz un kas \u0161osezon p\u0101rliecino\u0161i liekams blakus horeogr\u0101fes un dejot\u0101jas Janas Jacukas p\u0101rsteidzo\u0161ajai balss un \u0137erme\u0146a monodr\u0101mai HA \u0122ertr\u016bdes ielas te\u0101tr\u012b.<\/p>\n
\n
<\/p>\n
\u00a0<\/p>\n
\n
<\/p>\n
Maskul\u012bn\u0101 v\u0113sture\u00a0<\/p>\n
\n
<\/p>\n
M\u016bsdienu fizisk\u0101 te\u0101tra \u017eanrisk\u0101s robe\u017eas ir \u013coti pla\u0161as \u2013 no pantom\u012bmas l\u012bdz klaun\u0101dei, no delartisk\u0101s kom\u0113dijas modifik\u0101cij\u0101m l\u012bdz laikmet\u012bgajai dejai un cirkam. Viena \u0137erme\u0146a trajektorijas vai vair\u0101ku \u0137erme\u0146u mijiedarb\u012bbas dramatur\u0123ija k\u0101 noteico\u0161\u0101, pie\u013caujot ar\u012b teksta un m\u016bzikas vai lietu un objektu partner\u012bbu, bet bie\u017ei iztiekot pavisam bez “\u0101r\u0113jas” pal\u012bdz\u012bbas.<\/p>\n
\n
<\/p>\n
Interesanti, ka Latvij\u0101 \u0161im \u017eanram ir ar\u012b sava cien\u012bjama maskul\u012bn\u0101 v\u0113sture. Slov\u0113\u0146u horeogr\u0101fa Branko Poto\u010dana vit\u0101l\u0101 un aizraujo\u0161\u0101 izr\u0101de M\u00e4nnersache (V\u012bru lietas, 2009) \u0122ertr\u016bdes ielas te\u0101tr\u012b; Kri\u0161j\u0101\u0146a Santa un \u0112rika Eriksona skaist\u0101 V\u0113rpete, kas da\u017e\u0101d\u0101s sp\u0113les telp\u0101s dz\u012bvo jau kop\u0161 2015. gada; Andreja Jarovoja Malkas ce\u013ci (2020), kuri vair\u0101kk\u0101rt p\u0101rst\u0101v\u0113ju\u0161i Latviju starptautiskos objektu te\u0101tra festiv\u0101los. Zin\u0101m\u0101 m\u0113r\u0101 \u0161aj\u0101 trad\u012bcij\u0101 ierakst\u0101s ar\u012b M\u0101rti\u0146a Eihes S\u0101ra Keina (2011) un Rei\u0146a Botera Pisties vai dz\u012bvot (2022) \u2013 jutekliski, izaicino\u0161\u0101 ori\u0123in\u0101lm\u016bzik\u0101 iekompon\u0113ti fizisk\u0101 te\u0101tra darbi par vientul\u012bbu.<\/p>\n
\n
<\/p>\n
Iestud\u0113juma S\u0113ri kr\u0101ca \u016bdens vi\u013c\u0146i re\u017eisors un horeogr\u0101fs R\u016bdolfs Gedi\u0146\u0161 telev\u012bzijas intervij\u0101 raksturo realit\u0101tes iejauk\u0161anos izr\u0101des iecer\u0113: “Izr\u0101des veido\u0161anas pirms\u0101kumos manas amb\u012bcijas bija iztur\u0113ties pret kau\u0161anos k\u0101 pret mediju, komunik\u0101cijas formu uz skatuves, kas var\u0113tu ietvert sev\u012b ko vair\u0101k par agresiju. Ta\u010du veido\u0161anas process ir licis atz\u012bt sak\u0101vi \u0161ajos mekl\u0113jumos. Dz\u012bvojot laik\u0101, kad kaimi\u0146os plos\u0101s kar\u0161, bet m\u0101j\u0101s diskut\u0113 par Stambulas konvencijas noz\u012bmi, ir visai gr\u016bti ar t\u012bru sirdi run\u0101t par vardarb\u012bbas neviennoz\u012bm\u012bgo dabu. (..) T\u0101p\u0113c m\u0113s izv\u0113lamies raudz\u012bties uz kau\u0161anos k\u0101 uz destrukt\u012bvu, mu\u013c\u0137\u012bgu un arhaisku str\u012bd\u0113\u0161an\u0101s formu, kuras vien\u012bgais rezult\u0101ts ir tikai vardarb\u012bbas vairo\u0161ana un turpin\u0101\u0161ana, s\u0101pes un stulbums.”<\/p>\n
\n
<\/p>\n
Nek\u0101d\u0101 zi\u0146\u0101 neap\u0161aubot m\u0101kslinieku ieceri, izr\u0101des rezult\u0101ts tom\u0113r liecina ko citu \u2013 t\u0101 ir interesanta tie\u0161i t\u0101p\u0113c, ka b\u016btiski p\u0101rk\u0101pj realit\u0101tes dikt\u0113t\u0101s konjunkt\u016bras robe\u017eas un to iesp\u0113jams uztvert \u013coti da\u017e\u0101di. T\u0101pat k\u0101 izr\u0101des anot\u0101ciju var izlas\u012bt gan k\u0101 metaforu virkni, gan k\u0101 sp\u0113les laukum\u0101 realiz\u0113t\u0101s fizisk\u0101s partit\u016bras pierakstu: “(..) izr\u0101de par laiku, c\u012b\u0146u, uzvaru un zaud\u0113jumu, uzvaru un zaud\u0113jumu, uzvaru un zaud\u0113jumu, zaud\u0113jumu, zaud\u0113jumu, uzvaru un zaud\u0113jumu.”<\/p>\n
\n
<\/p>\n
Iestud\u0113juma telpas vizualit\u0101ti veidoju\u0161i scenogr\u0101fe un kost\u012bmu autore Inga Sili\u0146a un gaismu m\u0101kslinieks Niks Cipruss. Zila, bezpersoniska istaba ar d\u012bv\u0101nu, kur\u0101 eksist\u0113 \u0100ra Matesovi\u010da sp\u0113l\u0113tais v\u012brietis \u2013 ikdieni\u0161\u0137s \u0161odienas cilv\u0113ks \u2013, atg\u0101dina cietumu vai ska\u0146u izol\u0113jo\u0161u ment\u0101lo telpu, kur\u0101 varonis pats sevi ieslodz\u012bjis depresijas, g\u013c\u0113vuma, atkar\u012bbu vai citu nenosk\u0101rstu iemeslu d\u0113\u013c. Un tad, kad “cietuma” ko\u0161i dzelten\u0101s durvis ar troksni izg\u0101\u017e R\u016bdolfa Gedi\u0146a nel\u016bgtais sve\u0161inieks, s\u0101kas \u012bst\u0101 c\u012b\u0146a. Par ko un k\u0101p\u0113c vi\u0146i c\u012bn\u0101s \u2013 atbilde katram skat\u012bt\u0101jam b\u016bs cita, dro\u0161i vien atkar\u012bga no pieredzes un priv\u0101t\u0101 konteksta.<\/p>\n
\n
<\/p>\n
\u00a0<\/p>\n
\n
<\/p>\n
Kentaura dzim\u0161ana\u00a0<\/p>\n
\n
<\/p>\n
Nenoliedzami R\u016bdolfa Gedi\u0146a un \u0100ra Matesovi\u010da \u0137erme\u0146a valod\u0101 ir kl\u0101teso\u0161a reslinga est\u0113tika (c\u012b\u0146as treneris \u2013 Sergejs Fjodorovs). Reslings ir ASV \u013coti popul\u0101ra c\u012b\u0146as sporta izr\u0101de, kur\u0101 darbojas nevis sporta, bet te\u0101tra likumi \u2013 sp\u0113ka pa\u0146\u0113mieniem j\u0101izskat\u0101s maksim\u0101li efekt\u012bgi un s\u0101p\u012bgi, ta\u010du paties\u012bb\u0101 pretiniekam (un, cerams, ar\u012b partnerim Kvadrifrona izr\u0101d\u0113) tiek nodar\u012bts minim\u0101ls kait\u0113jums. Reslinga \u0161ovos c\u012bksto\u0146i bie\u017ei tiek pacelti gais\u0101 un triekti pret zemi, ta\u010du ringa segums ir nedaudz m\u012bkstin\u0101ts un “c\u012b\u0146as aktieri” uzman\u0101s, lai trieciens izl\u012bdzin\u0101tos pa visu muguru, \u2013 to vair\u0101kk\u0101rt izr\u0101d\u0113 dara ar\u012b \u0100ris Matesovi\u010ds un R\u016bdolfs Gedi\u0146\u0161, bet triecienu un sitienu ska\u0146u da\u017ebr\u012bd mar\u0137\u0113 izr\u0101des ska\u0146u meistari. T\u0101tad zin\u0101ms atsve\u0161in\u0101jums \u0161aj\u0101 kopum\u0101 visnota\u013c natur\u0101laj\u0101 kauti\u0146\u0101 ir konsekventi saglab\u0101ts.<\/p>\n
\n
<\/p>\n
Otra intens\u012bva izr\u0101des asoci\u0101cija ir ar datorsp\u0113\u013cu vai anim\u0101cijas varo\u0146iem. K\u0101d\u0101 ain\u0101 \u0100ra Matesovi\u010da varo\u0146a apdz\u012bvotaj\u0101 telp\u0101 izgaismojas iluzors telev\u012bzijas vai datora ekr\u0101ns, no kura k\u0101 no port\u0101la atkal par\u0101d\u0101s R\u016bdolfa Gedi\u0146a sve\u0161ais \u2013 un tagad jau t\u0101d\u0101 k\u0101 kiborga vai kvadrobera veidol\u0101. Ar\u012b asinis \u0161\u012bm b\u016btn\u0113m ir zilganza\u013cas, nevis sarkanas.<\/p>\n
\n
<\/p>\n
Tom\u0113r prim\u0101ri uz izr\u0101des \u0137erme\u0146u dramatur\u0123iju gribas skat\u012bties k\u0101 uz smagu ment\u0101lu c\u012b\u0146u ar iek\u0161\u0113jiem d\u0113moniem, kurus \u0100ra Matesovi\u010da varonim t\u0101 ar\u012b neizdodas uzvar\u0113t. Aktiera fizisk\u0101 var\u0113\u0161ana un plastisk\u0101 izteiksm\u012bba k\u0101 m\u0101kslinieciska t\u0113la veidot\u0101ja neatkl\u0101jas pirmo reizi. Tai bija liela noz\u012bme Dmitrija \u0160ostakovi\u010da disharmonisk\u0101s person\u012bbas iemieso\u0161an\u0101 m\u016bzikas un fizisk\u0101 te\u0101tra izr\u0101d\u0113 Zv\u0113ri ir nemier\u012bgi (2019) un Viktora Ar\u0101ja bied\u0113jo\u0161aj\u0101s p\u0101rv\u0113rt\u012bb\u0101s izr\u0101d\u0113 Nebiju. Nezinu. Neatceros. Un ar\u012b tagad \u2013 aktieris piln\u012bb\u0101 iztiek bez sava varo\u0146a romantiz\u0101cijas, tom\u0113r vienlaikus rada un r\u0101da cilv\u0113ku ar intens\u012bvu iek\u0161\u0113jo procesu \u2013 cilv\u0113ku, kuram ir bail, kur\u0161 ir padevies un noguris. Savuk\u0101rt R\u016bdolfa Gedi\u0146a profesion\u0101l\u0101 kust\u012bbu m\u0101kslas pieredze un tehnisk\u0101 meistar\u012bba ir tik augsta, ka ar\u012b k\u013c\u016bst par t\u0113lu \u2013 neuzvaramu, gandr\u012bz meh\u0101nisku, iracion\u0101lu provokatoru. D\u012bvain\u0101 kentaura dzim\u0161ana izr\u0101des fin\u0101l\u0101 ir neizb\u0113gama \u2013 nevarot atbr\u012bvoties no sve\u0161\u0101, atliek to “pieaudz\u0113t” un dz\u012bvot. B\u016btisks \u0161aj\u0101 kontekst\u0101 ir ar\u012b K\u0101r\u013ca Tones lieliskais darbs ar \u010caikovska Gulbju ezeru, ska\u0146a p\u0101rlec k\u0101 saskr\u0101p\u0113t\u0101 ska\u0146uplat\u0113 \u2013 no melodijas uz trauc\u0113jumu un atpaka\u013c.<\/p>\n
\n
<\/p>\n
Izr\u0101des nosaukum\u0101 izmantot\u0101 Andreja Pumpura dzejas rinda epos\u0101 L\u0101\u010dpl\u0113sis atrodama pa\u0161\u0101 fin\u0101l\u0101, jau p\u0113c L\u0101\u010dpl\u0113\u0161a un Meln\u0101 bru\u0146inieka c\u012b\u0146as beig\u0101m: “S\u0113ri kr\u0101ca \u016bdens vi\u013c\u0146i \/ Putodam\u0101 Daugav\u0101, \u2013 \/ Vi\u0146i sav\u0101 kl\u0113p\u012b \u0146\u0113ma \/ Latvju tautas va \u00ad roni \/ Un ap vi\u0146a gu\u013cas vietu \/ Cietu salu uzc\u0113la.” Izr\u0101d\u0113 eposa romantisma varo\u0146u c\u012b\u0146as noz\u012bme ir konsekventi profan\u0113ta \u2013 abus kau\u0161\u013cus vispirms “aprij”, bet p\u0113c tam tom\u0113r atkal “izsp\u013cauj” nek\u0101di ne Daugavas vi\u013c\u0146i, bet visparast\u0101kais saliekamais d\u012bv\u0101ns.<\/p>\n
\n
<\/p>\n
Izr\u0101di S\u0113ri kr\u0101ca \u016bdens vi\u013c\u0146i ir \u013coti interesanti skat\u012bties, kaut kinest\u0113tisku emp\u0101tiju, kad skat\u012bt\u0101js \u0137ermeniski it k\u0101 pielaiko sev t\u0101s pa\u0161as izj\u016btas, ko piedz\u012bvo performants, glu\u017ei sasniegt neizdev\u0101s. Laikam mazliet pietr\u016bka maiguma un k\u0101da, kam kaut vai neilgu br\u012bdi just l\u012bdzi.<\/p>\n
\n
<\/p>\n
\u00a0<\/p>\n
\n
<\/p>\n
S\u0112RI KR\u0100CA \u016aDENS VI\u013b\u0145I
\nR\u012bgas cirk\u0101 9.\u2013l1.XII, 28., 30.I, 3.II plkst. 19
\nBi\u013cetes Bi\u013ce\u0161u parad\u012bzes t\u012bkl\u0101 EUR 25<\/p>\n
<\/p>\n","protected":false},"excerpt":{"rendered":"Te\u0101tra trupas Kvadrifrons jaun\u0101 izr\u0101de S\u0113ri kr\u0101ca \u016bdens vi\u013c\u0146i ir neparasts darbs Latvijas dramatisko te\u0101tru repertu\u0101ra aktu\u0101laj\u0101 ainav\u0101.…\n","protected":false},"author":2,"featured_media":55082,"comment_status":"","ping_status":"","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[19],"tags":[89,90,35,39,38,36,37,34,40],"class_list":{"0":"post-55081","1":"post","2":"type-post","3":"status-publish","4":"format-standard","5":"has-post-thumbnail","7":"category-izklaide","8":"tag-entertainment","9":"tag-izklaide","10":"tag-latvia","11":"tag-latvian","12":"tag-latviesu","13":"tag-latviesu-valoda","14":"tag-latviesuvaloda","15":"tag-latvija","16":"tag-lv"},"share_on_mastodon":{"url":"https:\/\/pubeurope.com\/@lv\/115586425364559624","error":""},"_links":{"self":[{"href":"https:\/\/www.europesays.com\/lv\/wp-json\/wp\/v2\/posts\/55081","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.europesays.com\/lv\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.europesays.com\/lv\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.europesays.com\/lv\/wp-json\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/www.europesays.com\/lv\/wp-json\/wp\/v2\/comments?post=55081"}],"version-history":[{"count":0,"href":"https:\/\/www.europesays.com\/lv\/wp-json\/wp\/v2\/posts\/55081\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.europesays.com\/lv\/wp-json\/wp\/v2\/media\/55082"}],"wp:attachment":[{"href":"https:\/\/www.europesays.com\/lv\/wp-json\/wp\/v2\/media?parent=55081"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.europesays.com\/lv\/wp-json\/wp\/v2\/categories?post=55081"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.europesays.com\/lv\/wp-json\/wp\/v2\/tags?post=55081"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}