Jaunaj\u0101 R\u012bgas te\u0101tr\u012b pirmizr\u0101di piedz\u012bvo Alvja Herma\u0146a iestud\u0113jums “\u0100be\u013cziedi up\u0113”<\/p>\n
R\u012bg\u0101, 2025. gada 25. novembr\u012b \u2013 M\u0101kslas baud\u012bt\u0101jiem Jaunais R\u012bgas te\u0101tris (JRT) atv\u0113ris durvis uz satrieco\u0161u jaunumu \u2013 re\u017eisora Alvja Herma\u0146a iestud\u0113jumu “\u0100be\u013cziedi up\u0113”. \u0160\u012b izr\u0101de ir ne tikai jauns m\u0101kslas notikums, bet ar\u012b dzi\u013c\u0161 tilts uz pag\u0101tni, jo t\u0101 veidota k\u0101 turpin\u0101jums Aivara Freima\u0146a 1974. gada le\u0123end\u0101rajai filmai “\u0100bols up\u0113”. \u0160\u012b unik\u0101l\u0101 uzveduma pirmizr\u0101de notika aizvad\u012btaj\u0101 otrdien\u0101, pulc\u0113jot kuflu skat\u012bt\u0101ju z\u0101li, kas apliecina interesi par iestud\u0113jumiem, kas sp\u0113j vienlaikus savaldzin\u0101t ar m\u016bsdienu m\u0101kslas valodu un pieskarties Latvijas kult\u016bras mantojumam.<\/p>\n
Atgrie\u0161an\u0101s pie sakn\u0113m: St\u0101sts par Za\u0137usalu<\/p>\n
Izr\u0101de “\u0100be\u013cziedi up\u0113” ir r\u016bp\u012bgi veidota, balstoties uz Za\u0137usalas biju\u0161o iedz\u012bvot\u0101ju personiskaj\u0101m atmi\u0146\u0101m un sen\u0101m fotogr\u0101fij\u0101m. T\u0101 nav tikai pag\u0101tnes rekonstrukcija, bet gan m\u016bsdien\u0101s notieko\u0161s st\u0101sts, kas caur Za\u0137usalas likteni atkl\u0101j pla\u0161\u0101kas metaforas. Re\u017eisors Alvis Hermanis pats izr\u0101di d\u0113v\u0113 par kod\u0113tu v\u0113st\u012bjumu par “latvie\u0161u Atlant\u012bdu” \u2013 vietu, kas reiz zied\u0113ja un plauka, bet tika izpost\u012bta industri\u0101l\u0101s att\u012bst\u012bbas un v\u0113sturisko p\u0101rmai\u0146u d\u0113\u013c. \u0160is st\u0101sts par zaud\u0113to parad\u012bzi, par cilv\u0113ku likte\u0146iem, kas neatgriezeniski main\u012bju\u0161ies, uzrun\u0101 ar savu po\u0113tisko un emocion\u0101lo dzi\u013cumu. Filma “\u0100bols up\u0113” jau savulaik bija novatorisks darbs, apvienojot dokument\u0101l\u0101 un sp\u0113lfilmas elementus, un nu te\u0101tra valod\u0101 \u0161\u012b s\u0101kotn\u0113j\u0101 ideja ir guvusi jaunu, aizkustino\u0161u atspulgu.<\/p>\n
Varo\u0146u atgrie\u0161an\u0101s un laika metafiltr\u0101<\/p>\n
\u012apa\u0161u gaisotni izr\u0101dei pie\u0161\u0137ir aktieris Ivars Kalni\u0146\u0161, kur\u0161 atgrie\u017eas uz JRT skatuves, atveidojot t\u0113lu, kas paz\u012bstams no filmas “\u0100bols up\u0113”. \u0160oreiz vi\u0146a varonis Janka saskaras ar savu pag\u0101tni p\u0113c 50 gadiem, un vi\u0146u joproj\u0101m vieno \u0123it\u0101rsp\u0113le un neatk\u0101rtojamais person\u012bbas \u0161arms. Tom\u0113r tagad Za\u0137usalas krastus vi\u0146\u0161 var izstaig\u0101t vien atmi\u0146\u0101s. Tiekoties ar jaun\u0101s paaudzes aktrisi Agati Kristu, kas atveido izr\u0101des otru galveno varoni, tiek rad\u012bta fascin\u0113jo\u0161a sasp\u0113le starp da\u017e\u0101d\u0101m paaudz\u0113m un laikiem. \u0160\u012b rado\u0161\u0101 apvieno\u0161an\u0101s, kur\u0101 re\u0101li st\u0101sti mijas ar le\u0123end\u0101m un metafor\u0101m, rada izr\u0101dei skaisti smeldz\u012bgu atmosf\u0113ru, kas sp\u0113j aizkustin\u0101t, rosin\u0101t dzi\u013cas p\u0101rdomas un ar\u012b izsaukt sirsn\u012bgu smaidu.<\/p>\n
M\u0101kslas un v\u0113stures dialogs<\/p>\n
Alvis Hermanis un dramatur\u0123e Margarita Zieda rad\u012bju\u0161i uzvedumu, kas ir k\u0101 velt\u012bjums Za\u0137usalas unik\u0101lajai v\u0113sturei un t\u0101s cilv\u0113kiem, kuri tur dz\u012bvoja paaud\u017eu paaudz\u0113s. Laik\u0101, kad tika b\u016bv\u0113ts Salu tilts un telev\u012bzijas komplekss, \u0161\u012b idillisk\u0101 vide tika neatgriezeniski izpost\u012bta. Izr\u0101de ne tikai atg\u0101dina par \u0161o zaud\u0113jumu, bet ar\u012b liek aizdom\u0101ties par progresa cenu un to, cik daudz m\u0113s esam gatavi upur\u0113t v\u0101rda “att\u012bst\u012bba”. K\u0101 jaut\u0101 pats Ivars Kalni\u0146\u0161 \u2013 vai m\u0113s v\u0113l\u0113tos atgriezt iepriek\u0161\u0113jo Za\u0137usalu, ja tas noz\u012bm\u0113tu atteik\u0161anos no m\u016bsdienu infrastrukt\u016bras? \u0160is filozofiskais jaut\u0101jums, kas caurvij izr\u0101di, padara “\u0100be\u013cziedus up\u0113” par daudzsl\u0101\u0146ainu m\u0101kslas darbu, kas rezon\u0113 ar skat\u012bt\u0101ju sird\u012bm un pr\u0101tiem. Izr\u0101des vizu\u0101lais noform\u0113jums, ko veidojis scenogr\u0101fs Alvis Hermanis un gaismu m\u0101kslinieks Lauris Johansons, k\u0101 ar\u012b video dizainers M\u0101rti\u0146\u0161 Grauds, papildina po\u0113tisko st\u0101st\u012bjumu, radot telpu, kas vienlaikus ir gan re\u0101la, gan metaforiska.<\/p>\n
Cer\u012bba uz n\u0101kotni nozaud\u0113taj\u0101 parad\u012bz\u0113<\/p>\n
K\u0101 st\u0101sta re\u017eisors Alvis Hermanis, izr\u0101des nosaukums “\u0100be\u013cziedi up\u0113” ir saist\u012bts ar metaforisku kro\u0146a st\u0101stu. Senos laikos Za\u0137usal\u0101 katr\u0101 d\u0101rz\u0101 z\u0113la \u0101beles. Kad sala tika nopost\u012bta, viens no saimniekiem, izmisum\u0101, nocirta savas \u0101beles. Ta\u010du, kad pavasar\u012b za\u0137salnieki ierad\u0101s apraudz\u012bt savu biju\u0161o m\u0101jvietu, vi\u0146i atkl\u0101ja, ka nocirst\u0101s \u0101beles bija pilnas ar ziediem. \u0160is st\u0101sts simboliz\u0113 dz\u012bvotsp\u0113ku un cer\u012bbu, kas sp\u0113j uzplaukt pat visgr\u016bt\u0101kajos apst\u0101k\u013cos. “\u0100be\u013cziedi up\u0113” pied\u0101v\u0101 ne tikai atskat\u012bties uz pag\u0101tni, bet ar\u012b mekl\u0113t sp\u0113ku un iedvesmu n\u0101kotnei, jo, k\u0101 uzskata re\u017eisors, tie\u0161i \u0161eit, \u0161aj\u0101 “latvie\u0161u Atlant\u012bd\u0101”, var s\u0101kt b\u016bv\u0113t ide\u0101lu n\u0101kotnes Latviju \u2013 t\u0101du, kur\u0101 dz\u012bvo drosm\u012bgi cilv\u0113ki, kuru fant\u0101zija un labie nodomi sp\u0113j p\u0101rsteigt.<\/p>\n","protected":false},"excerpt":{"rendered":"Jaunaj\u0101 R\u012bgas te\u0101tr\u012b pirmizr\u0101di piedz\u012bvo Alvja Herma\u0146a iestud\u0113jums “\u0100be\u013cziedi up\u0113” R\u012bg\u0101, 2025. gada 25. novembr\u012b \u2013 M\u0101kslas baud\u012bt\u0101jiem…\n","protected":false},"author":2,"featured_media":59942,"comment_status":"","ping_status":"","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[19],"tags":[13211,15794,5992,89,90,5272,35,39,38,36,37,34,40,13735],"class_list":{"0":"post-59941","1":"post","2":"type-post","3":"status-publish","4":"format-standard","5":"has-post-thumbnail","7":"category-izklaide","8":"tag-abelziedi-upe","9":"tag-abols-upe","10":"tag-alvis-hermanis","11":"tag-entertainment","12":"tag-izklaide","13":"tag-jaunais-rigas-teatris","14":"tag-latvia","15":"tag-latvian","16":"tag-latviesu","17":"tag-latviesu-valoda","18":"tag-latviesuvaloda","19":"tag-latvija","20":"tag-lv","21":"tag-zakusala"},"share_on_mastodon":{"url":"https:\/\/pubeurope.com\/@lv\/115622408568465938","error":""},"_links":{"self":[{"href":"https:\/\/www.europesays.com\/lv\/wp-json\/wp\/v2\/posts\/59941","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=59941"}],"version-history":[{"count":0,"href":"https:\/\/www.europesays.com\/lv\/wp-json\/wp\/v2\/posts\/59941\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.europesays.com\/lv\/wp-json\/wp\/v2\/media\/59942"}],"wp:attachment":[{"href":"https:\/\/www.europesays.com\/lv\/wp-json\/wp\/v2\/media?parent=59941"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.europesays.com\/lv\/wp-json\/wp\/v2\/categories?post=59941"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.europesays.com\/lv\/wp-json\/wp\/v2\/tags?post=59941"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}