Dejot\u0101ja un horeogr\u0101fe Mar\u012bja La Ribota (Mar\u00eda La Ribot) ar savu darbu ‘Juana Ficci\u00f3n’ (Joana fikcija) nosl\u0113dza savu ilggad\u0113jo m\u0101ksliniecisko karjeru, kas vair\u0101k nek\u0101 30 gadus bijusi cie\u0161i saist\u012bta ar Sp\u0101nijas karalienes J\u0101nas I (Joanna I of Castile) t\u0113lu. Uzst\u0101\u0161an\u0101s festiv\u0101la Europalia ietvaros Brisel\u0113 k\u013cuva par po\u0113tisku portret\u0113jumu par karalienes iek\u0161\u0113jo pasauli, v\u012brie\u0161iem, kas vi\u0146u nomoc\u012bja, un noriso\u0161o m\u0101kslas rad\u012bt\u0101 stigmata izp\u0113ti. K\u0101 inform\u0113 telekan\u0101ls EuroNews, \u0161is izr\u0101des nosl\u0113gums iez\u012bm\u0113ja vingrin\u0101juma pabeig\u0161anu, kas tika apl\u016bkots no piln\u012bgi m\u016bsdien\u012bgas perspekt\u012bvas, cen\u0161oties pan\u0101kt po\u0113tisku taisn\u012bgumu v\u0113sturei.<\/p>\n
V\u0113stures dz\u0113stais sievietes v\u0101rds<\/p>\n
Starp sievie\u0161u v\u0101rdiem, ko v\u0113sture ir m\u0113\u0123in\u0101jusi izdz\u0113st, J\u0101nas I no Kast\u012blijas (Joanna I of Castile) v\u0101rds ir viens no ac\u012bmredzam\u0101kajiem. Vi\u0146a tika norijta melnaj\u0101 pl\u012bvur\u0101, kas apkl\u0101ja monarhi, l\u012bdz no vi\u0146as p\u0101ri palika tikai epitets ‘J\u0101na Trako’. Gaismas zudums ir viens no centr\u0101lajiem metaforiem ‘Juana Fiction’ darb\u0101. \u0160is darbs ir turpin\u0101jums t\u0113mai, kas debit\u0113ja La Ribotas 1992. gada izr\u0101d\u0113 ‘El triste que nunca os vido’ (Tas b\u0113duv\u012brs, kas tevi nekad nav redz\u0113jis).<\/p>\n
Pirms m\u0113\u0123in\u0101juma La Ribota atzina EuroNews: <\/p>\n
T\u0101 ir Joana fikcija, jo v\u0113stur\u0113 vienm\u0113r tiek izgudrota fikcija, un m\u0113s v\u0113lamies no\u0146emt \u0161o stigmu. Romantisms vi\u0146u vienm\u0113r ir nost\u0101d\u012bjis \u0161aj\u0101 poz\u012bcij\u0101, ta\u010du m\u0113s varam jaut\u0101t, vai tas bija paties\u012bba, vai ar\u012b rezult\u0101ts sp\u0113l\u0113m, ko sar\u012bkoja vi\u0146as dz\u012bves svar\u012bg\u0101kie v\u012brie\u0161i \u2013 vi\u0146as v\u012brs, t\u0113vs un d\u0113ls.<\/p><\/blockquote>\n
Identit\u0101tes at\u0146em\u0161ana un valsts vara<\/p>\n
Karaliene, kas nesp\u0113ja p\u0101rvar\u0113t sava v\u012bra Filipa Skaist\u0101 (Philip the Handsome) kr\u0101p\u0161anu vai vi\u0146a n\u0101vi, tika ieslodz\u012bta kloster\u012b Tordesillas (Tordesillas) 46 gadus. \u0160\u012b at\u0146em\u0161anas, nolieg\u0161anas un identit\u0101tes piespiedu p\u0101rveido\u0161anas procesa rad\u012bt\u0101s s\u0101pes atspogu\u013cojas katr\u0101 La Ribotas kust\u012bb\u0101. Kam\u0113r horeogr\u0101fe p\u0101rvietojas pa telpu, Asiera Pugas (Asier Puga) vad\u012btais or\u0137estris kop\u0101 ar solistu ansambli Grupo Enigma un polifonisko kori Schola Cantorum Paradisi Portae virza uz priek\u0161u haosu, ko ilustr\u0113 ar\u012b Elv\u012bras Gr\u0101vas (Elvira Grau) kost\u012bmu dizains, kas balst\u012bts uz Hieronymus Boscha (Bosch) darbu ‘Zemes baudu d\u0101rzs’.<\/p>\n
M\u016bzika izr\u0101dei aizg\u016bta no dziesmu kr\u0101juma, kas tika d\u0101vin\u0101ts J\u0101nai un Filipam k\u0101zu laik\u0101, un t\u0101 apvieno 16. gadsimta sp\u0101\u0146u un fl\u0101mu ska\u0146u trad\u012bcijas. V\u0113l\u0101k izr\u0101de sasniedz Joanas gar\u012bg\u0101s st\u0101vok\u013ca kulmin\u0101ciju ar \u00c1lvaro M\u0101rtina (\u00c1lvaro Mart\u00edn) elektronisko m\u016bziku. Abu laikmetu m\u0101ksliniecisk\u0101 l\u012bdz\u0101spast\u0101v\u0113\u0161ana pastiprina klaus\u012b\u0161an\u0101s pieredzi un atkl\u0101j ne\u017e\u0113l\u012bgu realit\u0101ti: vardarb\u012bba, ko piedz\u012bvoja J\u0101na I no Kast\u012blijas, joproj\u0101m ir \u013coti aktu\u0101la.<\/p>\n
La Ribota nor\u0101da uz pla\u0161\u0101ku politisku dimensiju: <\/p>\n
Izr\u0101des centr\u0101 ir Joana, bet t\u0101 ir ar\u012b par valsts varu, par teroru; m\u0113s to redzam tagad Gaz\u0101, k\u0101 Izra\u0113las valsts vara slakt\u0113 un pastr\u0101d\u0101 genoc\u012bdu visu acu priek\u0161\u0101.<\/p><\/blockquote>\n
Gaismas un tumsas prec\u012bza sinhroniz\u0101cija<\/p>\n
Aktris Huans Lorjente (Juan Loriente), kur\u0161 ir mask\u0113ts varonis un ar kuru La Ribota str\u0101d\u0101ja ar\u012b ‘El triste que nunca os vido’, kalpo k\u0101 kontrapunkts starp publiku (kas k\u013c\u016bst gandr\u012bz par v\u0113l vienu rekviz\u012btu) un La Ribotas iemiesoto J\u0101nu, abus savienojot ar zin\u0101mu vardarb\u012bbas saj\u016btu. \u0160\u012b elementu kombin\u0101cija pal\u012bdz skat\u012bt\u0101jam b\u016bt kl\u0101teso\u0161am, apzinoties ar\u012b \u0161ausmino\u0161u realit\u0101ti: vienm\u0113r b\u016bs fig\u016bras (sievietes), kas p\u0101rsteigu\u0161as savu laiku, bet kuras sagraus hegemons sp\u0113ks.<\/p>\n
La Ribota skaidro gaismas noz\u012bmi: <\/p>\n
Gaismai ir b\u016btiska loma \u0161aj\u0101 izr\u0101d\u0113, jo t\u0101 pak\u0101peniski izgaist l\u012bdz ar Joanas dz\u012bvi; paties\u012bb\u0101 runa ir par dz\u012bves pazu\u0161anu.<\/p><\/blockquote>\n
Vi\u0146a atkl\u0101j, ka katra izr\u0101de ir prec\u012bzi sinhroniz\u0113ta ar 45 min\u016bt\u0113m pirms saulrieta, lai \u012bst\u0101 tumsa iest\u0101tos tie\u0161i br\u012bd\u012b, kad Joana paz\u016bd zem priek\u0161metu un melnu kr\u0101su kl\u0101juma. <\/p>\n
Briseles izr\u0101des laik\u0101 n\u0101c\u0101s izmantot m\u0101ksl\u012bgu apgaismojumu, lai imit\u0113tu saulrietu, jo, k\u0101 horeogr\u0101fe atz\u012bst, \u201cbija pulksten tr\u012bs p\u0113cpusdien\u0101, un taj\u0101 laik\u0101 mums b\u016btu maz\u0101k cilv\u0113ku\u201d. Neatkar\u012bgi no t\u0101, vai gaisma bijusi m\u0101ksl\u012bga vai dab\u012bga, rezult\u0101ts ir satrauco\u0161s, skat\u012bt\u0101jiem tuvojoties nekust\u012bgajam Joanas-La Ribotas \u0137ermenim, kas it k\u0101 grimst vientul\u012bb\u0101.<\/p>\n
Pioniera mantojums un transform\u0101cija<\/p>\n
Run\u0101jot par savu karjeru, La Ribota teic: “Mani darbi vienm\u0113r ir transform\u0113jo\u0161i, t\u0101p\u0113c es tos veidoju.” Jaut\u0101ta par \u0161\u0137\u0113r\u0161\u013ciem, ko vi\u0146a sask\u0101r\u0101s k\u0101 m\u0101ksliniece, vi\u0146a atz\u012bst, ka \u0161\u0137\u0113r\u0161\u013ci past\u0101v\u0113ju\u0161i, ta\u010du nav skaidrs, vai tie ir saist\u012bti ar pa\u0161u profesiju, vai ar\u012b tie ir seksistiski vai patriarh\u0101li. Vi\u0146a piebilst: <\/p>\n
Esmu daudz str\u0101d\u0101jusi kaila, t\u0101p\u0113c esmu tikusi cenz\u0113ta. Ir valstis, kur\u0101s es nevaru likt k\u0101ju.<\/p><\/blockquote>\n
Vi\u0146a piekr\u012bt, ka \u0161is darbs ir viens no maz\u0101k kr\u0101sainajiem vi\u0146as repertu\u0101r\u0101, ja ar kr\u0101\u0161\u0146umu saprot spilgtu kr\u0101su kontrastu. \u0160is sniegums iez\u012bm\u0113 m\u016bsdienu dejas karjeras horizontu, kas dz\u012bvota k\u0101 m\u016b\u017e\u012bgam pioniera titulam. 2027. gad\u0101 Karaliskais Sofijas muzejs (Reina Sof\u00eda museum) prezent\u0113s retrospekciju ar nosaukumu ‘Resolution’, kur\u0101 b\u016bs izcili La Ribotas darbi no 1993. l\u012bdz 2024. gadam.<\/p>\n
“T\u0101tad tas man kalpo k\u0101 nobeigums, k\u0101 nor\u0101da nosaukums; bet dzi\u013cum\u0101 katrs gals ir s\u0101kums kaut kam citam,” vi\u0146a uzsver. Tas noz\u012bm\u0113, ka La Ribotas revolucion\u0101r\u0101 \u017eanru hibridiz\u0101cija, rota\u013c\u012bgums un vienm\u0113r laika priek\u0161\u0101 eso\u0161as m\u0101kslinieces v\u0113r\u0161an\u0101s pret straumi v\u0113l dos daudz jauna.<\/p>\n","protected":false},"excerpt":{"rendered":"Dejot\u0101ja un horeogr\u0101fe Mar\u012bja La Ribota (Mar\u00eda La Ribot) ar savu darbu ‘Juana Ficci\u00f3n’ (Joana fikcija) nosl\u0113dza savu…\n","protected":false},"author":2,"featured_media":85032,"comment_status":"","ping_status":"","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[19],"tags":[89,21508,90,21509,21511,35,39,38,36,37,34,40,21507,21510],"class_list":{"0":"post-85285","1":"post","2":"type-post","3":"status-publish","4":"format-standard","5":"has-post-thumbnail","7":"category-izklaide","8":"tag-entertainment","9":"tag-europalia","10":"tag-izklaide","11":"tag-jana-trako","12":"tag-karalienes-janas-portrets","13":"tag-latvia","14":"tag-latvian","15":"tag-latviesu","16":"tag-latviesu-valoda","17":"tag-latviesuvaloda","18":"tag-latvija","19":"tag-lv","20":"tag-marija-la-ribota","21":"tag-musdienu-deja"},"share_on_mastodon":{"url":"https:\/\/pubeurope.com\/@lv\/115776081377022771","error":""},"_links":{"self":[{"href":"https:\/\/www.europesays.com\/lv\/wp-json\/wp\/v2\/posts\/85285","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=85285"}],"version-history":[{"count":0,"href":"https:\/\/www.europesays.com\/lv\/wp-json\/wp\/v2\/posts\/85285\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.europesays.com\/lv\/wp-json\/wp\/v2\/media\/85032"}],"wp:attachment":[{"href":"https:\/\/www.europesays.com\/lv\/wp-json\/wp\/v2\/media?parent=85285"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.europesays.com\/lv\/wp-json\/wp\/v2\/categories?post=85285"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.europesays.com\/lv\/wp-json\/wp\/v2\/tags?post=85285"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}