<\/p>\n
Fragments no Synne Behrndt, Sodja Lotker gr\u0101matas “Dramaturgy and Research in Devised Theatre” (NAMU, 2024. 37.\u201341.lpp). Tulkojis Lauris Veips. <\/strong><\/p>\n Dramatur\u0123ija k\u0101 sist\u0113ma ir kopums, kura \u012bpa\u0161\u012bbas izriet no attiec\u012bb\u0101m starp t\u0101 da\u013c\u0101m. Protams, noz\u012bm\u012bgas ir ar\u012b pa\u0161as da\u013cas, komponentes, ta\u010du sist\u0113mai iz\u0161\u0137iro\u0161i svar\u012bgas ir tie\u0161i to savstarp\u0113j\u0101s attiec\u012bbas un musturi, k\u0101dos \u0161\u012bs attiec\u012bbas tiek organiz\u0113tas. Dom\u0101jot par dramatur\u0123iju k\u0101 par sist\u0113mu, mums uz to j\u0101skat\u0101s k\u0101 uz salikumu, attiec\u012bbu kopumu, t\u012bklu, kas sast\u0101v no elementiem un to savstarp\u0113j\u0101m attiec\u012bb\u0101m.<\/p>\n \u0160\u012b elementu strukt\u016bra ir izprotama nevis anal\u012btiski, apl\u016bkojot katru elementu atsevi\u0161\u0137i, bet tikai kontekst\u0101 un caur kontekstu. T\u0101pat t\u0101 nav anal\u012btiski konstru\u0113jama; t\u0101 j\u0101konstru\u0113, radot attiec\u012bbas. Par labu konkr\u0113t\u0101m konfigur\u0101cij\u0101m un attiec\u012bb\u0101m starp elementiem, to noz\u012bmei sist\u0113mas dinamik\u0101, to izvietojumam un att\u012bst\u012bbai iesp\u0113jams iz\u0161\u0137irties tikai m\u0113\u0123in\u0101jumu proces\u0101, izm\u0113\u0123inot uz vietas. T\u0101p\u0113c var sac\u012bt, ka dramatur\u0123ija ir sare\u017e\u0123\u012bta, kontekstu\u0101la dom\u0101\u0161ana, ko iesp\u0113jams uztvert tikai kust\u012bb\u0101.<\/p>\n Sav\u0101 dramatur\u0123es darb\u0101 es cen\u0161os iez\u012bm\u0113t \u0161\u012bs attiec\u012bbas un mekl\u0113t atk\u0101rtojumus un musturus. Noteiktas attiec\u012bbu konfigur\u0101cijas atk\u0101rtojas, un m\u0113s s\u0101kam taj\u0101s saredz\u0113t zin\u0101mu rakstu. Da\u017ek\u0101rt rad\u012b\u0161anas proces\u0101 \u0161ie musturi ir tikko paman\u0101mi, gandr\u012bz vai neredzami, bet k\u0101 dramatur\u0123e es cen\u0161os tos atrast un att\u012bst\u012bt. Musturiem j\u0101b\u016bt t\u0101d\u0101 vai cit\u0101d\u0101 veid\u0101 tie\u0161i saist\u012btiem ar materi\u0101lu. Uzspie\u017eot tos materi\u0101lam, kuram tie neatbilst, sekas var b\u016bt graujo\u0161as.<\/p>\n Ne visas attiec\u012bbas dramatur\u0123ij\u0101 ir izm\u0113r\u0101mas un izsveramas vai pat uztveramas. Laikmet\u012bgaj\u0101 skatuves m\u0101ksl\u0101 dramatur\u0123isk\u0101s sist\u0113mas ir neline\u0101r\u0101, nekauz\u0101l\u0101 veid\u0101 organiz\u0113ti kompleksi, kas sast\u0101v no v\u0101rdiem, kust\u012bb\u0101m, telpas, auditorijas, smar\u017eas, j\u0113dzieniem, pieredzes, ekspekt\u0101cij\u0101m, noska\u0146as utt. T\u0101s ir sist\u0113mas, kuras, t\u0101pat k\u0101 visu p\u0101r\u0113jo pasaul\u0113, veido apak\u0161sist\u0113mas; t\u0101s sast\u0101v no cilv\u0113kiem, priek\u0161metiem, diskursiem utt.<\/p>\n Paterns (atk\u0101rtojo\u0161ais elementu kopums, raksts) sarunvalod\u0101 var noz\u012bm\u0113t kaut ko negat\u012bvu. Tas var noz\u012bm\u0113t bezj\u0113dz\u012bgu, nedz\u012bvu, inertu atk\u0101rto\u0161anos. Ta\u010du past\u0101v vair\u0101ki iemesli, kuru d\u0113\u013c laikmet\u012bgo izr\u0101\u017eu dramatur\u0123ij\u0101 paterni ir iz\u0161\u0137iro\u0161i svar\u012bgi. Pirmk\u0101rt, tikai paterns \u013cauj atrast konkr\u0113tajam materi\u0101lam atbilsto\u0161u strukt\u016bru. Otrk\u0101rt, performances norises laik\u0101, starp vis\u0101m jaunaj\u0101m attiec\u012bb\u0101m un pieredz\u0113m, tie\u0161i paterns ir tas, kas skat\u012bt\u0101jiem paliek paz\u012bstams un saprotams, pat ja tas tiek uztverts tikai neracion\u0101l\u0101 l\u012bmen\u012b.<\/p>\n Svar\u012bgi atz\u012bm\u0113t, ka, manupr\u0101t, skat\u012bt\u0101jiem nav oblig\u0101ti j\u0101apzin\u0101s, intelektu\u0101li j\u0101saprot katrs konkr\u0113tais paterns, bet vi\u0146iem ir j\u0101pamana t\u0101 kl\u0101tb\u016btne; bie\u017ei vien to var sajust k\u0101 ritmu vai atk\u0101rtojo\u0161os t\u0113mu. Raksts, lai cik main\u012bgs un paman\u0101ms tas b\u016btu, ir tas, kas sist\u0113mu padara par sist\u0113mu. Un, izprotot rakstu k\u0101 l\u012bdz\u012bgu attiec\u012bbu konfigur\u0101ciju atk\u0101rtotu par\u0101d\u012b\u0161anos laik\u0101 un telp\u0101, nevis k\u0101 formu kop\u0113\u0161anu un iel\u012bm\u0113\u0161anu, to iesp\u0113jams apl\u016bkot k\u0101 dinamisku.<\/p>\n K\u0101 jau teicu, ir \u013coti svar\u012bgi atpaz\u012bt un att\u012bst\u012bt paternus, kas radu\u0161ies no materi\u0101la un t\u0101 veidot\u0101jiem. Ta\u010du ir svar\u012bgi ar\u012b veicin\u0101t to dinamiku, proti, iz\u0146emt un pievienot elementus, kas var padar\u012bt materi\u0101lu dinamisku atbilsto\u0161i izr\u0101des konkr\u0113taj\u0101m vajadz\u012bb\u0101m un konkr\u0113tiem izr\u0101des momentiem. Dramatiskaj\u0101 te\u0101tr\u012b situ\u0101cij\u0101m dinamiku pie\u0161\u0137ir tas, kas notiek starp varo\u0146iem, dramatiskais konflikts. Laikmet\u012bgaj\u0101 izr\u0101d\u0113 dramatiskais konflikts var norisin\u0101ties ar da\u017e\u0101du bie\u017eumu un starp da\u017e\u0101diem sist\u0113mas elementiem. Un m\u0113s varam dom\u0101t par tiem k\u0101 par p\u0101rmai\u0146\u0101m kompoz\u012bcij\u0101 \u2013 kontrastiem un p\u0101rk\u0101rtojumiem skat\u012bt\u0101ju uztver\u0113. P\u0101rmai\u0146u momentiem, punktiem, kuros sist\u0113ma dodas jaun\u0101 virzien\u0101, jaunu ideju un pieredzes ra\u0161an\u0101s momentiem, ir j\u0101b\u016bt ievietotiem sist\u0113m\u0101 t\u0101, lai t\u0101 b\u016btu dinamiska, lai t\u0101 paliktu uztic\u012bga pati sev, lai b\u016btu struktur\u0101li stabila. Tie\u0161i \u0161\u012b spriedze starp kr\u012bzi un transform\u0101ciju ir iz\u0161\u0137iro\u0161a dramatur\u0123isko sist\u0113mu dinamikas veido\u0161an\u0101.<\/p>\n P\u0113c\u0101k aprakst\u012b\u0161u da\u017eu konkr\u0113tu izr\u0101\u017eu dinamiku, pie kur\u0101m esmu str\u0101d\u0101jusi p\u0113d\u0113jos gados. Ta\u010du vispirms v\u0113los izteikt da\u017eas pamatdomas par dramatur\u0123isko sist\u0113mu dinamiku. Laikmet\u012bg\u0101s izr\u0101des (bet, manupr\u0101t, ar\u012b jebkura cita te\u0101tra) dramatur\u0123isk\u0101s sist\u0113mas nevar pierakst\u012bt k\u0101 scen\u0101rijus; t\u0101s dr\u012bz\u0101k ir elpojo\u0161as, kust\u012bgas ainavas topogr\u0101fija. Dr\u012bz\u0101k dz\u012bvs organisms, nevis arhitekt\u016bra. Ja t\u0101s ir struktur\u0101li stabilas, tas noz\u012bm\u0113, ka t\u0101m ir k\u0101ds vienk\u0101r\u0161s smaguma centrs, kas uztur t\u0101s pa\u0161regul\u0113jo\u0161\u0101 st\u0101vokl\u012b, un ja t\u0101s vienlaikus ir pietiekami atv\u0113rtas, lai iek\u013cautu iesp\u0113jamo pieredzes un darb\u012bbas da\u017e\u0101d\u012bbu no skat\u012bt\u0101ju perspekt\u012bvas, t\u0101s k\u013c\u016bst neatkar\u012bgas.<\/p>\n Neatkar\u012bbu ir svar\u012bgi respekt\u0113t. M\u0113\u0123in\u0101jumu proces\u0101 bie\u017ei vien gad\u0101s br\u012bdis, kad materi\u0101ls ieg\u016bst savu lo\u0123iku, savu apzi\u0146u, kas pati s\u0101k uzrun\u0101t m\u0101ksliniekus. Tas ir br\u012bdis, kad rodas sist\u0113ma, un m\u0101ksliniekiem j\u0101s\u0101k str\u0101d\u0101t dialog\u0101 ar sist\u0113mu. Ta\u010du es teiktu, ka t\u0101s atv\u0113rt\u012bbas un main\u012bguma d\u0113\u013c ir lab\u0101k dom\u0101t par to k\u0101 par dz\u012bvu sist\u0113mu, nevis k\u0101 par ma\u0161\u012bnu, un saprast t\u0101s gandr\u012bz biolo\u0123isko autonomiju. \u0160aj\u0101 br\u012bd\u012b, kad skat\u012bt\u0101ji izr\u0101dei var dot da\u017e\u0101du veidu pienesumu, piem\u0113ram, domas, saj\u016btas, l\u012bdzdal\u012bbu u. c., m\u0113s, iesp\u0113jams, nevaram paredz\u0113t, k\u0101di b\u016bs visi \u0161\u012bs sv\u0101rst\u012bg\u0101s, sare\u017e\u0123\u012bt\u0101s, haotisk\u0101s sist\u0113mas lielumi, ta\u010du m\u0113s varam paredz\u0113t un vad\u012bt sist\u0113mas kvalitat\u012bv\u0101s iez\u012bmes un t\u0101s uzved\u012bbas veidu.<\/p>\n T\u0101 k\u0101 \u0161\u012bm sist\u0113m\u0101m ir pa\u0161\u0101m sava autonomija, var teikt, ka t\u0101s ir dom\u0101\u0161anas, izp\u0113tes, p\u0113tniec\u012bbas vietas. Veidot\u0101jiem tas noz\u012bm\u0113 materi\u0101la p\u0113tniec\u012bbu un p\u0113tniec\u012bbu caur materi\u0101lu: ieklaus\u012b\u0161anos materi\u0101l\u0101 jau eso\u0161ajos mot\u012bvos, to att\u012bst\u012b\u0161anu un visbeidzot ar\u012b jaunu zin\u0101\u0161anu ieg\u016b\u0161anu materi\u0101la\/sist\u0113mas un auditorijas mijiedarb\u012bbas rezult\u0101t\u0101. Var teikt, ka \u0161\u012bs izr\u0101des ir mode\u013ci ar stabil\u0101m strukt\u016br\u0101m, kas veido dinamisku vidi, kur dzimst jauna pieredze, domas un attieksme. Un \u0161eit dinamika past\u0101v ne tikai t\u0101d\u0113\u013c, lai notur\u0113tu skat\u012bt\u0101ja uzman\u012bbu, bet ar\u012b t\u0101d\u0113\u013c, lai \u013cautu un rosin\u0101tu jaunu ideju ra\u0161anos \u2013 ideju, kas bie\u017ei vien ir jaunas ar\u012b pa\u0161iem veidot\u0101jiem.<\/p>\n Pilnu tekstu ang\u013cu valod\u0101 lasiet gr\u0101mat\u0101 “Dramaturgy and Research in Devised Theatre”, ko iesp\u0113jams pas\u016bt\u012bt LJTI bibliot\u0113k\u0101<\/a>, las\u012bt br\u012bvpieej\u0101<\/a> vai ieg\u0101d\u0101ties<\/a>. <\/p>\n <\/p>","protected":false},"excerpt":{"rendered":" Fragments no Synne Behrndt, Sodja Lotker gr\u0101matas “Dramaturgy and Research in Devised Theatre”. Tulkojis Lauris Veips. <\/p>\n","protected":false},"author":1,"featured_media":5232,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"inline_featured_image":false,"footnotes":""},"categories":[91],"tags":[],"class_list":["post-5231","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-lasitava"],"acf":[],"_links":{"self":[{"href":"https:\/\/theatre.kondrats.dev\/lv\/wp-json\/wp\/v2\/posts\/5231","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/theatre.kondrats.dev\/lv\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/theatre.kondrats.dev\/lv\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/theatre.kondrats.dev\/lv\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/theatre.kondrats.dev\/lv\/wp-json\/wp\/v2\/comments?post=5231"}],"version-history":[{"count":0,"href":"https:\/\/theatre.kondrats.dev\/lv\/wp-json\/wp\/v2\/posts\/5231\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/theatre.kondrats.dev\/lv\/wp-json\/wp\/v2\/media\/5232"}],"wp:attachment":[{"href":"https:\/\/theatre.kondrats.dev\/lv\/wp-json\/wp\/v2\/media?parent=5231"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/theatre.kondrats.dev\/lv\/wp-json\/wp\/v2\/categories?post=5231"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/theatre.kondrats.dev\/lv\/wp-json\/wp\/v2\/tags?post=5231"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}