rakstu interneta \u017eurn\u0101l\u0101 “Satori”<\/a> par to, ko noz\u012bm\u0113 laikmet\u012bgums dejas m\u0101ksl\u0101.<\/strong><\/p>\n“Par atv\u0113rt\u012bbu laikmet\u012bgajai m\u0101kslai!” tie\u0161i tik nevain\u012bgi feisbuk\u0101 iekoment\u0113ju bildi ar kult\u016bras ministri no Baltijas Dejas platformas atkl\u0101\u0161anas. Ta\u010du p\u0113k\u0161\u0146i pie ieraksta uz\u0161virkst\u0113ja kaisl\u012bga diskusija par to, kur\u0161 dr\u012bkst un kur\u0161 nedr\u012bkst valk\u0101t v\u0101rdu “laikmet\u012bgs”. Var\u0113tu dom\u0101t, ka tie\u0161i dejas \u017eanr\u0101 bilde ir visskaidr\u0101k\u0101, bet t\u0101 izskat\u0101s tikai l\u012bdz br\u012bdim, kam\u0113r nepal\u016bkojies \u0101rpus savas ikdienas ierobe\u017eot\u0101s redzam\u012bbas zonas. Bet s\u0101k\u0161u ar to, k\u0101p\u0113c dej\u0101 p\u0113d\u0113jos 15 gadus par j\u0113dzienu “laikmet\u012bgs” nevajadz\u0113tu b\u016bt p\u0101r\u0101k liel\u0101m v\u0101rdu kauj\u0101m.<\/p>\n
Laikmet\u012bg\u0101s dejas kopiena ik pa laikam atg\u0101dina par k\u0101du notikumu 2007. gad\u0101, kad profesion\u0101\u013ci san\u0101ca kop\u0101, lai vienotos par da\u017e\u0101du dejas procesu robe\u017e\u0101m, jo kop\u0161 20. gadsimta 90. gadu s\u0101kuma vair\u0101kas par\u0101d\u012bbas dejas m\u0101ksl\u0101 bija k\u013cuvu\u0161as gana stipras un past\u0101v\u012bgas. Pirm\u0101m k\u0101rt\u0101m t\u0101 bija dejas m\u0101kslinieces Olgas \u017ditluhinas m\u0113r\u0137tiec\u012bgi virz\u012bt\u0101 laikmet\u012bg\u0101 deja. L\u012bdz\u0101s tai da\u017e\u0101die ielu dejas stili un t\u0101 d\u0113v\u0113t\u0101s d\u017eeza dejas, kas visakt\u012bv\u0101k tiek praktiz\u0113tas neskait\u0101m\u0101s b\u0113rnu un jaunie\u0161u deju studij\u0101s (gan koncentr\u0113joties uz k\u0101du specifisku ielu deju virzienu, gan miks\u0113jot da\u017e\u0101dus deju \u017eanrus). \u0160o otro str\u0101vojumu profesion\u0101\u013ci toreiz izl\u0113ma apvienot zem jumta j\u0113dziena “m\u016bsdienu deja” (kas p\u0113d\u0113j\u0101 laik\u0101 tom\u0113r tiek izmantots daudzskaitl\u012b, jo nav t\u0101das vienas m\u016bsdienu dejas, bet ir da\u017e\u0101du stilu un \u017eanru visneiedom\u0101jam\u0101k\u0101s kombin\u0101cijas).<\/p>\n
God\u012bgi gan j\u0101atz\u012bst, ka nav ar\u012b t\u0101das vienas skaidras un prec\u012bzi defin\u0113jamas laikmet\u012bg\u0101s dejas \u2013 vai varam vieglpr\u0101t\u012bgi samest vien\u0101 katl\u0101 Krist\u012bnes Br\u012bni\u0146as klusuma un neredzam\u0101s kust\u012bbas p\u0113tniec\u012bbu, Lienes Gravas gaisa dejas lon\u017e\u0101, El\u012bnas un R\u016bdolfa Gedi\u0146u fizisko te\u0101tri un Kristas un Rei\u0146a Dzudzilo tik lab\u0101s min\u016btes milz\u012bgaj\u0101 Dailes skatuves k\u0101rb\u0101, “Laukku” grupas soci\u0101los un iek\u013caujo\u0161os projektus, Kri\u0161j\u0101\u0146a Santa v\u0113rpetes, kam iedvesma g\u016bta latvie\u0161u tautas rota\u013c\u0101, un Janas Jacukas superpersonisko bai\u013cu monoizr\u0101di? J\u0101 un n\u0113. J\u0101 t\u0101p\u0113c, ka \u0161os m\u0101ksliniekus vieno skola \u2013 Latvijas Kult\u016bras akad\u0113mija, kas ar\u012b iedevusi instrumentus, ar kuriem mekl\u0113t t\u0101l\u0101k. Un tas ir priek\u0161noteikums, k\u0101p\u0113c m\u0101kslinieki tom\u0113r ir tik da\u017e\u0101di savos rado\u0161ajos darbos. Soci\u0101lajos t\u012bklos un sadz\u012bves sazi\u0146\u0101 attiec\u012bb\u0101 pret laikmet\u012bg\u0101s dejas m\u0101ksliniekiem nereti tiek izmantota niev\u0101jo\u0161\u0101 fr\u0101ze, ka tie visi “tikai pa zemi v\u0101rt\u0101s”. J\u0101, ar\u012b v\u0101rt\u0101s, r\u0101po, skrien un da\u017ereiz visp\u0101r \u0161\u0137ietami neko nedara \u2013 tikai st\u0101v un run\u0101. Bet m\u016bsu nelaime ir no visa un visiem gaid\u012bt tikai izcil\u012bbu. Ja nav, tad metam \u0101r\u0101. \u0160aj\u0101 viet\u0101 atceros savas skolot\u0101jas, reiz\u0113m ekstravaganti kategorisk\u0101s Silvijas Radzobes atg\u0101din\u0101jumu \u2013 lai rozes izaugtu un kr\u0101\u0161\u0146i zied\u0113tu, vajag diezgan daudz s\u016bdu. M\u0101ksl\u0101 tas b\u016btu \u2013 lai kaut vienreiz dz\u012bv\u0113 ieraudz\u012btu zelta griezumu, j\u0101b\u016bt pietiekami pla\u0161ai un pieejamai telpai eksperimentiem, m\u0113\u0123in\u0101jumiem, neveiksm\u0113m. Starp citu, ar\u012b zin\u0101tn\u0113 \u0161\u012b paties\u012bba joproj\u0101m nav atcelta, jo tikai neskait\u0101mu m\u0113\u0123in\u0101jumu un nepl\u0101notu k\u013c\u016bdu ce\u013c\u0101 iesp\u0113jams non\u0101kt pie v\u0113lam\u0101 rezult\u0101ta.<\/p>\n
K\u0101da ir laikmet\u012bg\u0101 deja \u2013 moderna vai m\u016bsdien\u012bga? Sarunvalod\u0101 dro\u0161i var\u0113tu teikt, ka t\u0101 ir gan moderna, gan m\u016bsdien\u012bga. Ta\u010du m\u016bsu latvie\u0161u valoda izr\u0101d\u012bj\u0101s \u013coti \u0113rta, lai, tulkojot da\u017e\u0101dus “contemporary dance” kontekstus, skaidri no\u0161\u0137irtu, ka te, l\u016bk, ir runa par m\u016bsdienu deju (daudzie d\u017eeza deju, akrob\u0101tisko deju un ielu deju virzieni), bet tur, kur ir runa par m\u0101kslu, p\u0113tnieciski rado\u0161u, ori\u0123in\u0101lu un mekl\u0113jo\u0161u horeogr\u0101fu darb\u012bbu, ir sastopama laikmet\u012bg\u0101 deja. Kad m\u016bsdienu deju studijas un grupas brauc uz “contemporary dance” festiv\u0101liem un konkursiem \u0101rzem\u0113s, protams, var rasties neizpratne \u2013 k\u0101, m\u0113s ta\u010du piedal\u0101mies laikmet\u012bgaj\u0101 dej\u0101?! Ja neiedzi\u013cin\u0101s un neredz sacens\u012bbu priek\u0161nesumus, nevar pat nojaust, ko kur\u0101 reiz\u0113 \u0161ie konkursi pied\u0101v\u0101s. V\u0113l vair\u0101k visu sare\u017e\u0123\u012b fakts, ka ar\u012b m\u016bsdienu dejas priek\u0161nesumos nereti tiek izmantoti laikmet\u012bg\u0101s dejas tehnikas un dom\u0101\u0161anas principi. Un atkal viss var k\u013c\u016bt par vienu vien\u012bgu “contemporary” bez robe\u017e\u0101m, jo t\u0101 visa ta\u010du ir m\u016bsdienu kult\u016bra un \u0161odienas cilv\u0113ks. Lai ar\u012b nereti laikmet\u012bg\u0101 deja tiek negl\u012bti noz\u0101k\u0101ta un ap\u0161aub\u012bta, reiz\u0113 \u0161is j\u0113dziens ar\u012b tiek izmantots k\u0101 kvalit\u0101tes garants \u2013 sak, nodruk\u0101\u0161u pie sava notikuma “laikmet\u012bg\u0101 deja” un uzreiz mani uztvers nopietn\u0101k.<\/p>\n
Ja laikmet\u012bg\u0101 deja b\u016btu ar\u012b ievietojama zem milz\u012bg\u0101 “m\u016bsdienu dejas” lietussarga (jo burtisk\u0101 noz\u012bm\u0113 t\u0101 ir viena no dejas praks\u0113m m\u016bsdien\u0101s), tad modern\u0101 deja kult\u016bras v\u0113stur\u0113 ir ar konkr\u0113t\u0101m trad\u012bcij\u0101m, skolu un v\u0113sturisko \u0123en\u0113zi. Modern\u0101 deja ar t\u0101s pionieri Aisedoru Dunkani priek\u0161gal\u0101 pamat\u0101 bija kontrkust\u012bba l\u012bdz tam ierastajam konvencion\u0101lajam klasiskajam baletam. Klasiskaj\u0101 dej\u0101 \u0137ermenis ir objekts, ar kura pal\u012bdz\u012bbu tiek veidota skaidra un saprotama kust\u012bg\u0101 skatuves bilde. Modernaj\u0101 dej\u0101 \u0137ermenis ir subjekts, tas ir emocion\u0101ls un j\u016bto\u0161s indiv\u012bds br\u012bv\u0101 \u0137ermen\u012b, br\u012bvi kr\u012bto\u0161\u0101 ap\u0123\u0113rb\u0101, bas\u0101m k\u0101j\u0101m vai pat glu\u017ei kails. Latvij\u0101 \u0161\u012bs “va\u013c\u012bbas” (un starpkaru period\u0101 Latvij\u0101 bija gana daudz da\u017e\u0101du plastikas skolu un studiju!) tika izskaustas padomju okup\u0101cijas laik\u0101. Padomju varai bija nepiecie\u0161ams visu kontrol\u0113t, t\u0101p\u0113c profesion\u0101l\u0101 deja var\u0113ja b\u016bt tikai krievu skol\u0101 b\u0101z\u0113ts klasiskais balets un skatuvisk\u0101 tautas deja p\u0101rskat\u0101mi organiz\u0113t\u0101 amatierkust\u012bb\u0101, kas reiz\u0113 bija ar\u012b propagandas instruments. Cit\u0101die kust\u012bbu mekl\u0113jumi un at\u0161\u0137ir\u012bg\u0101s prakses \u2013 tostarp Roberta Ligera izveidot\u0101 R\u012bgas pantom\u012bma un An\u0161a R\u016btent\u0101la kust\u012bbu te\u0101tris \u2013 tika tur\u0113tas dro\u0161\u0101 att\u0101lum\u0101 no ofici\u0101l\u0101s profesion\u0101l\u0101s skatuves m\u0101kslas. Ta\u010du tie\u0161i An\u0161a R\u016btent\u0101la praks\u0113 saredzami pirmie laikmet\u012bg\u0101s dejas aizmet\u0146i Latvij\u0101, jo vi\u0146a darbi iemieso vair\u0101kus modern\u0101s dejas principus: \u0137ermenisko br\u012bv\u012bbu, m\u016bzikas vizualiz\u0101ciju kust\u012bb\u0101, notikumus \u0101rpus tradicion\u0101l\u0101s skatuves k\u0101rbas un citus.<\/p>\n
Run\u0101jot par laikmet\u012bg\u0101s dejas att\u012bst\u012bbu pasaul\u0113, parasti min, ka savos pirms\u0101kumos t\u0101 p\u0101r\u0146\u0113musi kaut ko no modern\u0101s un kaut ko no postmodern\u0101s dejas. B\u016btu interesanti vair\u0101k pap\u0113t\u012bt, k\u0101das postmodern\u0101s dejas v\u0113smas konstat\u0113jamas m\u016bsu dejas sc\u0113n\u0101 90. gados. Man person\u012bgi interesants \u0161\u0137iet fakts, ka vien\u0101 laik\u0101 tapa gan “Nepanesam\u0101 te\u0101tra arte\u013ca” iestud\u0113jumi, gan Olgas \u017ditluhinas modern\u0101s dejas trupa. D\u017e. D\u017e. D\u017eilind\u017eera, Viestura Kairi\u0161a un Gata \u0160mita izr\u0101des diezgan drosm\u012bgi pretend\u0113ja uz postmodern\u0101 te\u0101tra j\u0113dzienu, kam\u0113r dej\u0101 cit\u0101do, nepierasto, mekl\u0113jo\u0161o virzienu prakti\u0137i defin\u0113ja k\u0101 “moderno”. T\u0101 vismaz desmit gadus p\u0113c Olgas \u017ditluhinas dejas komp\u0101nijas nodibin\u0101\u0161anas vi\u0146as praksi m\u0113dza paral\u0113li saukt tr\u012bs v\u0101rdos: “modern\u0101”, “m\u016bsdienu” un “laikmet\u012bg\u0101”, lietojot tos k\u0101 sinon\u012bmus. Ar\u012b es pati esmu bijusi l\u012bdzvain\u012bga \u0161aj\u0101 “gr\u0113ka darb\u0101”, jo tolaik v\u0113l pietr\u016bka konteksta zin\u0101\u0161anu un izpratnes par c\u0113lo\u0146sakar\u012bb\u0101m iepriek\u0161\u0113j\u0101 dejas gadsimt\u0101. Vai tagad man ir viegl\u0101k? N\u0113! Kad jau lik\u0101s, ka nu gan var\u0113tu b\u016bt skaidrs, kas ir laikmet\u012bg\u0101 deja, skatuves m\u0101ksl\u0101 un visp\u0101r m\u0101ksl\u0101 arvien vair\u0101k piedz\u012bvojam notikumus, kurus nevaram ierakst\u012bt vien\u0101 vai otr\u0101 “kast\u012bt\u0113”. Deja, te\u0101tris, performance, cirks, m\u016bzika satiekas un t\u012bklojas arvien jaun\u0101s un negaid\u012bt\u0101s kombin\u0101cij\u0101s, kur viegli apmald\u012bties, it \u012bpa\u0161i tad, ja tev j\u0101iet un kaut kas strikti j\u0101defin\u0113. Var l\u016bkot noskaidrot, kas ir performanti \u2013 aktieri, dejot\u0101ji vai m\u016bzi\u0137i \u2013, un tad kategoriz\u0113t, jo skaidrs, ka dejot\u0101jam b\u016bs viena kust\u012bbu kvalit\u0101te, bet m\u016bzi\u0137im vai aktierim \u2013 citas prasmes, un \u0161\u0137iet, ka vienm\u0113r k\u0101ds no izteiksmes l\u012bdzek\u013ciem var b\u016bt domin\u0113jo\u0161ais. Ta\u010du tad satiekam vienu re\u0101lu, da\u017e\u0101du m\u0101kslinieku kop\u012bgi veidotu darbu (piem\u0113ram, izr\u0101di “Malleus Maleficarum. Jaunais l\u012bgums”) un esam apmulsu\u0161i: ko ar to tagad dar\u012bt? Tradicion\u0101l\u0101 skatuves m\u0101ksla nezin k\u0101d\u0113\u013c atkal j\u016btas apdraud\u0113ta, jo k\u0101p\u0113c lai t\u0101 dal\u012btos “Sp\u0113lma\u0146u nakts” lauros ar kaut k\u0101du projektu? Varb\u016bt t\u0101d\u0113\u013c dro\u0161\u0101k ir iztikt bez dejas m\u0101j\u0101m un laikmet\u012bg\u0101s m\u0101kslas muzejiem, jo nevar ta\u010du paredz\u0113t, ko tie trakie m\u0101kslinieki atkal izdom\u0101s. Tom\u0113r ceru, ka mums b\u016bs ne tikai R\u012bgas Filharmonija un laikmet\u012bg\u0101s m\u0101kslas muzejs, bet ar\u012b dejas kopiena tiks pie sava centra.<\/p>\n
Vienlaikus \u2013 nav \u0161aubu, ka nekur nepazud\u012bs ne balets, ne skatuvisk\u0101 tautas deja, jo abi \u0161ie novadi m\u016bsu kult\u016br\u0101 ir ar \u013coti, \u013coti sp\u0113c\u012bg\u0101m trad\u012bcij\u0101m. Turkl\u0101t pat \u0161ajos dejas \u017eanros ik pa laikam sastopami \u012bpa\u0161i laikmet\u012bg\u0101s m\u0101kslas notikumi. T\u0101 balet\u0101 es nebeig\u0161u priec\u0101ties par Marko Gekes “\u0145i\u017einski”, Antona Freimana “Hamletu” vai Elzas Leimanes “(Ne)st\u0101sti man pasakas”. Esmu dzird\u0113jusi ar\u012b skatuvisk\u0101s tautas dejas prakti\u0137u pr\u0101tojumus, ka atsevi\u0161\u0137as par\u0101d\u012bbas var\u0113tu d\u0113v\u0113t par “laikmet\u012bgo skatuvisko deju”. Piem\u0113ram, zem Dagm\u0101ras B\u0101rbalas kovidlaika megaprojekta “Latvju z\u012bm\u0113s rot\u0101ties” es dro\u0161u roku varu parakst\u012bt \u2013 \u012bsts laikmet\u012bgs multimediju darbs, aktu\u0101ls un svar\u012bgs gan satur\u0101, gan form\u0101. T\u0101p\u0113c esmu dro\u0161a, ka dr\u012bkstam b\u016bt atv\u0113rti ar\u012b cit\u0101dajam un nesaprotamajam, jo pa\u0161u trad\u012bcijas ir stipras un svar\u012bgas. N\u0101ks un n\u0101ks “meitenes balt\u0101s ze\u0137\u0113s” gan stadionos, gan Me\u017eaparka estr\u0101d\u0113, bet mums vajag ar\u012b t\u0101s raganas, kuras sp\u0113j dziedin\u0101t un kuras tic br\u012bvai miesai un garam.<\/p>\n
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P\u0101rpublic\u0113jam Ditas Jon\u012btes rakstu interneta \u017eurn\u0101l\u0101 “Satori” par to, ko noz\u012bm\u0113 laikmet\u012bgums dejas m\u0101ksl\u0101<\/p>\n","protected":false},"author":1,"featured_media":5292,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"inline_featured_image":false,"footnotes":""},"categories":[102,84],"tags":[],"class_list":["post-5291","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-arhivets","category-ljti-iesaka"],"acf":[],"_links":{"self":[{"href":"https:\/\/theatre.kondrats.dev\/lv\/wp-json\/wp\/v2\/posts\/5291","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=5291"}],"version-history":[{"count":0,"href":"https:\/\/theatre.kondrats.dev\/lv\/wp-json\/wp\/v2\/posts\/5291\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/theatre.kondrats.dev\/lv\/wp-json\/wp\/v2\/media\/5292"}],"wp:attachment":[{"href":"https:\/\/theatre.kondrats.dev\/lv\/wp-json\/wp\/v2\/media?parent=5291"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/theatre.kondrats.dev\/lv\/wp-json\/wp\/v2\/categories?post=5291"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/theatre.kondrats.dev\/lv\/wp-json\/wp\/v2\/tags?post=5291"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}