Zin\u0101\u0161ana un nezin\u0101\u0161ana man ir l\u012bdz\u012bgi izejas punkti. \u0160is darbs ir par kontroles zaud\u0113\u0161anu. Iesp\u0113jams, \u0161os izpild\u012bt\u0101jus saukt par dzied\u0101t\u0101jiem ir nepareizi. Pirms \u0161\u012bs izr\u0101des vi\u0146iem nekad netika \u013cauts dzied\u0101t, vi\u0146i netika uzskat\u012bti par pietiekami labiem, lai pareizi atk\u0101rtotu noteiktu toni vai artikul\u0113tu ritmu grupas ietvaros. Esmu m\u0101c\u012bjies klasisko vijo\u013csp\u0113li, tonalit\u0101te vienm\u0113r bija b\u016btiska. Kad s\u0101ku veidot savas izr\u0101des, str\u0101d\u0101jot ar dzied\u0101t\u0101jiem un izpild\u012bt\u0101jiem, kurus l\u016bdzu dzied\u0101t, \u013coti svar\u012bgi bija notur\u0113t l\u012bmeni \u2013 pan\u0101kt, lai grupa skan saska\u0146oti un lai \u0161is saska\u0146ojums k\u013c\u016bst par v\u0113l vienu konceptu\u0101l\u0101 ietvara sl\u0101ni, par kaut ko t\u0101du, kas ienes emocijas, harmoniju un vibr\u0101cijas, ko rada harmonija. Tom\u0113r es sapratu, ka zaud\u0113ju iesp\u0113ju sadarboties ar cilv\u0113kiem, kuri nesp\u0113j atk\u0101rtot konkr\u0113tas harmonijas vai kuriem tr\u016bkst tren\u0113tas dzirdes.<\/p>\n
Tas viss mani pamaz\u0101m noveda pie \u201cKlusin\u0101tajiem\u201d, kas piln\u012bb\u0101 apg\u0101\u017e \u0161o ton\u0101lo precizit\u0101ti. Izaicin\u0101ju sevi str\u0101d\u0101t ar cilv\u0113kiem, kuri nav m\u0101c\u012bju\u0161ies un nesp\u0113j vienoties ton\u012b. Mani interes\u0113 cita veida attiec\u012bbas, piem\u0113ram, noklus\u0113to balsu trauslums. Galven\u0101 ideja darb\u0101 \u201cKlusin\u0101tie\u201d ir izaicin\u0101t m\u016bzikas trad\u012bciju, kas balst\u012bta uz tonalit\u0101ti, un par s\u0101kumpunktu \u0146emt individu\u0101lo dzirdi. T\u0101 ir metafora pla\u0161\u0101kiem jaut\u0101jumiem, piem\u0113ram, k\u0101 m\u0113s iek\u013caujamies sabiedr\u012bb\u0101, ja nesp\u0113jam harmoniz\u0113ties ar p\u0101r\u0113jiem? Kas tom\u0113r v\u0113l ir palicis no \u0161\u012bm bals\u012bm?<\/p>\n
\u0160o darbu izstr\u0101d\u0101ju vair\u0101ku gadu garum\u0101, \u012bpa\u0161u uzman\u012bbu tam veltot ar ACT rezidences atbalstu. S\u0101ku str\u0101d\u0101t pie \u0161\u012b darba pand\u0113mijas laik\u0101 \u2013 s\u0101kotn\u0113ji pl\u0101noju to iestud\u0113t Lilith Performance Studio<\/em> <\/a>Malm\u0113, tad tas p\u0101rtapa par ska\u0146as instal\u0101ciju, ko prezent\u0113ju Tai Kwun Contemporary<\/em><\/a> Honkong\u0101, un visbeidzot viet\u0113jie izpild\u012bt\u0101ji to \u012bstenoja Lafayette Anticipations<\/em><\/a> Par\u012bz\u0113.<\/p>\n Katrs darbs man kaut ko m\u0101ca. Da\u017ei \u012bpa\u0161i atg\u0101dina man par kaut ko, ko labpr\u0101t\u0101k nemaz nezin\u0101tu. Manus kopdarbus oper\u0101s\u00a0\u201cHave a Good Day!\u201d<\/em><\/a> un \u201cSun and Sea\u201d<\/em><\/a> ar Rugili Barzd\u017eiukaiti un Vaivu Grain\u012bti, k\u0101 ar\u012b t\u0101dus solo projektus k\u0101 \u201cHunky Bluff<\/a>\u201d<\/em> un \u201cCandy Shop<\/a>\u201d<\/em> vieno m\u016bzika un dzied\u0101\u0161ana, lai gan katrs no tiem piev\u0113r\u0161as at\u0161\u0137ir\u012bg\u0101m t\u0113m\u0101m. Mani solo darbi ir konceptu\u0101l\u0101ki, bet operas daudz vair\u0101k koncentr\u0113jas uz verb\u0101liem st\u0101st\u012bjumiem.<\/p>\n Es m\u0101kslasdarbu vienm\u0113r uztveru noteikt\u0101 arhitekt\u016bras vid\u0113 un kontekst\u0101. Izst\u0101des \u201cStudy for Slope\/The Mutes\u201d<\/em> veido\u0161ana ar ACT atbalstu un izst\u0101\u017eu telpu Par\u012bz\u0113 bija neticami, jo str\u0101d\u0101ju ar instit\u016bcij\u0101m, kas saprot m\u0101kslinieku k\u0101 telpas p\u0101rveidot\u0101ju. Izst\u0101d\u0113 mans darbs gan rad\u012bja savu vidi, gan ar\u012b izplat\u012bj\u0101s un integr\u0113j\u0101s eso\u0161aj\u0101 vid\u0113.<\/p>\n Saist\u012bb\u0101 ar ACT t\u0113mu par soci\u0101lo p\u0101reju un perspekt\u012bvu papla\u0161in\u0101\u0161anu \u201cStudy for Slope\u201d<\/em> m\u0113r\u0137is ir atv\u0113rt cilv\u0113kus, vienlaikus atverot telpas un aicinot taj\u0101s ien\u0101kt dabisko gaismu. T\u0101pat k\u0101 izpild\u012bt\u0101ju balsis, ar\u012b n\u0101tru d\u0101rzs ir nemit\u012bgi main\u012bgs, trausls organisms, kas piev\u0113r\u0161 uzman\u012bbu cilv\u0113ku trauslajai mijiedarb\u012bbai ar dabisko vidi. N\u0101tres tiek uzskat\u012btas par \u013coti iztur\u012bgiem augiem, ta\u010du t\u0101m tom\u0113r ir nepiecie\u0161ama gaisma un kop\u0161ana.<\/p>\n Skulptur\u0101lie objekti \u2013 rampas, kurpes, spie\u0137i, soli\u0146i \u2013 ieskauj izpild\u012bt\u0101jus un pavada st\u0101st\u012bjumu. Tie ir neat\u0146emama izr\u0101des sast\u0101vda\u013ca, b\u016btiski priek\u0161nesuma izteiksmes l\u012bdzek\u013ci.<\/p>\n Jau sen grib\u0113ju str\u0101d\u0101t ar nemuzik\u0101liem izpild\u012bt\u0101jiem, un ar laiku piln\u012bgi nejau\u0161i sastapos ar \u0160ona E\u0161tona rom\u0101nu \u201cLiving in a Land<\/a>\u201d<\/em>. Gr\u0101mata ir izdom\u0101ti atmi\u0146u st\u0101sti, kas rakst\u012bti teikumos, kuri sast\u0101v no negat\u012bviem apgalvojumiem. Taj\u0101 att\u0113lotas darb\u012bbas, ieradumi un domas, kas pau\u017e pieder\u012bbas saj\u016btu noteiktam laikam, vecumam un dzimumam, klasei, kult\u016brai un atsaucas uz m\u016bsu pa\u0161u pieredzi. Tas lieliski atbilda tam, par ko es grib\u0113ju run\u0101t, proti, par pieredzi, kas saist\u012bta ar neiek\u013cau\u0161anos vai spiedienu uzvesties noteikt\u0101 veid\u0101. \u201cLiving in a Land\u201d <\/em>st\u0101sta par kaut ko, ko m\u0113s visi, iesp\u0113jams, esam jutu\u0161i, dar\u012bju\u0161i, dom\u0101ju\u0161i vai piedz\u012bvoju\u0161i.<\/p>\n Izpild\u012bt\u0101ju grupa deklam\u0113 tekstu pirmaj\u0101 person\u0101, st\u0101stot par ikdienas noris\u0113m un dom\u0101m, ko \u0160ons apraksta sav\u0101 rom\u0101n\u0101. \u0160is teksts ieg\u016bst at\u0161\u0137ir\u012bgas noz\u012bmes atkar\u012bb\u0101 no izpild\u012bt\u0101ju un klaus\u012bt\u0101ju vecuma. Da\u017ei no maniem iepriek\u0161\u0113jiem darbiem, piem\u0113ram, \u201cLadies<\/a>\u201d<\/em> vai \u201cPlay for the Parallels\u201d<\/em>, ar\u012b ir velt\u012bti sarun\u0101m starp da\u017e\u0101d\u0101m paaudz\u0113m, da\u017e\u0101d\u0101m bals\u012bm un kop\u012bg\u0101m perspekt\u012bv\u0101m. Mani interes\u0113, k\u0101 individu\u0101lie narat\u012bvi p\u0101rv\u0113r\u0161as kolekt\u012bv\u0101s bals\u012bs. Dzied\u0101\u0161ana grup\u0101 var b\u016bt instrument\u0101ls l\u012bdzeklis, lai nodotu \u0161o v\u0113st\u012bjumu. \u0160ona rom\u0101n\u0101 ir daudz ironijas, un tas ir uzrakst\u012bts k\u0101rt\u012bg\u0101 briti\u0161\u0101\u00a0, kas rada augl\u012bgu spriedzi \u0101rpus anglofon\u0101 konteksta.<\/p>\n Darbs ar izpild\u012bt\u0101jiem, kuriem tr\u016bkst tradicion\u0101l\u0101s muzik\u0101l\u0101s dzirdes, ir m\u0101c\u012b\u0161an\u0101s, iedzi\u013cin\u0101\u0161an\u0101s nezin\u0101maj\u0101 un jaunas valodas att\u012bst\u012b\u0161ana. \u0160aj\u0101 kontekst\u0101 man\u0101m muzik\u0101laj\u0101m zin\u0101\u0161an\u0101m un izgl\u012bt\u012bbai nav gandr\u012bz nek\u0101das v\u0113rt\u012bbas, es pats j\u016btos neieder\u012bgs un man ir j\u0101dom\u0101 par jaunu metodiku.<\/p>\n Tom\u0113r svar\u012bg\u0101ki ir atkl\u0101jumi proces\u0101, nevis rezult\u0101ts. N\u0101tr\u0113m ir kas kop\u012bgs ar muzic\u0113\u0161anu \u2013 t\u0101s varb\u016bt nav \u013coti pat\u012bkamas, ta\u010du atg\u0101dina par m\u016bsu \u0137ermenisko kl\u0101tb\u016btni. \u013boti svar\u012bga ir ar\u012b sadarb\u012bba \u2013 da\u017ei no maniem darbiem ir t\u012bri kopdarbi. Es dalu autor\u012bbu ar citiem m\u0101ksliniekiem, bet da\u017ereiz uz\u0146emos liel\u0101ku vad\u012bbu. Manos darbos izpild\u012bt\u0101ji nekad neierodas k\u0101 baltas lapas, darbu veido ar\u012b vi\u0146u kl\u0101tb\u016btne un domas. Bie\u017ei vien cen\u0161os atteikties no kontroles un \u013cauju apst\u0101k\u013ciem ietekm\u0113t un main\u012bt darbu.<\/p>\n Par\u012bzes versij\u0101 darbs \u201cStudy for Slope\/The Mutes\u201d<\/em> tapa m\u0113ne\u0161a garum\u0101 un tika r\u0101d\u012bts cikl\u0101, katru darba dienu. Ilgsto\u0161a performance skat\u012bt\u0101jiem sniedz liel\u0101ku br\u012bv\u012bbu, vi\u0146i kontrol\u0113 izn\u0101kumu. Ar\u012b darbs \u201cSun & Sea\u201d<\/em> Ven\u0113cijas bienn\u0101l\u0113 tika izst\u0101d\u012bts cilp\u0101, ta\u010du s\u0101kotn\u0113ji tika veidots k\u0101 vienas stundas pas\u0101kums, t\u0101p\u0113c st\u0101st\u012bjums bija diezgan stingri konstru\u0113ts. Izr\u0101d\u0113 \u201cStudy for Slope\u201d<\/em> es dom\u0101ju par to, k\u0101 telpa un laiks stiepjas dienas gait\u0101, k\u0101 main\u0101s gaisma vai auditorijas iesaiste. \u0160is nemit\u012bgo atk\u0101rtojumu m\u0113nesis var\u0113ja main\u012bt izpild\u012bt\u0101ju attieksmi pret materi\u0101lu un t\u0101 pasnieg\u0161anu, tom\u0113r necent\u0101s vi\u0146us padar\u012bt par lab\u0101kiem dzied\u0101t\u0101jiem. Toties cerams, ka tas padar\u012bs m\u016bs par lab\u0101kiem klaus\u012bt\u0101jiem.<\/p>\n \u201cStudy for Slope\/The Mutes\u201d. Lafayette Anticipations, Par\u012bze, 2022. \u00a0<\/em> \u201cACT: m\u0101ksla, klimats un p\u0101rmai\u0146as\u201d<\/a>\u00a0ir Eiropas l\u012bme\u0146a sadarb\u012bbas projekts, kura uzman\u012bbas centr\u0101 ir ekolo\u0123ija, klimats un soci\u0101l\u0101s p\u0101rmai\u0146as. Klimata kr\u012bzes, masveida izmir\u0161anas un augo\u0161as nevienl\u012bdz\u012bbas laik\u0101 projekta partneri str\u0101d\u0101 kop\u0101 ar m\u0101ksliniekiem, zin\u0101tniekiem un akt\u012bvistiem, lai mekl\u0113tu cer\u012bbu, apvienotu pla\u0161u glob\u0101lo perspekt\u012bvu ar specifisk\u0101m lok\u0101laj\u0101m iesp\u0113j\u0101m un aicin\u0101tu r\u012bkoties. \u201cACT\u201d t\u012bklojum\u0101 darbojas 10 partneri no 10 Eiropas valst\u012bm. Papildu info:\u00a0artclimatetransition.eu<\/a><\/p>\n <\/p>","protected":false},"excerpt":{"rendered":" Rezidences ACT: Art, Climate, Transition (\u201cM\u0101ksla, klimats, p\u0101reja\u201d) ietvaros es (Lina Lapel\u012bte) turpin\u0101ju darbu pie projekta \u201cSl\u012bpuma studijas\u201d jeb \u201cStudy for Slope\u201d, kas paz\u012bstams ar\u012b k\u0101 \u201cKlusin\u0101tie\u201d jeb \u201cThe Mutes\u201d. T\u0101 ir ilgsto\u0161a muzik\u0101la izr\u0101de amatieru dzied\u0101t\u0101ju grupai, kurai tr\u016bkst muzik\u0101l\u0101s dzirdes. T\u0101p\u0113c vi\u0146i nevar notur\u0113t melodiju.<\/p>\n","protected":false},"author":1,"featured_media":5356,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"inline_featured_image":false,"footnotes":""},"categories":[103,102],"tags":[],"class_list":["post-5355","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-act","category-arhivets"],"acf":[],"_links":{"self":[{"href":"https:\/\/theatre.kondrats.dev\/lv\/wp-json\/wp\/v2\/posts\/5355","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=5355"}],"version-history":[{"count":0,"href":"https:\/\/theatre.kondrats.dev\/lv\/wp-json\/wp\/v2\/posts\/5355\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/theatre.kondrats.dev\/lv\/wp-json\/wp\/v2\/media\/5356"}],"wp:attachment":[{"href":"https:\/\/theatre.kondrats.dev\/lv\/wp-json\/wp\/v2\/media?parent=5355"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/theatre.kondrats.dev\/lv\/wp-json\/wp\/v2\/categories?post=5355"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/theatre.kondrats.dev\/lv\/wp-json\/wp\/v2\/tags?post=5355"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}
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