Pr\u0101gas kvadrienn\u0101le ir liel\u0101kais \u0161\u0101da veida pas\u0101kums pasaul\u0113, kas velt\u012bts izr\u0101des dizainam no rekviz\u012btiem un kost\u012bmiem l\u012bdz te\u0101tra \u0113kai, centr\u0101 liekot scenogr\u0101fiju. Formas zi\u0146\u0101 t\u0101 ir l\u012bdz\u012bga t\u0101diem starptautiskiem forumiem k\u0101 Ven\u0113cijas m\u0101kslas bienn\u0101le, kur m\u0101kslinieki piedal\u0101s k\u0101 konkr\u0113tu valstu p\u0101rst\u0101vji, prec\u012bz\u0101k vai nosac\u012bt\u0101k rea\u0123\u0113jot uz notikuma kuratoru izvirz\u012bto t\u0113mu. At\u0161\u0137ir\u012bba gan t\u0101da, ka izst\u0101des telpas izm\u0113rs un novietojums vismaz p\u0113d\u0113j\u0101s kvadrienn\u0101l\u0113s nav atkar\u012bgs no valsts finansi\u0101laj\u0101m iesp\u0113j\u0101m un v\u0113sturiski veidoju\u0161\u0101s varas poz\u012bcijas, k\u0101 tas ir, piem\u0113ram, Ven\u0113cij\u0101.<\/p>\n
Ikvienas valsts zi\u0146\u0101 ir izv\u0113le piedal\u012bties Pr\u0101gas kvadrienn\u0101l\u0113 un m\u0101kslinieku atlases principi. Tas noz\u012bm\u0113, ka izst\u0101\u017eu konceptu\u0101lais v\u0113st\u012bjums un est\u0113tiskie risin\u0101jumi ir \u013coti da\u017e\u0101di, bet \u0123eogr\u0101fisk\u0101 p\u0101rst\u0101vniec\u012bba \u2013 nevienm\u0113r\u012bga: domin\u0113jo\u0161\u0101s ir Rietumu valstis un Rietumu trad\u012bcij\u0101 balst\u012bti izr\u0101des dizaina un te\u0101tra telpas principi. Kvadrienn\u0101les pievienot\u0101 v\u0113rt\u012bba nenoliedzami ir l\u012bdz\u0101s valstu un re\u0123ionu sada\u013cai r\u012bkot\u0101 studentu jeb scenogr\u0101fijas skolu izst\u0101de, kas nereti k\u013c\u016bst par dz\u012bv\u012bg\u0101ko, aizraujo\u0161\u0101ko un atkl\u0101jumiem bag\u0101t\u0101ko zonu. Simtiem topo\u0161o scenogr\u0101fu, kost\u012bmu, gaismas un ska\u0146as m\u0101kslinieku sabrauc Pr\u0101g\u0101, lai ne tikai izst\u0101d\u012btu m\u0101c\u012bbu proces\u0101 tapu\u0161os maketus, bet piedal\u012btos ar\u012b pla\u0161\u0101 izgl\u012bt\u012bbas un koprades programm\u0101. M\u0101c\u012b\u0161an\u0101s, sarun\u0101\u0161an\u0101s, pieredzes apmai\u0146a, n\u0101kotnes v\u012bziju un sadarb\u012bbas mode\u013cu projekt\u0113\u0161ana da\u017e\u0101du paaud\u017eu un kalibra m\u0101kslinieku starp\u0101 noteikti ir elements, kas padara kvadrienn\u0101li unik\u0101lu.<\/p>\n
Dibin\u0101ta 1967. gad\u0101, \u012bsu br\u012bdi pirms Pr\u0101gas pavasara, gadu gait\u0101 t\u0101 l\u012bdz\u012bgi k\u0101 te\u0101tra ainava gan lok\u0101l\u0101, gan glob\u0101l\u0101 m\u0113rog\u0101 ir piedz\u012bvojusi b\u016btiskas p\u0101rmai\u0146as. Es pie\u013cauju, ka pirm\u0101s kvadrienn\u0101les bija k\u0101 br\u012bv\u012bbas un br\u012bvdom\u012bbas sala, kur scenogr\u0101fija, kas nereti ir abstrakta, simboliska, asociat\u012bva, iesp\u0113jams, \u013c\u0101va \u201cstarp rind\u0101m\u201d paust protestu pret padomju re\u017e\u012bmu. \u0160odien t\u0101 ir k\u013cuvusi par vietu, kur m\u0101kslinieki ne tikai aktualiz\u0113 un p\u0101rskata iepriek\u0161\u0113jos \u010detros gados paveikto, bet analiz\u0113, prognoz\u0113 un virza jomas att\u012bst\u012bbu. Ne maz\u0101k b\u016btiski \u2013 Pr\u0101gas kvadrienn\u0101le svin scenogr\u0101fus, gaismas, ska\u0146as un kost\u012bmu m\u0101ksliniekus nevis k\u0101 re\u017eisora atbalsta person\u0101lu, bet suver\u0113nus profesion\u0101\u013cus, kas darbojas \u0101rk\u0101rt\u012bgi interesant\u0101 teritorij\u0101 dramatisk\u0101s, vizu\u0101l\u0101s, ska\u0146as m\u0101ksla, arhitekt\u016bras un vietrades krustpunkt\u0101.<\/p>\n
Pr\u0101gas kvadrienn\u0101les nesenaj\u0101 v\u0113stur\u0113 visspilgt\u0101k\u0101s p\u0101rmai\u0146as iez\u012bm\u0113j\u0101s laik\u0101 no 2008. l\u012bdz 2015. gadam, kad t\u0101s m\u0101ksliniecisk\u0101 vad\u012bt\u0101ja bija dramatur\u0123e Sodja Lotkere. Vi\u0146as st\u0101\u0161an\u0101s amat\u0101 sakrita ar posto\u0161u ugunsgr\u0113ku kvadrienn\u0101les tradicion\u0101laj\u0101 norises viet\u0101 \u2013 industri\u0101l\u0101 j\u016bgendstila p\u0113rl\u0113 \u201cIndustri\u0101l\u0101 pils\u201d. Tas lika mekl\u0113t alternat\u012bvu vidi, mainot kvadrienn\u0101les attiec\u012bbas ar Pr\u0101gu gan fizisk\u0101, gan konceptu\u0101l\u0101 l\u012bmen\u012b. Sodja Lotkere aktualiz\u0113ja kvadrienn\u0101les tematisk\u0101s ass noz\u012bmi, aicin\u0101ja dom\u0101t par telpas dramatur\u0123iju un to, k\u0101 telpa veido un ietekm\u0113 m\u016bsu attiec\u012bbas, piev\u0113rs\u0101s scenogr\u0101fijas robe\u017eu p\u0101rdefin\u0113\u0161anai un teor\u0113tisk\u0101s skolas stiprin\u0101\u0161anai, sp\u0113cin\u0101ja un padar\u012bja laikmet\u012bg\u0101ku kvadrienn\u0101les m\u0101ksliniecisko l\u012bmeni, pateicoties cie\u0161\u0101ku attiec\u012bbu veido\u0161anai ar nacion\u0101lo izst\u0101\u017eu kuratoriem un div\u0101m starptautisk\u0101m programm\u0101m, kur\u0101s piedal\u012bj\u0101s ar\u012b Latvijas Jaun\u0101 te\u0101tra instit\u016bts un m\u016bsu m\u0101kslinieki: Krustpunkt\u0101: intimit\u0101te un izr\u0101de (Intersection: Intimacy and Spectacle) 2011. gad\u0101 un Kop\u012bg\u0101 telpa: m\u016bzika, laiks, politika (Shared Space: Music Weather Politics) 2015. gad\u0101.<\/p>\n
\u0160odien kvadrienn\u0101l\u0113 aizvien prec\u012bz\u0101k atbalsojas p\u0101rmai\u0146as pla\u0161\u0101k\u0101 te\u0101tra kontekst\u0101, aizvien aktu\u0101l\u0101ks k\u013c\u016bst jaut\u0101jums, vai scenogr\u0101fija bez izr\u0101des visp\u0101r ir iesp\u0113jama, un k\u0101da ir te\u0101tra telpas j\u0113ga un funkcija bez aktiera. Kas gan ir sastindzis makets vai att\u0113ls bez divu te\u0101tra pamatelementu \u2013 darb\u012bbas un laika dimensijas? Atbildi uz \u0161o jaut\u0101jumu Pr\u0101g\u0101 mekl\u0113 aizvien vair\u0101k m\u0101kslinieku, maketu izst\u0101d\u012b\u0161anas viet\u0101 nereti piev\u0113r\u0161oties procesam vai radot scenogr\u0101fiju, ko darbina aktieri, skat\u012bt\u0101ji, citi akt\u012bvi, r\u012bc\u012bbsp\u0113j\u012bgi elementi \u2013 ska\u0146a, gaisma, priek\u0161meti, materi\u0101li, vai visi min\u0113tie kop\u0101. Main\u0101s skat\u012bt\u0101ja poz\u012bcija, kur\u0161 no v\u0113rot\u0101ja ir k\u013cuvis par dal\u012bbnieku. Nereti tas noz\u012bm\u0113 scenogr\u0101fijas pieredz\u0113\u0161anu \u201cno iek\u0161puses\u201d ar\u012b fizisk\u0101 izpratn\u0113. Pr\u0101ga ir vieta, kur scenogr\u0101fija tie\u0161\u0101m atkl\u0101jas k\u0101 akt\u012bva vide, nevis fons. Galu gal\u0101 \u2013 telpa pati k\u013c\u016bst par st\u0101stnieku, un tie\u0161i \u0161is princips p\u0113d\u0113jos gados ir pamat\u0101 ar\u012b Latvijas profesion\u0101\u013cu izst\u0101d\u0113m.<\/p>\n
Latvija Pr\u0101gas kvadrienn\u0101l\u0113 piedal\u0101s kop\u0161 pag\u0101ju\u0161\u0101 gadsimta 70. gadiem un m\u016bsu scenogr\u0101fiju tur ir p\u0101rst\u0101v\u0113ju\u0161i gan Ilm\u0101rs Blumbergs, gan Andris Freibergs un, protams, Latvijas M\u0101kslas akad\u0113mijas Scenogr\u0101fijas noda\u013cas studenti un pasniedz\u0113ji, uzturot patiesu un nerimsto\u0161u interesi par Latvijas scenogr\u0101fijas trad\u012bciju. Kop\u0161 2007. gada Latvijas izst\u0101di veido m\u0101kslinieki, kuri taj\u0101 br\u012bd\u012b atrodas avangard\u0101 un kuriem ir potenci\u0101ls turpm\u0101kos \u010detrus gadus virz\u012bt scenogr\u0101fijas att\u012bst\u012bbu Latvij\u0101. 2007. gada t\u0101 bija Monika Pormale, 2011. gad\u0101 \u2013 Reinis Suhanovs, 2015. gad\u0101 \u2013 Vladislavs Nastav\u0161evs, 2019. gad\u0101 \u2013 Krista un Reinis Dzudzilo, bet 2023. gad\u0101 t\u0101s ir \u201cGr\u0101fienes\u201d\u2013 jauno m\u0101kslinie\u010du kolekt\u012bvs, kura balsis n\u0101ko\u0161ajos gados noteikti atrad\u012bsies te\u0101tra procesa epicentr\u0101. Izv\u0113le v\u0113rst skatu n\u0101kotn\u0113 t\u0101 viet\u0101, lai reflekt\u0113tu par pag\u0101tni ir riskanta, bet m\u016bsu te\u0101trim un sabiedr\u012bbai ak\u016bti nepiecie\u0161ama.<\/p>\n
2011<\/strong><\/p>\n Togad Pr\u0101gas kvadrienn\u0101le no profesion\u0101\u013cu saieta k\u013cuva par visas pils\u0113tas festiv\u0101lu, pateicoties projektam \u201cKrustpunkt\u0101: intimit\u0101te un izr\u0101de\u201d, ko rad\u012bja kuratore Sodja Lotkere sadarb\u012bb\u0101 ar arhitektu Orenu Sagivu un te\u0101tra m\u0101ksliniekiem no visas pasaules. Laukum\u0101 pie Nacion\u0101l\u0101 te\u0101tra tika izvietota balto kubu \/ melno kastu sist\u0113ma ar vair\u0101kiem desmitiem \u012bpa\u0161i Pr\u0101gai rad\u012btu jaundarbu, kas reflekt\u0113ja par intimit\u0101tes un izr\u0101des t\u0113mu. No \u0101rpuses t\u0101 atg\u0101din\u0101ja labirintu vai k\u0101da Tuvo Austrumu ciemata maketu \u2013 no \u0101rpuses nosl\u0113gtu strukt\u016bru, kuras \u201cv\u0113der\u0101\u201d mutu\u013co dz\u012bv\u012bba un kompleksas publisk\u0101 un priv\u0101t\u0101 attiec\u012bbas. \u0160\u012b notikuma konceptu\u0101lais ietvars, telpiskais risin\u0101jums, m\u0101ksliniecisk\u0101 jauda pie\u0161\u0137\u012bra jaunu dimensiju Pr\u0101gas kvadrienn\u0101les attiec\u012bb\u0101m ar pa\u0161u pils\u0113tu, t\u0101s publisko \u0101rtelpu un iedz\u012bvot\u0101jiem. L\u012bdz\u0101s Romeo Kastelu\u010di, Annai F\u012bbrokai un Bretam Beilijam projekt\u0101 piedal\u012bj\u0101s ar\u012b m\u016bsu scenogr\u0101fe Monika Pormale, kost\u012bmu m\u0101kslinieki mareunrol\u2019s un m\u0101ksliniece Dace D\u017eeri\u0146a.<\/p>\n 2015<\/strong><\/p>\n 2019<\/strong><\/p>\n L\u012bdz\u012bgi k\u0101 Reinis Suhanovs 2007. gad\u0101 ar\u012b Krista un Reinis Dzudzilo 2019. gada ekspoz\u012bcij\u0101 ZRwhdZ piev\u0113rs\u0101s ska\u0146ai k\u0101 telpiskas pieredzes katalizatoram, aicinot skat\u012bt\u0101jus iek\u0101pt gigantisk\u0101 m\u016bzikas instrument\u0101 jeb \u201cm\u016bzikas kast\u012bt\u0113\u201d un piedz\u012bvot mirkli, kur\u0101 dzimst un mirst jauna pasaule, bet s\u0101kums un beigas sapl\u016bst vien\u0101. Instal\u0101cijas pamat\u0101 bija V\u0101gnera ide\u0101l\u0101 m\u016bzikas te\u0101tra princips, kur ska\u0146a non\u0101k telp\u0101 caur p\u0113d\u0101m un ce\u013co aug\u0161up l\u012bdz fiziski pieskaras dzied\u0101t\u0101ja balss sait\u0113m, ce\u013c\u0101 caurdurot \u0137ermeni. Bija fascin\u0113jo\u0161i v\u0113rot, k\u0101 skat\u012bt\u0101ju kl\u0101tb\u016btne transform\u0113ja un papla\u0161in\u0101ja \u0161o \u0101rk\u0101rt\u012bgi ask\u0113tisko un reiz\u0113 bl\u012bvo scenogr\u0101fiju. Cilv\u0113ki lietoja Dzudzilo instal\u0101ciju k\u0101 sp\u0113\u013cu vai sarunu istabu, skatuvi (k\u0101da sieviete reiz s\u0101ka sp\u0113l\u0113t vijoli, radot br\u012bni\u0161\u0137\u012bgu sasp\u0113li ar Auznieka ska\u0146as partit\u016bru), medit\u0101cijas telpu.<\/p>\n 2023<\/strong><\/p>\n \u0160ogad Latviju Pr\u0101g\u0101 p\u0101rst\u0101v\u0113s Dace Ignatova, Just\u012bne Jasjuk\u0113vi\u010da, Ildze Jurkovska un Marianna Lapi\u0146a jeb \u201cGr\u0101fienes\u201d ar darbu \u201cCe\u013c\u0101\u201d. Tas reflekt\u0113s par scenogr\u0101fiju k\u0101 nerimsto\u0161u procesu, kas dzimst attiec\u012bb\u0101s ar laiku un vietas garu. Kvadrienn\u0101les atkl\u0101\u0161anas vakar\u0101 7. j\u016bnij\u0101 \u201cGr\u0101fienes\u201d pamet\u012bs savu darbn\u012bcu R\u012bg\u0101, lai kop\u0101 ar dramaturgu Kirilu \u0112ci un operatoru D\u0101vidu Smilti\u0146u ar auto dotos ce\u013c\u0101 uz Pr\u0101gu. Katru ce\u013cojuma dienu vi\u0146i rad\u012bs jaunu te\u0101tra telpu, vides scenogr\u0101fiju vai performat\u012bvu intervenci, kas kop\u0101 ar ainavu, laikapst\u0101k\u013ciem un ce\u013c\u0101 satiktaj\u0101m kopien\u0101m p\u0113t\u012bs b\u016btiskus te\u0101tra principus un mekl\u0113s atbildi uz jaut\u0101jumu, k\u0101da \u0161odien ir te\u0101tra j\u0113ga un uzdevums? K\u0101d\u0101 te\u0101tra telp\u0101 var piedzimt \u0161\u012b jaun\u0101 j\u0113ga? Pr\u0101g\u0101 apmekl\u0113t\u0101ji katru dienu var\u0113s sekot l\u012bdzi ce\u013cojuma tie\u0161raidei Latvijas stend\u0101 izvietotos ekr\u0101nos, l\u012bdz\u012bgi k\u0101 realit\u0101tes \u0161ov\u0101 pamaz\u0101m nodibinot att\u0101lin\u0101tu, ta\u010du zin\u0101tk\u0101res un emp\u0101tijas pilnu saikni ar ce\u013cot\u0101jiem. Kvadrienn\u0101les nosl\u0113guma dien\u0101 \u201cGr\u0101fienes\u201d ierad\u012bsies stend\u0101 ar epilogu, kura saturu un formu tie\u0161i ietekm\u0113s ce\u013c\u0101 piedz\u012bvotais.<\/p>\n M\u0101j\u0101s p\u0101rvestais<\/strong><\/p>\n No pa\u0161iem pirms\u0101kumiem visas Pr\u0101gas kvadrienn\u0101les izst\u0101des v\u0113rt\u0113 starptautiska \u017e\u016brija, p\u0101rliecino\u0161\u0101kajai ekspoz\u012bcijai pie\u0161\u0137irot kvadrien\u0101les grand prix \u2013 Zelta Tr\u012bgu, k\u0101 ar\u012b meda\u013cas virkn\u0113 kategoriju. Sacens\u012bba un balvu dal\u012b\u0161ana m\u0101ksl\u0101, protams, ir diskutabla, jo \u0161eit nav iesp\u0113jami nedz kvantitat\u012bvi izm\u0113r\u0101mi krit\u0113riji, nedz objektivit\u0101te. Tom\u0113r, atskatoties uz Latvijas dal\u012bbu Pr\u0101gas kvadrienn\u0101l\u0113, k\u013c\u016bst skaidrs, ka mums pavisam objekt\u012bvi ir izcila scenogr\u0101fijas skola. T\u0101s kodols, iedvesmas avots un atskaites punkts joproj\u0101m ir pag\u0101ju\u0161ogad vi\u0146saul\u0113 aizg\u0101ju\u0161ais Andris Freibergs, m\u0101kslinieks, kur\u0101 absol\u016bt\u0101 saska\u0146\u0101 un mijiedarb\u0113 sadz\u012bvoja trauslums un sp\u0113ks, m\u0101ceklis un meistars, nekad k\u0101dam no \u0161iem lielumiem nes\u0101kot domin\u0113t.<\/p>\n 1995. gad\u0101 Pr\u0101gas kvadrienn\u0101les sudraba meda\u013cu sa\u0146\u0113ma Andris Freibergs par scenogr\u0101fiju K\u0161i\u0161tofa Penderecka baletam \u201cMarija Magdal\u0113na\u201d, 1999. gad\u0101 Latvijas studentu ekspoz\u012bcija sa\u0146\u0113ma UNESCO balvu, 2003. gad\u0101 ar sudraba meda\u013cu nov\u0113rt\u0113ta Ilm\u0101ra Blumberga scenogr\u0101fija un kost\u012bmi Mocarta operai \u201cBurvju flauta\u201d, 2007. gad\u0101 Reini Suhanovu sumin\u0101ja k\u0101 daudzsolo\u0161\u0101ko jauno scenogr\u0101fijas talantu, bet Latvijas M\u0101kslas akad\u0113mijas Scenogr\u0101fijas noda\u013cai tika zelta meda\u013cu par lab\u0101ko studentu ekspoz\u012bciju. 2011. gad\u0101 Latvijas studentu ekspoz\u012bciju \u201c\u0160eksp\u012brs + \u010cehovs + Bekets + Blaumanis\u201d ar zelta meda\u013cu apbalvoja atk\u0101rtoti. 2015. gad\u0101 visi Latvijas studenti, kas piedal\u012bj\u0101s izst\u0101d\u0113 \u201cMazie uzdevumi\u201d sa\u0146\u0113ma daudzsolo\u0161\u0101k\u0101 jaun\u0101 scenogr\u0101fijas talanta balvu, bet Vladislava Nastav\u0161eva darbs \u201cPak\u013cau\u0161an\u0101s\u201d \u2013 zelta meda\u013cu kategorij\u0101 \u201cKop\u0113jais izr\u0101des dizains\u201d. Kop\u0101 ar Igauniju un Somiju Latvijas ekspoz\u012bciju pirmo reizi nomin\u0113ja Zelta Tr\u012bgai. 2019. gad\u0101 Kristas un Rei\u0146a Dzudzilo veidot\u0101 Latvijas izst\u0101de sa\u0146\u0113ma zelta meda\u013cu kategorij\u0101 \u201cLab\u0101k\u0101 kuratora koncepcija\u201d. L\u012bdz\u0101s \u0161\u012bm tradicion\u0101laj\u0101m kvadrienn\u0101les balv\u0101m 2015. gad\u0101 Andris Freibergs sa\u0146\u0113ma pirmo Scenogr\u0101fijas skolot\u0101ja balvu, un man no dro\u0161iem avotiem zin\u0101ms, ka \u0161o balvu rad\u012bja tie\u0161i Freiberga d\u0113\u013c. Monika Pormale un Katr\u012bna Neiburga str\u0101d\u0101ja kvadrienn\u0101les \u017e\u016brij\u0101 2011. un 2015. gad\u0101. M\u016bsu veikums ir nov\u0113rt\u0113ts ar\u012b Latvij\u0101 \u2013 gan Rei\u0146a Suhanova \u201cTelpa telp\u0101\u201d, gan Kristas un Rei\u0146a Dzudzilo \u201cZRwhdZ\u201d nomin\u0113ti Purv\u012b\u0161a balvai. \u0160ogad v\u0113l\u0113sim veiksmi \u201cGr\u0101fien\u0113m\u201d, kuru drosme un uzdr\u012bkst\u0113\u0161an\u0101s peln\u012bjusi zelta meda\u013cu jau tagad!<\/p>\n <\/p>","protected":false},"excerpt":{"rendered":" 7. j\u016bnij\u0101 tiks atkl\u0101ta 15. Pr\u0101gas Scenogr\u0101fijas un te\u0101tra telpas kvadrienn\u0101le.![\"\"](\"http:\/\/theatre.lv\/wp-content\/uploads\/2023\/06\/reinis-gareniski.jpg\")
\nReinis Suhanovs, kur\u0161 2007. gada kvadrienn\u0101l\u0113 sa\u0146\u0113ma daudzsolo\u0161\u0101k\u0101 jaun\u0101 scenogr\u0101fijas talanta balvu, 2011. gad\u0101 Pr\u0101g\u0101 atgriez\u0101s, p\u0101rst\u0101vot Latviju valstu un re\u0123ionu sada\u013c\u0101 ar instal\u0101ciju \u201cTelpa telp\u0101\u201d \u2013 pirmo reizi \u012bpa\u0161i kvadrienn\u0101lei rad\u012btu darbu. \u010cetros gados vi\u0146\u0161 bija pasp\u0113jis rad\u012bt virkni b\u016btisku scenogr\u0101fiju, vairumu \u2013 sadarb\u012bb\u0101 ar re\u017eisoru Viesturu Meik\u0161\u0101nu. Instal\u0101cijas \u201cTelpa telp\u0101\u201d, ko Reinis veidoja kop\u0101 ar komponistu J\u0113kabu N\u012bmani un gaismu m\u0101kslinieku Kri\u0161j\u0101ni Strazd\u012bti, pamat\u0101 bija Valmieras te\u0101tra izr\u0101des \u201cPl\u016bdi un saulgrie\u017ei Straum\u0113nu ska\u0146\u0101s\u201d scenogr\u0101fija. Pr\u0101gas darbs izv\u0113rsa \u201cStraum\u0113nu\u201d t\u0113mu pla\u0161\u0101k un piev\u0113rs\u0101s ne tikai latvie\u0161u identit\u0101tes mekl\u0113jumiem, bet reflekt\u0113ja ar\u012b par finan\u0161u un v\u0113rt\u012bbu kr\u012bzes apmulsin\u0101to Eiropu, kuras \u0101r\u0113ji spo\u017e\u0101, glud\u0101 un nevainojam\u0101 fas\u0101de sl\u0113pj nokv\u0113pu\u0161as kr\u0101smatas. Izdegu\u0161aj\u0101, \u0161\u0137ietami miru\u0161aj\u0101 nam\u0101 kust\u012bbu un cer\u012bbu iemiesoja delik\u0101ta, tik tikko nojau\u0161ama, bet vienm\u0113r kl\u0101teso\u0161a, sastingu\u0161o telpu ievibr\u0113jo\u0161a ska\u0146as un gaismas partit\u016bra.<\/p>\n![\"\"](\"http:\/\/theatre.lv\/wp-content\/uploads\/2023\/06\/monika-gareniski-e1685911518847.jpg\")
<\/p>\n![\"\"](\"http:\/\/theatre.lv\/wp-content\/uploads\/2023\/06\/nastavsevs-gareniski-e1685911335696.jpg\")
\n2015. gad\u0101 Pr\u0101gas kvadrienn\u0101le p\u0101rv\u0101c\u0101s uz pa\u0161u Pr\u0101gas vecpils\u0113tas sirdi, ko caurau\u017e bl\u012bvs arhitektonisko, politisko, ekonomisko, soci\u0101lo attiec\u012bbu t\u012bklojums. T\u0101 bija piln\u012bgi jauna pieeja \u2013 valstu komand\u0101m nepie\u0161\u0137\u012bra ar balt\u0101m izst\u0101\u017eu sien\u0101m nodal\u012btu kvadrat\u016bru, bet aicin\u0101ja veidot ekspoz\u012bciju \u013coti da\u017e\u0101d\u0101s re\u0101l\u0101s telp\u0101s. Izst\u0101des norises vieta vairs nebija pas\u012bva un neitr\u0101la vide, bet akt\u012bvs sp\u0113l\u0113t\u0101js ar konkr\u0113tu, nereti \u013coti sp\u0113c\u012bgu identit\u0101ti. Latvijai tika viena no Kafkas m\u0101jas istab\u0101m \u2013 vienk\u0101r\u0161a gai\u0161a telpa ar koka gr\u012bd\u0101m un logu rindu, kas burtiski p\u0101rpludin\u0101ja telpu ar gaismu un kalpoja k\u0101 atvere uz vecpils\u0113tu ar t\u0101s ska\u0146u, kr\u0101su un smar\u017eu bu\u0137eti. M\u016bsu m\u0101kslinieka izv\u0113li noteica ne tikai vi\u0146a vieta Latvijas scenogr\u0101fij\u0101, bet ar\u012b sp\u0113ja sadarboties ar konkr\u0113to vietu k\u0101 ekspoz\u012bcijas l\u012bdzautoru. Re\u017eisors Vladislavs Nastav\u0161evs, vien\u012bgais Latvijas p\u0101rst\u0101vis Pr\u0101g\u0101, kas nav skolojies M\u0101kslas akad\u0113mij\u0101, bija nodemonstr\u0113jis sp\u0113ju atdz\u012bvin\u0101t te\u0101tra meln\u0101s kastes sienas ar pavisam minim\u0101liem l\u012bdzek\u013ciem, kas burtiski uzspridzina izt\u0113li. Pr\u0101gas izst\u0101des \u201cPak\u013cau\u0161an\u0101s\u201d pamat\u0101 bija vi\u0146a scenogr\u0101fija pa\u0161a re\u017eis\u0113tajai izr\u0101dei \u201cJ\u016blijas jaunkundze\u201d Valmieras te\u0101tr\u012b. Uz met\u0101la staba telpas centr\u0101 atrad\u0101s koka ba\u013c\u0137is-sv\u0101rsts, uz kura izvietoti da\u017e\u0101di sadz\u012bves priek\u0161meti k\u0101 simbols Krist\u012bnes valst\u012bbai \u2013 virtuvei. Pateicoties nep\u0101rtrauktai sasp\u0113lei ar aktieriem Mariju Linarti un Raimondu Celmu scenogr\u0101fija k\u013cuva par dz\u012bvu b\u016btni, kas reiz\u0113 iemieso l\u012bdzsvaru un mieru, spriedzi un sabrukumu. \u0160eit \u0161os st\u0101vok\u013cus \u0161\u0137\u012bra pussol\u012btis, pusmilimetrs, liega v\u0113ja pl\u016bsma caur atv\u0113rtajiem logiem vai skat\u012bt\u0101ja piesk\u0101riens, un tas izst\u0101des atmosf\u0113ru tur\u0113ja nospriegotu l\u012bdz maksimumam visas desmit kvadrienn\u0101les dienas.<\/p>\n![\"\"](\"http:\/\/theatre.lv\/wp-content\/uploads\/2023\/06\/krista-reinis.jpg\")
<\/p>\n![\"\"](\"http:\/\/theatre.lv\/wp-content\/uploads\/2023\/06\/grafienes-gareniski.jpg\")
<\/p>\n![\"\"](\"http:\/\/theatre.lv\/wp-content\/uploads\/2023\/06\/freibergs-monika.jpg\")
<\/p>\n
\n LJTI aicin\u0101ja kuratori Gundegu Laivi\u0146u atskat\u012bties uz pa\u0161as kvadrienn\u0101les att\u012bst\u012bbu un t\u0101s mijiedarb\u012bbu ar Latvijas te\u0101tri un scenogr\u0101fiju p\u0113d\u0113jo 13 gadu laik\u0101.<\/p>\n","protected":false},"author":1,"featured_media":5410,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"inline_featured_image":false,"footnotes":""},"categories":[102],"tags":[],"class_list":["post-5409","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-arhivets"],"acf":[],"_links":{"self":[{"href":"https:\/\/theatre.kondrats.dev\/lv\/wp-json\/wp\/v2\/posts\/5409","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=5409"}],"version-history":[{"count":0,"href":"https:\/\/theatre.kondrats.dev\/lv\/wp-json\/wp\/v2\/posts\/5409\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/theatre.kondrats.dev\/lv\/wp-json\/wp\/v2\/media\/5410"}],"wp:attachment":[{"href":"https:\/\/theatre.kondrats.dev\/lv\/wp-json\/wp\/v2\/media?parent=5409"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/theatre.kondrats.dev\/lv\/wp-json\/wp\/v2\/categories?post=5409"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/theatre.kondrats.dev\/lv\/wp-json\/wp\/v2\/tags?post=5409"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}