<\/p>\n
Marta izska\u0146\u0101 Austr\u0101lijas organiz\u0101cija \u201cBack-to-Back Theatre\u201d<\/a>\u00a0r\u012bkoja starptautiskas meistarklases \u201cCAMP<\/a>[1] International\u201d, kur\u0101 ar Latvijas Jaun\u0101 te\u0101tra instit\u016bta (LJTI) starpniec\u012bbu piedal\u012bj\u0101s ar\u012b pieci rado\u0161o jomu p\u0101rst\u0101vji no Latvijas: Agate Bankava,\u00a0Reinis Boters, Katr\u012bna D\u016bka, Linda Kr\u016bmi\u0146a un Ada Mihalina. Organiz\u0101cija \u201cBack-to-Back Theatre\u201d<\/a> zin\u0101ma ar to, ka t\u0101s izr\u0101d\u0113s k\u0101 pilnties\u012bgi m\u0101kslinieki piedal\u0101s ar\u012b cilv\u0113ki ar invalidit\u0101ti.<\/strong><\/p>\n Ar\u012b \u0161aj\u0101s meistarklas\u0113s piedal\u012bj\u0101s cilv\u0113ki ar autismu, Dauna sindromu, redzes un dzirdes invalidit\u0101t\u0113m, kas Latvij\u0101 ir mazatt\u012bst\u012bta prakse ne tikai skatuves m\u0101ksl\u0101s, bet ar\u012b kult\u016bras noris\u0113s k\u0101 t\u0101d\u0101s. \u201cBack-to-Back Theatre\u201d<\/a> pied\u0101v\u0101 at\u0161\u0137ir\u012bgu pieeju tradicion\u0101laj\u0101m izr\u0101\u017eu un performan\u010du izstr\u0101des praks\u0113m, \u0161\u0137e\u013cot stereotipus par cilv\u0113kiem ar invalidit\u0101ti un gar\u012bga rakstura probl\u0113m\u0101m, vi\u0146u r\u012bc\u012bbas sp\u0113j\u0101m un ieder\u012bbu sabiedr\u012bb\u0101.\u00a0<\/strong><\/p>\n Katrs dal\u012bbnieks piedal\u012bj\u0101s vismaz 2-3 meistarklas\u0113s, kuras Austr\u0101lijas-Latvijas laika zonu at\u0161\u0137ir\u012bbu d\u0113\u013c reiz\u0113m notika plkst. 5.00 no r\u012bta. Meistarkla\u0161u beig\u0101s dal\u012bbnieki dal\u012bj\u0101s atzi\u0146\u0101s un iespaidos par g\u016bto pieredzi \u2013 refleksij\u0101s par da\u017e\u0101d\u0101m, reiz\u0113m pat \u013coti ikdieni\u0161\u0137\u0101m liet\u0101m, ar kur\u0101m sastopas cilv\u0113ki ar invalidit\u0101ti un funkcion\u0101liem trauc\u0113jumiem.<\/span><\/p>\n Dejas dramatur\u0123e Linda Kr\u016bmi\u0146a<\/b> piedal\u012bj\u0101s skotu te\u0101tra re\u017eisora Andrea Kabera Luna (<\/span>Andrea Cabera Luna<\/i><\/a>) meistarklas\u0113 <\/span>\u201cK\u013c\u016bdain\u0101s instrukcijas\u201d <\/b>(<\/span>Faulty Instructions<\/span><\/i>). T\u0101s dal\u012bbnieki ar m\u0113r\u0137tiec\u012bgi neprec\u012bzu vai nepiln\u012bgu instrukciju pal\u012bdz\u012bbu cent\u0101s izpild\u012bt da\u017e\u0101das prozaiskas, sadz\u012bviskas darb\u012bbas neierastos veidos. Piem\u0113ram, viens no uzdevumiem bija veikt darb\u012bbas l\u0113n, gandr\u012bz neredzam\u0101 veid\u0101. Lai ar\u012b l\u0113nas kust\u012bbas v\u0113ro\u0161ana var b\u016bt \u013coti interesanta un hipnotiz\u0113jo\u0161a, meistarklases uzdevums bija koncentr\u0113ties uz cit\u0101do dom\u0101\u0161anas paradigmu un to, k\u0101das v\u0113rt\u012bbas t\u0101 atkl\u0101j. Katra novirze no instrukciju stingr\u0101s formas vai valodas tika uzskat\u012bta par k\u013c\u016bdu vai nepiln\u012bbu, t\u0101d\u0113j\u0101di meistarklase pal\u012bdz\u0113ja dal\u012bbniekiem lauzt priek\u0161statu par k\u013c\u016bdu k\u0101 izg\u0101\u0161anos vai kaut ko nepie\u013caujamu.<\/span>\u00a0<\/span><\/p>\n Linda Kr\u016bmi\u0146a piedal\u012bj\u0101s ar\u012bdzan m\u0101kslinieces Keitas Makinto\u0161as (<\/span>Kate McIntosh<\/i><\/a>) <\/span><\/i>meistarklas\u0113 <\/span>\u201cK\u0101 lietas sadal\u0101s\u201d <\/b>(<\/span>How Things Come Apart), <\/span><\/i>kuras uzdevums bija \u201csadal\u012bt reizin\u0101t\u0101jos\u201d da\u017e\u0101dus izv\u0113l\u0113tus objektus, t\u0101d\u0101 veid\u0101 uzr\u0101dot \u0161o lietu b\u016bt\u012bbu un esenci. Daudz\u0101m liet\u0101m nereti tiek pie\u0161\u0137irts emocion\u0101ls un subjekt\u012bvi v\u0113sturisks konteksts, materi\u0101l\u0101 noz\u012bme un citi neizm\u0113r\u0101mi faktori, kuru d\u0113\u013c ir gr\u016bti no tiem atteikties vai tos zaud\u0113t. Praktisk\u0101 meistarklase \u013c\u0101va dal\u012bbniekiem pal\u016bkoties no malas uz liet\u0101m, kas ikdien\u0101 mums ir apk\u0101rt, un apzin\u0101ties, k\u0101d\u0101 m\u0113r\u0101 m\u016bsu priek\u0161stati sp\u0113j main\u012bt lietu b\u016bt\u012bbu.<\/span>\u00a0<\/span><\/p>\n Austr\u0101lijas m\u0101kslinieces Sam\u0101ras Her\u0161as (<\/span>Samara Hersch<\/i><\/a>) meistarklases <\/span>\u201cRadik\u0101li veidi, k\u0101 b\u016bt kop\u0101\u201d<\/b> (<\/span>Radical Ways of Being Together<\/span><\/i>) dal\u012bbnieki p\u0113t\u012bja sarunu k\u0101 izr\u0101des galveno veidot\u0101ju, koncentr\u0113joties uz t\u0101s vieglumu, patiesumu, ievainojam\u012bbu un atkl\u0101t\u012bbu. Meistarklases sarun\u0101s piedal\u012bj\u0101s da\u017e\u0101da vecuma, nacionalit\u0101tes, etnisk\u0101s izcelsmes un profesiju p\u0101rst\u0101vji. Darbn\u012bcas laik\u0101 Lindai izdev\u0101s piedz\u012bvot sarunu ne tikai k\u0101 sazi\u0146as, bet ar\u012b performances elementu. Saruna ir visvienk\u0101r\u0161\u0101k\u0101 komunik\u0101cijas forma, tom\u0113r veidot ikdien\u0101 atkl\u0101tu sarunu ir sal\u012bdzino\u0161i gr\u016bti, t\u0101d\u0113\u013c tiek izmantoti da\u017e\u0101di simboli, l\u012bdz\u012bbas, \u0137ermeniski m\u0101jieni un citi elementi, kas padara sazi\u0146u\u00a0maz\u0101k ne\u0113rtu. Valodisk\u0101 aptuven\u012bba un metaforiz\u0101cija apvienojum\u0101 ar prec\u012bz\u0101m nor\u0101dn\u0113m paver t\u0101du interpret\u0101cijas<\/span>\u00a0telpu skat\u012bt\u0101jam\/ dal\u012bbniekam, kas paver pla\u0161\u0101kas pieredzes iesp\u0113jas, k\u0101 to potenci\u0101li paredz\u0113jis pats autors.<\/span>\u00a0<\/span><\/p>\n Rezidences \u201cCrossroads Arts\u201d p\u0101rst\u0101vja, m\u0101kslinieka Brendena Borellini (<\/span>Brenden Borellini<\/i><\/a><\/strong>) un iek\u013caujo\u0161\u0101s m\u0101kslas prakti\u0137es<\/span>\u00a0Otumas Skuthorpas<\/b><\/em>\u00a0(<\/em><\/b>Autumn<\/b> Skuthorpe<\/b><\/em>)<\/b><\/b> <\/b>meistarklas\u0113 <\/span>\u201cTaktilas saj\u016btas\/Taktilas kartes\u201d<\/b> (<\/span>Tactile senses\/Tactile maps<\/span><\/i>) ar dzejas, kust\u012bbu un \u0137ermenisko saj\u016btu starpniec\u012bbu tika p\u0113t\u012bts, k\u0101 m\u0113s j\u016btamies, izmatojot visas savas ma\u0146as. \u0160aj\u0101 meistarklas\u0113 piedal\u012bj\u0101s <\/span>m\u0101ksliniece Katr\u012bna D\u016bka <\/b>un producente Ada Mihalina<\/strong> (Polija). T\u0101s dal\u012bbnieki ar kust\u012bbu, saj\u016btu un da\u017e\u0101du ma\u0146u starpniec\u012bbu veidoja komunik\u0101ciju ar citiem dal\u012bbniekiem, to vid\u016b jaunie\u0161iem ar invalidit\u0101ti, str\u0101d\u0101jot gan grup\u0101, gan p\u0101ros un mekl\u0113jot da\u017e\u0101dus jaunus komunik\u0101cijas veidus. Nosl\u0113gum\u0101 katrs dal\u012bbnieks sacer\u0113ja taktilu dzejoli, izmantojot savu \u0137ermeni, t\u0101d\u0101 veid\u0101 liekot zust nedro\u0161\u012bbas saj\u016btai un veidojot izpratni par to, ka komunik\u0101cijas robe\u017ea starp da\u017e\u0101diem cilv\u0113kiem ir iedom\u0101ta un itin viegli p\u0101rvarama.<\/span>\u00a0<\/span><\/p>\n Fizisko performan\u010du veidot\u0101ja un m\u0101kslinieka Robija Sind\u017ea (<\/span>Robbie Synge<\/i><\/a><\/strong>) meistarklase <\/span>\u201cM\u016bsu telp\u0101s\u201d <\/b>(<\/span>In Our Rooms<\/span><\/i>) bija k\u0101 eksperiments, kas satuvina cilv\u0113kus, rota\u013c\u012bgi mainot \u0137erme\u0146a un ainavu telpas. Meistarklas\u0113 piedal\u012bj\u0101s <\/span>horeogr\u0101fe Agate Bankava <\/b>un <\/span>Ada Mihalina. T\u0101s laik\u0101 dal\u012bbniekiem bija iesp\u0113ja atkl\u0101t sevi un savu telpu k\u0101 komforta zonu, ikvienam meistarklases dal\u012bbniekam no visas pasaules. Eksperiments \u013c\u0101va dal\u012bbniekiem atv\u0113rties, padarot sevi ievainojamu un daloties inform\u0101cij\u0101, kuru, iesp\u0113jams, nezina pat tuv\u0101kie l\u012bdzcilv\u0113ki un \u0123imenes locek\u013ci.<\/span>\u00a0<\/span><\/p>\n Kalifornijas fotogr\u0101fes El\u012bzas Gregorijas (<\/span>Eliza Gregory<\/i><\/a><\/strong>) meistarklas\u0113 <\/span>\u201cFotogr\u0101fija un maigums\u201d<\/b> (<\/span>Photography and Tenderness<\/span><\/i>) tika mekl\u0113tas atbildes uz jaut\u0101jumu, kas notiek ar m\u016bsu identit\u0101ti, kad m\u0113s tiekam saplacin\u0101ti att\u0113la plakn\u0113? \u0160\u012b pieredze Agatei \u013c\u0101va apjaust, ka att\u0113la v\u0113st\u012bjuma saisto\u0161\u0101k\u0101 da\u013ca sl\u0113pjas aiz t\u0101 un ir acij neredzama. Att\u0113ls ir k\u0101 sp\u0113ka un varas simbols, kas nes redzam\u0101 pag\u0101tni un veido v\u0113sturi, ta\u010du caur att\u0113lu var piek\u013c\u016bt ar\u012b savas dz\u012bves mirk\u013ciem, kuri tikai pa\u0161am ir redzami un zin\u0101mi.<\/span>\u00a0<\/span><\/p>\n Aktiera Saimona Lahertija (Simon<\/i> Laherty)<\/a><\/strong>un re\u017eisores Keitas Sulanas (<\/span>Kate Sulan<\/i><\/a><\/strong>) meistarklas\u0113 <\/span>\u201cUps!..Es to atkal izdar\u012bju\u201d<\/b> (<\/span>Oops!.. I Did It Again <\/span><\/i>\u2013<\/span> nosaukums aizg\u016bts no m\u016bzi\u0137es Britnijas Sp\u012brsas popul\u0101r\u0101s dziesmas), izmantojot improviz\u0101ciju, deju un viktor\u012bnas jaut\u0101jumus, tika mekl\u0113tas atbildes uz jaut\u0101jumu, k\u0101d\u0113\u013c slaven\u012bbas tiek idealiz\u0113tas un no kurienes rodas aps\u0113st\u012bba ar popul\u0101riem cilv\u0113kiem.<\/span>\u00a0<\/span><\/p>\n Performan\u010du veidot\u0101ja un m\u0101kslinieka Markusa Aiana Makenzija (<\/span>Marcus Ian McKenzie<\/i><\/a><\/strong>) meistarklas\u0113<\/span> \u201cKo m\u0113s straum\u0113jam, kad m\u0113s straum\u0113jam par straum\u0113\u0161anu\u201d <\/b>(<\/span>What We Stream About When We Stream About Streaming<\/span><\/i>) piedal\u012bj\u0101s<\/span> aktieris Reinis Boters<\/b>, un t\u0101s laik\u0101 tika veidota performance ar datorekr\u0101nu, izmantojot virkni valodas loc\u012b\u0161anas pa\u0146\u0113mienu, kas tekstu pie\u0146em par fakt\u016bru un otr\u0101di. Dal\u012bbnieki veica da\u017e\u0101dus vingrin\u0101jumus, kas bija saist\u012bti ar valodas dekonstrukciju un jaunradi. Meistarklases vad\u012bt\u0101ja gaumes un darba stila ietekm\u0113 izr\u0101des veido\u0161ana par sava datora darba virsmu bija \u012bpa\u0161i atmi\u0146\u0101 palieko\u0161a.<\/span>\u00a0<\/span><\/p>\n Te\u0101tra re\u017eisores Bronas Batenas (<\/span>Bron Batten<\/i><\/a><\/strong>) meistarklas\u0113 <\/span>\u201cImproviz\u0101cija un kolekt\u012bvi rad\u012bta telpa\u201d<\/b> (<\/span>Improvisation and the Devising Space<\/span><\/i>) Reinis kop\u0101 ar citiem dal\u012bbniekiem piedal\u012bj\u0101s da\u017e\u0101d\u0101s et\u012bd\u0113s, kur\u0101s ar izt\u0113les pal\u012bdz\u012bbu ikdienas priek\u0161metiem tika pie\u0161\u0137irta cita identit\u0101te, piem\u0113ram, pie\u0161\u0137irot sentiment\u0101lu un emocion\u0101lu v\u0113rt\u012bbu kaut vai tualetes pap\u012bram.<\/span>\u00a0<\/span><\/p>\n Meistarkla\u0161u laik\u0101 dal\u012bbnieki var\u0113ja sastapt da\u017e\u0101dus cilv\u0113kus ar at\u0161\u0137ir\u012bg\u0101m fiziskaj\u0101m dot\u012bb\u0101m un invalidit\u0101ti, da\u017e\u0101du profesiju p\u0101rst\u0101vjus ar at\u0161\u0137ir\u012bg\u0101m prasm\u0113m, pieredz\u0113m un zin\u0101\u0161an\u0101m, kas ir licis aizdom\u0101ties par ikviena cilv\u0113ku iek\u013cau\u0161anu sabiedr\u012bb\u0101 un to, ka da\u017e\u0101du cilv\u0113ku iesaist\u012b\u0161ana m\u0101kslas rad\u012b\u0161anas procesos var padar\u012bt m\u0101kslu kaut nedaudz pieejam\u0101ku visiem un maz\u0101k elit\u0101ru. \u0160\u0101da pieredze \u013cauj p\u0101rvar\u0113t stereotipus un skepsi par savstarp\u0113jo komunik\u0101ciju, pat ja t\u0101 norit tie\u0161saistes form\u0101t\u0101. Visi dal\u012bbnieki atzin\u012bgi nov\u0113rt\u0113ju\u0161i te\u0101tra organiz\u0101cijas \u201cBack-to-Back Theatre\u201d<\/a><\/strong> profesion\u0101li veidot\u0101s meistarklases un taj\u0101 g\u016bto pieredzi par iek\u013caujo\u0161o pieeju, kas ar\u012b pa\u0161iem dal\u012bbniekiem likusi justies pieder\u012bgiem un lab\u0101k saprastiem.<\/span><\/p>\n Rakstu sagatavoja Lauma Purmale, Latvijas Kult\u016bras akad\u0113mijas Specializ\u0101cijas prakses ietvaros<\/strong><\/p>\n [1] CAMP \u2013 Come and make performance<\/p>\n <\/p>","protected":false},"excerpt":{"rendered":" Marta beig\u0101s notika Austr\u0101lijas organiz\u0101cijas \u201cBack-to-Back Theatre\u201d r\u012bkot\u0101s meistarklases \u201cCAMP[1] International\u201d, kur\u0101s ar LJTI starpniec\u012bbu piedal\u012bj\u0101s ar\u012b 5 rado\u0161o jomu p\u0101rst\u0101vji no Latvijas \u2013 Linda Kr\u016bmi\u0146a, Reinis Boters, Agate Bankava, Katr\u012bna D\u016bka un Ada Michalina<\/p>\n","protected":false},"author":1,"featured_media":5770,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"inline_featured_image":false,"footnotes":""},"categories":[102,97],"tags":[],"class_list":["post-5769","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-arhivets","category-pieejamiba"],"acf":[],"_links":{"self":[{"href":"https:\/\/theatre.kondrats.dev\/lv\/wp-json\/wp\/v2\/posts\/5769","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=5769"}],"version-history":[{"count":0,"href":"https:\/\/theatre.kondrats.dev\/lv\/wp-json\/wp\/v2\/posts\/5769\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/theatre.kondrats.dev\/lv\/wp-json\/wp\/v2\/media\/5770"}],"wp:attachment":[{"href":"https:\/\/theatre.kondrats.dev\/lv\/wp-json\/wp\/v2\/media?parent=5769"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/theatre.kondrats.dev\/lv\/wp-json\/wp\/v2\/categories?post=5769"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/theatre.kondrats.dev\/lv\/wp-json\/wp\/v2\/tags?post=5769"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}