This efficiency (or, relatively, avenue occasion) created through the Vileišio18 inventive residency guarantees actual tales in its official descriptions, that are informed by means of the fact of assorted metropolis districts, walks, video games and music.
Alternatively, when you get to the efficiency, it turns into a really critical take a look at of endurance and tolerance for the setting. Do not be stunned if such an ordeal culminates in your exit (and even escape) from the efficiency.
The road efficiency happening in Vilnius, Antakalnyi guarantees to move the viewer to the instances of the early 2000s, the place he’ll see the true behind-the-scenes of this microdistrict, the place he’ll meet invisible writings on the partitions, native residents of condominium buildings, avenue passers-by and common sitters within the buying heart parking zone. So, prematurely, we are able to say that the road efficiency “Beton beton I like you” protects itself prematurely with a relatively summary self-presentation, beneath which virtually anybody can conceal. It turns into a form of bait for the viewer, who, following not getting what he anticipated, will find yourself being essentially the most disenchanted with himself – why did he select this efficiency and never be extra cautious?
Beginning with the evaluation of this avenue efficiency, we wish to outline what’s or will be thought-regarding avenue theater. In accordance with essentially the most primary definitions, these are normally theatrical performances in public outside areas with out ticket-paying spectators, that’s, random passers-by grow to be spectators. In contrast to stage performs, avenue performs shouldn’t have a set story line, they present random scenes that designate totally different facets and views on a sure matter. The tempo and depth of the scenes are always altering, and really shortly. That is important to maintain viewers engaged. When evaluating the efficiency “Beton beton I like you”, we have already got a discrepancy on this facet – one ticket to it prices 15 euros, though every part takes place outdoor and anybody from the road can come and take part or be a part of. Should not such an experiment, occasion, motion be non-commercial? Particularly since you do not have to pay for stage rental, lighting, and different attributes typical for performances.
Dominykas Vaitiekūnas (not the one you considered first), Vaiva Ona Makūnaitė, Armanda Rudelytė, Rugilė Jankauskytė and Justina Biekšaitė are taking part in on the street efficiency. All of them are skilled actors. To begin with, I wish to focus on the “marozo” character created by D. Vaitiekūnas, as a result of he meets the viewers on the agreed place (Antakalnis glasses atelier) and warms them up with varied questions from “do you’ve gotten a “pitak” to “oh, London Arsenal fan”? It must be famous that D. Vaitiekūnas improvises fairly effectively and feels his viewers inside the first 5 minutes – whereas speaking straight with the viewers, he reads the temperature of the room and thoroughly exams the boundaries of every viewers member, thus warming each the viewers and himself, his character. Within the first moments, it even appears that it will likely be like a mono-performance, wherein “maroz” travels with the viewers to totally different locations in Antakalnis, reveals his reminiscences, particulars of the previous, and thus unfolds the entire story, which ought to have each completely happy and unhappy shades, on the similar time reflecting on nostalgic childhood and teenage life within the yard. It is a pity, however later it seems that this preliminary creativeness is fallacious, as a result of the character of D. Vaitiekūnas strikes into the place of observer and narrator or information and is extra with the viewers.
Every little thing on the street efficiency “Beton beton I like you” begins to alter strongly when “maroz” brings the viewers to the primary cease. The actresses VOMakūnaitė, A. Rudelytė, R. Jankauskytė and J. Biekšaitė, who’re situated somewhere else, are already ready for her. All of them embody totally different characters, who usually soar out of their roles or don’t create them in any respect – they’re merely a jumble of phrases, rumour, banal questions or actions. Road theater is inherently chaotic, with many various technique of gaining the viewers’s consideration, however on this case, the chaos between the actors significantly undermines the general tempo and engagement of the identical viewers. For instance, right here we’re attempting to look at a personality taking part in in a sandbox open up and share a painful childhood reminiscence when one other character emerges from the bushes and discusses some unrelated fragment. There are loads of such disjointed intervals, they occur on a regular basis, however when the thread or the general image is misplaced in the long term, the viewers suffers essentially the most. Until we deal with this efficiency as a gathering of like-minded individuals or buddies, to which no necessities are utilized or no frames are drawn – communication and being is completed freely, undefined and with none aim. Due to this fact, when analyzing the efficiency, it’s apparent that it might have benefited from no less than the minimal involvement of the director, as a result of the path helps to solidify what doesn’t observe or so obscures the ideas of the efficiency that every part turns into very viscous, it’s not clear. A superb instance of a efficiency with an analogous theme may very well be “Liuče čuožia” directed by Oskar Koršunov – this manufacturing was additionally filled with nostalgia, artifacts of the previous and unrestrained, free performing of the actors, however on the similar time, the path held the efficiency fantastically with seen and invisible threads.
Shifting on to the particular examples of “Beton beton I like you”, with which the play exams the viewers’s endurance, it’s potential to single out the conduct of the feminine characters. It’s ironic that the threatening “frost” may be very well mannered and restrained right here, and the worst feelings are left by the character created by one of many actors. Though it goes with out saying that that is dictated by the thought of the group of builders, however its means, conduct and actions completely don’t correspond to the same old norms. For instance, when she approaches the viewer, she permits herself to run a lump of sand into his garments, thereby staining the garments. It’s understood that the viewers should take part within the efficiency, as that is required by the road theater canon, however can the actors afford to do completely something? The place, on this case, are the boundaries and does theater, as a type of expression, not grow to be merely a means to make use of oneself? This query is rhetorical, there isn’t any single reply to it and there’ll by no means be one, however it’s not for nothing that we increase expectations when going to performances, however among the many expectations, hardly anybody expects to get soiled with sand (in any case, you need to return residence, not essentially driving a automotive). The identical actress didn’t keep away from speaking with different viewers in an analogous fashion, however there was no consideration attribute of actors – if the viewer doesn’t reply in the identical means, does a sense of discomfort prevail, is it not price altering the path of performing, themes, humor? The absence of room temperature raises considerations – have been the LMTA actors poorly ready, or was the viewers’s sense of the career intentionally ignored right here? In any case, all of the actors, other than the strong character of “Maroz”, had not polished their characters, it was troublesome to catch their threads or catch tales by means of brief monologues. Particularly when consideration was distracted by one or one other actress who straight provoked the viewers.
The concept avenue theater as a kind has grow to be a take a look at for the actors themselves and one which they haven’t overcome is overwhelming. Partly as a result of there may be a couple of contradiction between the outline and the efficiency itself. For instance, it’s acknowledged that the efficiency is for 14 years and older and is meant for adults, however the escalating themes, the video games provided by the actors and the content material itself are very adolescent and even infantile. Alternatively, with highschool college students within the viewers through the screening, the actors nonetheless contact on matters that aren’t meant for youthful viewers. Not solely the matters, however their presentation, presentation, and dialogue grow to be very vulgarized, actors’ dialogues with older viewers typically flip into one thing that doesn’t match into the viewers of younger viewers (and vice versa). Due to this fact, one will get the impression that something is occurring, however the actors don’t keep even a impartial temper – whereas watching, one will get an odd feeling, one instinctively desires to go away. Due to this fact, one-third of the efficiency is a restrict past which, relying on the depth and vulgarity of the actors’ communication with the viewers, one might not endure and depart.
On this case, it’s not potential to judge the chosen dramaturgy, as a result of it’s clearly recognized and understood solely by the actors – every part is predicated on the tales that the characters retell or expertise as a lot as is deliberate or succeeds throughout a particular efficiency. The costume designer of the play, Paulius Večeris, tried to mirror totally different, nostalgically impressed exterior accents of the characters, however there may be loads of eclecticism in it. If the character is inventive, it should essentially be a jacket with a gap within the once more, and different attributes that come to thoughts first. If “maroz” means his swimsuit might be a mix of two totally different manufacturers related to coaching. It might appear that the language of the road doesn’t require the reinforcement of a synthetic impression – unusual avenue pictures would have dissolved rather more organically within the pure jungle of Antakalnis concrete and greenery. The composer of the efficiency is Edvinas Siliūnas, however within the a part of the efficiency that I needed to see (the primary third), there have been no musical items or sound options, so this facet can’t be assessed.
Lastly, the creators of the efficiency affiliate “Beton beton I like you” with an interactive tour of less-seen or recognized locations in Antakalnis, however what’s a spot with no appropriate (or correctly fulfilled) context and content material? Typically, when collaborating in a efficiency, it’s extra like a dialog of passers-by (typically hysterical, typically boring), however not an actor-spectator dialogue, a logical development or a common seek for which means that you just anticipate from the theater. When watching “Beton beton I like you”, questions plague you: does this efficiency (from the aspect of the creators) have a transparent viewers? Do the builders themselves have clear expectations and targets? Maybe the imaginative and prescient, the precise content material of this efficiency continues to be being fashioned, and modifications following every displaying, however whether it is an experiment, is it price pricing it as an alternative of creating it open to everybody? In brief, the experiment that Beton beton I like you grew to become is an instance of theater that turns the viewers into an object of ridicule (each straight and thru the truth that tickets are paid for). Is it essential to have and wish to say one thing within the theater? You wish to consider that it’s, however is that this want already turning into a bit too naive an expectation?
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2024-05-28 05:20:44
