Vydūno projektas: teatras kaip bendruomeniškumo patirties vieta

LTStraipsnyje analizuojamas Vydūno teatro aspektas, susijęs su naujosios žmonių bendruomenės idėjos realizacija, priartinančia XX a. pr. Europos „naujojo žmonių“ teatro kontekstą. Pagrindinis dėmesys kreipiamas į masinio herojaus raidą - chaotiškos, įvairialypės žmonių minios transformaciją į vieningą bendruomenę, kuri galėjo būti atvira ir žiūrovams. Keliama prielaida, kad Vydūno kurta efektinga šviesų, spalvų ir garsų dramaturgija visų pirma reiškė strategiją, skirtą įtraukti publiką į specifinę teatro atmosferą, savaip perorientuoti ją ir finale paversti naujosios bendruomenės dalimi. Raktažodžiai: masinis herojus, bendruomenė, režisūrinė / scenografinė partitūra, įtraukimas, atmosfera, scenos efektai, pojūčių stimuliacija. [Iš leidinio]

ENIn the late 19th - early 20th century, Vydūnas, the playwright and director of the Tilžė Lithuanian Singers Society, perceived theatre as a place of the process of transformation of the “people”, as he called his mass protagonist, as well as the transformation of the spectators: by following the story of the protagonist’s spiritual development, the heroes - the “people” - gradually discover the uniting imperative of spirituality and thus come together, in the finale transforming from a disorganised, chaotic, diverse crowd into a huge and united community of happy, renewed - spiritual - people, that includes the spectators, who have come to believe in the spiritual truths preached through the course of action. It is true that Vydūnas left almost no direct evidence of such audience participation, but it is obvious that he planned it. On one hand, he staged his main dramas in open, outdoor venues, which allowed for massive scope and the gathering of a much larger than usual number of participants. On the other hand, Vydūnas, as evident from his extensive remarks on dramaturgy - director’s notes of sorts - from the very beginning tried to affect his audience by involving it in a specific theatrical atmosphere through dynamic lighting, colour and sound effects (which, admittedly, were unlikely to be implemented practically due to poor material capabilities) that would have actively stimulated the visual and auditory senses, in order to capture their attention and hold it completely right up to the joyful celebration of the new community that concludes the play.All the more so because it tended to extend beyond the performance, almost always continuing in the form of all the people gathered in the theatre dancing, finally eradicating any distance between the actors and the audience, confirming the experience of community. The celebration was also meant to continue afterwards: Vydūnas believed that the new community being built could and should survive as a spiritual community that no longer had anything to do with theatre; that is to say, he believed in the power of theatre to shape a more spiritual, creative humanity and in its world-building power. Keywords: Vydūnas, mass hero, community, director’s / scenography notes, involvement, atmosphere, stage effects, sensory stimulation. [From the publication]

• Tautos dvasia, širdies kalba : Vydūno teatro vizija / Aušra Martišiūtė. Darbai ir dienos. 2004, t. 39, p. 141-150.
• Vydūnas ir teatras: sceninės Vydūno dramaturgijos recepcijos ypatumai / Šarūnė Trinkūnaitė. Menotyra. 2011, t. 18, Nr. 2, p. 93-102.
• Vydūno dramaturgija / Aušra Martišiūtė-Linartienė. Vydūnas / Vaclovas Bagdonavičius, Aušra Martišiūtė-Linartienė. Vilnius: Mokslo ir enciklopedijų leidybos centras, 2017. P. 511-687.