Režisierius kaip dramaturgo bendraautoris: mažieji naratyvai Yanos Ross „Vienos miško pasakose“

LTAutorinis režisieriaus teatras dar praėjusio amžiaus antrojoje pusėje atsisakė būtinybės laikytis dramaturginio teksto autoriteto. Šiuolaikiniame teatre tokia režisieriaus laikysena reiškiasi kuo plačiausioje priklausomybės ar nepriklausymo nuo pjesės skalėje. Nuo pagarbaus „pjesės praktiškai nekupiūravome“, kur pagrindinis interpretacinis judesys dažniausiai yra režisūrinėmis priemonėmis perkelti pjesės veiksmą į šiuolaikybę teksto audinio iš esmės nekeičiant, iki tokių spektaklių, kur iš pjesės lieka tik pavadinimas (pvz., režisieriaus Josefo Nadj’io 1998 m. „Voicechas“ pagal G. Būchnerio pjesę), arba tokių, kur originali dramaturgo pjesė tampa gryna žaliava rašomam naujam spektaklio scenarijui (pvz., australų režisieriaus Simono Stone’o „Hotel Strindberg“ (2015), kuriam panaudoti įvairių A. Strindbergo pjesių motyvai). Tokio pobūdžio bendraautorystė artima ir režisierei Yanai Ross. Po A. Čechovo ir H. Ibseno pjesių, statytų įvairiuose Europos teatruose, perrašymo ji sukūrė savą austrų dramaturgo Odono von Horvatho pjesės „Vienos miško pasakos“ (1931) versiją. Raktažodžiai: Yana Ross, mažieji naratyvai, Odon von Horvath, „Vienos miško pasakos“, Hans-Georg Gadamer, dialogas, Vorurteile, hermeneutika. [Iš leidinio]

ENIn the second half of the past century, auteur theatre abandoned the need to adhere to the authority of the dramaturgical text. Some contemporary directors go far beyond a creative, innovative or even controversial interpretation of a play. They approach the playwright’s text (even if it has canonical status) as equal co-authors, either transforming it into a reference (as done by JosefNadj with Georg Buchners Woyzeck in 1998, leaving only the title of the original play), or using several plays as material for creating an entirely new dramaturgical text (like Simon Stone in Hotel Strindberg in 2015, which he created from a number of plays by August Strindberg). Yana Ross is also familiar with co-authorship of this kind. After authoring rewrites of canonical plays by Anton Chekhov and Henrik Ibsen in various European theatres, she created her own version of Austrian playwright Odon von Horvaths play Tales from the Vienna Woods (1931) (premiered in 2019 at the State Youth Theatre in Vilnius), where she discarded the original historical cultural context of the play and transferred its structural framework into present-day Lithuania. Ross (with the help of playwright Mindaugas Nastaravicius) changed the line-up of the play’s characters and gave them different historical-cultural identities, rewrote dialogues and inserted stand-alone prose narratives (narrative episodes or minor narratives).These relate to two of the play’s central themes: love (and marriage) and Lithuanian history (and patriotism). These narrative episodes (stories resembling mythical tales, or considerations of such fairy-tale motifs expressed in monologue, as well as stories reminiscent of urban legends and various amateur interpretations of Lithuanian history) can be described using Hans-Georg Gadamer s term Vorurteile (preconceptions, prejudices), subconsciously or partly consciously affecting the self-awareness and worldview of the characters. This text takes a closer look at such narrative episodes and discusses their implications in the context of the performance as a whole. Keywords: Yana Ross, minor narratives, Odon von Horvath, Tales from the Vienna Woods, Hans-Georg Gadamer, dialogue, Vorurteile, hermeneutics. [From the publication]