Kosto Ostrausko architeatras: "Balys iš Baibokų"

LTStraipsnyje aptariamas Balio Sruogos kūrybos ir biografinės medžiagos panaudojimas Kosto Ostrausko dramoje „Balys iš Baibokų“ (2001-2002). Drama kuria rimtos imitacijos (padirbinio) įspūdį, tačiau iš tiesų tai yra rimta transformacija su žaismingos transformacijos (parodijos) elementais. Sruoga panardinamas į sau artimą teatro aplinką, bet jo biografija dar pabrėžtinai teatralizuojama. Teatras, vienas svarbiausių kultūros ženklų Ostrausko dramose, čia tampa komplikuoto santykio tarp tikro ir netikro, rimto ir nerimto laidininku, tragikomiškos dviprasmybės prielaida. Ostrauskas per Sruogą pademonstruoja įvairias teatro formas ir žmogaus gyvenimo teatralizacijos galimybes. Teatras dramoje pasireiškia kaip menas su jam būdingais komponentais (dramos kalba, scena, aktoriais, jų vaidmenimis, kaukėmis, amplua, vaidybos tradicijomis, publika), kaip iniciacijos, mirties ritualas, etnografinis vaidinimas, kaip visuomenės modelis su socialinėmis rolėmis, galios žaidimais. Sruoga tampa kelialype teatrine figūra, teatro idėjos reiškėju par excellence – autoriumi, rašančiu savo gyvenimo istoriją, personažu, savo sukurtų personažų tęsiniu, aktoriumi, vaidinančiu save patį prieš publiką, kritiku, stebinčiu ir komentuojančiu savo teatrine veiklą, „gyvenimo teatro“ dalyviu.Ostrausko keltas tikslas „laikytis tikrovės“ dramoje pasiektas atvirkščiu, „ostrauskišku“, keliu – akcentuojant herojaus priklausomybę fikcijos sferai. Panašiai, rodant nerimtus Balio iš Baibokų vaidmenis, išryškinamas kronikos herojaus darbų rimtumas, jo patirties reikšmingumas. [Iš leidinio]Reikšminiai žodžiai: Balys Sruoga; Drama; Imitacija; Teatras teatre; Totus mundus; Tragikomedija; Transformacija; Balys Sruoga; Drama; Imitation; Theatre within a theatre; Totus mundus; Tragicomedy; Transformation.

ENPresent article discusses the ways in which the creative elements and biographical data of Balys Sruoga were used in the drama "Balys from Baibokai" (2001-2002) by Kostas Ostrauskas. The play creates the impression of a serious imitation, and, in reality, it succeeds in becoming a serious transformation, with elements of a playful transformation, or a parody, to be more exact. Sruoga is plunged into his familiar theatre surroundings, and the facts of his biography are emphasized in an intentionally enhanced theatrical manner. The theatre - as one of the essential cultural signs in Ostrauskas's dramas - in this particular case, embodies a complex relationship between what is real and unreal, serious and funny, and creates the preconditions for tragic-and-comic ambiguity. By presenting Sruoga as a kind of iconic figure, Ostrauskas demonstrates different expressive forms of theatre as well as the possibilities to depict daily human life in a theatrical manner. The theatre-specific ways in the drama are revealed with their characteristic artistic components (the language of drama, the stage, actors with their roles, their masks, their range, the tradition of acting, and audience), as the ritual of initiation and death, as a kind of ethnographic play, as a model of society, with its social roles being performed, and with its games of power. In this way, Sruoga becomes a multi-faceted theatrical figure that embodies the very idea of theatre par excellence.He can be seen as an author viewed in the process of creating his own life story; also, as a character providing continuity to the other characters of dramatic action that he has produce, and simultaneously – as an actor in the act of self-representation before an audience, and as a theatre critic, involved in the processes of observing and commenting on his own theatrical activity, i.e., as a participant in the on-going "theatre of life." Thus the aim "to adhere to reality", pursued by Ostrauskas, was achieved in this drama in the opposite, Ostrauskas – specific way – by emphasizing that the hero belongs to the domain of fictional reality. Similarly, by presenting all these different, and far-from-serious, roles played by Balys from Baibokai, the seriousness of the chroniclers activity and the significance of his experience are clarified. [From the publication]