Muzikinis folkloras etnografiniame vaidinime "Senovinės kupiškėnų vestuvės"

LTStraipsnyje analizuojamas etnografiniame vaidinime „Senovinės kupiškėnų vestuvės“ naudotas muzikinis folkloras – dainos, rateliai, vestuviniai verkavimai (raudos), instrumentinė muzika. Siekiama nustatyti vyraujančius žanrus, aptarti jų panaudojimo, atlikimo, įkomponavimo į spektaklio scenarijų aspektus. Įsivaizduojant XX a. 7-ojo dešimtmečio visuomeninį ir kultūrinį gyvenimą bei folkloro padėtį jame, galima sakyti, kad „Senovinės kupiškėnų vestuvės“ uždavė labai aukštą toną, kurį perėmė, palaikė ir savomis kryptimis plėtojo Lietuvos folkloro ir etnografiniai kolektyvai. [Iš leidinio]Reikšminiai žodžiai: Dainos; Instrumentinė muzika; Kupiškis; Muzikinis folkloras; Senovinės kupiškėnų vestuvės; Vestuviniai verkavimai; „Senovinės kupiškėnų vestuvės“; Instrumental music; Kupiškis; Musical folklore; Songs; The Old Kupiškis Wedding; Wedding laments.

ENAuthor considers the musical folklore employed in the play "Senovinės kupiškėnų vestuvės" ("The Old Kupiškis Region Weddings") including songs, group songs, wedding laments (raudos) and instrumental music. The goal is to identify the dominant genres and discuss aspects of their use, performance and incorporation in theatrical scenes. The musical folklore in "Senovinės kupiškėnų vestuvės" is applied in such a way as to illustrate and complement the ritual and non-ritual acts in the wedding as portrayed in the play. Lyrical folklore and instrumental music are used and expanded upon very deftly, revealing the essential features of the song and instrumental music of the Kupiškis region. The multi-voice songs and group songs which dominate in the play are in the major key and performed in the traditional manner. The wedding laments and their performance are perfect examples of this genre. The instrumental music, although because of its duration (especially on video) it sometimes appears very fragmentary, is actually authentic and convincing. It is perhaps down to the self-control of the performers that no one misstakes were possible: for many of them, this music was a part of everyday life, and they themselves are to be considered purveyors of authentic folklore. It seems that the stylizations of folk music of that time really didn’t influence this collective much at all, although there were a few slight attempts.The only mystery is the use, or rather non-use, of sutartinės (Lithuanian polyphonic songs). These do not appear in the play at all. Perhaps this was a conscious decision by the directors or others to only make use of the "later" folkloric stratum, a possibility enhanced by the further absence of ancient local musical instruments, including skudučiai (pan-pipes], ragai (horns), lumzdeliai (a woodwind instrument) and kanklės (a stringed instrument). In this day and age, it would appear at the very least incomprehensible or even unjustifiable not to include these in such a program. Considering the social and cultural life in the 1960s and the state of folklore then, "Senovinės kupiškėnų vestuvės" displays a surprisingly high degree of sophistication, which in turn was appropriated, fostered and expanded in new directions by Lithuanian folklore and ethnographic collectives. [From the publication]