Vaizdo projekcijų reikšmė ir paskirtis Gintaro Varno spektaklyje "Bakchantės"

LTStraipsnyje aptariami šiuolaikinio Lietuvos teatro ir naujųjų medijų susikirtimai bei spektakliuose naudojamų vaizdo medijų įtaka režisūriniams projektams. Keliamas probleminis klausimas: ką reiškia, kaip veikia ir ką padeda atskleisti 2013 m. sukurtame režisieriaus Gintaro Varno spektaklyje „Bakchantės“ naudojamos vaizdo projekcijos? Išskiriami trys spektaklyje naudojami vaizdų tipai: realistinis, utopinis, distopinis, nagrinėjamos jų reikšmės. Analizuojama, kaip ir kokius vaizdus pasitelkia režisierius Varnas, įgyvendindamas spektaklio idėją. [Iš leidinio]Reikšminiai žodžiai: Distopinis vaizdas; Gintaras Varnas; Realistinis vaizdas; Teatras; Utopinis vaizdas; Vaizdo projekcijos; Video projekcijos; Dystopic image; Gintaras Varnas; Realistic image; Theatre; Utopic image; Video projections.

ENThe article discusses the collisions of modern Lithuanian theatre and new media, as well as the influence of visual media used in performances on directing projects. It raises a problematic question: what did the video projections used in the performance of "The Bacchae" by Gintaras Varnas created in 2013 mean, how do they influence the audience and what do they help to reveal? The article analyses how and what video images are employed by the director Varnas to realise the idea of his performance. The article distinguishes between three types of images used in the performance (realistic image, utopic image and dystopic image), and analyses the meanings of the three image types. In his performances, the director Varnas exploited the possibilities of modern media with a very clear purpose in mind and, in addition to the goal of making modern scenery more effective, choose and meaningfully used video projections as a game of reality and the modification of a video to a closeup (face, eyes, filmed body), employing the projections to emphasise the conflict revealed by the performance; also, he used them to intensify the information about cause and effect and to provoke competition between the video screen and the actor. Images interposed into the space of the performance with edited and non-edited film frames, faster or slower segments which linked the rhythm of the video screen and the rhythm of the on-stage action and thus navigated the audience closer to the future final scene of the retribution of Dionysus. By doing this, Varnas purposefully aimed to make the space of the public discussion about a social world more effective and to form people, through an aesthetic-moral experience, who are sophisticated and responsible for their actions in this world. [From the publication]