Verbalika kaip muzikos komponavimo priemonė postdraminiame teatre
LTĮsigalėjus postdraminio teatro sampratai, spektaklis suvokiamas kaip autonominis ir savarankiškas meno kūrinys, o ne draminio teksto iliustracija. Tai suformuoja naują požiūrį į tekstą teatro erdvėje: verbalika neapsiriboja tik teksto ir informacijos pateikimo ar perteikimo funkcija, ignoruojama taisyklė, kad tekstas kuria prasmę ir turi būti suprantamas. Šiame straipsnyje išskiriami ir analizuojami trys muzikiniai verbalinių priemonių komponavimo būdai: 1) nesemantinis literatūrinių tekstų naudojimas, 2) kalbos muzikalizavimas, 3) aktoriaus balso galimybių panaudojimas. Pateikiami postdramiškumu pasižyminčių (Miguelio ir Paulos Azguime’ų, Heinerio Goebbelso, Onutės Narbutaitės, Rūtos Vitkauskaitės, Roberto Wilsono ir straipsnio autorės) kūrinių, kuriuose verbalinės priemonės pasitelkiamos komponuojant muzikinę naraciją, pavyzdžiai. Kadangi straipsnio autorės kaip kompozitorės praktinės veiklos objektas yra tapatus analizuojamam šiame tekste, straipsnyje atstovaujama tiek mokslinei, tiek meninei-praktinei pusėms, t. y. atliekamas dalyvaujančio stebėtojo vaidmuo (angl. participative observation). [Iš leidinio]Reikšminiai žodžiai: Muzikalizacija; Muzikalizavimas; Muzikinė naracija; Muzikos naracija; Podraminis teatras; Postdraminis teatras; Tekstas; Verbalika, logosas; Verbalinės priemonės; Musical narration; Musicalisation; Post-dramatic theatre; Text; Verbal tools.
ENAs post-dramatic theatre has become an established concept, a theatre show is seen as a self-sufficient artwork rather than an illustration of a literary text. Hence, verbal expression is not limited to the function of conveying the text, while the rule is ignored that the text, as a tool of meaning creation, must be clearly communicated. This kind of attitude towards literature encourages those involved in theatre production to experiment with the text. In this article, the author distinguishes and analyses three dominant ways of the use of verbal tools: 1) the non-semantic use of literary texts; 2) the musicalisation of verbal expression; 3) the utilization of actor’s vocal capabilities. The article examines particular instances when these tools have been employed to create a musical narration in post-dramatic stage productions by Miguel and Paula Azguimes, Heiner Goebbels, Onutė Narbutaitė, Rūta Vitkauskaitė, Robert Wilson and the author of this article. The object in practice carried out by the author of the article (who is also a composer), is equivalent to the topic of the article. Therefore, in preparation for this article, the author embodied the roles of both scientific and artistic/ practical participants, as a participating observer. In the first section of this article, the author explains how the nonsemantic use of literary texts can be applied in post-dramatic theatre. In accordance with Lehmann (2010), who calls for a broader concept of a literary text, because the customary understanding of a text is too narrow for this type of theatre, she states that a literary text might be used to create musical material and a musical narrative rather than for purely semantic goals. In this case, a literary narrative may turn into a different kind of story once it puts on a musical robe. If a text is treated as a musical sound, the very act of speaking might be regarded as an action which should be analysed as a musical phenomenon.The second section is devoted to present the musicalisation of verbal expression. The author talks about an unrestricted freedom of the text, where the main emphasis is its sonority rather than its actual meaning. The acoustic characteristics and rhythmical aspects of speech are particularly important in any effort aimed at the musicalisation of verbal expression. The author distinguishes and analyses four, the most common, ways: 1) the use of multiple languages; 2) simultaneous speaking and singing; 3) tempo; 4) meaningless verbal derivatives. The third section presents the utilisation of actor’s vocal capabilities, because not only the text, but also the voice should be treated and analysed as a sound rather than as a discourse in post-dramatic theatre. By employing various tools of musical expression (register, tempo, rhythm, dynamics, etc.), each individual voice is capable of creating a story even when it does not convey the actual meaning of a text. Screams, sighs, groans and laughter all become very important while composing musical narration. Summing up, the author claims that post-dramatic theatre changes the concept of text and music and the balance between the two. Verbal expression is not limited to conveying and delivery of text and information. Text as such is no longer expected to act as a basis of the narrative, yet it might become a tool of musical composition. [From the publication]
