Teatrinių elementų muzikalizavimas postdraminiame muzikinės naracijos teatre
LTAnalizuojant postdraminj muzikinės naracijos teatrą (toliau – PMNT)1 daugiausia dėmesio skiriama pakitusiam muzikiniam diskursui, suponuojančiam naują muzikinės spektaklio partitūros prasmę. Naratyvas čia įgyja naują reikšmę, o pagrindiniu objektu tampa muzikinė naracija, kuri gali būti komponuojama kompozitoriaus, kuriama per repeticijas, atlikimo ir komunikacijos procese, pasitelkiant aktoriaus / muzikanto balso galimybes, judesius, gestus, lokacijos pasikeitimus, erdvės ypatumus, taip pat paveikta papildomų veiksnių (garso efektų, medijos technologijų) bei žiūrovų suvokimo. Šiame straipsnyje aptariamas teatrinių elementų muzikalizavimo procesas, kuriuo siekiama sukurti muzikinę naraciją. Išskiriamos ir aprašomos trys pagrindinės elementų grupės, analizuojami praktiniai pavyzdžiai įvairių kompozitorių (Miguelio Azguime’o, Aleksandro Baksi, Heinerio Goeb- belso, Algirdo Martinaičio, Alberto Navicko, Rūtos Vitkauskaitės, Larso Wittershageno) ir režisierių (Vido Bareikio, Olgos Lapinos, Viliaus Malinausko, Christopho Marthalerio, Sebastiano Niiblin- go, Marijos Simonos Šimulynaitės, Justo Tertelio, Jono Vaitkaus, Loretos Vaskovos) kūryboje. Kadangi straipsnio autorė, būdama teatro kompozitore, tyrimo metu adiko dalyvaujančios stebėtojos vaidmenį, šiame tekste pateikiamos ir jos kūrinių analizės. [Iš leidinio]Reikšminiai žodžiai: Muzikalizavimas; Muzikinė naracija; Postdraminis muzikinės naracijos teatras; Postdraminis teatras; Teatriniai elementai; Musical narration; Musicalization; Narration theatre; Post-dramatic theater; Postdramatic musical; Postdramatic theatre; Theatrical elements.
ENIf one or a few so-called “additional” elements of Aristotelian theatre are treated the same way as literary text, or they are composed in accordance with the antihierarchal principle of theatrical elements, it encourages the establishment of new forms of theatre as well as altering the possibilities of narrational construction, approach towards literature and its use in performing arts. Libretto, which previously carried a semantic meaning, now more and more often becomes a compositional material of sound, thus also bringing forth a new understanding of theatre as music. While analysing postdramatic musical narration theatre, one has to emphasise a change in musical discourse which gives new meanings to the musical score of the performance. Here, performance narrative acquires a new significance with musical narration becoming a core object which can be composed by a composer or created during the rehearsal process and then in performance, with the help of ac- tor’s/musician’s vocal abilities, physical movements, gestures, different locations and spatial characteristics. Musical narration can also be influenced by various additional factors (such as sound effects or music technologies) as well as spectator’s perception. This article discusses the musicalization process of theatrical elements in the case of creating musical narration. The author provides three groups of theatrical elements that operate according to musical principles: 1. Devising and rehearsal process, 2. Visual decisions, 3. Structure of the work. The first group includes situations which occur prior to the opening night of the performance, such as a musical collaboration between a composer, director and actors. It is a devising process which is based on musical decisions where rehearsals are organised with the help of musical principles (vocal warm up, rhythmical exercises, group singing, etc.).Visual decisions (i.e., 1) movement and gestures; 2) characteristics of the spacc/spatial positioning of sound; 3) sce- nography), in the context of this thesis, define the actions of actors/ musicians as well as the decisions made by composer or director which allow for a discovery of new sound or new aspect of musical narration. The third group of theatrical elements - structure of the work - is a musical principle which organises the form of the performance, where the dramatic elements conform to the musical ones. Here, the dramaturgy and aesthetics of musical numbers dictate the dramaturgy of stage action. [From the publication]
