Eduardo Balsio baleto „Eglė žalčių karalienė“ interpretacijų įvairovė

LTKompozitoriaus Eduardo Balsio 100-mečio proga straipsnyje siekiama parodyti vieno jo populiariausių kūrinių – baleto „Eglė žalčių karalienė“ (1960) – neblėstančią vertę, interpretacijų įvairovę, atskleisti skirtingas jų estetines nuostatas bei naudojamą judesio stilistiką, kurią sąlygoja ir talpus literatūrinis – pasakos, mito – šaltinis bei laikmečio tendencijos. Inscenizacijų privalumai ir trūkumai analizuojami baleto žanrui esminiu muzikos ir choreografijos sintezės aspektu, išryškinančiu arba sumenkinančiu muzikos vaidmenį balete, sukuriančiu naują sinerginę veikalo kokybę. [Iš leidinio]Reikšminiai žodžiai: Baletas "Eglė žalčių karalienė"; Baletas „Eglė žalčių karalienė“; Choreografija; Eduardas Balsys; Interpretacija; Muzika; Scenografija; Sinergija; Sintezė; Ballet "Eglė, the Queen of Grass Snakes"' music; Ballet Eglė, the Queen of Grass Snakes; Choreography; Eduardas Balsys; Interpretation; Music; Scenography; Synergy; Synthesis.

ENFour productions of the ballet “Eglė, the Queen of Grass Snakes” showed a rather controversial state of Lithuanian music and choreography. Vytautas Grivickas’ (1960) and Elegijus Bukaitis’ (1976) interpretations are completely different. Balsys’ music had already made more impressive progress than the realistic concept of the ballet production by Grivickas (set designer Jurgis Jankus, conductor Chaimas Potašinskas). Bukaitis’ innovative concepts merged closer with the scenography (set designer Rimtautas Gibavičius) than with the music (conductor Potašinskas) and Balsys’ moderately modern concept. Egidijus Domeika’s version of the ballet (1995, set designer Dalia Mataitienė, conductor Jonas Aleksa), based on a generic indistinctive language of neoclassical dance, did not match the authenticity of the music. In the 2015 production, George Williamson chose as his priority Eglė’s dramatic emotions with a culmination that demonstrates her spiritual strength (set designer Louie Whitemore, lighting Howard Hudson, conductor David Geringas 2015, LNOBT). The British choreographer’s concept, however, was undermined by realistic attributes and mise- en-scènes.Martynas Rimeikis’ choreographic interpretation is organically derived from the music (set designer Marius Jacovskis, costume designer Elvita Brazdylytė, lighting designer Levas Kleinas, conductor Modestas Barkauskas; Klaipėda Music Theatre; premiere at the concert hall in Palanga on 16 August 2019) and there is a new synergistic quality to the ballet. The dance movement did not demonstrate in detail the narrative and literary content of the fairy tale, nor did it add any supplementary meanings to the mythological side of the story. Having studied the libretto and the composer’s ideas closely, the choreographer synthesised them. The choreographer read the emotionally dramatic content encoded in Balsys’ ballet with contemporary dance, which gives meaning to the vitality of the music that has become classical. The five productions of “Eglė, the Queen of Grass Snakes” reflect the tortuous process of the development of Lithuanian art and history, the changing scale of choreographic art values from dramatic ballet to dance theatre, establishing the synergistic quality of this work for the 100th anniversary of the birth of Balsys. [From the publication]