M. K. Čiurlionio muzikos panaudojimo teatre ypatumai

LTStraipsnyje aptariami ir sisteminami M.K. Čiurlionio muzikos panaudojimo teatre ypatumai. Čiurlionio muzika analizuojama biografinio ir nebiografinio scenarijaus dramos, muzikiniuose ir šokio spektakliuose. Išskiriami svarbiausi Čiurlionio muzikos panaudojimo argumentai - dokumentiškumo, estetinis, simboliškumo, pagrindiniai panaudojimo principai - citavimo, perdirbimo, detaliau aptariami ryškiausi pavyzdžiai - J. Vaitkaus „Svajonių piligrimas“, E. Nekrošiaus „Rojus“, J. Smorigino „Choreografo laiškai Mikalojui Konstantinui Čiurlioniui“, D. Anevičiūtės ir A. Kazanavičiaus „Ilgėjimosi sonata“ ir kt. [Iš leidinio]

ENM.K. Čiurlionis’s music embodies the core of Lithuanian professional music. It has served as a foundation for the 20th-century Lithuanian music culture. Its application can be found in the theatre too. Music adaptation for theatrical performance is a common and widespread practice. The decision to choose (rather than create) music for performance can be attributed to both pragmatic and aesthetic reasons. Despite the importance and popularity of M.K. Čiurlionis’s music, it rarely sounds in theatrical scenes. It would be possible to distinguish a few key features of the application of Čiurlionis’s music in the theatre. Firstly, it used in biographical scripts as an integral and inseparable part of the story. Here, the following recent drama performances like “Svajonių piligrimas" [Pilgrim of Dreams] by dir. J. Vaitkus (State Small Theatre of Vilnius, 2008, National Kaunas Drama Theatre, 1975), “Ilgėjimosi sonata” [Sonata of Longing] (2008) by actors Diana Anevičiūtė and Aleksas Kazanavičius, dance performances “choreografo laiškai Mikalojui Konstantinui Čiurlioniui” [Letters of the Choreographer to Mikalojus Konstantinas Čiurlionis] (choreographer J. Smoriginas, Vilnius Ballet Company, 2004), “The Sea” [Jūra] (choreographer B. Letukaitė, Kaunas Dance Theatre “Aura”, 2012), ballet “Čiurlionis” by composer Giedrius Kuprevičius (Lithuanian National Opera and Ballet Theatre, 2013) can be mentioned.Performances, which are not connected with M.K. Čiurlionis life or works, in particular, exploit the emotional aspect of his music; it serves as an expression of hero's experiences and emotional context of the dramatic situation. But the full prominence of M.K. Čiurlionis to Lithuanian audience inevitably implies the symbolic perception as a sign of specific ideas, historical and artistic parallels. Regarding this aspect, the following performances “Rojus” [Paradise] by Dante, dir. E. Nekrošius (Meno fortas, 2013), “Didysis Vytautas - karalius” [Vytautas the Great - the King|, dir. V. Rumšas (Pažaislis Festival, 2012) could be mentioned. It could be argued that the strong symbolic charge of M.K. Čiurlionis’s music established some conventions and prejudices due to the fact that in non-biographical plays it is used significantly less and remains an artistic challenge for future creators. [From the publication]