Spektaklis-koncertas šiuolaikiniame Lietuvos teatre: "Graži ir ta galinga" kontekstai ir dramaturgija
LTPasitelkus moters vaizdavimo lietuvių dramaturgijoje, feministinės dramos kontekstus, straipsnyje analizuojamas Klaipėdos jaunimo teatro spektaklis-koncertas „Graži ir ta galinga“. Pagrindinis dėmesys kreipiamas į atskleistus moterų vaidmenis istorijoje, spektaklio-koncerto dramaturgijos specifiką, verbalinio ir muzikinio teksto sąsajas. Aiškinamasi, kuo spektaklis-koncertas „Graži ir ta galinga“ yra savitas lietuvių dramaturgijos kontekste. Raktažodžiai: spektaklis-koncertas, feministinė drama, populiarioji kultūra, moterų sąjūdis, kolektyvinis antagonistas, patriarchalinė visuomenė, (ne)sąmoningumas. [Iš leidinio]
ENMore and more productions in Lithuanian theatre (operas, concert performances) are creating a unique connection between drama and music. This article analyses the Klaipėda Youth Theatre concert performance on the subject of Lithuanian women titled Graži ir ta galinga (Beautiful and Powerful), chosen for several reasons: firstly, it is a result of collective female creativity, written and performed by five female actors who are consistently following the values of feminist theatre and are very popular with the public. Eventually, Beautiful and Powerful became the name of the band and the concert performance was renamed to Lithuanian Women. There had been various attitudes to women’s rights in Lithuanian drama: in the first half of the 20th century, it featured both portrayals of strong, highly aware women, and anti-feminist dystopias. However, dramas about male cultural and historic figures dominated in both inter-war Lithuania and the Soviet era. Since the restoration of Lithuanian independence, more and more women are being discovered as main protagonists, and increasingly more often, there are women writing about women. Unlike works from the early 20th century, Beautiful and Powerful does not portray a confrontation between men and women. Instead, it chooses to express the conflict through a collective antagonist made up of men and women with patriarchal attitudes who seek to supress and punish women fighting for their rights. Beautiful and Powerful stands out from other dramas with female protagonists because it depicts a multiplicity of characters: the songs portray not only women who are well-known in history and culture but also those who are less visible or even entirely unknown.Fifteen songs in different styles with spoken-word interludes are composed in a way that presents the various forms of female (un) awareness: from wilfully giving up ones identity (fantasising of “history erasing me”) to having the capacity to speak one’s own language. Žemaitė blues, sung in the Samogitian dialect, is the culmination where Žemaitė, the author often considered the first Lithuanian feminist, speaks of a woman confident in herself, her language, her age and her body. The blues was deliberately chosen as the style for crafting the image of a free woman: it allows the singer to set her song and her life to her own tempo and improvise. The work Beautiful and Powerful, written and performed by an all-female band, stands out in Lithuanian drama due its conscious determination and ability to speak its own language, revealing the female attitude towards the world and to the women building it. Keywords: concert performance, feminist drama, popular culture, suffragette movement, collective antagonist, patriarchal society, (un)awareness. [From the publication]
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