Muzikos kūrybos sąsajos Europos erdvėje: pozityvas ir negatyvas

LTStraipsnyje aptariamas naujas, ironiškas požiūris į perimamą europietiškąją tradiciją, remiantis naujausiais A. Martinaičio kūriniais. Įrodoma metaidėjos svarba kūrybiniam procesui. Konstatuojamas noras iš vienos pusės atsistoti į lygiavertės kultūrinės partnerystės pozicijas Europos erdvėje, iš kitos - tarsi iš šono stebėti savoje kultūrinėje terpėje vykstančius procesus. Reikšminiai žodžiai: europietiškumo sampratos kaita, ironija, ekscentriką, mitų nuvainikavimas, konceptualaus, idėjinio prado primatas, komunikavimas multiklultūrinėje erdvėje, demaskavimas, kasdienybės kultūra, utriravimas.

ENNowadays our European dimension is continuously considered in various levels. Separate spheres of science and art “fit themselves” to this model, conferences are held and creative workers are contemplating on it. After a short review of ever lasting comparison of our culture to that of the West, on the basis of Algirdas Martinaitis works of the last period, a new ironic view towards the successive European tradition is discussed. It is of great importance to the creative process. During the Soviet occupation due to “the Iron wall", lack of information and defense position, the ethnic sources served as inspiration sources. Today they have lost their actuality and new sources are looked for in multicultural environment. A. Martinaitis first reaction is directed to these processes taking place in Lithuania. He jeers at the exaggerated deviation of some composers towards modernism as if being afraid to reveal their own individuality. He jeers at a continuous cliche in the speeches held on the occasion of entering the UN. He considers decadence of the culture itself. There is an evident wish to become equal partners in European environment, while, on the other hand, as if to observe the processes taking place in the native cultural medium. The conclusion is made that 50 years ago this point of view was impossible since there was no composition school, no professional composers team and the composers could not feel to be equal partners. In addition to this openly revaluating view noticeable in these A.Martinaitis creative works, it should be pointed out that Europeans can be interested in the works they had never seen or heard, the works that we ourselves underevaluate, sometimes even ignore because of being the products of social realism.