Pasakojimo ir vaizdo ryšių kaita 1957-1970 m. dramos teatro dailėje

LTStraipsnyje aptariama 6-ojo-7-ojo dešimtmečių Lietuvos dramos teatro dailė, kuri tuo metu išgyveno lūžį keičiant scenovaizdžio sampratą. Akcentuojami nauji scenos vaizdo ir draminio pasakojimo jungčių būdai ir priemonės, kurių pagalba pakinta scenovaizdžio padėtis teatro funkcinėje sistemoje. Išryškėja nebe išoriniai, pragmatiniai, su siužetu susiję vaizdo ir pasakojimo ryšiai, o vidinės jungtys, paremtos menininko santykiu su literatūros kūriniu, stimuliuojančios gyvybingą komunikatyvų teatro meno charakterį. Scenovaizdis tampa ne dramos veiksmo vietos pasakojimu, o veiksmo alternatyva.

ENThe renewal of theatre art in the detente period started from the integration and emphasis of narrative characteristics of a work of literature. It began with clarification of a narrative's genuineness and made its pace more dynamic. Scenes were staged in naturalistic environment and narratives intensified by the introduction of cinematic tools. Thus, sceneries were enriched with more developed narratives, acquired emotion, and external relations between narrative and staging transgressed the boundaries of traditional theatre. It has been noticed that narrative started being adjusted to scenery. Dispersed narratives were consolidated, genre and character of literary works and ideological intonations modified, and classical models transformed. Modernistic means of change, such as compact constructions, sketchy, fragmentary, and playful manner of scene arrangement were employed. Sceneries from the 1950s and 1960s sought for universality and immediacy. Thus, individual relation between theatre artists and drama works was exposed. It determined new interrelations between the narrative and staging and the latter became equally valued participant of a performance. The entire process activated internal relations within the theatre's functional system contributing towards solving the issues of communication between art and society, so pendent today. The result was closer and more open relations between arts of the theatre and the spectator.