Lietuvių baladžių giminystės beieškant

LTBesidomintieji šiuolaikine baltiška muzika tikriausiai yra girdėję folkroko grupės "Žalvarinis" dainą "Sūnus naktojo" (2005) ir matę jos naujos versijos vaizdo klipą (2011), kuriame antrasis vokalas patikėtas Marijui Mikutavičiui. Kuo gi įsidėmėtinas šis kūrinys? Folkloristai iš dainos teksto iš karto atpažins baladę. Grupių "Žalvarinis", "Kūlgrinda", "Atalyja" ir kitų neofolkloro atstovų repertuare yra ir daugiau baladiškų kūrinių, nors ir nesulaukusių individualios vaizdinės interpretacijos. Tačiau prisiminkime dar bent du panašius atvejus, kai, panaudojant garso ir vaizdo priemones, meno kūrinys kuriamas pagal liaudies baladės žodžius. Tai - režisieriaus Vytauto V. Landsbergio trumpametražis filmas "Iš karčemėlės" ir dar gerokai anksčiau Keistuolių teatro aktorių suvaidinta videonovelė "Šalia kelio karčema" (1993). Atsižvelgdama į vaizdo persvarą prieš žodį nūdienos kultūroje, apsiriboju šiais pavyzdžiais; nedarant šios išlygos, tektų aprėpti ir tokį reiškinį, kaip šiuolaikinė dainuojamoji poezija, "bardų" kūryba (kurios ryšys su tautosaka aiškus, čia veikia ne tiek kanoniškos folkloro medžiagos "rekonstravimo", kiek kūrybiško "eksploatavimo" principas). Susidaro įspūdis, kad mūsų kultūrinės atminties dugne nugulę senųjų žanrų folkloro klodai kartkartėmis menininkus paakina prakalbinti, perprasminti ir aktualizuoti archetipinius baladžių siužetus. Taigi minėti trys ryškesni pavyzdžiai tarsi leistų teigti, kad baladės žanro laikas nesibaigė, jis gyvuoja pereidamas į kitas, individualios kūrybos, formas, kartu įgydamas naują turinį ir atlikdamas savitą vaidmenį. [...]. [Iš teksto, p. 248-249]Reikšminiai žodžiai: Baladės; Baladžių tematika; Dainos; Tautosaka; Ballads; Ballads theme; Songs; Folklore.

ENThe subject of the article is comparison of certain Lithuanian, Belorussian and Ukrainian ballads. The Lithuanian folk ballad is considered necessary to be analyzed against a broader international background, taking into account its connections with ballad tradition of the kindred neighboring peoples - namely, Belorussians and Ukrainians. The materials of the Lithuanian ballads, although comparatively scant (if compared to those of the neighbors) and occasionally fragmented, can nevertheless present a subject of a broader research area. According to the classification devised by other scholars, a separate LithuanianBelorussian-Ukrainian ballad areal is defined, in which processes of adoption of folklore compositions used to take place. It is maintained that establishing principles of this adoption would enable describing the code of ballad interpretation and reception. An analogue between adopting the foreign ballad materials in the folklore sphere and the audiovisual replacement of the traditional ballad into another cultural environment is drawn. Several contemporary examples of the ballad revival are presented. Five Lithuanian ballads are analyzed in greater detail: "Nuo žirgo kritęs bernelis" ["A Young Man Falling down from His Horse"], "Išjojo ricierėlis vainelėn vajavoti" ["A Horseman Rode to War"], "Išjojo karalius į girią medžioti" ["The King Rode out to Wood Hunting"], "Nenustiko broliukui ženybos" ["The Brother's Marriage Went Wrong"], "Išvažiavo Jonas apsiženyti" ["John Drove to Marry"]. The ballads of the first type in all three languages reflect the images typical to the archaic world-view. The modern interpretation of the ballad in the film by V. V. Landsbergis "lš karčemėlės" ["From the Tavern"] is also discussed.Comparison of the ballads of the second type, however, along with similarities yields significant differences as well: namely, in Lithuanian ballads there is a tendency of subduing action and transferring it onto the level of lyrical metaphor, while in foreign ballads, the action is developed and driven to the end. In the Ukrainian and Belorussian ballads of the third type, if compared to the Lithuanian variants, the different episodes of the story are depicted by more epic means, and more expressively. The modern interpretation of the ballad in a video clip by the folk rock group Žalvarinis is discussed. Ballads of the fourth type are much explicated in Ukraine and Belorussia; as many as five versions of this type are known in Belorussia, while only one has been recorded in Lithuania. Besides, Lithuanians lack a whole number of ballads dealing with issues of adultery, unloving, conflicts and infidelity. In Lithuania, primarily those types of ballads would take root that respond to the idea of the sacred transformation taking place during wedding. The survey of the multilingual ballads of the fifth type enables to conclude that the images of death and the conventional relationships brings the Lithuanian ballads closer to the foreign analogues of this type. On the other hand, in Lithuanian songs there are clear traces of certain ballad types having reached Lithuania, but failing to survive here as an integral composition: there are reminiscences from the Belorussian and Ukrainian ballads, fragments or separate enigmatic motives adopted by our folksongs. Several such cases are mentioned in this article. The conclusion is made that a multitude of common stories and typological similarities enable attributing the Lithuanian ballads to the common Lithuanian-Belorussian-Ukrainian area.Meanwhile on the level of versions and variants, certain significant differences are elucidated; e. g. the Lithuanian ballads display a tendency towards subduing or softening certain motives and highlighting indirect meanings. [From the publication]