Aldonos Liobytės "Devyniabrolė" teatre
LTStraipsnyje pristatoma Aldonos Liobytės pjesė „Devyniabrolė“, kuri visų pirma sietina su dviem lietuvių liaudies pasakų tipais: „Sesuo ir devyngalvis slibinas“ (AT 312) ir „Sesuo, ieškanti devynių brolių“ (AT 451 A). Tai vienos populiariausių pasakų lietuvių kultūroje, dažnai sutinkamos ir literatūroje, ir teatre, ir dailėje. Nepaisant populiarumo, devyniabrolių fenomenas tyrinėtas nedaug. Pirmojoje straipsnio dalyje aptariami Liobytės pjesės tautosakiniai ypatumai, folkloro ir literatūros santykis, literatūrinės transformacijos, analizuojama, kaip rašytoja perkuria, stilizuoja liaudies pasakas ir kokių naujų prasmių įgyja tekstas. Išanalizavus pjesę, stebima teksto ir teatro sąveika, pjesės realizavim as teatro scenoje: Algirdo Bubnelio, Algirdo Lapėno ir Ritos Urbonavičiūtės spektakliuose. Taikant interviu metodą, bandoma seniai neberodomus spektaklius atgaivinti aktorių ir režisierių atmintyje. Siekiama išsiaiškinti, kaip Liobytės pjesė buvo interpretuojama skirtingų režisierių, kokios įtakos spektakliam s turėjo istorinis laikas ir menininkų individualumas. [Iš leidinio]Reikšminiai žodžiai: Devyniabrolė; Teatras; Aldona Liobytė; Algirdas Bubnelis; Algirdas Lapenas; Rita Urbonavičiūtė; Devyniabrolė; Theater; Aldona Liobytė; Algirdas Bubnelis; Algirdas Lapėnas; Rita Urbonavičiūtė.
ENThe paper deals with the analysis of the phenomenon of devyniabrolė, a girl who has nine brothers, which should prim arily be linked with two types of Lithuanian folk tales: "Sesuo ir devyngalvis slibinas" (AT 312; A sister and a nine-headed dragon) and "Sesuo, ieškanti devynių brolių" (AT 4SI A; A sister looking for nine brothers). Merged by contamination, these fairy-tales became the basis of Aldona Liobytė’s play Devyniabrolė. The article opens with the analysis of the text of the play and its folkloristic motifs. The author discusses in detail the outstanding female characters: Liobytė creates them in an untypical manner by challenging the stereotypes of positive and negative characters. This part of the paper focuses on the analysis of how folkloristic characters turn into individualities and prominent characters and what literary means are used to achieve it. Emphasis is placed on the comic aspect and w it that had become Liobytė’s calling card. The examples provided illustrate the writer’s talent to create an impression through lively and vivid language. The writer is particularly attentive to her addressees and seeks to rivet their attention by playing dramaturgic games in her play. Three theatre directors transferred all this to the stage. The author discusses these productions: at Šiauliai Drama Theatre (director Algirdas Bubnelis), the Lithuanian National Drama Theatre (director Algirdas Lapenas), and "Raganiuke Theatre" (director Rita Urbonavičiūtė). Since the material about these productions is scarce, the author of the article applied the interview method. The descriptions of no-longer-shown performances are based on the actors’ memories, impressions, and the few surviving sources. As was common during their time, Bubnelis and Lapenas followed the text of the play, but their stage interpretations were absolutely different.There and then, Bubnelis’s "Devyniabrolė" was modern from the point of view of the set design and music. Vitalijus Mazūras’s scenery, which seemed to be born as though from chaos, and innovative attributes of the puppet theatre were entirely new in the Soviet period and not fully appreciated by everyone. Although the production as a whole lacked harmony, it was a unique phenomenon at the time of its production. Lapenas’s version of the play was appreciated by a much wider audience. Although the set design was modest, the director devoted considerable effort to conveying the originality of the play through traditional means of expression. The fact that this production attracted large numbers of theatre-goers and was awarded prizes suggests that it was in tune with the spirit of the time. A current production is discussed in the final part of the paper. In her production, Urbonavičiūtė made cuts to Liobytė’s text, interpreted it, and included underlying meanings, yet the ideas were not artistically realised to the end. Although the director attempts to create deeper subtexts and uses valuable video material, the final result is somewhat eclectic. The author of the article concludes that Liobytė’s play won popularity thanks to the writer’s literary talent, prominent female characters, and underlying values coming from the folk tales about devyniabrolė. [From the publication]
