Orientalistiniai motyvai Liudo Truikio pasaulėjautoje ir kūryboje

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Collection:
Mokslo publikacijos / Scientific publications
Document Type:
Knygos dalis / Part of the book
Language:
Lietuvių kalba / Lithuanian
Title:
Orientalistiniai motyvai Liudo Truikio pasaulėjautoje ir kūryboje
Alternative Title:
Orientalistic motifs in Liudas Truikys worldview and creation
Keywords:
LT
Liudas Truikys; Dailininkai; Scenografai.
Summary / Abstract:

LTStraipsnis skirtas Liudo Truikio vietai lietuviško orientalizmo istorijoje ir Rytų motyvams jo kūryboje aptarti. Jame pagrindinis dėmesys sutelkiamas į įvairių Rytų kultūros, estetikos ir meno poveikio aspektų L. Truikio pasaulėžiūroje ir kūryboje išryškinimą. Sis dailininkas, kurio kūryboje toks ryškus orientalizmo dėmuo, yra unikalus, o kartu - nors tai ir paradoksalu - tipiškas savo kultūrai atsidavusio, deja, siauroje istorinių aplinkybių erdvėje užsklęsto menininko pavyzdys. Dabar galime tik abstrakčiai samprotauti, kokia L. Truikio vieta būtų šiuolaikinės scenografijos istorijoje, jei jis būtų kūręs atvirame, totalitarinės ideologijos nesuvaržytame pasaulyje ir estetiniu požiūriu palankesnėje kultūrinėje aplinkoje. Po M. K. Čiurlionio jis - stipriausiai Rytų kultūros ir meno tradicijų paveiktas europinio lygio lietuvių dailininkas, kurio kūryboje rytietiški motyvai natūraliai įaugo j jo klasikinės Vakarų scenografijos reformavimo koncepcijų. [Iš straipsnio, p. 34]

ENThe worldview and creation of Liudas Truikys were built up out of two main sources, namely Oriental and Lithuanian folk art traditions. The artist was not satisfied with conventional attitudes dominating in Western classical and modern scenography, its exaggerated attention to plot, and the cult of the splendour of properties and external theatricality. Truikys was a follower of a different aesthetics which was moderate and celebrating the inner human world. He was seeking for inspiration in non-classical traditions of culture and art of various non-European civilisations. The artist was attempting to grasp primordial symbolic meanings of forms and styles of old Eastern civilisations, and to invoke the possibilities of strict geometric forms, ornamental and rhythmical structures. Under the influence of minimalist and moderate conventional aesthetics of the East, Truikys had his individual way of transforming Western traditional theatricality of opera, and having employed the synthesis of arts he rendered scenography an exceptional function, inner dramatic qualities and sterility of form. From the Eastern art he took up the strictness of style and monumentality by rejecting the abundance and brilliance of external elements. At all times he admired the simplicity of style in the art of Egypt and the Far East along with exceptional emphasis on multifaceted symbols and metaphors, and conditional approach to space.One of the greatest Truikys' contributions to Lithuanian scenography, though most often underestimated by critics, is his way of liberating it from too much literariness and the impact of cheap properties. Truikys sustained this principle during his entire life. In his scenography, any unwieldy architectural elements, so typical to theatrical properties, vanish in order not to disturb spectator's attention, not to destroy the integrity of stage space, and not to prevent performers from moving freely on stage. Here visuality, conditional space and particular aesthetical sterility characteristic to the aesthetics of the Far Eastern theatre prevail. [From the publication p. 159-160]

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2020-11-03 15:45:39
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