{"id":17070,"date":"2021-09-02T13:10:29","date_gmt":"2021-09-02T10:10:29","guid":{"rendered":"https:\/\/www.draamateater.ee\/?p=17070"},"modified":"2021-09-02T13:10:31","modified_gmt":"2021-09-02T10:10:31","slug":"aga-raskolnikov-konnib-tanaval-maskita","status":"publish","type":"post","link":"https:\/\/www.draamateater.ee\/en\/meedia\/aga-raskolnikov-konnib-tanaval-maskita\/","title":{"rendered":"Aga Raskolnikov k\u00f5nnib t\u00e4naval maskita!"},"content":{"rendered":"\n

Jelena Skulskaja, Eesti P\u00e4evaleht, 14.12.2020<\/strong><\/p>\n\n\n\n

\u201eKurit\u00f6\u00f6st ja karistusest\u201d on saanud kasulik raputus, sest kunstiteemad on igavesed, aga r\u00e4\u00e4kida tuleb neist uutmoodi.<\/p>\n\n\n\n

\"Ursel<\/figure>\n\n\n\n

Draamateatri ebaharilik \u201eKurit\u00f6\u00f6 ja karistuse\u201d etendus l\u00f5peb sellega, et lava hakkab ettepoole liikuma, s\u00f5idab lausa vaatajale otsa, tegelased eemalduvad ja meiega j\u00e4\u00e4b ainult Raskolnikov (Ursel Tilk). \u00c4kki lahkub temagi lavalt, jookseb t\u00e4navale ja karjub kaamerasse \u2013 me n\u00e4eme seda, j\u00e4\u00e4des ise saali \u2013, et tappis liiakasuv\u00f5tjast vanaeide ja tolle \u00f5e Lizaveta mitte vaesuse t\u00f5ttu ega selleks, et aidata ema ja \u00f5de, vaid \u00fcksnes enda p\u00e4rast, et kontrollida: kas ta on \u201ekarjainimene\u201d nagu k\u00f5ik v\u00f5i \u201eerandlik\u201d? Temast m\u00f6\u00f6duvad autod ja harvad jalak\u00e4ijad, tema aga karjub oma kurit\u00f6\u00f6st \u2013 ja keegi ei tee v\u00e4ljagi. Iga\u00fchel on oma argimured, iga\u00fcks m\u00f5tleb l\u00e4hedaste tervisest, sellest, et mitte t\u00f6\u00f6ta j\u00e4\u00e4da, ja vajadusest \u00f5petada lapsi, kes on vanemate hooleks j\u00e4\u00e4nud. Ent keset s\u00f5iduteed h\u00fcsteeritseb mingi r\u00e4situd noormees katkistes teksap\u00fckstes ja -tagis\u2026<\/p>\n\n\n\n

Teatris, mis on tuntud oma filigraansete ps\u00fchholoogiliste lavastuste traditsiooni poolest, kus iga n\u00f5ks, iga v\u00f5te on suunatud iseloomude ja olukordade ps\u00fchholoogiliste peensuste avamisele ning usk toimuva reaalsusse domineerib teiste suundade \u00fcle, on Ene-Liis Semper ja Tiit Ojasoo otsustanud panna oma lavastuse v\u00f5imalikult vastama t\u00e4nap\u00e4eva moodsatele v\u00f5i isegi skandaalsetele trendidele.
<\/p>\n\n\n\n

Raha on aktuaalne praegugi<\/strong><\/p>\n\n\n\n

See, et tegevus on toodud t\u00e4nap\u00e4eva, oleks minu meelest v\u00f5inud Dostojevskile isegi meeldida v\u00f5i ei ole v\u00e4hemasti temaga vastuolus. Kogu tema loomingus, igas romaanis \u00fclit\u00e4htsat rolli m\u00e4ngiv raha on \u00e4\u00e4rmiselt aktuaalne ka praegu ja see teema kajab vaatajate s\u00fcdametes vastu kord valu, kord r\u00f5\u00f5muna.<\/p>\n\n\n\n

Lisagem, et uurija Porfiri Petrovit\u0161 m\u00e4ngib kitarri, flirdib Raskolnikoviga, riietub alusp\u00fcksteni lahti, paneb selga naistepesu \u2013 tinglikult kombinee, peale lihtsa kitli \u2013 ja hakkab Rodion Romanovit\u0161i v\u00f5rgutama, kutsub ta tantsule, p\u00fc\u00fcab panna tantsima igatsevat tangot. Selles ei ole ilmset ega varjamatut erootilist allteksti, Porfiri Petrovit\u0161 (Priit V\u00f5igemast) on laitmatult ettevaatlik ja muutub tantsustseeni l\u00f5pus Raskolnikovi m\u00f5rvatud vanaeideks. Ma ei saa j\u00e4tta \u00fctlemata, et m\u00f5nes m\u00f5ttes on kogu lavastus allutatud just Priit V\u00f5igemastile, tema andele, uskumatule n\u00e4itlejaulatusele, kartmatusele teha seda, mida teised n\u00e4itlejad harjumatus esteetilises ruumis ei s\u00f6andaks.<\/p>\n\n\n\n

Lisame siia avangardsete lavastuste atribuudi: tegevust v\u00f5imendab video, mida n\u00e4idatakse lava kohal kui etendusega paralleelselt jooksvat filmi. Kaks kunstiliiki v\u00f5istlevad omavahel, sest ainult kino suudab tagada nii suure plaani ning n\u00e4idata ripsmeid ja silmaterasid, nii et laval j\u00e4\u00e4b \u00fcle ainult kadestada.<\/p>\n\n\n\n

H\u00e4mmastavalt m\u00f5jub harjumatu f\u00fcsioloogilisus: n\u00e4itlejad rebivad ahnelt kana t\u00fckkideks, \u00f5givad, topivad t\u00fckke suhu, r\u00e4\u00e4givad t\u00e4is suuga \u2013 igalt poolt tikub esile h\u00e4bitu liha, surub peale oma tahtmist. See liha suitsetab, joob \u00f5lut, s\u00f6\u00f6b praemuna ega hooli viisakus- ja etiketireeglitest, sest mingit etiketti polegi, kogu maailm on paigast nihkunud. Isegi tugitoolid ja diivanid v\u00f5ib keerata mis tahes pidi ning ronida punase tabureti otsa, et olla k\u00f5igist k\u00f5rgemal ja r\u00f6\u00f6kida \u00fcle k\u00f5igi teiste h\u00e4\u00e4lte.<\/p>\n\n\n\n

Finaal kui hoiatus<\/strong><\/p>\n\n\n\n

Loomulikult m\u00e4letavad paljud, et ehkki Raskolnikov tunnistas oma kuriteo \u00fcles ja l\u00e4ks sunnit\u00f6\u00f6le, ei kahetsenud ta tehtut. Dostojevskil pole sellist lubadust. P\u00e4ris l\u00f5pus \u00f6eldakse Raskolnikovi kohta vaid, et talle m\u00e4\u00e4rati seitse aastat sunnit\u00f6\u00f6d, AINULT seitse aastat (selle toob esile Dostojevski), aga p\u00e4rast seda v\u00f5ib alata hoopis teine elu. Kas Rodion Romanovit\u0161 tahab avada evangeeliumi, kust Sonja luges talle Laatsaruse ellu \u00e4ratanud t\u00f5elisest usust, v\u00f5i ei p\u00f6\u00f6rdugi ta jumala poole?<\/p>\n\n\n\n

Lavastuse autorid vastavad sellele \u00fchem\u00f5tteliselt: Raskolnikov j\u00e4\u00e4b endiseks, v\u00f5ib-olla kaob sootuks t\u00e4navatele, poeb kuhugi peitu, ootab aja \u00e4ra ja hakkab j\u00e4lle m\u00f5rvameetodiga sedasama v\u00f5i m\u00f5nda muud teooriat kontrollima. Finaali v\u00f5ime me v\u00f5tta kui hoiatust, avatud p\u00f6\u00f6rdumist \u00fchiskonna poole, kes peab \u00f5ppima Raskolnikove \u00e4ra tundma ja neile \u00f5igel ajal v\u00f5\u00f5raste elude v\u00e4\u00e4rtuse selgeks tegema.<\/p>\n\n\n\n

V\u00e4ga oluline on seet\u00f5ttu episood, kus Raskolnikov m\u00f5tiskleb inimesest, kes on m\u00f5istetud surma ja on n\u00fc\u00fcd valmis elama kaljunukil imepisikeses ruumis, kus ei saa \u00f5ieti \u00fcmbergi p\u00f6\u00f6rata, kuid siiski \u2013 elama-elama-elama. M\u00f5te iga elu v\u00e4\u00e4rtusest, \u00fcksk\u00f5ik kui kurnav ja hirmus see ka ei oleks, on igas Dostojevski romaanis, nagu on igas romaanis jumala otsingud ja lavastajam\u00f5te tuksub \u00fches taktis Dostojevski peamiste kahtlustega.<\/p>\n\n\n\n

\u201eKurit\u00f6\u00f6 ja karistus\u201d, mille Semper ja Ojasoo on lahti m\u00f5testanud ja lavastanud, on lavastaja etendus. See t\u00e4hendab, et esikohal on leiud, p\u00f6\u00f6rded, v\u00f5tted ja esteetika ise\u00e4rasused ning n\u00e4itlejate \u00fclesandeid lahendatakse teises j\u00e4rjekorras. Sellised etendused ei j\u00e4\u00e4 meelde tegelaskujude n\u00e4gude j\u00e4rgi, vaid esmapilgul ammu teada teoreemide ootamatute lahenduste poolest. Kui n\u00e4itlejal veab, siis h\u00fcppab ta sellesse tohutu kiirusega lendavasse rongi ja s\u00f5idab l\u00e4bi etenduse mugavas pehmes vagunis, nagu juhtus Priit V\u00f5igemastiga.<\/p>\n\n\n\n

Ent kui n\u00e4itleja viivuks toppama j\u00e4\u00e4b, siis peab ta s\u00f5itma platskaardivagunis v\u00f5i lavastajate kiuste m\u00e4ngima oma osa ps\u00fchholoogilise usaldatavuse kaanonite j\u00e4rgi, nagu teeb Taavi Teplenkov Marmeladovina. Tema monoloogides on nii piinavat kahetsust kui ka meeltliigutavat jutustust sellest, kuidas ta vanem t\u00fctar l\u00e4ks esimest korda oma keha m\u00fc\u00fcma, kui ka seletust kohutavale \u201epuhtusele\u201d, millele prostituut peab raha kulutama. Ja kohe, kui Marmeladov on k\u00f5ik \u00e4ra r\u00e4\u00e4kinud, jaganud kuulajate ja vaatajatega kogu oma valu, j\u00e4\u00e4b ta auto alla \u2013 otsekui s\u00fcmboolselt toimepandud kuriteo eest. See on k\u00f5ige harjumusp\u00e4rasem, k\u00f5ige tuttavam lavakuju, mis r\u00e4ndab \u00fchest \u201eKurit\u00f6\u00f6 ja karistuse\u201d lavastusest teise. Ta kutsub alati \u00fchtaegu esile nii \u00f5\u00f5va kui ka haletsust. Ehk j\u00e4tsid lavastuse autorid meile meelega alles \u00fche harjumusp\u00e4rase tegelase, et saaksime aru: nad ei ole kaotanud sidet traditsioonidega, teavad neid ja isegi austavad, aga Dostojevskiga tahavad r\u00e4\u00e4kida omamoodi.<\/p>\n\n\n\n

Mulle tundub, et see tavatu lavastus on olnud teatri jaoks omamoodi kasulik raputus, sest ehkki kunstiteemad on igavesed ja muutumatud, tuleb neist alati p\u00fc\u00fcda r\u00e4\u00e4kida uutmoodi.<\/p>\n\n\n\n

<\/p>\n\n\n\n

Lavastuse lehele<\/a><\/p>\n","protected":false},"excerpt":{"rendered":"

Jelena Skulskaja, Eesti P\u00e4evaleht, 14.12.2020 \u201eKurit\u00f6\u00f6st ja karistusest\u201d on saanud kasulik raputus, sest kunstiteemad on igavesed, aga r\u00e4\u00e4kida tuleb neist uutmoodi. Draamateatri ebaharilik \u201eKurit\u00f6\u00f6 ja karistuse\u201d etendus l\u00f5peb sellega, et lava hakkab ettepoole liikuma, s\u00f5idab lausa vaatajale otsa, tegelased eemalduvad ja meiega j\u00e4\u00e4b ainult Raskolnikov (Ursel Tilk). \u00c4kki lahkub temagi lavalt, jookseb t\u00e4navale ja karjub […]<\/p>\n","protected":false},"author":7,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[18],"tags":[84,83,315,317,615,318,217,81,316,319],"class_list":["post-17070","post","type-post","status-publish","format-standard","hentry","category-meedia","tag-arvustus","tag-draamateater","tag-ene-liis-semper","tag-fjodor-dostojevski","tag-jelena-skulskaja","tag-kuritoo-ja-karistus","tag-priit-voigemast","tag-suur-saal","tag-tiit-ojasoo","tag-ursel-tilk"],"acf":[],"yoast_head":"\n"Aga Raskolnikov k\u00f5nnib t\u00e4naval maskita!" - Jelena Skulskaja arvustus - Draamateater<\/title>\n<meta name=\"description\" content=\"Jelena Skulskaja kirjutab Semperi ja Ojasoo lavastusest "Kurit\u00f6\u00f6 ja karistus" (esietendus 13.12.2020 Eesti Draamateatris).\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/www.draamateater.ee\/en\/meedia\/aga-raskolnikov-konnib-tanaval-maskita\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\""Aga Raskolnikov k\u00f5nnib t\u00e4naval maskita!" - 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