{"id":27582,"date":"2023-08-17T13:32:50","date_gmt":"2023-08-17T10:32:50","guid":{"rendered":"https:\/\/www.draamateater.ee\/?p=27582"},"modified":"2024-09-24T13:55:00","modified_gmt":"2024-09-24T10:55:00","slug":"arvustus-onu-bella-muut","status":"publish","type":"post","link":"https:\/\/www.draamateater.ee\/en\/meedia\/arvustus-onu-bella-muut\/","title":{"rendered":"Onu Bella m\u00fc\u00fct"},"content":{"rendered":"\n

Rasmus Kuningas, kultuur.err.ee, 11.08.2023<\/p>\n\n\n\n

\"\"
Alana Proosa foto<\/figcaption><\/figure>\n\n\n\n

Alustuseks ja hoiatuseks tuleks mainida, et siinne arvustaja on s\u00fcndinud 21. sajandil, mist\u00f5ttu puudub tal igasugune eelnev isiklik suhe ja s\u00fcgavam teadmus Onu Bella isikust ja tema loomingust. Ja v\u00f5ib-olla ongi nii parem, kui mind ei sega mingid isiklikud taagad ja saan olla nagu puhas leht, millele Onu Bella oma lavahigise n\u00e4o vajutab. Seega l\u00e4htutakse k\u00e4esolevas kirjutises \u00fcldjoontes puhtalt lavastuse enda m\u00fc\u00fcdiloomelisest protsessist, et konstrueerida arusaam Onu Bellast ja sellest, mida ta Eesti rahva jaoks t\u00e4hendas ning \u00fcritada selle p\u00f5hjal m\u00f5ista Bella fenomeni. <\/p>\n\n\n\n

Noblessneri valukoja Nobeli saali sissep\u00e4\u00e4su troonis hiiglaslik Onu Bella pea v\u00e4ljal\u00f5ige, mille suust rahvas s\u00fcmboolselt sisse vooris. “Tere tulemast minu p\u00e4he,” tervitas barokse baldahhiini alt klaveri taga istuv valges parukas Onu Bellat m\u00e4ngiv T\u00f5nis Niinemets, taustal k\u00f5lamas Bachi prel\u00fc\u00fcd. Seda niinimetatud Bella Paradiisi, kuhu publik sattunud oli, esitati kui eelarvamustest vaba, turvalist ja erootilist kohta, kus “hargiprobleemid” lahendatud saavad. Kui Jeff Koons oleks laulja, oleks ta olnud Onu Bella. Kit\u0161 ja seks k\u00e4ivad neil k\u00e4sik\u00e4es ja k\u00f5ik selleks, et \u00fchiskonda \u0161okeerida, panna neid arutama selle \u00fcle, mis on sobilik ja mis mitte.<\/p>\n\n\n\n

Onu Bella oli ja on m\u00fc\u00fct. Ka Kertu Moppeli lavastuses tegeletakse selle m\u00fc\u00fcdi konstrueerimise ja kinnitamisega. Siin ei \u00fcritatagi avada Bella v\u00f5i Igor Maasiku kompleksseid sisemisi motivatsioone, ei mingit ps\u00fchhoanal\u00fc\u00fctilist k\u00e4sitlust, vaid fookuses on Bella kui s\u00fcmbol, kui ajastu ikoon ja elav\u00a0performance<\/em>. Ta on lavastuses nagu messias, kes Eesti rahva oma valeh\u00e4bidest vabastab. Ta esindab 1990ndate Eesti kontekstis midagi t\u00e4iesti uut \u2013 vabadust olla avalikult \u00fchenduses oma keha ja seksuaalsusega. Vabadust olla veider ja labane, \u00fclimalt kit\u0161, aga samas harukordselt punk, tekitades huvitava vastuolu: olla punk, olles anti-punk.\u00a0<\/p>\n\n\n\n

Paradoksaalselt ei p\u00e4\u00e4se me Onu Bella p\u00e4he, isegi kui lavastuse algul meile kinnitatakse, et seal me oleme. Me n\u00e4eme vaid seda, mida Bella meil laseb n\u00e4ha. Ta muheleb, et k\u00f5ik, millest r\u00e4\u00e4gib on t\u00f5si, kuniks enam pole. Segadus tekkis kohati selles osas, kes siis seda lugu l\u00f5puks jutustas? Kas tegu oli Bella enda sisek\u00f5nega, pildikestega tema peast v\u00f5i andis lugu edasi keegi teine? Sest l\u00e4bivalt oli jutustaja rollis hoopis Bella kaaslane Malle-Hiie Kivikett. V\u00f5i ehk oligi ta just Bella poolt sellesse rolli m\u00e4\u00e4ratud omamoodi alter ego,<\/em> millele viitaks ideepoolest ka nimi Malle-Hiie Kivikett, mille oli naisele andnud just Bella ise. L\u00f5ppude l\u00f5puks kumab k\u00f5igest l\u00e4bi lavastaja n\u00e4gemus ja h\u00e4\u00e4l, tema metaversioon Onu Bellast ning tema loost. Aga huvitav oleks teada, kas sellisena nagu lavastuses, n\u00e4gi ennast teoreetiliselt siis ka Moppeli Bella v\u00f5i oli see oletuslik laiem \u00fchiskondlik n\u00e4gemus temast.<\/p>\n\n\n\n

Lavastuse struktuur oli lihtne, etteaimatav: t\u00e4hestik v\u00f5eti algusest l\u00f5puni l\u00e4bi ja iga uue t\u00e4he juures projekteeriti suurelt seinale sellele vastav m\u00e4rks\u00f5na. See andis lavastusele sidusa struktuuri ja r\u00fctmi, mis ei lasknud lool laiali vajuda, kuna k\u00e4sitleti ju ikkagi umbes k\u00fcmneaastast perioodi. Iga t\u00e4ht avas kiht-kihilt Onu Bella lugu ja tema m\u00fc\u00fctilist isikut (A)lgusest (\u00dc)llarini. Nii tekkisid m\u00f5testatud episoodid, mis \u00fchtse terviku, Onu Bella t\u00e4hestiku ja tema m\u00fc\u00fcdi moodustasid. Sinna vahele mahtus laulu- ja tantsunumbreid, selgitavaid monolooge, kergemaid vahesket\u0161e ja arhiivisalvestusi Bella muusikavideotest ning muudest \u00fclesastumistest.<\/p>\n\n\n\n

Lavastuses kandus tegevus pidevalt \u00fcle ka\u00a0live<\/em>-videoformaati, millega publik s\u00fcndmustele l\u00e4hemale toodi, ikoonilisse sauna ja mersusse kaasa v\u00f5eti, erinevaid Bella videoid taaslavastati. See tekitas distinktiivse videoajastule omase vaibi ning l\u00f5i sideme Onu Bella loomingus t\u00e4htsal kohal olnud muusikavideotega. Seejuures oli\u00a0flow\u00a0<\/em>lavalise tegevuse ja video vahel sujuv ning teineteist t\u00e4iustav ega hakanud mingil moel segama. Ei puudunud k\u00fcll ka esietendusele omased v\u00e4iksemad tehnilised viperused, aga \u00fcldiselt oli asjaga v\u00e4ga h\u00e4sti hakkama saadud.<\/p>\n\n\n\n

Tulles tagasi sisulisemate k\u00fcsimuste juurde, siis lisaks Onu Bellale oli see lavastus ka ajastust \u00fcldisemalt. See oli panoraam vastiseseisvunud Eestist, sellest peataoleku ajast, mil ka kultuurimaastik alles v\u00e4lja oli kujunemas. Seet\u00f5ttu ei puudunud pikad monoloogid sellest, kuidas n\u00f5ukaajal ikka midagi saada ei olnud (mis juba l\u00e4bikedratud narratiivina veidi silmi p\u00f6\u00f6ritama paneb), kuid ka tolleaegsetest v\u00e4\u00e4rtustest ja t\u00f5ekspidamistest. Moppel leidiski v\u00f5imalusi tekitada dialoog kaasajaga, pannes n\u00e4itlejad otse publiku poole p\u00f6\u00f6rduma, t\u00f5statades k\u00fcsimusi soorollidest, kehalisusest, v\u00e4\u00e4rikast ja labasest.<\/p>\n\n\n\n

J\u00e4reldus: me elame 2023. aastal justkui v\u00e4ga vabas \u00fchiskonnas, kuid endiselt \u00fctleb keegi kristlike v\u00e4\u00e4rtuste ja patriarhaadi eest seisev onu v\u00f5i t\u00e4di, nii nagu 30 aastat tagasi, et sa eksisteerid valesti ja tema teab, kuidas on sulle k\u00f5ige parem. Selle peale ei ole ka 30 aastat hiljem midagi paremat \u00f6elda, kui et l\u00e4hme lippame paljalt.<\/p>\n\n\n\n

Lavastuse lehele \u2192<\/a><\/p>\n","protected":false},"excerpt":{"rendered":"

Rasmus Kuningas, kultuur.err.ee, 11.08.2023 Alustuseks ja hoiatuseks tuleks mainida, et siinne arvustaja on s\u00fcndinud 21. sajandil, mist\u00f5ttu puudub tal igasugune eelnev isiklik suhe ja s\u00fcgavam teadmus Onu Bella isikust ja tema loomingust. Ja v\u00f5ib-olla ongi nii parem, kui mind ei sega mingid isiklikud taagad ja saan olla nagu puhas leht, millele Onu Bella oma lavahigise […]<\/p>\n","protected":false},"author":9,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[18],"tags":[374,1014,366,954,1013,682],"class_list":["post-27582","post","type-post","status-publish","format-standard","hentry","category-meedia","tag-err","tag-igor-maasik","tag-kertu-moppel","tag-onu-bella-tahestik","tag-rasmus-kunungas","tag-tonis-niinemets"],"acf":[],"yoast_head":"\nOnu Bella m\u00fc\u00fct - Draamateater<\/title>\n<meta name=\"description\" content=\"Rasmus Kuninga arvustus portaalis kultuuur.err.ee Draamateatri lavastusele "Onu Bella t\u00e4hestik".\" \/>\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\/arvustus-onu-bella-muut\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Onu Bella m\u00fc\u00fct - 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