hooaeg 2010/2011 - Vanemuine

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KEVADE
SPRING
Tantsulavastus Oskar Lutsu romaani „Kevade” ainetel /
Dance production based on the Oskar Luts’ novel
„Spring”
Helilooja / Composer Ardo Ran Varres
Lavastaja – koreograaf / Director – Choreographer
Ruslan Stepanov
Lavakujundus / Stage Designer Liisi Eelmaa
Kostüümikunstnik / Costume Designer Mare
Tommingas
Osades / In Roles: Takuya Sumitomo, Hayley Jean Blackburn, Aivar Kallaste, Janek
Savolainen, Ilja Mironov, Silas Stubbs, Alo Kurvits, Heiki Palm jt.
Et Oskar Lutsu „Kevade” on väga eestilik,
meie oma lugu, on Vanemuise „Kevade”
puhul kriitikas (ja võib arvata, et vaatajateski)
palju elevust tekitanud rahvusvaheline
balletitrupp, eesotsas jaapanlasest
Arnoga. Lavastaja Ruslan Stepanov
sai selle lavastuse eest 2009. aasta Eesti
Teatriliidu muusika- ja tantsulavastuste
žürii eripreemia.
Ajal, mil teatrirahvas nuriseb, et arvustused
on leheveergudelt kadumas, võttis
iga endast lugupidav perioodikaväljaanne
pärast "Kevade" esietendust seda arvustada
ning vaid üdini positiivselt. Lavastust
peetakse energiliseks, vaimukaks, uudseks
ja modernseks; muusikalist lahendust nimetatakse
helide teoseks, mis mõjub kui
kõrvadega loetav raamat; tantsijate kohta
on öeldud, et nad pakatavad entusiasmist.
Ja nii edasi ja nii edasi ja nii edasi.
Kui enesekindel te seda tükki lavale tuues
olite? Teadsite juba ette, et teie "Kevade"
pälvib vaid kiidusõnu?
RS: Ma ei olnud selles üldse kindel. Tegelikult
me selle ettevõtmise alguses ikka täitsa
kartsime, kuna "Kevade" on eestlastele
justkui piibel.
Because “Spring” by Oskar Luts is very
Estonian, our own story, the Vanemuine
„Spring” has elevated a lot of excitement
in critics (probably also in spectators) for
the international ballet company with the
Japanese Arno in the lead. Director Ruslan
Stepanov was awarded the Estonian Theatre
Union 2009 Jury’s special prize in the
music and dance productions category.
At the time when theatre people grumble
that critics are disappearing from newspapers,
every respectable periodical’s
publication took to critique the „Spring”
production after its premiere, and only in
a profoundly positive manner. The production
is considered as energetic, witty,
novel and modern; the musical solution
is called the composition of sounds that
has an effect of a book read with ears; they
have written that the dancers burst with
enthusiasm. And so on and so on. How
self-confident were you when you brought
the production on stage? Could you already
tell that your "Spring" would only
merit encomium?
RS: I wasn’t sure in that at all. Actually we
were quite fearful in the beginning of the
Te kartsite, et Arno osatäitmist jaapanlase
poolt ei võeta omaks?
RS: Mitte ainult seda. Ma kartsin, et tervet
lavastust ei võeta omaks, kuna see on lahendatud
nüüdisaegses võtmes.
Kas nüüdistants klassikalise lahenduse
asemel oli teile ainuvõimalik tee?
RS: Minule küll, sest kaua võib publikule
meeldimise soovis paigal tammuda ning
vaid tagasi vaadata. Kuid hirm, kuidas vanem
generatsioon lavastuse vastu võtab,
oli täitsa olemas, sest ka "Kevade" muusikaline
lahendus on nüüdisaegne, pikitud
väga erisuguste helidega. Raske oli ennustada,
kuidas sellele reageeritakse.
Ma ei usu, et lapsed satuksid vaimustusse
vanemate või õpetajate soovitusest minna
"Kevadet" teatrisse vaatama. Mida te veel ei
taha - ürgaegne "Kevade" ning taga tipuks
ballett! Ei, aitäh! Nad, kullakesed, ju ei tea,
et see "ürgaeg" on toodud tänapäeva ning
et Imelik tõmbab kandle näppimise asemel
kitarril riffe. Kuidas on noorus tüki vastu
võtnud? See osa noorusest, keda on mingi
valemiga suudetud saali meelitada...
RS: Mul on hea meel tõdeda, et kui teatripublik
on enamasti eakas, siis seda lavastust
käivad ka noored usinalt vaatamas. Ma
olin täitsa üllatunud. Neile meeldib ning
tantsijatele omakorda mõjub nooremapoolne
publik ergutavalt. Selles lavastuses
oleme me noortega nii-öelda sina peal.
(Tiia Linnard, Põhjarannik)
venture because „Spring” is like a bible to
Estonians.
You were afraid that the character of Arno
acted by a Japanese wouldn’t be accepted?
RS: Not only that. I was afraid that the
production wouldn’t be accepted because
it is solved in a contemporary key.
Was the contemporary solution instead of
classical your only option?
RS: For me it was; how long can one stand
still and look back just because the audience
likes it? But fear of the older generation’s
reactions to the production was
there because even the musical approach
is contemporary, studded with very different
sounds. It was difficult to predict how
people would react to that.
I don’t believe that children would get
enthusiastic about going to see “Spring”
at the theatre on the recommendation by
their parents or teachers. What more – an
ancient "Spring" and ballet on top of it all!
No, thanks! They don’t know that the “ancient
time” has been brought to today and
that Imelik, instead of playing the zither,
he twiddles the guitar.
How has the youth reacted to the production?
That part of the youth that has been
somehow successfully attracted to attend
the performance...
RS: I am glad to acknowledge that when
theatre audience is mostly elderly, that
this production is eagerly also viewed by
the young. I was really surprised. They
like it and a younger audience also has an
invigorating effect on the dancers. In this
production we are on, so to say, first name
terms with the young.
(Tiia Linnard, Põhjarannik)
Esietendus 4. märtsil 2009 Vanemuise suures majas
Premiere on March 4, 2009 at the Vanemuine Grand Building
Etendused / Performances:
2010: 10.09. 18:00, 08.10. 19:00, 07.11. 16:00, 04.12. 19:00