Gaismu dramaturģija 21. gadsimta teātrī. Latvijas Nacionālā teātra izrādes „Asins kāzas” piemērs

Abstract

The article is devoted to contemporary theatre’s aesthetic strategies, specifically researching the increase of the principle of visuality in the message of the performance. Both the theory of postdramatic theater introduced by the German theatre scholar Hans Thies Lehmann and the researches of various leading theatre semioticians emphasise the growing importance of visual elements (scenography, costume, actor’s body, etc.) in the structure of the production. The theatrical lighting score is relatively one of the least studied components of 21st-century theatre. In the semiotic sign system of the performance, the stage light can be perceived as an integral part of the space, introducing the dramaturgy of light as an important element of the performance message. The aim of the research is to define the meaning of light dramaturgy in 21st-century Latvian theatre. The object of the research is the new generation outstanding lighting artist Oskars Pauliņš (b. 1989) and his light score for Vladislav Nastavšev’s production “The Blood Wedding” (2016) at the Latvian National Theatre. The article tackles the main principles of light dramaturgy in the performance, based on the four parameters of stage lighting (intensity, colour, mode of distribution, movement/dynamics) as defined by the light artist and theorist Richard Pillbrow. The analysis of the light score proves that the stage light created by Pauliņš becomes an artistically sufficient element of the stage production that participates in the formation of the performance message.