{"id":52456,"date":"2017-12-03T14:14:18","date_gmt":"2017-12-03T13:14:18","guid":{"rendered":"http:\/\/boto.art.pl\/?p=52456"},"modified":"2018-08-24T17:06:59","modified_gmt":"2018-08-24T15:06:59","slug":"helena-ganjalyan-melt","status":"publish","type":"post","link":"https:\/\/boto.art.pl\/index.php\/2017\/12\/03\/helena-ganjalyan-melt\/","title":{"rendered":"Helena Ganjalyan, MELT"},"content":{"rendered":"<p>[et_pb_section bb_built=&#8221;1&#8243; admin_label=&#8221;Du\u017ce zdj\u0119cie&#8221; _builder_version=&#8221;3.0.106&#8243; background_image=&#8221;http:\/\/boto.art.pl\/wp-content\/uploads\/2018\/08\/23154884_764399207103822_3622419068900405022_o.jpg&#8221; custom_margin=&#8221;|||&#8221; custom_padding=&#8221;0px|0px|134px|0px&#8221; parallax=&#8221;on&#8221; next_background_color=&#8221;#000000&#8243;][et_pb_row custom_padding=&#8221;21px|0px|4px|50px&#8221; _builder_version=&#8221;3.0.93&#8243;][et_pb_column type=&#8221;4_4&#8243;][et_pb_text admin_label=&#8221;Tytu\u0142&#8221; _builder_version=&#8221;3.0.106&#8243; custom_padding=&#8221;200px|||&#8221; background_layout=&#8221;dark&#8221; text_font=&#8221;|700||on|||||&#8221; text_font_size=&#8221;34px&#8221; text_text_shadow_style=&#8221;preset4&#8243; text_text_shadow_horizontal_length=&#8221;0.07em&#8221; text_text_shadow_color=&#8221;rgba(0,0,0,0.83)&#8221;]<\/p>\n<h1 id=\"seo_h1_tag\" class=\"_5gmx\" data-testid=\"event-permalink-event-name\">Helena Ganjalyan, MELT<\/h1>\n<p>[\/et_pb_text][et_pb_text admin_label=&#8221;Data&#8221; _builder_version=&#8221;3.0.106&#8243; background_layout=&#8221;dark&#8221; text_font=&#8221;|||on|||||&#8221; text_font_size=&#8221;30px&#8221; text_text_shadow_style=&#8221;preset4&#8243; text_text_shadow_horizontal_length=&#8221;0.07em&#8221; text_text_shadow_color=&#8221;rgba(0,0,0,0.85)&#8221;]<\/p>\n<p>3 grudnia, 18.00<\/p>\n<p>[\/et_pb_text][\/et_pb_column][\/et_pb_row][\/et_pb_section][et_pb_section bb_built=&#8221;1&#8243; _builder_version=&#8221;3.0.93&#8243; custom_margin=&#8221;0px|||&#8221; custom_padding=&#8221;0px|0px|0px|0px&#8221; prev_background_color=&#8221;#000000&#8243;][et_pb_row custom_padding=&#8221;80px|0px|27px|47px&#8221; _builder_version=&#8221;3.0.93&#8243; background_size=&#8221;initial&#8221; background_position=&#8221;top_left&#8221; background_repeat=&#8221;repeat&#8221;][et_pb_column type=&#8221;2_3&#8243;][et_pb_text admin_label=&#8221;Tekst w\u0142a\u015bciwy&#8221; _builder_version=&#8221;3.0.106&#8243; background_layout=&#8221;light&#8221;]<\/p>\n<p>MELT to obraz, impresja, wra\u017cenie \u2013 monodram oparty na pracy z figur\u0105 Ofelii z szekspirowskiego \u201eHamleta\u201d. Tu jest to Ofelia wytwarzaj\u0105ca w\u0142asny j\u0119zyk swojej fizyczno\u015bci, seksualno\u015bci, pr\u00f3buj\u0105ca wyj\u015b\u0107 poza s\u0142u\u017calcze \u201etak Ojcze\u201d, w kt\u00f3rym wielokrotnie zamyka j\u0105 autor. Kobieta, kt\u00f3ra nieustannie stwarza si\u0119 mi\u0119dzy nakazem a zakazem, kt\u00f3ra zawsze jest wobec \/ wzgl\u0119dem. S\u0142owo przeplata si\u0119 w naprzemiennej grze z ruchem, gestem, abstrakcyjn\u0105 form\u0105 wizualn\u0105.<br \/>\nDodatkowo MELT z ang. ton\u0105\u0107, ale tak\u017ce stopi\u0107, topi\u0107, rozpuszcza\u0107, zatopi\u0107, zag\u0142usza\u0107, wzrusza\u0107 rozpracowuje finalny motyw Ofelii szukaj\u0105c jego rozwi\u0105zania nie tylko w dos\u0142ownym szekspirowskim uj\u0119ciu, ale tak\u017ce w rodzaju wej\u015bcia w stan nieobecno\u015bci, nieuwagi, bycia poza swoim cia\u0142em i jego dzia\u0142aniami, bycia obok.<\/p>\n<p>Re\u017cyseria:\u00a0<a href=\"https:\/\/www.facebook.com\/ganjalyanhelena\/\" target=\"_blank\" rel=\"noopener\">Helena Ganjalyan<\/a><br \/>\nTekst: Helena Ganjalyan \u2013 w spektaklu wykorzystano fragm. \u201eHamleta\u201d W. Shakespeare&#8217;a, \u201eLady \u0141azarz\u201d Sylvii Plath<br \/>\nMuzyka:\u00a0<a href=\"https:\/\/www.facebook.com\/Morinaga.THE.CONCRETE\/\" target=\"_blank\" rel=\"noopener\">\u68ee\u6c38\u6cf0\u5f18 I Yasuhiro Morinaga<\/a><br \/>\nObsada: Helena Ganjalyan<br \/>\nPremiera: 31 lipca 2016 r., 20. Festiwal Szekspirowski, Gda\u0144sk<br \/>\nCzas trwania: 40 min.<\/p>\n<p><strong>TRAILER:<br \/>\n<\/strong><\/p>\n<p><iframe loading=\"lazy\" src=\"https:\/\/player.vimeo.com\/video\/201454378?app_id=122963\" width=\"1080\" height=\"608\" frameborder=\"0\" title=\"M E L T | trailer | Helena Ganjalyan\" webkitallowfullscreen mozallowfullscreen allowfullscreen><\/iframe><\/p>\n<p>***<br \/>\n<strong>NAGRODY:<\/strong><br \/>\nWyr\u00f3\u017cnienie na 20. Festiwalu Szekspirowskim w Gda\u0144sku za \u201einspiruj\u0105ce zmierzenie si\u0119 z postaci\u0105 Ofelii i poszukiwanie w\u0142asnego j\u0119zyka teatralnego\u201d | Jury: Adam Orzechowski, Jadwiga Mo\u017cd\u017cer, Pawe\u0142 Aigner<\/p>\n<p>II Nagroda od Carlo Massari \u2013 7. edycja konkursu choreograficznego 3\u20262\u20261\u2026TANIEC! w Krakowie<br \/>\n\u201cHipnotyzuj\u0105ca praca, kt\u00f3ra zbli\u017ca nas do odleg\u0142ego \u015bwiata. Cia\u0142o nieustannie poszukuj\u0105ce rozwi\u0105zania, kt\u00f3re pozwoli mu przetrwa\u0107. G\u0142\u0119boka dramaturgia, wspomagana przez silne cia\u0142o. Metamorfoza, kontrowersyjny majstersztyk prostej deformacji.\u201d | Jury: Maria Stok\u0142osa, Carlo Massari, Matej Matejka, Agata Mol\u0105g.<\/p>\n<p>***<br \/>\n<strong>FRAGMNENTY RECENZJI:<\/strong><br \/>\n\u201eJej wersja pokazuje c\u00f3rk\u0119 Poloniusza rozpuszczon\u0105 w wielu obrazach, zdradzon\u0105 przez cia\u0142o, zag\u0142uszon\u0105 m\u0119skimi historiami. Cia\u0142o Ganjalyan jest zawsze obok tamtej Ofelli, obok prawdziwej roli. Jakby tylko jaki\u015b fragment dziewczyny od Szekspira pasowa\u0142 do wsp\u00f3\u0142czesnych kobiet. Taniec w suchej wodzie na scenie i pustka fraz przypisanych Ofelli wzmacnia tylko wra\u017cenie nieobecno\u015bci bohaterki. Ganjalyan ma intuicj\u0119, \u017ce najwa\u017cniejsze w jej bohaterce jest to, czego nie zrobi\u0142a i nie powiedzia\u0142a. Co si\u0119 z ni\u0105 i dla niej nie wydarzy\u0142o. Wreszcie mo\u017cna jednak to zmieni\u0107. (\u2026) Zemsta Ofelli si\u0119 dokona\u0142a. Brawa.\u201d|<em> \u0141ukasz Drewniak, <a href=\"http:\/\/teatralny.pl\">teatralny.pl<\/a><\/em><\/p>\n<p>\u201eZ jednej strony mo\u017cliwo\u015b\u0107 spojrzenia na posta\u0107 Ofelii z r\u00f3\u017cnych stron to pewien rodzaj poprawno\u015bci politycznej. Z drugiej strony jednak \u017conglowanie interpretacjami znowu sprowadza j\u0105 jedynie do funkcjonalnej figury, kt\u00f3rej znaczenie ustala si\u0119 w zale\u017cno\u015bci od potrzeb. Ale ta Ofelia pragnie niezale\u017cno\u015bci. Ma \u015bwiadomo\u015b\u0107 bycia polem dora\u017anych cel\u00f3w interpretacyjnych i chce, \u017ceby przestano j\u0105 wykorzystywa\u0107. Ganjalyan nie projektuje nowego obrazu, nie wysuwa \u017cadnych roszcze\u0144 czy postulat\u00f3w. Jedynie z u\u015bmiechem przez \u0142zy pokazuje k\u0142opot z odczytaniem Ofelii. Nie jest to wo\u0142anie o pomoc, krzyk rozpaczy, ale grzeczna pro\u015bba o chwil\u0119 uwagi.\u201d| <em>Jan Karow,\u00a0<a href=\"http:\/\/teatralia.com\">teatralia.com<\/a><\/em><\/p>\n<p>***<br \/>\n<strong>Helena Ganjalyan.<\/strong> Aktorka, tancerka, choreografka, absolwentka Pa\u0144stwowej Wy\u017cszej Szko\u0142y Teatralnej im. L. Solskiego w Krakowie (ze specjalizacj\u0105 teatr ta\u0144ca). Uczestniczka wymiany z Wydzia\u0142em Aktorskim University of Nothern Iowa (USA). W ramach dyplomu gra\u0142a w spektaklu \u201eCZY\u017b NIE DOBIJA SI\u0118 KONI?\u201d w re\u017cyserii Jerzego Stuhra i Waldemara Ra\u017aniaka oraz ta\u0144czy\u0142a w choreografii \u201eSWAN LAKE\u201d Idana Cohena (Izrael). Stypendystka Ministerstwa Kultury i Dziedzictwa Narodowego za osi\u0105gni\u0119cia artystyczne, zdobywczyni Stypendium Kulturalnego Miasta Gda\u0144ska, Stypendium Marsza\u0142ka Wojew\u00f3dztwa \u015al\u0105skiego w Dziedzinie Kultury.<br \/>\nJako aktorka \/ tancerka wsp\u00f3\u0142pracowa\u0142a m.in. z Romeo Castelluccim z Societas Raffaello Sanzio przy spektaklu \u201eTHE FOUR SEASONS RESTAURANT\u201d, Teatrem Wybrze\u017ce w Gda\u0144sku, Teatrem im. H. Modrzejewskiej w Legnicy, Teatrem Dada von Bzdulow, Sabine Harbeke (Szwajcaria), Kay\u0105 Ko\u0142odziejczyk, Victorem Choi Wo Ma (Chiny), Naomi Goldberg Haas (USA), Ann\u0105 Piotrowsk\u0105, Jolant\u0105 Dylewsk\u0105, Marcinem Wron\u0105, kolektywami: Harakiri Farmers (Dominika Knapik, Wojciech Klimczyk), Dzikistyl Company, Flesh System oraz paryskim Les Gens d\u2019Uterpan (Annie Vigier i Franck Apertet).<br \/>\nJej solowy spektakl \u201eLADY \u0141. \u2013 UNICUT\u201d zosta\u0142 nagrodzony na Solo Dance Contest 2012 w Gda\u0144sku \u2013 II miejsce i Nagroda Publiczno\u015bci (przewodnicz\u0105ca Jury \u2013 Ann van den Broek) oraz w konkursach: 321 TANIEC oraz SoloDuo + Friends w Kolonii. Za spektakl \u201eSHAKESPEARE IT\u201d realizowany wraz z M. Fejdasz, N. Minor, P. Giwer otrzyma\u0142a I miejsce w Konkursie Rezydencyjnym Entree organizowanym przez Teatr Rozrywki w Chorzowie. Z kolei z monodramem \u201ePRESS TO RESET THE WORLD\u2026\u201d w re\u017c. A. W\u0105sikowskiej zdoby\u0142a g\u0142\u00f3wn\u0105 nagrod\u0119 na Og\u00f3lnopolskim Festiwalu Teatr\u00f3w Niezale\u017cnych w Ostrowie Wlkp.<br \/>\nDo jej spektakli autorskich nale\u017c\u0105 ponadto duet z Korin\u0105 Kordova \u201eUNE FEMME MASCULINE\u201d \u2013 remix tw\u00f3rczo\u015bci belgijskiej choreografki Ann van Den Broek, solo \u201ePRIVATE MAPS\u201d realizowane w ramach Gda\u0144skiego Festiwalu Ta\u0144ca (2015 r.) oraz spektakl \u201eapril 31\u201d na podstawie zbioru \u201eRozsypcie moje prochy w Eurodisneylandzie\u201d Rodrigo Garcii (2016 r.).<\/p>\n<p>***<br \/>\n<strong>Prezentacja konkursowa w ramach przegl\u0105du I Sopockie Konsekwencje Teatralne 2017<\/strong><\/p>\n<p>***<br \/>\n<strong>Ze\u00a0wzgl\u0119du na\u00a0specyfik\u0119 sceny osoby sp\u00f3\u017anione nie zostan\u0105 wpuszczone.<\/p>\n<p><\/strong><\/p>\n<p>***<br \/>\nZdj\u0119cia prezentacji wykonane przez Jurka Bartkowskiego.<\/p>\n<p>[\/et_pb_text][et_pb_gallery _builder_version=&#8221;3.0.106&#8243; show_title_and_caption=&#8221;on&#8221; show_pagination=&#8221;on&#8221; gallery_ids=&#8221;52595,52597,52598,52599,52600,52601,52602,52603,52604,52605,52606,52607,52608,52609,52610&#8243; zoom_icon_color=&#8221;#e59c00&#8243; hover_overlay_color=&#8221;rgba(255,255,255,0.9)&#8221; fullwidth=&#8221;off&#8221; orientation=&#8221;landscape&#8221; background_layout=&#8221;light&#8221; pagination_font_size_tablet=&#8221;51&#8243; pagination_line_height_tablet=&#8221;2&#8243; \/][\/et_pb_column][et_pb_column type=&#8221;1_3&#8243;][et_pb_divider color=&#8221;#e0e0e0&#8243; show_divider=&#8221;on&#8221; _builder_version=&#8221;3.0.93&#8243; \/][et_pb_testimonial admin_label=&#8221;Bilety &#8211; informacja&#8221; author=&#8221;Bilety online &#8211; przejd\u017a&#8221; url=&#8221;http:\/\/teatrboto.bilety.interticket.pl\/&#8221; url_new_window=&#8221;on&#8221; quote_icon=&#8221;off&#8221; background_layout=&#8221;light&#8221; _builder_version=&#8221;3.0.93&#8243; use_background_color=&#8221;on&#8221; quote_icon_background_color=&#8221;#f5f5f5&#8243;]<\/p>\n<p><strong><span class=\"text_exposed_show\">Bilety: 35 z\u0142 (normalny), 30 z\u0142 (studenci, uczniowie, emeryci, karta sopocka, Karta do\u00a0Kultury), 20 z\u0142 (studenci kierunk\u00f3w zwi\u0105zanych z\u00a0teatrem)<\/span><\/strong><\/p>\n<p>[\/et_pb_testimonial][et_pb_divider color=&#8221;#e0e0e0&#8243; show_divider=&#8221;on&#8221; _builder_version=&#8221;3.0.93&#8243; \/][et_pb_map address=&#8221;Bohater\u00f3w Monte Cassino 54B, Sopot, Polska&#8221; address_lat=&#8221;54.443947&#8243; address_lng=&#8221;18.567788&#8243; _builder_version=&#8221;3.0.93&#8243;][et_pb_map_pin title=&#8221;Teatr i Baroteka BOTO&#8221; pin_address=&#8221;Bohater\u00f3w Monte Cassino 54B, Sopot, Polska&#8221; pin_address_lat=&#8221;54.443947&#8243; pin_address_lng=&#8221;18.567788&#8243; _builder_version=&#8221;3.0.93&#8243;]<\/p>\n<p>Teatr i Baroteka BOTO<br \/>\nul. Bohater\u00f3w Monte Cassino 54B<br \/>\n81-758 Sopot<\/p>\n<p>[\/et_pb_map_pin][\/et_pb_map][\/et_pb_column][\/et_pb_row][\/et_pb_section]<\/p>\n","protected":false},"excerpt":{"rendered":"<blockquote><p>3 grudnia, 18.00<\/p><\/blockquote>\n<p><em>Prezentacja konkursowa w ramach przegl\u0105du I Sopockie Konsekwencje Teatralne 2017.\u00a0<\/em><strong><br \/>\n<\/strong>MELT to obraz, impresja, wra\u017cenie \u2013 monodram oparty na pracy z figur\u0105 Ofelii z szekspirowskiego \u201eHamleta\u201d.<\/p>\n","protected":false},"author":2,"featured_media":52457,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_et_pb_use_builder":"on","_et_pb_old_content":"","_et_gb_content_width":"","inline_featured_image":false,"footnotes":""},"categories":[72],"tags":[],"class_list":["post-52456","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-i-konsekwencje"],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v27.4 - https:\/\/yoast.com\/product\/yoast-seo-wordpress\/ -->\n<title>Helena Ganjalyan, MELT &#8212; 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