Bandīts un policists. Dailes teātra aktieris Dainis Gaidelis

Dainis Gaidelis

 

Jau trijās Dailes teātra izrādēs redzu tevi vairākās lomās Žannā Darkā, Džilindžera Kafkas Amerikā un Lielajā melu burtnīcā, esi teātrī kļuvis par plaša profila raksturotāju?

Tā sanāk. Bet man jau liekas, ka es visu laiku mācos, jebkura loma ir kā kāds vēl nepazīstams cilvēks, kas jāiepazīst un jāatklāj. Es visu laiku kaut ko apgūstu. Pašreiz beidzies mans sezonas skrējiens, šogad pieci jauniestudējumi.  Pēdējais-Lielā melu burtnīca, kur man atkal trīs pavisam atšķirīgas lomas. Tagad vakaros būs tikai izrādes un viss, mēģinājumu vairs nav pa dienu. Tad varēšu pagleznot.

Vai esi to drusku pamācījies ?  

Man ir laba privātskolotāja, viņa mēģina  kaut ko iemācīt  no pamatlietām – gaisma, ēna, kompozīcija. Bildes radīšanas process man patīk.  Es to uztveru kā savdabīgu meditāciju. Man patīk saskatīt krāsu, atrast, uzmaisīt to. Bildē jau sniegs, vairs nav balts, tur ir miljons krāsu. Lielākais izaicinājums man bija pelēko priekšmetu kompozīcija.

Kur tu tās bildes pēc tam liec?

Es tās dāvinu. Bet man daži arī par pircējiem pieteikušies. Piemēram Busulis.

Un kas tur ir redzams, cilvēki, daba vai tava fantāzija?  

Pašreiz esmu aizrāvies ar faktūrām, meklēju veidu, kā atrast apjomīgu krāsas triepienu, lai bildē veidojas sava un jauna dimensija. Man jau ir loti dažādas klusās dabas un augļus man patīk gleznot tā, lai tie izskatās dzīvi. Visvairāk man gan sagleznoti ir apelsīni. Oranžā krāsa. Tā uzrunā.

 Tev sanāk?

Es cenšos. Tagad taisu bildi Ilzei Gruntei uz dzimšanas dienu. Daudzi kolēģi ir jau apdāvināti. Un galvenais – nav tālu jānes!  Visi esam kaimiņi. Man Rīgas mājā ir laba saimniece, un es tur palīdzu organizēt, lai būtu forši.  Man tiešām ir labas attiecības ar saimnieci, tikko atbrīvojas dzīvoklis, viņa man prasa, Daini, kas tur dzīvos, ko mēs tur ieliksim? Un tā šai mājā  šobrīd  katrā stāvā dzīvo mani draugi un kolēģe Kristīne Nevarauska, bet es biju pirmais. He, he! Kad beidzas izrāde, nākam visi kopā mājās, un mums mājās ir tādi mazi svētki. Es to noskatīju Itālijā, kad viesojos pie draudzenes. Tur kaimiņi vakaros sanāk kopā, sanes visu uz galda, kas mājās ir un priecājas par dzīvi. Un ir forši. Mēs vakarā arī lejā vai augšā sanākam kopā un iedzeram tēju, he, he. Tā dzīvojam. Šobrīd viens dzīvoklis ir brīvs, un es jau domāju par jauniem kandidātiem. Nu, vajadzētu kādu sportistu, kas var iedvesmot uz fiziskām aktivitātēm!

Jūs no rītiem pa Miera ielu neskraidāt visi kopā?

Gan jau  skraidīsim. Jaungadā bija dikti feini, mēs, kaimiņi no kādiem četriem dzīvokļiem, gājām pastaigāties uz Vecrīgu. Mēs ejam, un es domāju, ja kāds zinātu, ka esam kaimiņi no vienām trepēm!

Tātad tu bez bēdu dzīvo Miera ielas republikā, un vēl tev ir teātris un seriāli…

Jā, ir latviešu  seriāli un krievu seriāli, kas jau filmēti kā kino. Kā teica viens krievu režisors- tagad visi labie kinorežisori strādā seriālos.

 Jā, krievi tos seriālus sapucē, uz kādām lomām tevi aicina?

Uz bandītiem, uz policistiem. Un, kad es vienā kāstingā teicu, ka parasti jau mani sauc uz bandītu un policistu lomām, režisors pajautāja, vai negribi nākt uz mīlētāju? Es teicu, labi. Tā es Nedegošajā krūmā, kas Krievijas televīzijā startēja aprīļa sākumā, spēlēju mīlētāju. Maza, bet jauka epizode. Pagājušajā vasarā man bija daudz darba nelatviešu seriālos. Viens bija zviedru un trīs krievu. Rietumos tomēr filmē citādāk. ‘

 Kas ir citādāk?

Stokholmā filmējām šaušanu – tur visi automāti uzlikti uz klusuma režīmu, ausīs aizbāžņi, instrukcijas pa labi, pa kreisi, lai aktieri netraumētu. Pie krieviem KVESTā bliezām ar īstiem ieročiem, bija jāuzmanās, lai kādu nenokokņī. Man tur bija jālec pāri mašīnai, nekāda kaskadiera nebija, pajautāju, vai būs vismaz matracis uz asfalta. Bet asistents saka – pameklēsim sedziņu, lai nenosmērē drēbes!. Maskavā sanāca neliels incidents ar specnazu. Biju pārliecināts, ka pretī man stāv kaskadieris, bet kļūdījos! Filmēšanas grupa panikā, ko lai dara? Aktierim vēl jāfilmējas, seja asinīs. Specnazieti, kurš visu dara pa īstam, atlaida.

Ko tālāk?

Man vaigu salīmēja, sagrimmēja un laimīgi nofilmējām visu līdz galam. Tā ir man tāda skaista loma – bandīts budists. Darbs pie seriāla bija interesants- ar labu režisoru un spraigu sižetu. Tur māk aktieri novērtēt. Grupa paskatās kadrā  nofilmēto un aiziet pa grupu- u nas zhe svoj Brjus Viļis! Man neko nesaka, bet visi sačukstas.

Tev patīk būt savā lauku mājā, tur tev vienmēr ir daudz  draugu, vai tu vispār kaut kad arī esi viens?

Kādreiz jau esmu arī viens, bet man patīk, ja mājās ir cilvēki. Tur ir daudz vietas, un katrs var darīt un dara, ko grib. Māja ir tik liela, ka tur nejūtu tos 10-12 cilvēkus, pa dienu viens iet mežā, otrs sēž dārzā, cits dodas uz ciemu. Tā māja man ir kā tāda senlatviešu viensēta, kur visi pa dienu sadara savus darbus, bet vakarā sanāk kopā pie ugunskura.

Kas tev darbā teātrī liekas visvērtīgākais un kas tev tur nepatīk?

Man patīk mani kolēģi, tas pirmkārt. Es neesmu saskāries ar to, ka aktieri ir nenovīdīgi, lai gan tā par viņiem runā. Es to tiešām neredzu, jo uz to, kas notiek teātrī, vienmēr skatos gaiši. Es redzu daudz. Bet mēs jau varam paregulēt to, ko gribam un ko negribam redzēt. Tajā pašā laikā izrādes tapšanas process vienmēr ir ļoti aizraujošs. Jo šai laikā tu lomā satiec cilvēku, par kuru tev jākļūst uz skatuves. Tu tiecies ar viņu pirmo reizi. Un tas ir ļoti interesanti, sataustīt viņu, sajust un saprast, lai zinātu, ko viņš domā, ko dara katrā situācijā, kā rīkojas.

Kā tu to dari?

Tas ir tāds ļoti interesants cilvēku pētniecības darbs. Man jāzina, ko grib režisors, kā viņš izrādi redz kopumā, lai zinātu, kādu tēlu piedāvāt, lai tas skatītājam būtu interesants un iekļautos izrādes konceptā. Dažreiz iznāk strādāt vairākus mēnešus pie lomas, bet ģenerālmēģinājumā viss sagriežas ar kājām gaisā. Un arī tas pieder pie lietas. Vēl man teātrī patīk ģērbējas, grimētājas, rekvizitori, dekorāciju meistari, apgaismotāji, visi, kurus uz skatuves neredz. Viens tu neesi karotājs. Un ar kādu atdevi strādā šie cilvēki!  Tā ir tāda forša sajūta.

Kā tevī sadzīvo aktieris un cilvēks, kam jāmaksā īre, jāiet uz veikalu, jāmazgā veļa un jāsatiekas ar radiem?

Laika ārpus teātra nav daudz, un vairāk nav, nekā ir. Mājās atver ledusskapi, un tur nekā nav, tas gadās visai bieži, jo nav jau laika neko nopirkt. Izrāde beidzas desmitos, viss ir ciet. Sadzīvē es laikam esmu diezgan vājš, daudzas lietas nesaprotu. Sezonas laikā reti tiekos ar radiem, un vairāk gan tas sanāk pirms un pēc izrādēm. Sezonas laikā grūti atrast laiku kam citam. Bet lauku mājās vienmēr notiek radu saieti. Man ir svarīga tās lielās ģimenes sajūta, un man ir tik brīnišķīgas māsīcas un jautri brālēni! Parasti jau pie plīts šeptējas meitenes, es varbūt tikai kaut ko drusku paorganizēju.

Kā skatuves mīlestība atšķiras no tās, ko sapņojam dzīvē?

Uz skatuves vai uz ekrāna mīlestība ir citus iedvesmojoša, īstajā dzīvē tev nevienam nekas nav jāpierāda. Uz skatuves mīlestība pieder skatītājam. Mēģinājuma procesā jāmeklē saskares punktus ar partneri, un to skatītājs jūt, vai esi to uz izrādes laiku atradis vai nē. Ir jābūt saskanīgai jūtu ķīmijai. Tāpēc partnerī jāiemīlas. Nav jau tādas formulas, ar kuru var strādāt pie visām lomām. Lielākā atšķirība starp dzīvi un skatuvi šai lietā ir tā, ka uz skatuves tu to dari apzināti, bet dzīvē viss notiek zemapziņā. Dzīvē taču mēs nemaz nezinām, kāpēc iemīlamies, un, ja mēs censtos to izskaidrot, tad burvība pazustu.

Kur tu smelies iedvesmu savām spilgtajām raksturlomām uz skatuves?  

No cilvēkiem, kurus esmu saticis, vērojis un redzējis. Studiju gados mums bija cilvēki jāvēro un jāraksta par viņu dzīvi. Tas bija ļoti aizraujoši. Tu skaties, kā viņš kustās, klausās, kā rīkojas un kā gaida, tad tu sāc domāt, kāpēc tas tā ir? Ko viņš dara darbā, kāda ir viņa profesija, ko viņš mīl utt. Kad gāju vērot cilvēkus ar  saviem studentiem, viņi teica, ka nekad nebūtu iedomājušies, cik tas ir interesanti – pētīt un analizēt cilvēkus. Viņu uzvedību, raksturu un dzīvi.  Tagad mēs dzīvojam tehnikas laikmetā. Jau uz youtube materiālos atrastiem fragmentiem un filmām var uzbūvēt tik dažādus tēlus! Tas nav tā, ka tu to kopē, bet konkrēts cilvēks var būt iedvesmas avots lomai, lai to varētu uzbūvēt saistoši.

Tavi partneri, ar kuriem strādā vislabprātāk?

Man patīk, ja partneris tevi dzird un redz, nevis spēlē solo. Viens tu tiešām teātrī nekas neesi. Teātris ir kolektīva māksla.

Kāds ir tavs režisors?

Man ļoti patīk, ja režisors uzticas aktierim, jo lomu var katru dienu spēlēt dažādi. Vienu dienu ir tāds noskaņojums, citu dienu tas ir savādāks. Šodien nevari spēlēt tāpat kā spēlēji vakar, un tas ir forši, ja režisors atstāj telpu improvizācijai. Tad ir viegli strādāt. Man patīk režisori, kas ļauj  spēlēt viegli. Ja režisors ir aizdedzies par savu izrādi, tad ir forši! Tas aktieri paņem, un neviens vairs neskatās pulkstenī. Tad visi gaida, kad atkal būs mēģinājums. Bet, ja katru dienu jāspēlē vienādi, tikai tehniski izpildot savu uzdevumu lomas zīmējumā, tad lomai pietrūkst dzīvības.

Ja nebūtu teātra, kas no tevis būtu iznācis?

Es domāju, ka es gleznotu vai strādātu reklāmas aģentūrā. Bet man tas teātris galvā sēž no sešu gadu vecuma. Mamma negribēja, lai mājās trokšņoju ar klavierēm un aizveda mani uz dejošanu, ko es veiksmīgi nomainīju uz teātra spēlēšanu. Jā, man bija seši gadi. Lielajiem izrādē vajadzēja mazu puiku. Tas sākums bija interesants, jo pirmoreiz, kad   iegāju tai zālē, kur viņi mēģināja – tur bija pilnīga tumsa. Un es tiem lielajiem prasīju, ko viņi tai tumsā dara. Viņi teica, ka spēlē teātri. Jā, es tur labi jutos. Pēc astotās klases mācījos par trikotāžas tehnologu-modelētāju Vieglās rūpniecības tehnikumā. Skan dikti jancīgi, ne? Pēc diviem gadiem sapratu- tas nav mans. Sešpadsmit gados pabeidzu vidusskolu un iestājos Kultūras darbinieku tehnikumā.  Man tur ļoti patika pasniedzēji, viņi man iemācīja brīvības sajūtu. Tur ieguvu režisora diplomu ar diplomdarbu skolas bēniņos. Tad bija Jaunā Rīgas teātra aktieru kurss pie Jura Rijnieka Kultūras akadēmijā.

Ko tu lasi un ko iesāc ar izlasīto?

Lasu labas grāmatas, tādas, kuras mazliet pamaina dzīvi un rada tēlus, atstājot tos apziņā uz ilgāku laiku. Pie šiem tēliem tad atkal gribas atgriezties. Tad es nēsājos ar domu, kur un kad to varētu iestudēt.

Kas ir loma, par kuru tu sapņo ?

Man gribētos nospēlēt īstu, nopietnu mīlētāju, piemēram Ričardu no Ričarda Baha Tilts pāri mūžībai, jo teātrī es galvenokārt esmu raksturotājs. Bet bez mīlestības jau nav neviens tēls, neviens cilvēks, neviena loma.

Ko tu dzīvē vēlies visvairāk?

Daudz braucu pie dabas. Zemapziņā meklēju harmoniju. Citreiz sanāk atrast, citreiz nē. Tur dabā var sevi sakārtot. Dzīves azartu meklēju ceļojumos. Pārsvarā jau, lai cik tas arī nebūtu dīvaini, es esmu laimīgs.

 

 

 

 

 

 

 

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