EGIDIJA MEDEKŠAITĖ
Egidija Medekšaitė (1979., LT) studirala je skladanje s Rytisom Mažulisom na Litvanskoj Akademiji za glazbu i kazalište, diplomiravši 2007. U 2003. sudjelovala je i u Programu skladanja i glazbene tehnologije u Tamperu (Finska). U 2004. pohađala je MA predavanja u Istebni (Poljska), Dundagi (Latvija) te Acanthes skladateljsku radionicu u Metzu (Francuska) gdje je studirala s Jonathanom Harveyjem, Philippeom Manouryjem i Martinom Matalonom. U 2006. pohađala je i glazbenu akademiju u Stuttgartu, zajedno s Marcom Stroopm i Casparom J. Walterom. Kao skladateljica radi na različitim interdisciplinarnim projektima, piše glazbu za plesne izvedbe i filmove, a njena je glazba gotovo stalni dio suvremenih glazbenih festivala u Litvi i u inozemstvu.
Egidija Medekšaitė (1979, LT) studied composition with Rytis Mažulis at the Lithuanian Academy of Music and Theatre, graduating in 2007. In 2003 she took part in the Programme of Composition and Music Technology in Tampere (Finland). In 2004 she attended master classes in Istebna (Poland), Dundaga (Latvia) and the Acanthes Composition Workshop in Metz (France), where she studied with Jonathan Harvey, Philippe Manoury and Martin Matalon. In 2006 she studied at the Stuttgart Academy of Music with Marco Stroppa and Caspar J. Walter. The composer participates in various interdisciplinary projects, writes music for dance performances and movies, her music is constantly performed in contemporary music festivals in Lithuania and abroad.
Intervju
1. Od kud počinješ i kako?
Još sam na studiju na litvanskoj Akademiji za muziku i kazalište pokazala interes za kombiniranjem različitih umjetničkih disciplina. Čak je i moj završni rad na diplomskom studiju bio temeljen na percepciji audio i vizualnih informacija. Do današnjega dana surađujem i pišem glazbu za kazalište, animaciju i ples. Veseli me upoznavanje novih umjetnika, dijeljenje ideja i iskustava. Najzanimljivije za mene jesu razgovori u kojima s drugom stranom pronalazim slično razumijevanje istih stvari. Plesači i drugi umjetnici imaju drugačiji način shvaćanja glazbe, kao što i ja imam kod plesa. I naravno, zajedničkim radom možemo pronaći neka bolja i neočekivana rješenja. Važno je i da su oba umjetnika zainteresirana za svoj rad, kako stvaraju glazbu, plesne točke itsl. Zapravo, i nemam neku posebnu metodu.
2. Kojim putem ideš?
Naučila sam da glazba nije dodatni materijal u kazalištu ili u animaciji. Mora disati na isti način, jednaki je partner koji mora doprinijeti ishodu. A samo vrijeme postaje najbolji sudac, barem što se tiče određivanja vrijednosti konačnoga rada. Zadovoljna sam kada nakon nekog vremena gledam isti ples, animaciju i kada ni ja ni režiser ne bismo ništa promijenili! To znači da je suradnja bila više nego dobra.
3. Kuda želiš stići?
Osim što surađujem s drugim umjetnicima, pišem i glazbu za suvremene glazbene festivale. Naučila sam koordinirati ove umjetničke discipline i teško je procijeniti u kojoj sam bolja. Trudim se da svoj posao napravim što bolje, bez obzira na njihove razlike. Otvorena sam za sve moguće prijedloge suradnje!
Interview
1. Where are you starting from and how?
From my earlier studies in the Lithuanian Academy of Music and Theatre, I was interested in combining different fields of art. Furthermore my Master theory work was based on the perception of audio and visual information. Till now I have been collaborating and writing music for theatre, animations and dance. I like to meet new artists and share ideas and experience. The most interesting thing for me is conversation and finding the similar understanding of the same things. Dancers and other artists have different expressions concerning music just as I have about the dance. Furthermore, working together we can find special solutions and find unexpected results. Also, it is very important that both artists are interested in their work, how they create music or dance performances and etc. Actually, I do not have any special method.
2. Which way are you going?
What I learned is that music is not an additional material in theatre or in animation. It has to breathe in the same way, it is an equal partner which must enhance the final result. Time is the best judge regarding evaluation of the final work. I am very satisfied when after some time watching the same dance performance or animation me or the director do not want to change anything. That means our collaboration was really good.
3. Where are you going to?
Besides collaborating with other artists, I am writing music for contemporary music festivals. I have learned to coordinate these fields and it would be hard to evaluate where I do better. I try to do my work the best I can despite the different tasks. I am open to any suggestion for collaboration.
Naučila sam da glazba nije dodatni materijal u kazalištu ili u animaciji. Mora disati na isti način, jednaki je partner koji mora doprinijeti ishodu. A samo vrijeme postaje najbolji sudac, barem što se tiče određivanja vrijednosti konačnoga rada. Zadovoljna sam kada nakon nekog vremena gledam isti ples, animaciju i kada ni ja ni režiser ne bismo ništa promijenili! To znači da je suradnja bila više nego dobra.
What I learned is that music is not an additional material in theatre or in animation. It has to breathe in the same way, it is an equal partner which must enhance the final result. Time is the best judge regarding evaluation of the final work. I am very satisfied when after some time watching the same dance performance or animation me or the director do not want to change anything. That means our collaboration was really good.
