The director returns to the NKDT on this occasion, and this creative return is relevant for the construction of the national dramaturgy: on December 7, 9 and 23, the performance debut, produced by the emigration writer Algirdas Landsbergis (1924-2004) "O Wind in the Willows, "will be held at Long Hall.
"I like such pieces that they can find more than they realize at first glance," says the director, preferring to talk with "Kaunas Day" in the heat of their work.
– You have accumulated a lot of practical and theoretical experience, you work in various theaters and countries and do not try to be very trendy, popular or shocking. However, the jobs you create are encouraging. What determines the choice of dramaturgical material?
"I mean the depth of material and the multivariate. I do not really like contemporary documentary pieces, even though I have written two documentaries, but they touch the times when the vintage is where ever the patina is placed. I always like to decipher the game. For example, when Algirdas Landsberg's Algirdas Landsbergis was the first to seem so simple, even primitive, he began to deepen one layer, and another, the third. After acquisitions, the same existential problems encountered in 1950 are found. In the middle of the play, the whole world decided on the play.
After acquisitions, the same existential problems encountered in 1950 are found. In the middle of the play, the whole world decided on the play.
I like pieces that can find more than they perceive at first glance. They do not need to be reworked, and listening to the broad context of the play can turn it into a modern, but not artificial, but a contemporary world of thought. These pieces allow me to talk about my main theme – man and time. I am interested in the flow of time because our life is just a blink of history or in the moment of eternity of space. How we react through the blink of an eye, how capable we are or how incapable of teaching it, how often we have been ill for a long time, how much we are going to do, and then we realize that it is too late.
Having made the two presentations and having so many years, this still allows me to take a look, because this topic and its problems are inexhaustible. I like the phrase of Jevgenijus Vachtangovas, which I quote in my lectures: "Not everything modern is eternal, but everything that is eternal is modern." I am looking for a conspiracy between what is eternal and what is just today. That's what combines my selections.
– Think of the current society as having become one day. What is your eye on man at the present time?
However, I am inclined to think that man has changed little in the deepest parts of his consciousness, and especially in the layers of the subconscious that he does not even feel. In the words of the banal, he comes and usually goes beyond his will of this world – it is mortal. Never will the aspirations and desires of man be incompatible with their limited opportunities in time, in social life. This discrepancy gives rise to human drama. Every person, whatever it is, tries to cover life with eternal youth, technology, novelty, but when a person stays alone, wakes up in the middle of the night or appears in a forest or faces a marginal situation, feels magnificent and even poor weather, realizing who has the stars a vector directed to the heights that distinguishes it from the animal. It seems to me that the margo clothes are changing and they will continue to change, but man's essential problem – mortality, short-term nature, the perception that even things live longer for him – imposes a seal on visions world.
In my view, John Paul II rightly stated that the struggle between the cultures of life and death is emerging at the turn of the century. We see that there was a green wave in Lithuania – the preservation of trees and grass, and before that it was now a desire for quick profit, not to think about tomorrow – to sell, privatize our history, the past, ourselves. It comes from the helplessness and lack of understanding that we are in the general chain and we should not destroy the world, not process it for the comfort of everyday life, but convey its authenticity, faithful to other generations. Now there are many new technologies that are tools that help to do this, but there are no new ideas, in other words, it is a way, but there is new content, there is a lack of a new look. I perceive my activity as a director in the theater as an opportunity to think about problems that I can not solve without a doubt, but I can give people guidance, help them think, concentrate on solving these problems in real life.
– A. Landsberg's play "The wind in the willows" also refers to the moment of self-determination?
"This piece is very close to me because of my invariance. At first glance, it seems that there are traditions of the Lithuanian national drama, it is like another historical piece, but after deepening the scene, I found a completely different modern theme, very similar to the themes of Thornton Wilder's previous plays. A. Landsberg himself openly stated that T. Wilder made a great impression and influence on him. It seems to me that it is in this section that the most influential influence is that it gives the national theme a latitude, penetrates existential problems and pervades such questions: what is holiness, what is the true sacrifice for the neighbor, for his native land. In my play, I was fascinated by the alignment of local and national problems, the intersection of man and the ways of God. By the way, it is interesting coincidence that during the construction of this piece for the first time in the Lithuanian scene the Holy Qazimier appears, and today a new blessed Mykolas Giedraitis is published in Lithuania. In this work, I also find the symphony with the Dalai Lama's ideas that the saints are among us, there are many good people working in the wake of what we do not know and hear, because I think this piece should be interesting to the Christian, especially to the young. seeking a positive start that wants to give up the desire for honor.
On the other hand, the piece should be of interest to a contemporary person who questions religion because there is no worship in the play, it is only a certain condition, a model. Again, I recall John Paul II's phrase from a letter to artists where he claims that both religion and art, even depicting the darkest pages of reality and exposing the most mysterious layers of the subconscious, have a common denominator – to be saved, freed from the animal beginning. In humans, the two animals – the animal and the celestial – are always crippled. We never know what we will do in the marginal situation: whether we are going to overthrow, or grow, or become a thief or a hero.
– With many authors whose pieces you personally knew, you felt connected. Was he also with A. Landsberg, who lived on the other side of the Atlantic?
"Yes, we were familiar. Our agent was Romualdas Lankauskas. First, A. Landberg sent me his autograph pieces, one of which – "Children in the Amber Palace" – eight years ago, when I started taking courses at the Klaipeda College of Arts, the performance was widely displayed. Later I met him several times. It is unfortunate that he can not attend the premiere at the same time, it would be interesting to hear his appreciation, as he greatly appreciated the play "The Five Pillars in the Market Square" by director Vytautas Balsys, 30 years ago. A.Landsbergs' lifetime performance, which was written professionally, but created only for amateur theaters, the performance of the piece for his play at the Kaunas Drama Theater, which seemed to him a sanctuary, was a famous event and evaluation.
As we prepare for the presentation at the Long Hall of the NKDT, we immediately think of how to move it to the church.
However, I think that A. Landborg's pieces were very small. They are all distinctive and interesting, written in modern technology, so I really would like more and more colleagues, especially the younger ones, to turn to their work. In creating the play "Wind in the Willows", I try to bring A.Landsberg closer to us, to introduce the wider circle. I would be very pleased if, after performing this performance, the works of the author were more readable, because it was the duty of the theater to present the actor and spectators to both the classics and contemporary art.
– The "Wind in the Willows" performance is planned to be shown in churches. How do you design it to change from theater to sacred space?
– I would like to show the highest performance in the courtyard of the Royal Palace, where the remains of Saint Kozimieras are, his aura is felt. But I am glad that the presentation is shown in the Church of St. George in Kaunas, where the Franciscan brothers thank us. As this church celebrates the 500th anniversary of the Polotsk miracle this year, when a mysterious white knight who was believed to be precisely St. Cazimieras saved the Old Army of Sigismund from Maskvannas, wants to bring him to such a space. So when we prepared the presentation at NKDT's Long Hall, we immediately thought of how to move it to the church. If this plan is successful, with the performance we can travel throughout Lithuania and display it in various spaces, because the piece definitely means environment. I like to create a lot of environmental performances, I built many of them, for example, in Kaunas castle, Trakai castle, Valdovai palace and so on. I think changing the environment eliminates the theatrical dust, strengthens the effect.
– You create performance with actors from different generations. With some of them you did not eat a few pounds of salt – Dainius Svobonas, Milė Šablauskaitė, Henrikas Savickis, Ugnė Žirgule – and others were less familiar with you. How did you manage to join this band?
"You know, sociologists often say that the strongest family in which as many times as possible, people of different ages and experiences get rich, create a very strong overall fabric, just like here, I wanted a wide range of actors. , the whole group of actors so different and interesting.I think it will be a pleasure for the viewers to see such a set.Of course, we still have to cut the corners, find a common denominator, a solid style.The work of older actors beautifully combines with the plasticity of young actors, a modern feeling that combines everything to give fullness.
Names and Facts
Dainius Svobonas, Arnas Ašmonas, Jurgis Jarasius, Andrius Gaučas, Karolina Elžbieta Mikolajūnaitė, David Pabarčius, Ugnė Žirgule, Henrikas Savickis, Artūras Suziedelis and Milė Šablauskaitė play in the play.
The emigre writer A. Landsbergis (1924-2004) wrote novels, novels, plays, journalism, edited the letters of Antanas Škema, the value of Lithuanian literary works in English, participated in radio broadcasts of "American Voice" and "Free Europe "to Lithuania. President of the PEN Club Exile Center, member of the US Dramaturge Guild.