The director returns to NKDT on this occasion, and this creative return is relevant to the construction of national dramaturgy: On December 7, 9, 23, the premiere of the premiere of the show, produced by immigration writer Jorge Landsberg (1924-2004) , Will take place in the long hall.
"I love plays like this that they can find more than they do at first sight," says the director, choosing to speak with Kovno Day in the heat of his work.
– You have accumulated a lot of practical and theoretical experience, you work in theaters and in different countries and do not try to be very fashionable, popular or shocking. However, the works you create are encouraging. What determines the choice of dramatic material?
– I refer to the depth of the material and the multivariateness. I do not really like contemporary documentary plays, although I myself have written two documentary films, but they touch the times when the vintage is, where it is called patina time. I always like to decipher the play. For example, when Jared Landsbergs, "the goddess of guarantee of Jordes Landsberg," was the first to appear so simple, even primitive, he began to deepen the layer, and another, the third. On purchases, found the existential problems found in 1950. In the middle of the play, the whole world decided on the play.
On purchases, found the existential problems found in 1950. In the middle of the play, the whole world decided on the play.
I like plays that can find more than they can see at first sight. They do not need to be reworked, and listening to the broad context of the play can turn it into a modern world, but not artificial, but contemporary. These plays allow me to talk about my central theme – man and time. I am interested in the flow of time, because our life is only a blink of history or a moment of eternity in space. How we react through this blink, how we can or can not teach it, how many times we are sick, there is a long time, how much we will do, and then we see that it is too late.
Having filmed both shows and being so many years, it allows me to still have a look, because this issue and its problems are inexhaustible. I like the expression of Genius Vakhtangovas, which I often quote in my lectures: "Not everything is modern, it is eternal, but everything that is eternal is modern." I am looking for a conspiracy between what is timeless and what is only today. That's what combines my choices.
– Think of the current company as being one day. What is your eye at the moment?
– However, I tend to think that man has changed slightly in the deepest parts of his consciousness, especially in the subconscious layers, which he does not even feel. In the words of banal, he usually comes going beyond his will from this world – he is mortal. There will never be a man's ambitions, his ambitions will be contrary to his limited opportunities in time, in social life. This mismatch led to human drama. Every person, whatever it may be, tries to cover life with youth, technology, innovation, but when a person remains alone, wakes up in the middle of the night or rises in the forest or turns to a marginal state, he feels luxurious and at the same time poor, The heights that distinguish it from the animal. It seems to me that the clothes of the Margo clothes change and they will continue to change, but the fundamental problem of man – mortality, short-term nature, the perception that things live for him too – imprints world views.
According to my understanding, John Paul II rightly said that the struggle between the cultures of life and death arises at the beginning of the century. We see that there was a green wave in Lithuania – the preservation of trees and grass, and before that it was a desire for quick profit, not thinking about tomorrow – selling, privatizing our history, the past, ourselves. It comes from helplessness and lack of understanding that we are in the general chain, and we do not have to destroy the world, not to process it for the sake of everyday convenience, but only to pass on its authentic, true to other generations. Now there are many new technologies that are devices that help make it, but there are no new ideas, in other words, this form, but no new content, there is a lack of new look. I see my activities as a director in the theater as an opportunity to think about the problems I can not solve without a doubt, but I can give people directions, help them think, and concentrate on solving these problems in real life.
– Is the play of a. Landesberg "Wind in the evenings" also refers to the moment of self-determination?
"This play is very close to me because of my information. At first glance, it seems that there are traditions of the Lithuanian national drama, it is like another historical game, but after the deepening of the scene I found a completely different subject, very modern and very similar to the themes of the early plays of Vernon Wilder. A. Landesberg himself openly stated that Wilder had made a great impression on him. It seems to me that in this section the most influential influence is that it gives the national issue latitude, penetrates existential problems, and presents such questions: What is holiness, what is the real sacrifice of his neighbor, his homeland. 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, an interesting coincidence that during the construction of the play for the first time in the Lithuanian scene will appear the Holy Rosary, and today a new supermarket was published in Lithuania. In this work I also find the symphony with the ideas of the Dalai Lama that the saints are among us, there are many good people who work in the wake of what we do not know and hear because I think this play should be interesting for the Christian, especially for the youth, in honor of.
On the other hand, the play should interest the contemporary person who doubts religion that there is no admiration in the play, it is only a certain situation, model. Again, I recall John Paul II's letter to artists, in which he states that both religion and art, which even describe the darkest pages of reality and reveal the most mysterious layers of the subconscious, have a common denominator – to be saved, freed from the beginning of the beast. In humans, both animals – the beast and the sky – are always disabled. We'll never know what we'll do in the marginal situation: if we're shut down or we grow up or become a thief or a hero.
– With many writers who plays you've been personally known, you feel connected. Is he also with a. Landesberg, who lives on the other side of the Atlantic?
"Yes, we would. Our agent was Romualds Lankauskas. First of all, a. Landesberg sent me his plays with autographs, one of which is "Children in the Amber Palace" – eight years ago, when I began to study courses at the Klaipeda Arts Faculty, this performance was shown. Then I met him several times. It is very unfortunate that he will not be able to attend the premiere at the same time, it would be interesting to hear his appreciation, as he greatly appreciates the play "Five Pillars in the Market Square" by director Vytautas Balsys 30 years ago. The Landesberg's life show, written professionally but only created for amateur theaters, was a festive and appreciative performance by showing it at the Cuban Drama Theater, which seemed to him a place of refuge.
As we prepare for a show in NKDT's long hall, we immediately think about how to move it to the church.
However, I think the plays of A. Landburg were too small. They are all unique and interesting, written in modern technology, so I really want more and more colleagues, especially young people, to go to work. When I create the play "Wind in the evenings" I try to bring Landsberg close to us, to present the wide circle. I would be very happy if, after this performance, the author's works will be more readable because the theater's duty was to present the actor and viewers to both classical and contemporary art.
– The show "Wind in the Evening" is planned to be shown in churches. How do you design it to move from theater to sacred space?
– I want to show the most performance in the courtyard of the Royal Palace, where the remains of St. Cozimias are, his aura is felt. But I am glad that the show will be shown at the Church of St. George in Kovno, where the Franciscans are grateful to us. Given that this church marks the 500th anniversary of a Polotsk miracle this year, when a mysterious white rider who believed that St. Casimir saved the old army of Sigismund from Muscons wanted to put him in this space. So, when preparing the show of NKDT's Long Hall, we immediately think about how to move it to the church. If this program is successful, with the show we can travel all over Lithuania and present it in different places, because the play certainly means environment. I like to create very environmental shows, I built many of them, for example, in the castle of Kaunas, Castle Trakai, Valdovai Palace and so on. I think that changing the environment and wiping theatrical dust, strengthens the effect.
– You create performance with players of different generations. With some of them you ate not a few pounds of salt – Dainius Svobonas, Mil Šablauskait,, Henrikas Savickis, Ugn irirgule – and others were less familiar to you. How did you succeed in joining such a band?
"You know, sociologists often say that the most powerful family, where as many times as possible, people of different ages and experiences enrich each other, creating a very tight general texture, just like here, I wanted a wide range of actors. I think it would be a pleasure for the viewers to see such ensemble.Of course, we still have to cut corners, find common ground, solid style.The work of older players is beautifully matched to the taste of young actors, .
Names and facts
Danius Savons, Arnas Esmonas, Jurgis Rassius, Andreas Gokas, Carolina Elzbieta Mikolionita, David Fabercius, Eugenie Jorgol, Henrikas Savikis, Arthur Suzdlis and Melia Szluskita play in the play.
The immigrant writes. Landesberg (1924-2004) wrote novels, novels, plays, journalism, edited the writings of Antana Sakma, edited works of Lithuanian literature in English, participated in radio broadcasts of American Kol and Free Europe to Lithuania, , A member of the American Dreamtorg Association.