Skaitytojų išrinkto šimtmečio knygų šimtuko viršūnėje atsidūrė s . Juozas Grušas „Barbora Radvilaitė“: pjesė () ( balsai). Barbora Radvilaitė – viena pačių populiariausių mūsų istorinių asmenybių. Užsisklendusi savame intymių išgyvenimų pasaulyje, neturinti jokių. ’15 knygų “Barbora Radvilaitė. Rūmų paslaptys” su autorės Dainos Jegelevičiūtės-Biekšienės. ‘ istorijos.
|Published (Last):||3 July 2013|
|PDF File Size:||4.42 Mb|
|ePub File Size:||12.21 Mb|
|Price:||Free* [*Free Regsitration Required]|
Folkloric Modernism Art for everyday life Ceramics: From Mass Production to Individuality Textiles: For the Public and for the Home Leather Art: Bringing Beauty to Everyday Life Glassworks: Drawn to Transparency In Conclusion Photography — The Sovietization of Photography — The Conceptualization of Photography Literature — Lithuanian Literature in the Stalinist Years — Freedom in the Years of the “Thaw” — The Gray Years — Flower Children and Utopia’s Collapse — The Unity of the Singing Revolution — The First Post-War Decades — Between Classical Ballet and Innovation — Continuity and Discovery Scenography — The Architecture of Freedom Design — The Process of Graphic Design Projects: A Critical Revision of Reality.
The Comic Grotesque of Povilas Gaidys. Povilas Gaidys most clearly revealed his directorial talent and unique theatrical thinking through his comedies. He used these to draw attention to himself, demonstrating an early talent for an intelligent and multifaceted grasp of humor and its various manifestations on stage. The search for new opportunities for humor and for more complex and layered methods of comedic expression in the late s brought Gaidys into the camp criticizing Soviet reality.
Somehow he quite naturally resolved to take on the challenges of the grotesque aesthetic, choosing scenes from Soviet reality as a thematic foundation.
Gaidys hurled his illegal anti-Soviet offensives with the greatest effect by shackling “legal” Soviet comedies under the lock and key of the grotesque, barrbora the productions of Ivan Kocherga’s The Craftsmen of TimeVladimir Mayakoski’s The BathhouseAlexander Kopkov’s Elephantand Viktor Merezhko’s The Proletarian Mill of Happiness These different productions essentially were variations of the same theme: Employing a particularly broad palette of comedic colors — parody, irony, caricature, clowning, grotesque — Gaidys used his productions knygx sketch out the contours of the illogical, lopsided and absurd Soviet knhga.
These productions testified to Gaidys’ maturity as a director: The courageous anti-Soviet subtext of Gaidys’ productions did, however, “damage” the director’s political reputation and caused great confusion in Communist Party circles. Following the staging of The Bathhouseintense “ideological court hearings” were held at Party meetings. Even Mayakovsky’s prestige failed to protect against ominous accusations that Gaidys had forgotten the theatre’s role as “bearer of communist ideals”, requiring redemption for such a “poor memory” in knyba form of a tribute to the communist underground by staging Grigory Kanovich’s The Long Life of the Dead in And yet, The Bathhouse survived the pressure, and remained part of the theatre’s repertoire.
Today, the many episodes in the saga of Elephant’s battles with censors can be appreciated like a good joke. Take, for example, the theatre’s response to an order issued by the Lithuanian Soviet Socialist Republic’s LSSR Ministry of Culture to get rid of the multicolored patches that had adorned the costumes of actors portraying collective farmers in the play’s crowd scenes.
The theatre dutifully obeyed the order: The Bathhousedirector P. Baranauskas — Chudakov, P. Stankus — Jaskin, B. Elephantdirector P. The House of Disciplinedirector J. Tango was particularly problematic: It was, it seems, one of the reasons for the theatre to select the theme of conflict between artist and government as one of the main plot lines of its struggle. This “spitting” took place during Moliere’s disturbing finale.
He returned to this theme once again — and even more compellingly, more painfully and with greater inspiration — with The House of Discipline by Juozas Glinskis inthe story kknyga the imprisonment, interrogation and “reprogramming” of 19th radvilsite Lithuanian poet Antanas Strazdas. The production was instantly noticed.
The particular atmosphere of The House of Discipline was created with an absolute harmony of word, image and body: In evidence were “moments of the tragic grotesque, powerful, interpretive theatricality, flexible in form,” and a particular “insight and accuracy of thought. In all likelihood, the production was the first to so clearly demonstrate the kknyga of new Lithuanian directing to fuse all elements — literature, art, and the actor’s voice, movement and expressiveness — into an integral stage image.
The House of Discipline appeared to be an extraordinarily expansive — as well as specific and very universal — stage narrative that served as a dramatic metaphor for an artist in a totalitarian system. It expressed the tragedy of the existence of freedom-seeking men living in a world that had been transformed into a prison or psychiatric asylum, “drastically exposing the wounds of the era, human desecration, violence, scheming and deception, particularly against those seeking truth and freedom, and those fighting for a natural human existence and creativity.
He addressed this in Kazys Saja’s Mammoth Huntin which a group of unfortunate souls “dressed in masquerade costumes” wandered around in “some sort of clearing,” “hopelessly searching for a celebration and the promised beckoning lights of communist prosperity.
The theatre’s art council did not approve this proposed scene, during which a field in the shape of Lithuania was to be “spread” over a low platform, dotted with small farms, cottages, churches and a well, while the characters of the play would walk over it, trampling everything under foot.
One scene from The Bolsheviks entered the annals of Lithuanian theatre history as a particularly graphic display of the power of directing, namely the staging of a “last supper”.
In the scene, party “apostles” sat around a wooden table breaking black bread, “wrapped” in red lighting that transformed their faces into fantastical red skulls, symbolizing the blood shed both in the past, and in the future.
Nevertheless, an explosive confrontation was inevitable. The relevance of this idea was seemingly confirmed by reality: Poster for Mammoth Hunt King Ubudirector J. One of the most noticeable truth-telling themes in Vaitkus’ theatre was based on the diagnosis of a putrid, rotten, insane and “inhuman” reality.
Vaitkus pronounced this diagnosis resonantly in King Ubuin the first interpretation of the avantgarde play produced in the Soviet Union. In this production, the director portrayed with great relish Jarry’s barboraa world of astounding folly, passionately populating it with many “kings”, one more blinded from their decay than the next, with characters performing slow abrbora, donning brightly made-up deformed masks, their bodies stuffed into costumes made of plastic kitchen mats.
It appears the minor detail of Soviet kitchen mats was sufficient or perhaps not even necessary for King Ubu to resonate with the subtext and intonation of an aesopic parody of Soviet reality, providing a way to view the world as if through a strange crooked mirror.
skaitytojai išrinko šimtmečio knygų šimtuką: viršūnėje – „Dievų miškas“
Confronted by this, the entirety of contemporary reality — “everything that was heard on Soviet radio and television or expelled by newspapers stuffed with ideology and demagoguery — took on phantasmagorical, repulsively humorous forms that had much in common with the theatre of the absurd. Vaitkus seemed to find absurdist forms in King Ubuand later used them often as a critical instrument for diagnosing reality.
He also, however, sought antidotes for these forms. It should be noted that these productions — Red and Brown and Kingas — were the first experiments with nudism on stage in Lithuanian theatre. In truth, Red and Brown did not aspire to a place in the history of displaying the naked body.
The play merely showed half-naked soldiers, dressed in fragmented costumes, decorated with colored exotic bird feathers. Having escaped from the “zone” and climbed high atop a roof, they seemed to consume the fresh air of freedom and unexpected love with all of their naked limbs. Humanitarian characters did not, however, become the protagonists of Vaitkus’ theatre. Vaitkus was much more concerned with examining the consequences of that brutal world — the anatomy of the deformed, crippled and disfigured human consciousness.
He concerned himself not only with the social realities of the day, but also with a revision of man’s internal reality. Undoubtedly the strongest presentation of this pursuit came with the legendary production of The Last Ones at the peak of the early stage of his directorial career.
The plays’ revealing and dramatically exposing energy was more than obvious.
Critics openly named the director’s theme in The Last Ones as “the recognition of evil. The most important explanation for ,nyga power of this special portrait was a different and unique kind of psychologism. Vaitkus was able to “recognize evil” not only as the source of man’s impudence, but also of man’s helplessness. His was an ability to penetrate the dramatic souls “condemned to evil” without denouncing them, but rather “transforming them from private to universal ones” and seeing in them the casualties of “the degradation of man and society”.
With The Last OnesVaitkus began writing the medical history of the damaged soul of society.
Vaitkus infected the characters of classical drama with the human diseases of the day. And he once again confirmed — only even more forcefully and radically — what other critical “revisionists” of reality had been asserting in one way or another, namely that Lithuanian theatre had a special “realist” metaphorical-poetic ability.
Vaitkus seemed to reinforce — by sharpening and polishing — the linguistic tools of metaphoric imagery, symbolic conclusions and poetic analogies and used them to dissect the deepest and most painful sorrows of reality. Paradoxically, but logically in its own way, the more keen the “dissection” by Lithuanian theatre, the stronger became the desire for an alternative relationship with reality.
The struggle to articulate pain, anger and despair embodied by radvilaige increasingly intensified voice of “revisionist” Lithuanian theatre of the s, also encouraged a search for their opposites in the “forms of hope.
The Last Onesdirector J. Next article Previous article. Comments Write a comment. Sources and links Bibliography Video recordings Illustration sources.