VŠDT | MAN ŠIANDIEN - HAMLETAS | rež. Ieva Stundžytė

FOR ME TODAY - HAMLET A one-part performance for people aged 14 and over not only based on V. Shakespeare's Hamlet. Premiere - March 3, 2022. Duration - 1 hour. 20 minutes, one part Director - Ieva StundžytėScenography and costume designers - Justina Ignatavičienė and Greta MilevičiūtėComposer - Paulius KilbauskasChoreographer - Eglė KančauskaitėLighting artist - Darius Malinauskas PLAYING: HAMLET - Severinas NorgailaOPHELIA - Monika Geštautaitė CLAUDIUS - Dalius JančiauskasGERTRŪDA - Jūratė BudriūnaitėPOLONIUS - Juozas Žibūda HAMLET'S FATHER'S GHOST - Juozas Bindokas HORACIUS - Aidas Matutis LAERT - Tautvydas Galkauskas THE MESSENGER - Aistė ŠeštokaitėACTORS: Aistė Šeštokaitė, Mindaugas Jurevičius, Tautvydas Galkauskas "This is me very briefly. Today is the worst day of my life. Today is emptiness for me. Today - not me... I'm Hamlet today. And I, by the way, am.. To be or not to be? And if to be - how? The play raises the same Hamlet questions, but looks at V. Shakespeare's famous play through the eyes of a young person. How to be if you are confused, betrayed, if you have lost trust in the dearest people? "Hamlet", which has been performed on stages all over the world for more than 400 years, has long ceased to be only a canon of literature and theater. Hamlet is also a certain way of perceiving the world, a mood, a spiritual state familiar to many of us. In this play, Hamlet is a teenager - rebellious, irreconcilable, doubting himself and others, misunderstood, disappointed, but deep in his heart he longs for peace with himself and the world. Is dialogue, communication between different generations, and respect for different values ​​still possible in our "conjured society"? In the play, you can easily trace the main plot lines, themes, and characters of the play "Hamlet", but the original text of V. Shakespeare here seems to imperceptibly intertwine with the inclusions of modern language and behavioral patterns. The director Ieva Stundžytė freely interprets, rearranges, supplements the play with today's contexts and means of expression - music, movement, choreography are very important in the play. The creators bravely take on the task of conveying the complex existential questions raised in the play in an understandable way and at the same time revealing in a non-trivial way what is relevant for a young person today in the inexhaustible undertones of "Hamlet". How can I be if I am Hamlet today? The play does not leave its doubting hero alone in a labyrinth of unsolvable dilemmas and gives hope that looking for answers together is no less important than finding them.---The play is included in the "Cultural Passport" program for grades 7-12. Mr. regina.sileikiene@vsdt.lt or tel. +370 686 12 616 More: http://www.vsdt.lt/spektaklis/MAN-SIANDIEN-HAMLETAS/ ---Director Ieva STUNDŽYTĖ about the play: "Hamlet" for the first time in the 12th grade I saw the play "Hamlet" by director Eimuntas Nekrošias on the stage of the National Kaunas Drama Theater. The most striking impression is Hamlet, played by Andrius Mamontovas, a very popular musician at the time, who goes through the entire family tragedy from beginning to end, as if in the center of a world constructed under the influence of white/Viking aesthetics. "Hamlet" remained for me the incredibly tragic story of the insane self-destruction of a young, talented creator. A legendary epic created for future generations, maybe to recognize Hamlet in ourselves? I think that Hamlet is not born once in a thousand or a hundred years - there are Hamlets among us and in all times, and not so rarely. Hamlet seriously I decided in 8th grade that I would only read philosophy and poetry. Playwriting did not have any special role in my life until I studied acting at the Lithuanian Academy of Music and Theater. I remember that in the first year we read V. Shakespeare's plays in the dormitory, dividing the roles among the students, because it was simply faster and easier that way. And more interesting. When I once had to choose between Hamlet and Ophelia, I chose the latter. I remember that I "lost" Ophelia while listening to a talented student's evocative reading of the text of Hamlet. That mystical Hamlet turned into a very recognizable and tangible person. And the scene with the mother - Queen Gertrude - remained the most real, painful and closest to me. It's like a polaroid picture of the whole situation. At that time, Hamlet stuck as an extremely sad but very beautiful work. "Hamlet" again Rational, logical, intelligent, but cold enough, cruel, maybe even scalpel-precision director Oskar Korshunov's "Hamlet" was an unpleasant spiritual upheaval for me personally. The slam of a piano lid through the fingers. A forced awakening from a dreamy, imaginative "Hamlet" journey. And I am grateful for that. Because how else will you evaluate what you believe in, what you recognize one hundred percent? You won't convince me or talk me out of it that easily. Apparently, such an experience was needed to kind of "wake up" and check myself once again. "Ophelia" In 2012, I created the play "I, you and Ophelia", the inspiration of which was not the question "To be or not to be", but the idea that "we know who we are, but we don't know what we can become". At that time, most people asked me the question - how much are you an actress and how much are you a director? I won't hide it, the play and its theme were very personal to me. The constant creative curiosity to find out the essence of this idea, at least for myself, led to the creation of a play in the "Open Circle" theater. What if Hamlet is the director of the play, and Ophelia is its main actress? The theme of Ophelia, the silhouette of her shadow, did not leave me for a long time - the performance was perhaps born too early, not in its time, it was certainly not perfect, but the journey of the development of thought took place. Yes, we really don't know what we can become - there is no time for self-searching, because it, time, above all, is simply not enough for (co)creating oneself. "I have Hamlet today" Me. Me. Mine. About me. It's also a mood and a state - I'm sad, I'm long, I'm sick, I'm insecure, I'm "going through the roof", I'm lost, I'm not me, I don't exist; or: for me, the urge to "tear and taunt." This is the action - I search, I provoke, I rebel, I scream, I speak, I suffer, I love, I hate, I destroy, I destroy. This is also the theme - I speak, but you don't hear me, I hear, but you don't speak to me. The question "To be or not to be" - I think it doesn't matter whether you are 7 years old or 17 or 70 - affects you, me, you, us. A person exists, he is as long as he asks, what will happen after me? I paraphrase the 20th century. M. McDonagh, the Irish playwright of the second half: "For me today - Hamlet" is not about life or death, but about what we leave behind. Not only to be able to speak, to talk. But learn to hear yourself. To hear another. to listen Accept. Understand. To study. To want to learn. Because otherwise - words, words, words... When I was invited to stage "Hamlet" at the Šiauliai State Drama Theatre, I was visited by a whole range of emotions - from creative joy and uncontrollable enthusiasm to enormous fear and immeasurable panic. Because this is the first time I create a performance outside of my "comfort zone" - "Open Circle" or "Weird Theater" - but in another place, in another city, with other people. However, as the premiere of the play approaches, I can say with certainty that I am extremely grateful for such an extraordinary opportunity. I am grateful to the entire Šiauliai State Drama Theater - the talented actors of this theater, the administration, and in general the entire creative and technical group. And, of course, I am grateful to my teacher, director Aidis Giniočis, because without his support and advice, it would have been much more difficult. The experience in VŠDT is about what I wrote earlier. to talk To hear. Understand. To study. Choreographer Eglė KANČAUSKAITĖ about the performance: About Jolanta While rehearsing the performance in Šiauliai, on January 15, I learned that my beloved teacher, lecturer, director of choreography master's studies, Jolanta Vymerytė, passed away on her birthday. She is a teacher who instilled the pursuit of perfection, the principles of hard but purposeful work, and the ability to establish sincere and open relationships with everyone around her. The human factor was extremely important to her, being the best classical dance teacher in Lithuania, she easily found a language with everyone, was open and curious. These principles inevitably accompany me as well. Learning from this Teacher was a huge gift for me. This is the ability to teach. About Kelma, my father and the scene I am from Kelma, a small town near Šiauliai. I lived there until I was 19, then I studied in Norway, after that I continued my studies in Vilnius, despite this, I still have a lot of ties with Kelma. My Parents - Mom and Dad - live there. At the age of three, I ran to the stage of my own free will to help him - my father - an illusionist. The specificity of this complex genre is special: it is extraordinary precision, manipulation of the viewer's attention, hard and never-ending work, the habit of always immediately trusting the stage partner, being in shape, being ready. These laws are so natural to me that I usually don't even talk about them, they are lessons learned in the family that accompany me to this day. This is the ability to learn. About Šiauliai Drama Theater and Hamlet Hamlet appeared unexpectedly. For this experience and lessons, I am grateful to Ieva, the director of the performance, who trusted and believed in me. This is my first work experience in the State Theater, my first work in a theater outside of Vilnius and the first time I use the Vogue dance style in choreography. This idea, born after re-reading "Hamlet", only worked when it was transferred to the theater troupe - actors who dived receptively and without doubts into the unknown depths of the dance world. They courageously studied, asked and heard. It was. This is the only way I got the answer that this idea works. This is the ability to be.

When buying 10 or more tickets, you can contact: vipklientai@bilietai.lt

Doors open: 30 min. before the start of the performance
Event duration: 1:20
Breaks:-
Language of the event: Lithuanian
Children admitted for free: no
Age limit: N14
Discounts: for schoolchildren, students, seniors, people with disabilities, POLA members. Additional information: Discounts for schoolchildren, students, seniors, people with disabilities. It is necessary to present a certificate during the ticket check. Information for people with disabilities (in wheelchairs): they are admitted free of charge, occupying the designated seats: On the ground floor, 1st-2nd row of seats N (right) and 2nd row of seats N (left) and on the balcony. A free ticket is issued at the Theater box office or by contacting the administration. Information for persons accompanying people with disabilities: admission is free if possible. A free ticket is issued at the Theater box office or by contacting the administration. Administration contacts: tel. +370 68612616, e-mail Mr. info@vsdt.lt

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