© Ruslan Bolgov

YOUNG VOICES

Stabat Mater

Based on August Strindberg’s play "The Pelican"

DIRECTOR: Eglė Kazickaitė
COSTUMES: Erika Jankauskaitė, Pelkių Tyla
MUSIC: Giovanni Batista Pergolesi
CAST: Greta Gudelytė, Ričardas Bartašius, Kristina Švenčionytė, Valerijus Kazlauskas

 

PRODUCER: Theatre APEIRONAS

 

DURATION: 73 min
PREMIERE: 2018

 

LANGUAGE: without words
RECOMMENDED AGE: 14+

DATE: 27 September 2019, 14:00

VENUE:  Theatre Studio of ATVIRAS RATAS (Ašmenos str. 8, Vilnius)

The classical play by a grand figure in North European dramaturgical tradition here is presented in the most unexpected, visually tense and precise form. Staging this work, the director rejects text and language motivating her choice in the words of one of the characters of the play – a daughter:

“We talk too much, and it might be that we do so in order to hide the essence, the truth”.

The play makes use of physical language, movement, bodily shapes and objects.

This phrase becomes a cornerstone of the performance when text is replaced by metaphorical body language of the actors. The main character of Stabat Mater, the Mother, is turned by her husband into a clone, an icon of Venus de Milo. In order to limit woman’s freedom for her to serve as a Mother, her hands are cut off. The tragedy of a Woman and her family is shown in the background of hundreds of pots which represent the corrupted archetypal worldview and domestication:

Woman’s goal of life is to be a Mother. To be devoted, self-sacrificing, suffering, silently crying for her children in the darkness of the night. To give it all for her husband and children. First of all – the heart. Then – the hands. Finally, to be nothing but a torso. But most importantly, to be a beautiful torso.
Woman’s nature is not to regret anything given to the family. Woman’s nature is to never feel hunger but to feed the hungry.

She, however, had different nature. She missed those hands that were taken away from her. So she took them back.

 

Theatre APEIRONAS

Theatre APEIRONAS was founded in 2012 in Klaipėda by two young directors Eglė Kazickaitė and Greta Gudelytė. In 2018 it moved to Vilnius. Theatre avoids monotony, consistency of time and action; in its performances many contexts, links to philosophical concepts and poetry are intertwined, always giving priority to thought. The audience plays very important role and is understood as the co-author of the performance, which is also encouraged to see, interpret or understand the performance in its own way.

“Provocative“, ”experimenting“, “boundary-breaking“, “brutal“, “uncomfortable“, “chaotic“, “irrational“, “amorphous“ – different epithets are used to describe the Apeiron Theater. One might say, that during a rather short time, Apeiron Theater became one of the most intriguing and controversial theatres in Lithuania.

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