The beauty that does not redeem the cruel world

According to the director Jokūbas Brazys, “it is all about the paralysing idea of love”, in the Seagull he has directed the words materialize. All the characters of the Chekhov’s play are played by the very young people, the same year students, therefore the unearthing of paralysis, nirvana, of love that exhausts muscles and bones does not surprise – they ask and even demand love. They want to grasp the last straw in order to help both themselves and others.

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However there is still love for art and creative passion. Both Treplev and Brazys find it in the Seagull. Absolutely unexpectedly, after all the dramatic perturbations in our theatre, in the twilight of the scene idols, ah, there is no reason to visit theatre anymore, the young director demonstrates not only passion but also ability. The talent to fulfill and keep the actors so tightly in an empty space where only chairs are used, the most popular theatre props, that these actors, having loudly moved from behind the scenes, could play same tones and harmonies in the same rhythm and take the audience together with them.

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Some time ago, in 2013, in the same place Oskaras Koršunovas’ Seagull was born which presented the well experienced actors on stage. It seems like their chairs were in different places, deeper in the stage right… The new left-handed stage creature filled by the 20-somethings tries to navigate between the bird drawn by chalk and the bones of the real bird or animal (Nina: „Men and lions, eagles (…) the silent fishes (…).“). So, we are striding, humanity evolves backwards and forwards; the pile of bare and bloody bones; the vociferous caretaker Shamraev with the camouflage trousers, water pouring over the body and into the throat; the torment of „Nirvana“; the seagull disappearing in the well… I see, the coursemates are a bit rowdy, making more than enough noise and silence – I hope it will eventually decrease. But the conductor conducts, enacts and resurrects the work. Everything else, even having in mind the possible interferences – oh, what a miracle! – still makes the “new form” declared by Kostya, “the global kingdom of the will“. Bravo!