The union of a rhythm and a word

An antique tragedy – Sophocles’ “Oedipus Rex” was shown. Even though the performance took place in Lithuanian (with German titles), the main part was given over to Oskaras Korsunovas’ extreme rhythmical metrical parameters. The unity of the language and sound, “synchronised” by the means of music. Percussionist Arkadij Gotesman, who strengthened every gesture of actors with the magic of rhythm and turned a very sad ending into an acoustic vortex pulling inside more than any other word, was responsible for that.
It should be noticed, of course, that Oskaras Korsunovas extended this effect to three hours, but from the point of view of choreographic theatre, the use of the same stylistic means, more known in the dance theatre, is logical; especially, when the antique role of the chorus and its structure ideally fits into Korsunovas’ rhythm frame.
Undoubtedly, the performance of Oskaras Korsunovas, first of all, is a try to stage a performance about subconscious, this it way it’s expressed in gloomy images. It’s a direction work of art which, due to its performers, reached an exceptional height and which established the union of language and rhythm.
CHRISTINE DOBRETSBERGER