| Helverâ€˜s Night
2006 11 26
Ingmar Villqist. Dir. Jonas Vaitkus. The Lithuanian National Drama Theatre. Première â€“ in 2003
A fashionable, modern Polish playwright with a “Scandinavian literary” pseudonym has created a play about violence, manipulation and similar evil storming in the streets, breaking into houses, into relationships. In this performance, director Jonas Vaitkus works together with his gifted students – Arūnas Sakalauskas and Jolanta Dapkūnaitė.
|Photo by Dmitrij Matvejev
It’s necessary to mention that Swierszcz [the real name of the author] is an art critic and exhibition curator. This can also be felt, both in Helver’s Night as a separate episode of the town he is creating, as well as in the context of all of his works: the validity of the entire conception, the “curation” of the world as a certain construct, as an exhibition.
By Vaidas Jauniškis. The Pseudonym's World (Lith. Slapyvardžio pasaulis).
Whoever author of the play Ingmar Villqist is – a brilliant incarnation of Scandinavian dramaturgic tradition or an effective generator of fashionable texts supported by mass media and influential criticism, transforming smoothly raw material of borrowed plays and films, engaging the audience in emotional, marginal psychological conditions - Helver’s Night does have several unquestionable advantages. One of them is the language of the play that encodes dramaturgic, emotional turning-points in fragmented, elliptical, everyday speech, and revealing adeptly the effort of a disabled man to express himself in words, in endless reprises.
By Alma Braškytė Dollhouse in the Small Hall of National Drama Theatre (Lith. Lėlių namai Nacionalinio mažojoj). Teatras, Spring, 2004.
The noise of a humming crowd intensifies acute sensations even before the beginning of the performance – something terrible is going on behind a bright and transparent room, where the shoulders of the woman sitting with her back to the audience flinch with every shrill sound. Whitish green, immaculately clean and decorative space, where the woman of similar undertones seemingly melts, will soon contrast with a black figure of a man waving a flag. The first bars of the performance immediately link the realities behind and within the room, bringing in threatening street atmosphere. Fights behind will soon move here – small Helver and Clara sitting at their little, white table and eating from toy plates will soon dedicate the night for cruel games of the great, existing behind.
By Rasa Vasinauskaitė. Non-riot Night (Lith. Nemaišto naktis). 7 meno dienos, January 16, 2004.