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PRESS________________________
(…) I have never seen a brighter and more harmonious work by Nekrošius. As there is no steady story, one cannot experience spiritual purification (…) yet, there is surprise: there used to be perfect order in the world based on logic interaction and coexistence (…). It is also amazing that seemingly unrelated images of a human life can turn into pictures of natural phenomena, and together they can create the Atmosphere that grips the audience not with the plot but rather with fathomless mood. By Ieva Zuolė. Well, Yes… Nekrošius (Lith. Na, taip... Nekrošius). Teatras No. 1, 2003
(…) Nekrošius takes up The Seasons as if it were literature that stimulates joy. (…) The Seasons by Kristijonas Donelaitis becomes the space for playful childhood. Stirred by fertile imagination the action of the performance develops like a sequence of funny childish tricks. (…) Those miniature plots are created and interrupted on the spot. More plots suddenly spring to life and the mood or emotion that prevails there does not linger on and at once gains a different shade. By Šarūnė Trinkūnaitė. Pleasure of Theatre (Lith. Teatro malonumas). Teatras No. 1, 2003
(…) the performance turned out surprisingly energetic and youthful, full of healthy humour and transparent elegy. After monumental and heavyweight productions of William Shakespeare, this performance looks like purification, an attempt to return to the very beginning and realization that such regress is impossible. (…) images of the performance are formed as if from childhood memories. They are shaken out like that shirt clinging to the body in early spring and then it is easier to breath. It must be the first time that Nekrošius has allowed himself to breath freely and deeply and to experience pleasure from this, because the most beautiful moments of life just like the joys of spring soon fade away. It’s more difficult to breath in autumn and your heart starts aching… By Audronis Liuga. Primer for Seasons (Lith. Metų pradžiamokslis). 7 meno dienos,14-03-2003
Certain reverberations of previous performances by Nekrošius can be traced in his The Seasons; however, here, theatre as an instrument, theatre as a mechanism with the cogs of which it is possible to “manipulate” the world like a puppet not only dominates, but functions directly. One plank dropped along the stage signifies melting ice; white, glistening, wet sheets symbolize the return of storks; two benches and a small bridge built in a few minutes (all the rest is created from sounds and movements by the actors) stand for flood; several red bricks and swings express the construction of a new church; a wet jacket denotes endless dampness of spring; a simple enclosure and a bridal veil hidden under the collar suggest the selection of a bride; and some big and small sticks reminiscent of Salvador Dali pictures embody a disappointed and tired man. By Gabija Gruodytė. How Peasants of Donelaitis were Making Theatre of Nekrošius (Lith. Kaip Donelaičio būrai Nekrošiaus teatrą darė). Literatūra ir menas,21-03- 2003 |
