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And so, the story about a young man… and about all those people who comprise his life. Gradually, the story and secret grief of everyone on the stage takes shape. Everybody tries to suppress that sorrow and some are more successful at this than others. (…) All of them blame and reproach each other and yet – this is but a silent, undeniable and final proof of their love. By Ramunė Balevičiūtė. The Most Important Story (Lith. Svarbiausia istorija). 7 meno dienos, 12-10-2001 There’s a feeling that actors had worked not with Varnas but with Stanislavsky, Brecht, or Meyerhold. Classical reincarnations and estrangement; almost Brecht-like songs and a one-actor theatre in the vicinity; gymnastics and almost biomechanics. This is an example of a real modern theatre fusing aesthetic and ethic stage experiences of the previous century. It paraphrases them, renders them almost invisible, only slightly recognizable. This is a performance verifying the fragility of theatrical matter – a man and his creation. It also speaks about ironic temporality of life. It arouses a strange feeling – the feeling that repetition is impossible. Lui can set out on a journey into himself, into a distant land only for the first and the last time – in order to “collect” himself out of the reproaches from the people he once met. By Rasa Paukštytė. You Yourself Are a Distant Land (Lith. Tu pats – tolima šalis). Literatūra ir menas, 12-10-2001 The Distant Land by Gintaras Varnas is impressive. A gigantic performance based on text. (…) Having got used to all characters, I started to enjoy the performance. I have always thought that a too literary piece is not suitable for theatre. It is simply not flexible enough. The Distant Land proved how wrong I had been. The depth of attitude as well as the expression of acting moved me. The top level actors. By Yun-Cheol Kim. In Different Context (Lith. Kitame kontekste). Teatras, No.4, Winter 2004 There is autumn in The Distant Land – both in metaphoric as well as physical forms. Behind that felt covered train wagon that carries Lui home into his native town, Indian summer colours should prevail. Glowing, early autumn of a man, when he is still capable of going out without much agitation, realizing oneself and others, still capable of bidding farewell by telling the truth or suppressing the truth about the terminal departure in order not to hurt anyone. By Vaidas Jauniškis. Return to Autumn (Lith. Grįžimas į rudenį). Kauno diena, 20-10-2001 |
