"Rusų klausimas" Valstybės teatre. "Naujosios Romuvos" tautinės

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Collection:
Mokslo publikacijos / Scientific publications
Document Type:
Straipsnis / Article
Language:
Lietuvių kalba / Lithuanian
Title:
"Rusų klausimas" Valstybės teatre. "Naujosios Romuvos" tautinės / autonominės kultūros idėja
Alternative Title:
"Russian problem” in the Lithuanian State Theatre. The idea of national / autonomic culture in "Naujoji Romuva"
Authors:
Trinkūnaitė, Šarūnė
In the Journal:
Meno istorijos studijos [Art history studies]. 2023, t. 13, p. 127-148. Muzikos ir scenos meno tyrimai
Subject Category:
LT
Rusija (Russia); Lietuva (Lithuania); Teatras. Scenografija / Theater. Scenography; Kultūrinis identitetas / Cultural identitity.
Summary / Abstract:

LTStraipsnyje analizuojama XX a. 4 dešimtmečio pradžios Lietuvoje vykusi „Naujosios Romuvos“ inicijuota aštri polemika dėl Valstybės teatro bendradarbiavimo su rusų teatro menininkais ir, kaip anuomet atrodė, jų platinamos rusų kultūros įtakos. Konfliktą įskėlė dviejų skirtingų tautinio meno ugdymo sampratų susidūrimas: Valstybės teatras, pasitelkęs rusų teatro meistrus, mėgino paspartinti profesinio augimo ir modernizacijos procesus, o Juozo Keliuočio įsteigtas ir redaguojamas kultūros žurnalas „Naujoji Romuva“ ragino išsivaduoti iš „svetimtaučių globos“ ir akcentavo autentiškos, originalios tautinės lietuvių kultūros, kuriai pavyzdžiu gali būti tik Vakarų šalys, sukūrimo būtinybę. Lietuvių teatro istoriografijoje šis teatro ir žurnalo konfliktas interpretuojamas įvairiai. Dar kartą įvertinus jo aplinkybes, atsižvelgus į sustiprėjusią tautinės kultūros politiką, straipsnyje teigiama, kad „Naujoji Romuva“ vadovavosi ne meninėmis, o labiau politinėmis intencijomis (bolševizmo grėsme), nes, konfliktui išsikvėpus, rusų menininkams išvykus, teatro sąsajos su rusų teatro kultūra ne tik nenutrūko, bet net įgavo kitą kokybę. Reikšminiai žodžiai: Valstybės teatras, Andrius Oleka-Žilinskas, „Naujoji Romuva“, Juozas Keliuotis, tautinė kultūra, nacionalizmas, bolševizmas, modernizmas, Sovietų Rusija. [Iš leidinio]

ENAfter becoming the head of the Lithuanian State Theatre in 1930, Andrius Oleka-Žilinskas initiated a direct collaboration with famous Russian theatre performers that was expected to accelerate the developmental processes of professionalisation and modernisation: in 1931, three experienced ballet masters – Nicolas Zverev, Vera Nemchinova and Anatole Obukhov – joined the ballet troupe in the State Theatre and immediately became its leaders; in 1932, Mikhail Chekhov started working with the drama troupe as its director and pedagogue and certainly raised its existence to a more sophisticated level. However, this initiative was met by strong opposition, mainly from "Naujoji Romuva", the most influential Lithuanian cultural magazine edited by Juozas Keliuotis. "Naujoji Romuva", of course, did not even try to negate the aesthetic value of the theatre art that was created both by Oleka-Žilinskas and the Russians he had invited. Instead, it focused on two political aspects that demonstrated its deep concern with the future of the Lithuanian culture that the magazine saw as the goal of its activities; it argued passionately that: 1) in order to become strong and original, Lithuanian culture should get rid of all foreign influences and cultural “help from abroad” and should start learning to be brave and self-confident (the foreigners in the State Theatre are brilliant professionals, but they take all attention away thus preventing the natural development of the skills of the local performers).2) in order to recover its health and positivity, Lithuanian culture and theatre culture in particular should turn away from its connections with primitive, nihilist and destructive Russia and should re-orient itself again towards the higher culture of the Western Europe (the Russians in the State Theatre unconsciously infect its artistic style with Russian “nervosity”, “hysteria”, “nihilism”, and even “bolshevism” or “sovietism”, etc.). In 1933 to 1935, in the wake of this attack, the Russians left the State Theatre one after another; in 1933, a young Lithuanian actor Juozas Miltinis moved to Paris, France, for theatre studies at the school of Charlie Dullen hoping to facilitate the start of the „westernisation“ of the Lithuanian theatre after coming back to Lithuania. However, the project of bluntly cutting off the “Russian” orientation of the Lithuanian theatre was not actually successful: Miltinis was not accepted to the State Theatre when he returned in 1937 (and he went on to work as a theatre critic in "Naujoji Romuva"); and the new generation of Lithuanian theatre directors in the late 1930s – first of all, Romualdas Juknevičius and Algirdas Jakševičius who, after graduating from the class of OlekaŽilinskas in the Drama School of the State Theatre, studied in Soviet Russia – clearly confirmed the dependency of the Lithuanian theatre on the Russian theatre. Key words: State Theatre, Andrius Oleka-Žilinskas, Naujoji Romuva, Juozas Keliuotis, national culture, Russians, Russian theatre, Soviet Russia, Western Europe. [From the publication]

DOI:
10.53631/MIS/2023.13.5
ISSN:
2783-6193
Subject:
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Permalink:
https://www.lituanistika.lt/content/106021
Updated:
2023-12-23 20:25:26
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