Vydūnas ir teatras: sceninės Vydūno dramaturgijos recepcijos ypatumai

LTStraipsnio tikslas yra aptarti sceninės Vydūno dramaturgijos recepcijos ypatumus skirtinguose lietuvių teatro raidos etapuose – XIX a. pab. – XX a. pr. mėgėjų teatre, tarpukario bei XX a. antrosios pusės scenoje – ir hipotetiškai įvardyti nesklandaus Vydūno dramaturgijos bei teatro dialogo priežastis. [Iš leidinio]Reikšminiai žodžiai: Sceninė recepcija; Nacionalinė dramaturgija; Režisūrinis teatras; Režisūrinė partitūra; Mėgėjų teatras; Stage reception; National drama; Director’s theatre; Directorial score; Amateur theatre.

ENThe article deals with the specifics of stage reception in Vydūnas’ dramaturgy and concerns the problems of its non-smoothness and constant discontact between drama and theatre. This inadequacy is recognizable in the distinct periods of the history of Lithuanian theatre: 1) the amateur theatre in the junction of the 19th and the 20th centuries, when using the possibilities of the open air performance, succeeded in revealing the sensation of the broad, immense space that is necessary for Vydūnas’ dramaturgy, but it lacked a professional acting to convey adequately the complex human conception of Vydūnas; 2) the professional theatre in the interwar period moved to a higher level of Vydūnas’ character interpretation, but it didn’t find any means for his dramas‘ accommodation to the standard stage; 3) the theatre in soviet period tried to discover Vydūnas – on initiative of students’ amateur troupe that renewed the tradition of open air performances and proved its suitability for Vydūnas’ drama, however it hadn’t any continuation in the area of the professional theatre. Vydūnas seems to be felt as some sort of a stranger in the history of the whole Lithuanian theatre – though he belonged to the very sources of the national theatre and drama. This could be explained as a result of Vydūnas’ claim to consider drama not only as a literature text, but also as a directorial score, the claim that could work as a solid project of theatre’s professionalization in the amateur theatre period, but was inadequate with the main direction of Lithuanian theatre evolution that formed itself as the director’s theatre and didn’t need to be supported by drama’s directorial prescripts. [From the publication]