Naujos istorijos ieškojimai: istorinio spektaklio pokyčiai 1935–1940 m. lietuvių teatre

LTŠio straipsnio objektas – istorijos interpretacija paskutinio tarpukario penkmečio Lietuvos Valstybės teatro spektakliuose, kurie analizuojami ir sceninių priemonių naudojimo požiūriu, ir idėjiniame bei sociokultūriniame ano laiko kontekste, provokavusiame naujų, scenoje lig tol dar neišbandytų istorijos įvaizdžių paieškas. [Iš leidinio]Reikšminiai žodžiai: Lietuvos teatras; Režisūra; Dramaturgija; Istorinis spektaklis; Biografinis spektaklis; Lithuanian theatre; Stage directing; Dramaturgy; Historical play; Biographical play.

ENIn Lithuanian theatre, the life of history in the years 1935– 1940 was marked by an effort to free itself from the dukedom of Lithuania, which had been embracing it for a long time, and also by an attempt to search for new historical themes. At first it seemed that the Lithuanian stage was afraid to wander away from the noble history and the manors of Lithuania, for it continued to contemplate its past by telling stories about the crusades of blue-blooded heroes. However, it soon turned the greater half of its face to the non-noble Lithuanian territories. Following that, an outbreak of biographical plays (Antanas Sutkus’ Vincas Kudirka (1935), Borisas Dauguvietis’ production of A. Strazdelis’ Prieš Srovę (1936)) brought famous Lithuanians of the 19 th century to the stage. It spread the theme of revolution in Lithuanian theatre and inspired a series of productions saturated with the theme of fighting for the rights of the plain folk: Vladas Fedotas-Sipavičius’ Baisioji Naktis (1936) reminded the audience of the revolution in 1905, B. Dauguvietis’ Aukso Gromata (1938) depicted the beginning of the uprising in 1863, and Stasys Pilka’s 1831 Metai (1939) dealt with the revolt of 1831. These productions testified the effort to synthesize historical themes and social issues of the lower caste. This effort was seemingly related not only to the intensified social analysis during the last five years of the interwar period, but also to the notably strengthened influence of the Soviet Union which treaded the themes of battle, riot, upheaval and revolt into theatre grounds. Paradoxically, historical plays in the past had plots dealing with rebellion, but from the artistic point of view the productions had no rebellious potential. These plays visually proclaimed the regression of the State theatre back to a conservative, pre-directing stage. [From the publication]