(Ne)sukilusios?: trys 8-ojo dešimtmečio Lietuvos teatro moterų Anouilh’ai

LTReikšminiai žodžiai: Dramaturgija; Feminizmas; Herojė / protagonistė; Herojė/ protagonistė; Homogeniškumas / heterogeniškumas; Homogeniškumas/ heterogeniškumas; L'ecriture femine; Moteris (ys); Moteris(-ys); Moters reprezentacija; Moterų reprezentacija; Moterų režisūra; Moterų teatras; Vyras (-ai); Vyras(-ai); Dramaturgy; Female hero/ female protagonist; Female hero/female protagonist; Feminism; Homogeneity/ heterogeneity; Homogeneity/heterogeneity; L'ecriture feminine; Man/men; Representation of woman; Woman/women; Women theare direction; Women theatre; Women theatre direction.

ENThree Jean Anouilh’s plays staged by Lithuanian women theatre directors in the 1970s – "Eurydice" by Natalija Ogaj (1972), "Medea" by Dalia Tamulevičiūtė (1974) and "Antigone" by Irena Bučienė (1978) – signalled a visible shift in the Lithuanian history of woman’s representation on stage: they discarded the image of a victimized woman for a rebellious one. However, the new rebellious woman was increasingly marked rather as a "non-existing" one – just as a sign of lost or utopian time-space, which also meant a gradual refusal of the rebel’s position. In a way, this ambivalence of rebellion-conciliation or challenge-surrender was echoed on the level of language specificities in these productions: they obviously privileged "feminine" alogic and emotional multidimensiality instead of "masculine" successive development in the display of the characteristics of their protagonists, though in general they tried to follow the authoritative rules of a logo-centric/conceptual/mono-vocal theatre language that resisted "feminine" heterogeneity, fluidity and constant transformativity. Speaking in Hélène Cixous’s terms, Lithuanian women theatre directors discovered, but at the same time as though suppressed the liberating energy of "the laugh of the medusa". [From the publication]