Lina Klusaitė
www.kamane.lt, 2008 03 02

Budrugana Gagra

In brief: A theatre from Georgia Budrugana Gagra is on a visit in Lithuania at the moment. It is the only theatre of hands that remembers the old traditions in Europe. As the director of the theatre Gela Kandelaki stated, performances of the troupe shown in different towns of Lithuania are the gratitude of the Georgian national for the solidarity of Lithuanians.

The formation of theatre born in the refuge of nature was determined by the fact that no tools were needed for it – only the sun, human hands and the falling shadow. No wonder that this form of theatre survived so long in the land of mountains and rocks.

The Georgian shadow theatre looks as innocent as the silent childish love in the contemporary technological world. Perhaps this is the reason why it is so attractive and is still incredibly clean. As the director of Budrugana Gagra G.Kandelaki said, the actor of such a theatre needs special spiritual cleanliness as only such a person may use energy correctly. The energy accumulated in hands is the fuel of the actor.

The actor’s hand, its shadow is not a simple spot that is able to transform into various shapes in such a theatre. According to the director, the hand renders the status of the actor. Perhaps this is the reason why stories about a small bear Lasarus shown in Kaunas on February 26 were so human, real, subtle and full of sadness and loneliness repeated in jazz melodies of Dave Brubeck as well as full of joy testifying life.

The chamber space of Henrikas Gulbinas jazz club in Kaunas, the attic of an old house, was extremely suitable for such a meeting. Stories are not hasted in the performance; there is place for pauses, sighs, breathing here. One may observe the slow but meaningful flow of life: how a morning awakes, how the grass grows, how trees change forms, how winter and loneliness comes.

The miniature about the bear Lasarus contains all cycles of life; and the silent plastic of fingers becomes more eloquent than words. The language of hands creates a cinematographic effect in the performance; thus, shadows become easily recognisable, characteristic, like plastically moving animated heroes.

With the movement of several fingers, the entire group of animals changes its roles, transforms and returns to the discotheque spree involving the audience. All this is human hands that make miracles. It is only sad that there were only few small spectators in the packed attic to whom this miracle was reality itself.

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