April

Archive:
Illustration from the performance “Rooster who Loves Money”

HE LOVES WHAT HAMLET WRITES 2013-04-03

Interlocutor Viktorija Ivanova

The artist Antanas Dubra and the actor of Vilnius theatre Lėlė Šarūnas Datenis were awarded with the Golden Stage Cross in the category of the Young Artist for the creation of the performance for children “Rooster who Loves Money” at the Arts Printing House this year. Several weeks ago Antanas came to the premiere at the National Drama Theatre and looked around what stars gathered to the performance, and soon he was photographed by journalists in the lobby of the same theatre, and his laconic speech of gratitude was broadcast by the National Television.

IT CANNOT BE WORSE THAN IN THEATRE. OR EXTRACTS FROM “CRUSADER’S” DIARY 2013-04-04

Andrius Jevsejevas

While the impressions are still hot and while the daily life has not yet washed the blood of the bad crusaders, while the warlike tales of the barbarians still heat the blood, the author presents extracts from his personal notebook in which work details of the evaluation committee of Golden Stage Crosses were registered.

796

Maurits Escher “Self-portrait in the Globe”, 1935. Illustration from http://www.retronaut.com

CRITICISM OF THEATRE AND CRITIQUE: CRITICALLY (I) 2013-04-22

Viktorija Ivanova

The author Viktorija Ivanova converses with people creating, observing and analysing the Lithuanian theatre processes – the philosopher, theologian Ervinas Koršunovas, theatre and cinema critic, reviewer of culture Vaidas Jauniškis, theatre critic Rasa Vasinauskaitė and director Agnius Jankevičius about the present situation of criticism in the society.

2

Raoul Hausmann "Art critic". Photo from photographyhistory.wordpress.com

ABOUT THEATRE AND CRITIQUE: CRITICALLY (II) 2013-04-26

Viktorija Ivanova

“The task of a critic is to analyse, no matter how drearily it may sound. Still, the analysis should not be narrow – all knowledge should be used for it as art is also born from analysis. Similarly to the creator who stages a performance and thinks what he wants to say, for what, how and why, the same questions should be answered by a critic in his/her critique."

1
Back