Why these? Already on Monday Players’ Night Ceremony / Day

The theater’s professional holiday will be on Smilga’s birthday on November 23, in spite of everything. How will the annual awards of professional theater take place Gamblers Night ceremony, at the time of writing, was not yet clear. All that is known is that the reins of the director are in the hands of Liepaja this year, they will have to walk on the blade of the knife in cooperation with television, observing both the epidemiological and purposeful script of the ceremony and assembly rules. Gambler’s night The creative group will be director Mārtiņš Kalita, screenwriter Rasa Bugavičute-Pēce and video artist -8. Gamblers Night live broadcast from Liepāja theater will be shown on LTV1, LSM.lv at 21.20, it will also be possible to listen to it on Latvian Radio 1.

As we have just seen The Great Kristaps live, the ceremony without the public and engaging with the laureates has proved to be an extremely difficult task, which clearly still lacks creative advice and skills. Obviously, too Gamblers Night Latvia ‘s wide and active circle of theater lovers will evaluate the ceremony with an even more bony eye than some good new productions. Of course, it can already be said that the main thing is that the ceremony takes place at all, the laureates are thrilled and there has been any gathering at all, but the bar of taste and quality should probably not be lowered too low in these all difficult conditions.

Lively and diverse

I have often heard in private conversations that there is a lack of justification for nominations in SN’s communication with the public, namely a couple of laudation a sentence that would allow others to better understand why such a nominee of five has been formed and no other, which would reveal in which direction the jury is thinking and what values ​​are highlighted. Theoretically – I agree. Practically, no one should feel the sweat of the jury, but few can imagine the intellectual and emotional effort it takes to get to nominations. It is completely understandable that no member of the jury has voluntarily applied to describe the best names of almost a hundred named names of the season. In this respect, the Purvītis Prize jury, which evaluates quarterly events in the visual arts and names the main winner every two years, is in a more grateful position and can satisfy its followers with a well-founded rationale for the choice. Ideal Gamblers Night the jury’s work model is still being sought with each new season and each new convocation.

Since I had the honor and also the joy – because Latvian theater is alive and amazing in its diversity – 2019/2020. to participate in the work of the jury in the season, I will try to collect some remarks – comments on the nominated performances. A very accurate diagnosis – an overall impression of Latvian theater – was made by Estonian theater scholars at the recent Baltic Drama Forum. They have highlighted the diversity of theatrical forms, excellent scenography, praised experiments in digital theater and, in general, great acting, as well as the visible presence of social orientation in contemporary Latvian theater.

Verpakowski slips, and…

The fact that the show is not based on a play in the classical sense and the show – its sequential interpretation in time and space will not surprise anyone anymore. Since the programmatic 2003/2004. season, when the New Riga Theater was made by Alvis Hermanis Long life a Next – really ultra-original works at that time – after the storytelling and co-creation of dramatic material, the whole new generation of directors has mostly worked, now serious middle-aged professionals, especially Valters Sīlis. It seems that for a while this method had already begun to stagnate, sometimes creating quite flat and dramatically loose content. After all, not all actors can and want to be capable investigative journalists or anthropologists, nor do they need to. At this time verbatim is reborn with new power and quality in an already more refined form. Increasingly aware that perhaps everyone still has to do what suits them best, and by attracting a professional playwright to arrange the documentary reality of the actors.

Valters Sīlis Victory is a moment joined the five major performances at the last minute – during the Valmiera Summer Theater Festival. The idea is intoxicatingly intriguing. Indeed, the worn-out expression about phonebook staging comes to mind. The show is based on Walter Sīlis’ idea to restore the historical qualifying game in theater language on November 19, 2003, when the Latvian national football team with a draw 2: 2 against the home team for the first time in the history of Latvian football secured participation in the European Championship final.

Victory is a moment takes place in the sports field of Valmiera Secondary School No. 2. A fair 90 minutes, everything like in a real sports game, only with small artistic shifts, which makes what is happening an irresistibly suggestive course for everyone, whether you are interested in football or not. The show, of course, is not about football. Also, but not only. Perhaps about the passionate passion that is difficult to understand in the eyes of others, known to both athletes and actors themselves. For the highest fulfillment in a few seconds, in the decisive blow, in the eyes of the world – absurd – it is just kicking the ball or playing out the words and passions of strangers, after which you are thrown back into the world emptied and perhaps even unnecessary. But who would allow himself to ask the question, was it worth it? Hardly any of the spectators of the show / game, which the director leads to a real sports ovation. And yet they are not quite Dionysian emotions. At the same time, Sīlis also instills intellectually imaginable information in the viewer, which does not allow him to simply forget and shout “Latvia! Latvia!”.

The director, without giving up his characteristic seemingly playful and refined naivety, puts a deep content into the show. There is a sofa in the middle of the field, because the fan and his experiences are equally important in Valters Sīlis’ show. The director fascinatesly organizes the flow of time. More precisely, it is not a flow, but like a collage of time cut with scissors and put together in a new application. The historical restoration of the course of the game is interrupted by the monologue of the interview of the coach Aleksandrs Starkovs, the life stories of the athletes, the memories that tickle the nerves of the fans about the experience of watching the historical game. Until all the time tracks culminate, ie the hottest moment of the historical game. The dancers in Kristīne Brīniņa’s choreography are similar to ideal athletes. Historical fateful jumps, falls and slips, freed from the roughness and brutality of real footballers, in the expressively graceful plasticity of dancers as if frozen in the air, are recorded in the time book. They have lived. Sīlis stops the most beautiful gate as if with a remote control, and we watch them “patinated back” several more times. The light score of Oskars Pauliņš is also a parallel dance.

If anything is missing, then in the stands of director Olger Kroder, who said that when watching the Olympics, he always cries. I would cry now. For the peculiar beauty, pain and fragility of human life, and for their disappearance, to which life is sometimes devoted in a wildly heavy effort. In the beams of spotlights managed by the light artist Oskars Pauliņš, various insects swirl in the desert air in the evening of August. Maybe also play football?

It is to be hoped that the performance will not only remain as a special event experienced by the spectators of the Valmiera Summer Theater Festival, but as the epidemiological situation improves, there will be an opportunity to show the production elsewhere in Latvia. In fact, it would be a perfect show School bags program for high school classes. Young people deserve to experience how exciting, unusual, funny and painful theater can be, how much they have to say about the world and themselves.

I carry the underwear

An interesting example of text co-creation in a new variation is Quadriphron show Grandmother’s country Directed by Paula Pļavniece, which was shown in several Latvian cities – Cēsis, Valmiera, Liepāja, Kuldīga, finally – On the Hanseatic platform Riga. Deep private actors’ stories about their grandmothers – how they loved and annoyed for a lifetime, forced to eat too many meatballs, adults already buy Dormeo mattresses, offended not to go to church and retained heat, but other times as little girls covered with leaves and laughed like crazy – playwrights Justīne Kļava and Everts Melnalksnis arranged purposefully in an imaginative story. Personal stories are supplemented by several parallel lines of drama – in terms of form, parodies of TV discussions, a famous talk show and a greeting concert of the older generation. Best wishes! The power of the show is elegant intonational twists. Not losing a moment Quadrifronam the characteristic witty and youthful multiplicity of social societies and vices, the intonation from the open caricature connects to the emotional experience of the heart and back again. Medaini sweet greeting concert Best wishes! used as a rostrum to address in greetings the harsh statistics and future prospects that will affect future retirees in terms of life “well – being”. The narrator’s congratulations are preceded by the deplorable reality of the favorite song chosen by another grandmother, which concerns terribly small pensions, palliative care and similar unresolved social issues. But Grandmother’s country the creative group does not just judge society. Participants of the discussion on the topic of gerontology (Klāvs Mellis, Ance Strazda, Reinis Boters, Samira Adgezalova) “get hair” just about their other private passions. The presenter of the talk show with the creator of the biourns – the witty works of Janis Lisova and Āra Matesovičs – gently mutters, not really knowing what to do with his aunt on the other end of the handset, who is full of heart and wants to tell someone that everything is fine. their food is already her too much, only “a little softer could say it…”. Actors with deeply revealed stories also admit their fears and do not know how to experience the aging and departure of a close person. “Fairy tale Little Red Riding Hood and the Wolf, In the United Kingdom, Riga Central Market and other markets, on park benches and through block house windows, in polyclinics, trams, theater halls, in the backyard garden and in my kitchen – the main role is played by the grandmother. “- reads Grandmother’s country application. In the performance, the grandmothers’ choir with the same gray wigs is formed by the girls of the choir of Cēsis Primary School No. 1, who have created new editions of the popular song lyrics. (In other cities, students of Kuldīga Secondary School No. 2 or Jānis Ivanovs Rezekne Music High School Children’s Choir sing in the show.) The gray wigs, in contrast to the explosive, ironic faces of teenagers, create a surreally painful impression. In the interviews, one by one, they briefly express their thoughts on what the old people are like or what they dream of doing in retirement. Well, what a pension, what blue heather! The girls are young and happy and do not deny themselves the joy of loving themselves in the songs loved by the grandmother generation with the wrong lyrics – “too small to put one / me with you in the linen”. On the road – Klavs Mellis, the leader of the right gerontology discussion. Composer Jēkabs Nīmanis fairly claims the honorary title of the best composer of the season for the musical design of the Grandmothers’ State.

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