Marius Ivaškevičius "MADAGASCAR"
Stage director - Rimas Tuminas
Executive stage director- Arvydas Dapšys
Costumes and stage designer - Vilma Masteikienė
Composer - Faustas Latėnas
Cast:
MOTHER - Eglė Gabrėnaitė
FATHER - Audris Chadaravičius, Arvydas Dapšys
KAZIMIERAS POKSHTAS - Ramūnas Cicėnas
SALE - Gintarė Latvėnaitė
MILE - Valda Bičkutė
HELE - Vaida Būtytė
VERONIKA - Ilona Kvietkutė
OSCAR - Mantas Vaitiekūnas
THE FRENCH- Leonardas Pobedonoscevas
THE LITHUANIANS - Jokūbas Bareikis, Audrius Bružas, Balys Latėnas, Vytautas Rumšas (the young), Ineta Stasiulytė.
First Night – the 30th of the January, 2004
Duration – 1h 45min.
Preparing an atmosphere propitious to a creative work, the stage director was seeking to evoke forgotten sensations, associations and images lying in his memory. His favourite story about smoking sausages on a late Sunday evening in one of the autumns of his childhood does not make an exception to it, and could be considered as one of the elements of the prehistory of "Madagascar" – more than a simple allegory, it appears as the making of the image of a childish sensation accompanying the stage director throughout his life. It can be so that genial scenic metaphors are born at the moment when sensations, not willing to be silent, find finally a certain material image to settle in.
After several public revisions of "Madagascar", an old cradle-boat was introduced. For the meantime it appears on the stage only twice: at the beginning of the play, in the scene of the birth and childhood of Pakštas, and in the final scene of the first part of the play, when stupefied by "televisions" of Oskaras and with many efforts, Pakštas takes it up using a rope so as if it were a flag. Painting in some way an itinerary of the trip, the image of the boat gives to the scenic action a sense of perspective and stands as a point of departure for the further trip of the personages of the play as well as of its creators.
The stage director was seeking for some kind of perspective, as for a window to the world of universal sensations, in almost every episode of the play. Employing ingenuity insights and observations of everyday life, Rimas Tuminas was also trying to extract what he calls "a voice of an epoch". During the rehearsals of "Madagascar" Rimas Tuminas developed an original philosophy of the sound: according to the words of Tuminas, everything in our lives and in the world we live in passes, disappears, and becomes forgotten; only the sound remains eternal. "Material" sounds discovered by the composer Faustas Latėnas are also of great importance in the play: such are the sounds of the sea which penetrate to the church interrupting a sermon preached by Pakštas, a shrill singing of countrywomen, silent tings of bells, or a lyric folk song which dissipates the comic of situations, and finally these moments of silence, in which the Past meets the Present. Currently, they are not very abundant in number and appear more like subtle allusions to dramatic destinies of the nation and of the people which will become true in the second part of "Madagascar".
Literatūra ir menas
Entrance for children is not for free. Event duration: 3 h More information: tel. 118 (1,5 Lt/min.)
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