Edited by Lauma Mellēna-Bartkeviča

Contemporary Latvian Theatre A Decade Bookazine

Part of Latvian Centenary Programme The publishing of the bookazine is supported by the Ministry of Culture and State Culture Capital Foundation.

Preface ...... 5 Lauma Mellēna-Bartkeviča In collaboration with: THEATRE PROCESSES...... 7 Theatre and Society: Socio-Political Processes and their Portrayal in Latvian Theatre of the 21st Century ...... 8 Zane Radzobe

New Performance Spaces and Redefinition of the Relationship between Performers and Audience

Members in 21st-Century Latvian Theatre: 2010–2020 ...... 24 ON T EN TS Valda Čakare, Ieva Rodiņa Idea and concept: Lauma Mellēna-Bartkeviča Editorial board: Valda Čakare (PhD), Lauma Mellēna-Bartkeviča (PhD), Latvian Theatre in the Digital Age ...... 36 Ieva Rodiņa (PhD), Guna Zeltiņa (PhD) Vēsma Lēvalde

Reviewers: Ramunė Balevičiūtė (PhD), Anneli Saro (PhD), Newcomers in Latvian Theatre Directing: Edīte Tišheizere (PhD) the New Generation and Forms of Theatre-Making ...... 50 Translators: Inta Ivanovska, Laine Kristberga Ieva Rodiņa

Proofreader: Amanda Zaeska Methods of Text Production in Latvian Artist: Ieva Upmace Contemporary Theatre...... 62 Photographs: credit by Latvian theatres and personal archives Līga Ulberte Theatre Education in Latvia: Traditions and Challenges...... 74

Zane Kreicberga E OF C TABL Publishing house: Apgāds “Zinātne” Printing house: Jelgavas tipogrāfija Liminal Performances: In-Between Threshold States ...... 86 Laine Kristberga

© Latvian Theatre Labour Association, 2020 IN MEMORIAM ...... 95 © Lauma Mellēna-Bartkeviča, 2020 © Authors, 2020 ...... © Ieva Upmace, 2020 CASE STUDY 99 Towards Invisible Choreography ...... 100 ISBN 978-9934-599-06-4 Inta Balode Lauma Mellēna-Bartkeviča PhD, theatre and music researcher, Head of National section of Latvia, International Association of Theatre Critics (AICT / IATC)

Preface INSIDE OUT ...... 117 Homo Novus’ Gaze at the World ...... 118 Krista Burāne

am truly happy and proud to pres- mode caused by the Covid-19 virus NEIGHBOURS’ PERSPECTIVE ...... 131 ent the first Latvian theatre decade proved that humankind has to be bookazine in English, which aims ready to adapt to any circumstances Difference and Repetition in Classical National to show different facets of theatre and improvise in order to survive, Drama in Latvian and Lithuanian Theatre ...... 132 processes in Latvia between 2010 Edgaras Klivis I especially in the field of culture, it is and 2020. The idea of the project worth taking advantage of this inter- The Multifunctionalism of Contemporary Theatre was born in spring 2019, when our mission in order to share with our in Latvia: a Few Examples ...... 142 Lithuanian colleagues presented us colleagues, neighbours, guests and Meelis Oidsalu with the book Contemporary Lithu­ potential cooperation partners this anian Theatre. I believe this publica- compilation of articles by a group of tion represents the most important CREATIVE LAB ...... 153 great theatre experts – critics, educa- trends, changes and issues in today’s tors and theatre-makers who have text means anything, text means nothing ...... 154 performing arts in Latvia. Besides, it been actively researching, teaching Jānis Balodis serves as an exhaustive source of in- and creating theatre as an ongoing formation about the past decade in process. Latvian theatre, which brought into DIRECTORS’ VOICES ...... 169 This bookazine offers diverse per- the spotlight many new names, new spectives on the theatre process Theatre in the Age of Changing Rules ...... 170 forms of theatre and, last but not least, in Latvia between 2010 and 2020, Compiled by Lauma Mellēna-Bartkeviča new challenges for audiences due to highlighting the interaction between strong social and political contexts re- theatre and society, including chal- flected on stage. THEATRES IN LATVIA ...... 189 lenges of the digital age, new spaces The centenary of the Latvian state and production methods, and collec- (2018) and, subsequently, the cente- tive creation as well as touching upon naries of the country’s main theatres theatre education, newcomers in the mark a new century also in the his- field and very personal experiences tory of the performing arts, and this is and observations by theatre-makers. therefore the right moment to review The first and the largest chapter con- the past and look towards the future. sists of articles on THEATRE PROCESS. Although the unexpected standby In her article “Theatre and society:

4 5 sociopolitical processes and their re- phy and dance and theatre in Latvia, flections in st 21 -century Latvian the- unveiling the issues of invisibility and atre”, Zane Radzobe analyses theatre underestimation of movement in her as an art form and medium related to article “Towards invisible choreog- presentness in terms of the documen- raphy”, and theatre- and filmmaker tary approach, social responsibility, Krista Burāne shares her artistic devel- and the marginalisation and inclusion opment experience within the frame- of such issues as national identity, pol- work of the acknowledged Homo itics and history. Valda Čakare deals Novus contemporary theatre festival with the transformation of space and in the chapter INSIDE OUT. interaction in contemporary theatre in I believe in the necessity of strength- her article “New performance spaces ening the exchange of information and redefinition of the relationship and opinion with our closest neigh- between performers and audience bours in the Baltic region, and there- members in 21st-century Latvian the- fore I appreciate the contributions atre: 2010–2020” co-written with Ieva in the NEIGHBOURS’ PERSPECTIVE Rodiņa, who also explores the change chapter offered by Edgaras Klivis from of generations and presents a list of Lithuania and Meelis Oidsalu from new names on and behind the stage Estonia. In the chapter, CREATIVE in “Newcomers in Latvian theatre LAB, Jānis Balodis’ self-reflective -ar directing: the new generation and tistic essay takes the reader into the forms of theatre-making”. Līga Ulberte workshop of today’s playwright and writes about recent achievements in his artistic efforts. The last chapter, Latvian original drama and points out DIRECTORS’ VOICES, gives the floor the twists and turns around the notion to a selection of stage directors rep- of text in contemporary theatre in her resenting different generations and essay “Text production methods in contributing to the development of contemporary Latvian theatre”. Zane contemporary Latvian theatre to an- Kreicberga opens a new page in the swer a few questions about theatre written history of theatre education in the age of changing rules. The last in Latvia after the restoration of in- pages offer a detailed overview of dependence in 1991, discussing the artistic profiles and basic information problematics of higher education in about theatres and theatre festivals in RE P RO C E SS S TH E AT the performing arts in the article “The- Latvia, encouraging producers from atre education in Latvia: traditions and other countries to initiate new and challenges”. Laine Kristberga tells a creative partnerships. The bookazine short story of liminality in the perfor- also contains selected photographs of mance genre at the end of the second the productions mentioned in the ar- decade of the 21st century based on ticles to indulge the visual perception her freshly defended PhD research. and familiarise readers with the wide Inta Balode in CASE STUDY chapter range of styles and aesthetics applied examines the complexity of dialogue in contemporary Latvian theatre. between contemporary choreogra- Explore, discover and enjoy!

6 7 ZANE RADZOBE PhD, theatre critic, assistant professor in Department of Communication Studies at Faculty of Social Sciences, University of Latvia

Theatre and Society: Socio-Political Processes and their Portrayal in Latvian Theatre of the 21st Century

atvia does not have a strong unrestricted right to assemble, more tradition of political theatre. In- relaxed rules of censorship, etc.), dividual attempts to interpret served a didactic function and con- the principles of epic theatre or, tributed to the formation of national Lmore recently, to refer to the topicali- identity and civic values in Latvian so- ties of contemporary German political ciety. In the 1980s, the Third National theatre should be viewed in the con- Awakening movement worked toward text of the dominant tradition of psy- regaining national independence chological realism and appear to be from the Soviet Union, and theatre aesthetic rather than socio-political was actively involved with the subject in nature. Two functions of theatre of national identity. Latvian theatre of remain dominant in Latvia: theatre as the first decades of the 21st century Considering the socio- entertainment and theatre as an elitist must be examined while taking into political context of the form of art (l’art pour l’art). Theatre as account these historical perspectives day, even seemingly a political or civic tool has previously as a backdrop of a traditional way of been discussed almost exclusively in unrelated performances thinking about theatre in Latvia. The the context of major socio-political performances mentioned later in this become part of broader shifts in Latvian political history, espe- article have reformed the dominant cultural and social cially the First and the Third National aesthetics and theatre techniques in Awakenings. During the First National discussions. Latvian theatre, yet a strong emphasis Awakening in the second half of the on identity as the core subject matter 19th century, theatre, being one of the remains. Legionnaires (Leģionāri) few public spaces tolerating relative Gertrude Street Theatre civic liberties for ethnic Latvians in The claim that theatre is a form of the Russian Empire (a comparatively art that exists solely in its own time Photo: Ģirts Raģelis

8 9 is commonly used, and it has both tend to disappear. To a large extent, the dominant identities. Originally that play a significant role in produc- psychological and technical aspects. Latvian society of the early 21st cen- founded with an ideological goal of tions of Latvian theatre: the connec- The art of theatre is often defined as tury can also be characterised by this creating a centre of Latvian culture in tion to mimetic theatre, the deliberate a process that requires two elements: description. Latvian theatre, however, a geographically peripheral cultural aim of influencing or transforming, a performer and somebody who has seen a steady increase in perfor- space (Latgale, located in the Eastern and the emphasis on the community, watches. This model can, of course, mances dealing with representation, part of the country, differs significantly which is closely dependent on the idea be elaborated to include other ele- identity and redistribution (especially from the rest of Latvia in that a spe- of representation as a political tool ments, however, even this minimalis- inclusion and marginalisation of eth- cific dialect of the Latvian language is aimed at forming a group (often, a so- tic definition includes a third element nic, cultural and gender groups), so spoken, the dominant religion is Ca- ciety). From 2006 to 2017, the Latvian that, although silent, has a significant much so that it exhibits a strong claim tholicism rather than Protestantism, National Theatre was chaired by Ojārs impact on the experience of theatre. to become a medium for socio-politi- the region is ethnically diverse and a Rubenis, a popular journalist during It is context. cal change. considerable portion of the popula- the Third National Awakening and later a businessman with strong ties Most of the works examined in this ar- The political category most strongly tion identifies as Russian-speaking, to the political elite, and the theatre ticle stand out either as novel aesthetic associated with the dominant tradi- and the region is also relatively poor), was to a certain degree influenced by pursuits or as practices of commercial tion of dramatic theatre in Latvia is the theatre has recently abandoned this perceived closeness to the elite. theatre. Some are artistic highlights of representation. In this context, the the aim of implementing the domi- Under his leadership, the National Latvian theatre; others have attracted role of the Latvian National Theatre nant narratives of Latvian identity and Theatre experienced two major shifts. no significant interest from critics and must be highlighted, although similar is instead working towards a specific First, the theatre overcame a long-last- researchers. However, when consider- trends with slight variations in subject and complex regional identity. The ing creative crisis and managed to be- ing the socio-political context of the matter are also to be found in other theatre houses two companies – a Lat- come one of the leading companies day, even seemingly unrelated perfor- state-funded theatres in Latvia. The vian-speaking and a Russian-speaking in Latvia. Secondly, the theatre began mances become part of broader cul- Valmiera Drama Theatre, for example, one – but in recent years this ethnic di- promoting its status as a national insti- tural and social discussions. At least orients itself towards national drama- vision in productions, which is clearly tution and adjusted its repertoire ac- three contexts must be taken into ac- turgy and studies of national charac- evident in other Latvian dramatic the- cordingly. The function of the theatre count here: the need to construct and ter; the Daugavpils Theatre focuses atres, often disappears, replacing the as the institution creating the national reassess social models and identities on the regional identity of Latgale; segregated Latvian and Russian iden- narratives was especially promoted in a new democracy; general disap- etc. tities with a common Latgalian identi- ty that apparently reflects both the re- during two centenaries celebrated pointment in the political process; These examples demonstrate how ality in the region and the detachment extensively by the National Theatre, the literacy (or lack of it) of audiences specific representations of identities felt in Latgale in relation to the wider namely, the centenary of the Latvian regarding performative elements. In are often determined by the con- Latvian state, society and culture.2 state in 2018 and the centenary of the context of the performative and text. As a regional yet centrally lo- the National Theatre in 2019, both of Latvian National Theatre, in its turn, political merging, Janelle Reinelt and cated theatre in Latvia, the Valmiera which brought generous additional Shirin M. Rai also characterise four tra- Theatre mostly reproduces the domi- stands out as the company aiming to funding to the theatre. The National ditional categories of political strug- nant narratives of national identity in create new dominant national narra- Theatre focused especially on issues gle: interests, representation, identity tune with the discourses promoted tives. of national history, and its repertoire 1 and redistribution. The researchers by the national cultural institutions. In this context, it is important to high- over the past decade reveals both the conclude that, in a world disillusioned The Daugavpils Theatre, on the other light three aspects of representation changes in social memory in Latvian by political processes and democratic hand, works in a marginalised re- institutions, these forms of struggle gion, hence its apparent unease with 2 the ongoing debate, whether Latgalian is a regional dialect of Latvian or actually a language of a specific cultural space, continues. In the meantime, the social trend in Daugavpils The- 1 reinalt J., Rai, S. M., Introduction, in The Grammar of Politics and Performance (London and atre is to stage productions played in Latgalian participating the actors from both Latvian- NewYork: Routledge, 2015), 1. and Russian-speaking troupes.

10 11 society and the way theatre becomes the head of the first puppet govern- do not clash with the general beliefs Second World War, while the stage a driving force in implementing them. ment of Soviet Latvia and signed the of its audiences. Thus, the change design encouraged an interpretation The first attempts to promote a new papers ordering the deportation of of plots and interpretations can be of the legend as a story of modern discourse on national history by the Latvian people. The two historic per- viewed as an apparent reaction to- Latvia, identifying a lack of strong National Theatre were artistically un- sonalities were presented on stage wards changes in Latvian national leadership and clear political vision as successful yet socially significant and in an idealised or demonised man- identity while also undeniably dem- hazards to the national state. are associated with two productions: ner, respectively, and the produc- onstrating a moderately conservative Blow, the Wind! is also a potentially the musical The Leader (Vadonis, tions rather unexpectedly started an ideological stance on the part of the political piece, although the plot con- 2009, dir. by Edmunds Freibergs) by intense public discussion about the theatre. centrates on the doomed love affair representations of the Crucial to the Latvian National Theatre between Barba and Uldis, who are national history and dif- is the idea of the national state and unable to overcome social obstacles In the second decade of the 21st fering understandings nation. This is addressed in a num- in their way. The symbolist play re- century the representation of the of the concept of a na- ber of ways, for example, emphasis- lies heavily on the hidden meanings 20th century has gradually changed. tion (nation as an ethnic ing national dramaturgy, particularly embedded in the characters, and The narrative of national suffering, or political community) the works of Rainis. In this context, the playwright himself read it as a fable about a society or even state for example, has been replaced expressed by various Fire and Night (Uguns un nakts 2015, that, unable to combine material and by survival stories or even stylised social groups. dir. by Viesturs Kairišs) and Blow, the Wind! (Pūt, vējiņi! (2019, dir. by Elmārs ethical interests, endangers its future. no­stalgia interpreting the Soviet The moral backlash of Seņkovs interprets Blow, the Wind! period outside of its political contexts. Latvian society against Seņkovs) must be mentioned. Both were artistic highlights of their respec- through the prism of nostalgia, focus- some of the ideas ex- ing therefore not on the future but pressed by these pro- tive seasons in Latvian theatre, howev- er, in the context of this article, the im- rather on the past. A key element of Zigmārs Liepiņš and Kaspars Dimiters ductions (especially the Christ-like portant aspects of both productions the stage design is a mixed choir of and the production of Māra Zālīte’s portrayal of an authoritarian leader, are the interpretations of the pieces. about a hundred people in stylised play Lācis (Lācis, 2009, dir. by Indra strongly suggesting that democratic folk costumes. The choir serves as a Roga). Both works offered a black- values are not necessary if the right Fire and Night interprets the national metaphorical synonym for the sing- and-white reading of national history. kind of leader is found) at first came myth of Lāčplēsis (Bearslayer), a hero ing Latvian people (the Third National The Leader attempted to construct a as a shock to the Latvian National The- of legendary strength who alone pro- Awakening has often been dubbed new model of a national hero, while atre, and, bearing in mind the theatre’s tects the Latvian lands and people the Singing Revolution). Against this Lācis focused on the creation of the apparent claim of becoming an insti- from foreign aggressors, yet the his- background, individual actors play model villain. tution for the whole nation as a single torical background must also be con- out Rainis’ play, however each of community, the productions might sidered. Rainis wrote the play in 1905, them also has an older double who The protagonist of The Leader is Kārlis seem unsuccessful. However, the fe- having been deeply moved by the is periodically involved in the ac- Ulmanis, the last prime minister of the vered discussions about both produc- brutal suppression of the 1905 Revo- tion. The older versions of the pro- first independent Latvian state (1918- tions not as artistic but political texts lution in the Baltic provinces of the tagonists are played by actors of the 1940). The controversy surrounding demonstrated the potential power of Russian Empire. In this context, the older generation who portrayed the him stems from the fact that he staged a theatrical piece, and the Latvian Na- battle of Lāčplēsis can be interpreted respective characters in the 1983 film a coup d’état and became an authori- tional Theatre has consistently staged both as the fight for the Latvian peo- Blow, the Wind!, a beloved national tarian head of state, succumbing later performances about national history ple and as the fight against Russian masterpiece. Thus, Seņkovs’ Blow, to the Soviet occupation without any ever since, paying attention to a more and German governance. Structurally, the Wind! becomes a meta-theatrical significant resistance. Lācis, on the balanced and complex reading yet at however, the plot also reveals paral- performance that draws the audi- other hand, tells the story of a popular the same time not shying away from lels with the political circumstances of ence’s attention towards the modes Latvian writer, Vilis Lācis, who became ideological positions as long as they independent Latvia shortly before the of repetition and also to what can be

12 13 described as a mythical “ancient Latvi- traying Latvians only as victims, in the protagonist dramatically changes other example is the staging of Sieg- an past”, the unrealistic time of action second decade of the 21st century the the lives of his fellow people in oc- fried von Vegesack’s autobiographical represented in the film, as well as by representation of the 20th century has cupied (first by the Nazis, then by the novel The Ring of the Baltic (Baltiešu the choir, perceived in both the mod- gradually changed. The narrative of Soviets) Kurzeme simply because he gredzens, originally titled The Baltic ern and ancient connotation. There is national suffering, for example, has pays no attention to the political cir- Tragedy by the author) directed by also a strong link to the Soviet period, been replaced by survival stories or cumstances of the time and attempts Viesturs Kairišs in 2019, which pro- because all of the older actors are So- even stylised nostalgia interpreting to lead a strictly self-centred life. Yet poses a Baltic German perspective on viet-era stars of the Latvian stage and the Soviet period outside of its po- another play to be mentioned in this the first independent Latvian state, in- screen. By combining the different litical contexts (for example, Pēteris context is The For­ terpreting it as the timelines, Seņkovs creates a reading Pētersons’ play I am 30 years old (Man est Man (Mežainis) social and cultural of national identity in which stages of 30 gadu, dir. by Ināra Slucka in 2018). written by Jānis downfall of the the nation’s development are not only The focus has also shifted from the Balodis and di- Baltic provinces. connected but seem almost identi- First and Second National Awaken- rected by Valters Although often using All the performan­ cal, or at least archetypical. It strongly ings (in other words, the formation of Sīlis in 2018, which diver­se aesthetic and ces mentioned hints at the cycle-like properties of a the Latvian nation in the second half tells the story of a technical features of abo­ve share sev- of the 19th century and the founding national partisan myth (in this case, a national myth), in contemporary theatre, eral features that which every action repeats itself again of an independent state in 1918) to who remains hid- the performances are characterise the and again. the Third National Awakening (for in- den in a forest for do­minant narra- stance, Jānis Balodis’ Under Two Flags the entire period mostly dramatic; they The idea of a constant repetition of tives of national (Zem diviem karogiem, 2019). How- of the Soviet occu- are closed and intended identity prevailing national archetypes in a nearly sacred ever, the most important trend related pation. However, in dramatic theatre cyclical pattern is also highlighted for passive audiences, to national identity is the reinterpreta- the title character in Latvia. Although by Kirill Serebrennikov’s 2015 inter- and the represented tion of national history in the context in this piece is not often using diver­ pretation of Ieva Struka’s play about model of the nation is of responsibility. interpreted as an se aesthetic and Rainis entitled Rainis’ Dreams (Raiņa ideological fighter mostly ethnic. technical features sapņi). From the vast literary heritage A number of productions address the issue of collaboration or lack of resis- but instead as a of contemporary of Rainis, it is mostly the texts related tance by Latvians during the Second cowardly and self- theatre, the perfor- to his philosophical and socio-politi- World War and the Soviet occupation. ish individual whose inability to take mances are mostly dramatic; they are cal views that have been selected for The staging of Māris Bērziņš’ novel responsibility for his life destroys the closed and intended for passive au- performance, with the dream of an in- The Taste of Lead (Svina garša, 2016, fate of his relatives. diences, and the represented model dependent Latvia becoming the most dir. by Valters Sīlis), for example, is a of the nation is mostly ethnic. On the dominant theme. In addition, several performances have story about the Holocaust in Latvia, addressed na­­tional issues from the per- other hand, the representation of the However, the national idea at the Lat- and its lead character is a Latvian man spective of a marginalised group. One Latvian nation has also changed psy- vian National Theatre is not entirely who quite suddenly loses his voice. example is The Wicker Monk (Klūgu­ chologically over the past decade – it closed to discussion. Compared to This physical handicap becomes a mūks, dir. by Indra Roga, 2014) based is no longer viewed primarily as an the previous decade, when the Lat- symbol of the man’s inability to speak on the historical novel by Inga Ābele. endangered group but appears to vian National Theatre’s repertoire was up, make any decisions or choose a Although the plot follows various have gained the status of the majority dominated by performances focusing side, which leads to his own demise, “typical” situations in Latvian history, within a nation state and, as conse- on the traumas of Latvian society in but only after he has failed to help including the First and the Second quence, a relative self-confidence the 20th century (occupation, depor- others in need. A similar protagonist is National Awakenings, it is told from that allows for a certain diversity of tation, emigration) and highlighted shown by director Ināra Slucka in the the perspective of Latgale, empha- interpretations. However, the division the tragic inability of the protagonists 2019 performance Cauldron (Katls), sising the ambiguity of this region so between “us” and “them” remains to influence historical events by - por written by Aivars Freimanis. In it, the different from the rest of Latvia. An- strong and is based on ethnicity. The

14 15 Jews and Germans that the protago- we will be discussing shortly seem to performance that succeeded to unite youngest generation of theatre artists nists of the Latvian National Theatre have followed, especially the use of a nation split by 20th-century history. in Latvia. plays meet are not part of the Latvian verbatim and documentary theatre The younger generation of Latvian Legionnaries transcends the bound- forms, the concept of open dialogic people; instead, they are perceived as theatre directors has adopted most aries of the ethnic group’s memories performance and an understanding marginalised groups that the Latvians of the previously mentioned attitudes and offers the perspectives of mar- of the nation as a political instead of interact with and have certain moral towards the representation of Latvian ginalised groups in relation to the ethnic community. obligations toward. It should be noted history. However, they do oppose “national questions” as equally impor- that the Latvian National Theatre does The theatre performances The Long one. Hermanis’ characters are often tant. Yet it is important that they can- not represent the identities of the big- Life (Garā dzīve, 2003), Latvian Stories passive, and his performances offer not mutually reconcile. Legionnaries is gest minority in contemporary Lat- (Latviešu stāsti, 2004), Latvian Love a juxtaposition of “everyman” and the a multilingual performance; the text is via – speakers of Russian. On the one (Latviešu mīlestība, 2006), The Sounds grand narratives of politics or culture narrated in Latvian, Swedish, German, hand, this in itself can be viewed as a of Silence (Klusuma skaņas, 2007), that, of course, prove to be unaffect- English, Russian and Finnish, and it crucial change of narrative, because Marta of Zilaiskalns (Zilākalna Marta, able if challenged. But the younger emphasises the inaccessibility, chaos previously representatives of Russian 2009), Ziedonis and the Universe (Zie­ generation questions the historical ac- and incomprehensiveness of his- ethnicity were mostly portrayed as vil- donis un Visums, 2010), Black Milk curacy of this interpretation. The pas- tory because no one in the audience lains. On the other hand, the Russian- (Melnais piens, 2009) and especially sivity of protagonists is therefore often (or, indeed, the performance itself) speaking minorities are thus margin- Grandfather (Vectēvs, 2009) are all juxtaposed with the question of eth- speaks all of the languages. alised in the social context, creating part of Hermanis’ Latvian cycle and ics, and the audience is often tasked Another essential feature of the per- a misrepresentation of contemporary offer a counter-narrative to the domi- with the responsibility of not only in- formance is its attempt to revisit the Latvian society. nant narratives. In Hermanis’ perfor- terpreting but also evaluating the nar- dominant narratives. Latvian legion- mances the Latvian nation consists However, another scene offering sig- ratives and representations provided naires, traditionally represented as of people of various ethnic groups nificantly different representations of from a contemporary point of view. seasoned patriots who disgraced and political beliefs and, most im- identities in contemporary Latvia ex- themselves by fighting on the Nazi portantly, their various, contradictory In this context, Legionnaires (Leģio­ ists alongside the large state-funded side in the hope of saving the Latvian experiences are presented as equal. nāri) directed by Valters Sīlis in 2011 theatres. This scene is concentrated in nation from Soviet occupation, are Grandfather, for example, consists of at Ģertrūdes ielas teātris (Gertrude the independent theatres and consists portrayed here as teenagers who most the memories of three veterans of the Street Theatre) became one of the primarily of the work of the youngest often do not have any political beliefs Second World War: a communist who most important performances of the generation of Latvian directors. Al- and are only interested in smoking, after the war worked for the KGB, a past decade in Latvia. It is the first the- though they all also collaborate with women and coarse jokes. The legion- legionnaire who believes Hitler was atre performance in which the trends the state-funded theatres, it is interest- naires are generally not viewed in the one of the greatest men in the his- that would dominate Latvia’s inde- ing to note that, with few exceptions, context of a contemporary reading of tory of the world, and a man without pendent scene for at least a decade their performances staged in the in- the national history but instead in an any political beliefs who was drafted to come can be clearly identified.T he dependent theatres are aimed at tear- by both opposing armies and conse- performance is based on the Swedish isolated manner and focusing on the ing down the dominant representa- quently fought on both sides one af- writer Per Olov Enquist’s book about controversial aspects of their history, tions of history and identities. ter the other. The performance does a group of Latvian legionnaires who notably the participation of certain le- Director Alvis Hermanis and his so- not choose a protagonist or assign sought asylum in Sweden as refugees gionnaires in the Holocaust. called Latvian cycle staged at the New function (assistant, villain, etc.) to the after the Second World War but were Legionnaries also gives an active Riga Theatre had an important influ- characters. Instead, the documentary extradited to the Soviet Union. Sīlis role to the audience. The actors ence on the socio-political direction stories based on interviews with real also used archive materials from the repeatedly turn to the audience with of the youngest generation of Latvian veterans remain open for discussion Museum of the Occupation of Latvia. various requests, such as to partici- theatre makers. Hermanis offered and reflection. Grandfather is often The performance features charac- pate in an episode on the stage, to several principles that the directors characterised in Latvia as a healing teristics common to the works of the read something, to vote for or against

16 17 the extradition of the legionnaires to returning to Latvian culture, not be- the Soviet Union, etc. If the action of cause of any ideological preferences There are two important the audience differs from the histori- but because they are often the direct elements in the show: cal truth, the actor comments: “So, opposite of the dominant discourses you want to change the history?” of independent Latvia and are there- the interactivity that The seeming absurdity of the idea of fore marginalised. turns the audience into changing history highlights both the Several performances dealing with participants, and the mechanisms of effectively changing national discourses and counter- selection of the stories history (or at least its representation, discourses have been staged by and therefore also its meaning) and themselves. Mārtiņš Eihe. For example, in 2016 the differences between contempo- he directed the play Tanya’s Birthday rary and historical perspectives. The (Taņas dzimšanas diena) at Ģertrūdes idea of active remembering and the ielas teātris using a collection of mem- active formulation of one’s attitude as ories collected from Latvian people well as a constructed and therefore by the Goethe Institute in Riga. In fluid narrative of history (more broad- the performance, the audience sits ly, identity) are among the dominant around a table as if at a family gather- themes in Latvian theatre in the sec- ing – as if they are guests at a birthday st ond decade of the 21 century. party. The performance consists of Legionnaries is a stellar example of a toasts – small stories and recollections th widespread trend in Latvian theatre of the 20 century – performed by of the previous decade with young the actors and lengthy pauses during directors staging aesthetically diverse which audience members are encour- performances that create counter- aged to share their own memories narratives. In other words, they are and stories. There are two important aware of the dominant narrative and elements in the show: the interactivity deliberately break it. The young di- that turns the audience into partici- rectors choose topics typical for the pants, and the selection of the stories representation of Latvian history, but themselves. In Tanya’s Birthday, the they offer interpretations that crucially memories of Latvia (as opposed to differ from the dominant narratives. Latvians) can be heard, and often the This process demonstrates an eager- most beautiful moments are linked to ness to revisit identity issues and the people who in the context of contem- relationship between the centre and porary Latvia would be interpreted, the margins. Apparently, this is how for example, as Soviet aggressors. the younger generation expresses Likewise, the topic of Valters Sīlis’ per- its discomfort with existing norms formance Liepāja – the Capital City and reflects on the changing nature of Latvia (Liepāja – Latvijas galavas­ of national identity and national nar- pilsēta, Liepāja Theatre, 2018) is 1918, Tanya’s Birthday ratives, especially when discussing the year when the Latvian state was (Taņas dzimšanas diena) Gertrude Street Theatre marginalised groups and topics. It is first established. However, despite the interesting to note that, in some cases, fact that the performance was dedi- Photo: Elmārs Sedols discourses typical of the Soviet era are cated to the centenary of the Latvian

18 19 state, it did not emphasise any patri- one’s history simultaneously means identities are often connected with officer and the son of a single mother. otic sentiments, instead highlighting the inability to find one’s place in con- topics of national history demon- The feeling of being an outsider and the horrors of wartime: death, famine, temporary Latvia. strates how painful the issue of nation- the inability to identify with the major- disease, despair. Sīlis bases his perfor- This sentiment is perhaps most viv- al identity is in Latvian society. Mārtiņš ity culture is a very strong feature in mance on actual historical texts found idly expressed in Flea Market of Souls Eihe is a director who manifests this the work of this director, who in practi- in newspaper articles from 1918, and (Dvēseļu utenis, Dirty Deal Teatro, situation strikingly. In 2011, he di- cal terms is fully integrated in Latvian the national state established in No- 2017) directed by Inga Tropa and rected Shakespeare’s Romeo and Ju­ society, and can be viewed not only as vember of that year is barely men- written by Justīne Kļava. The piece, liet (under the title Viss par mīlestību the personal feeling of an individual tioned despite the fact that it is, of whose title is a play on words – Bliz­ [Everything About Love], the Nomadi artist but also as a valuable insight into course, a central element of any con- zard of Souls (Dvēseļu putenis) being a creative association), which temporary account of the history of national staple, a patriotic novel about explains the hatred between that period. the First World War that culminates in families as the result of be- “What should I do with the creation of independent Latvia – is longing to different eth- When directing the theatre per- it?” they keep asking, formance Father Hero ’69 (Tēvs va­ a contemporary snapshot of Latvian nicities, in this case Latvians ronis ’69, Dirty Deal Teatro, 2016) realities. The story takes place in a and Russians. In 2018 Eihe one by one retelling written by Inga Gaile), and directed communal apartment rented by ex- directed a staging of Sanita their national and family by Dāvis Auškāps shows the protago- change students somewhere in Riga. Reinsone’s study Daughters The protagonists are twenty-year-old histories, which do not nist – a KGB agent of Latvian origin – of the Forest (Meža meitas, Europeans (two Latvians, a Russian, serve them but are simply as a melodramatic hero dealing with Valmiera Drama Theatre), a Pole, an Austrian, a Roma) who ar- some family drama and ignoring his which tells about women an inherited burden. gue about household chores, but any professional role altogether. Dmi- who hid in the forests to- discussion they start inevitably devel- trijs Petrenko in his The Last Pioneer gether with partisans after ops into verbal assaults consisting of (Pēdējais pionieris, Dirty Deal Teatro, the Second World War. The material the marginalised groups of Latvians national stereotypes, the recounting 2016) talks about Russian youth grow- draws attention to another margin- he identifies with and that are usually of national traumas (especially in the ing up during the Third National alised group, namely, women in war. not represented on Latvian stages. context of the Second World War), Here, too, the context of national his- Awakening. While the Latvian state etc. They only reach consensus when In conclusion, a few socio-political tory is unavoidable. regains independence, the heroes in discussing the attitude they feel to- performances that have tried to ad- his play feel growing alienation and ward their respective histories – all of Finally, Vladislavs Nastavševs, one of dress issues unrelated to history must despair and conclude that their future them feel overwhelmed, and while the most outstanding directors of the be noted. They are surprisingly few in is being taken away from them. they are unable to escape their his- new generation in Latvia, has to be number, but each has had a signifi- The theatre performance directed by tories, none feel really connected to mentioned. In his theatre perform­ cant cultural footprint. Sīlis is based on press archives; Gaile’s them and acknowledge that they wea- ances, particularly The Lake of Hopes The theatre performance The Expel­ piece is a partially autobiographic ponise stereotypes simply as a tool for (Cerību ezers, 2015) and The Lake of led (Izraidītie) written by Lithuanian story of the playwright’s family his- their everyday communication needs. Hopes is Frozen (Cerību ezers aizsalis, playwright Marjus Ivaškevičius and tory; Petrenko’s performance is based “What should I do with it?” they keep 2018), both staged at the New Riga localised and directed by his compa- on verbal interviews. In all examples asking, one by one retelling their na- Theatre, he examines his own identity triot Oskaras Koršunovas at the Daile one can feel a strong desire to create tional and family histories, which do as a marginalised person in Latvian Theatre became an unexpected hit a more authentic and multifold per- not serve them but are simply an in- society from numerous perspectives. in 2014 based on its subject – the spective on the history of Latvia, and herited burden. Nastavševs is homosexual, Russian economic migration of Latvians to this urge in many cases is related to Identities, especially marginalised and feels humiliated by his “Soviet Great Britain in the early 21st century. the complex identities of the authors ones, often become the themes of history”, having been brought up in An­other performance, singled out themselves. The inability to deal with theatre performances. The fact that the 1980s as the grandson of a Soviet by its topic, is Alvis Hermanis’ History

20 21 Research Commission (Vēstures izpē­ All these performances are dedicated tes komisija) in 2019, a study dedi- to major social and political events of cated to the partial publicising of the the 20st century in Latvia that have of- lists of KGB informers. Also of note ten scarred the nation, and they mani- are three performances directed fest a political intent on the part of the by Valters Sīlis: Juha Jokela’s play theatre makers to at least promote a Finland­ization (2019, Latvian Nation- discussion in society about their re- al Theatre), Jānis Balodis’ Veiksmes spective topics. However, the fact that stāsts (Success Story, Latvian National there are so few such performances Theatre, 2016) and 10 Years Since to be mentioned emphasises that Operation “Liberation of Iraq” (Ope­ socio-political themes are not at the rācijai “Irākas atbrīvošana” – 10 gadi, centre of attention in Latvian theatres. Homo Novus Festival, 2013), which This tendency seems to correspond deal with the economic and political to the general scepticism of Latvian dependence on Russia, the economic society regarding its ability to influ- policies of Latvia during the global ence political and state administrative economic crisis at the expense of the processes. At the same time, however, country’s most vulnerable citizens, issues relating to an individual’s own and Latvia’s involvement in the Iraq life (memory, identity) are of interest War, respectively. to both theatres and audiences.

History Research Commission (Vēstures izpētes komisija) New Riga Theatre

Photo: Jānis Deinats

22 23 Valda Čakare Ieva Rodiņa PhD, theatre researcher, professor PhD, theatre critic, research assistant at Each individual use of the at the Latvian Academy of Culture the Institute of Literature Folklore and Arts physical space creates the performance space and a specific New Performance Spaces spatiality that provides a special and Redefinition of the opportunity for developing a relationship between the actors Relationship between and the audience. Performers and Audience Members in 21st-Century Latvian Theatre: 2010–2020

s with other theatre cultures space as a physical place that exists in Europe, the 21st century before and after the performance, has brought numerous cru- and the performance space where cial changes to stage prac- the theatre performance takes place. Atices in Latvia as well. The multifac- The physical space is always the per- eted manifestations of these changes formance space of the acting as well. could be defined as “transcending Each individual use of the physical the boundaries” between various art space creates the performance space disciplines, between an artist and a and a specific spatiality that provides work of art, between a work of art and a special opportunity for developing its viewer, between art and life. Such a relationship between the actors and transcending of boundaries can be the audience. noticed in all dimensions of theatre, To ensure an overview of recent prac- including the spatial dimension. tice in Latvian theatre in terms of ex- “Theatre space is not so much a given, tending the boundaries of the theatre but rather a concept produced by a space, it seems relevant to find some specific spatial practice,” claims Brit- points of departure. When discussing ish theatre historian David Wiles.1 In the strategies that can be used to in- other words, when discussing issues crease the performative potential of a that are related to theatre and space, space, or, in other words, how to make we need to distinguish between the the chosen space an efficient co-actor Miss Julie (Jūlijas jaunkundze) Valmiera Drama Theatre 1 Wiles, D., A Short History of Western Performance Space (Cambridge: Cambridge University Press, 2003), 159. Photo: Matīss Markovskis

24 25 in the performance, German theatre There were no sets, no props, no seats namely, by confusing audience mem- in it, the direction of movement. The historian Erika Fischer-Lichte points to for audience members in the emp- bers and making them feel awkward individual feels disoriented, stressed, three alternatives, which can also be ty hall – only the bare brick walls of because they had to avoid actors. panicked and scared of getting lost. observed in theatre practice in Latvia: the former factory. The actors spoke However, directors experimented by Although Šmukste’s performance …first, the use of an (almost) Maeterlinck’s texts and moved around constructing situations in which the contained many instances of inac- empty space or one with vari- in the space as if blind, bumping actors and audience members gained curate data and misleading assump- able arrangements allowing for into members of the audience, who physical and social experience in dif- tions, the authors of the performance the unrestricted movement of ac- pressed themselves up against the ferent ways in an empty or almost succeeded in evoking the repressive tors and spectators; second, the walls and feebly tried to preserve the empty room. The ac­tress and direc- atmosphere of the Soviet period creation of spatial arrangements sense of collectiveness that is char- tor Liena Šmukste (b. 1976) created through the spatial confusion they enabling so far unexplored pos- acteristic of traditionally seated audi- Book Mark (Grāmata Zīme, 2019) as a created among the audience mem- sibilities for the negotiation of ences. The actors, in turn, deliberately sensory theatre performance that was bers. Similarly, the principle of the relationships between actors butted in and broke up the groups of experienced by the audience whilst theatre of the senses developed by and spectators, movement and audience members that had formed. blindfolded. Thus, they perceived the Lithuanian director Karolina Žernyte perception; and third, the experi- The audience’s perception was influ- surrounding world through hearing was used in Pyramid (Piramīda, 2018) mentation with given spaces usu- enced by their location in the room. It the actors speak as well as through directed by Viesturs Roziņš, in which ally fulfilling other purposes.2 made a difference whether they stood touch, sound and smell. Because the the audience experienced life as a blind person as well as a peculiar kind Latvian director Mārtiņš Eihe has fre- in the middle of a group of other au- performance was based on a story of co-existence with others by coop- quently made use of the poetic po- dience members or on the periphery, about books that were banned during tential of an empty or almost empty whether they were in direct physical the Soviet period and that had been erating, blindfolded, with a partner sit- space, both inside and outside the contact with an actor or whether they hidden, confiscated or destroyed, the ting across from them and at the same theatre. One of his early works, The were pushed away. With their unpre- “blindness” of the audience also bore time listening along to instructions on Blind (Les Aveugles), might not stand dictable actions, the actors and audi- symbolic meaning – to not see means headphones. out with high artistic value; however, it ence members created a continuous- to exist in spiritual darkness, to lack The second strategy mentioned by had the charm of a brave experiment. ly changing spatiality. This seemed knowledge, to be isolated from the Fischer-Lichte – specific, innovative to be the main achievement of the In 2005, the Homo Novus festival or- wisdom of books. spatial arrange- theatre performance, which, using ganised by the New Theatre Institute ments as an instru- French philosopher Henri Lefebvre’s But no less impor- of Latvia offered a special programme ment for creating terminology, created a lived, experi- tant is how a visu- for emerging directors entitled Prove new relationship enced space (le vécu in French). Con- ally impaired per- (Try-Out). The event was held on the Innovative spatial models between sequently, it is not the external “entity” son feels physical premises of the former furniture fac- arrangements as an actors and the au- that people fill and transform, but and social space. tory Grīvas Mēbeles, where Eihe di- instrument for creating dience – was used rather the subject, which affects our The visual experi- rected Belgian symbolist playwright 3 ence, as we know, new relationship models in Latvian theatre social lives and us. st Maurice Maeterlinck’s one-act play is crucial in the between actors and the of the 21 cen- The Blind, a metaphorical vision of It seems that space was not used in perception of spa- audience – was used in tury much more how a man feels in an indifferent, mys- such a radical way in Latvian theatre in tial information. frequently than terious world. the second decade of the 21st century, Latvian theatre of the When one loses 21st century much more the performative potential of an one’s sight, one frequently than the loses the sense of empty space. Two 2 Fischer-Lichte, E., The Transformative Power of Performance: A New Aesthetics, trans. Saskya performative potential Iris Jain (London and New York: Routledge, 2008), 110. the size and scale theatre performan­ 3 Lefebvre, H., The Production of Space, trans. Donald Nicholson-Smith (Oxford: Blackwell, of a room, the ob- of an empty space. ces made thirteen 1991), 11–12. stacles found with- years apart but in

26 27 the same space can be discussed as a photographs, albums containing por- Justīne Kļava intended to tell a story edges of the space, and a table and case study of this strategy. nographic comic books and albums about people in Latvia in the 1990s, chairs (furniture commonly found in with photographs of people hugging. Alvis Hermanis, the most internation- albeit focusing on a specific place and cafés and apartments and which can Enlarged photographs made by stage 4 ally renowned Latvian theatre direc- its history. change function depending on their designer Monika Pormale of people tor, directed Ice: Collective Reading Club “Paradise” opened with an ex- location) were placed at the centre. hugging in a swimming pool, a library of a Book with the Help of the Imagi­ position in which the four actresses The arrangement of the audience as and an urban landscape were also nation (Ledus. Kolektīva grāmatas lasī­ presented to the audience the in- well as its relation to the performance displayed on the walls of the hall and šana ar iztēles palīdzību) () in 2005. tention of the performance and the processes was traditional, yet its per- served as an extension of the perfor- The theatre performance was based adjustments that had been made to ception capacity was fundamentally mative space. on Russian cult writer Vladimir So- the original narrative about the role influenced by the reference included rokin’s work, which in an ironic, even At the same time, the historically re­ of women in contemporary society. in the performance and the perfor- sarcastic tone narrates a story about cognisable spatial arrangement with These changes were made due to the mance space addressing the venue’s the events initiated by a brotherhood reference to an ancient theatre or cir- fact that the performance was being history. A reference to the history of of strange, blond, blue-eyed people, cus was innovative, because Herma- staged in a building that had housed a venue can also be found in the cre- all of which evolve against the back- nis used it in order to change theatre a nightclub and casino in the 1990s ative biography of director Valters drop of 20th-century history. The per- viewing habits. Almost throughout along with all the ensuing problems. It Sīlis, who directed a play for school- formance was the last event in a three- the entire performance, with the ex- therefore made sense that the family aged youth titled Meeting Place: Riga ception of the final episode, both the part international project, the first two business of the play’s protagonists – City Theatre II (Tikšanās vieta – Rīgas performance space and the audience parts of which were performed in a brunch café where one could play pilsētas II teātris) at the Latvian Na- space were illuminated by a bright Germany (Gladbeck and Frankfurt). music, dance and at the same time tional Theatre in 2018. In this work the emergency light. As a result, not only The Riga version was performed at argue about relationships and discuss audience was playfully engaged in a did the processes of the theatre per- Talsu iela 1 in the Pārdaugava district the core values of life – corresponded simulation of the proclamation of the formance become visible to the au- of the Latvian capital, away from the at least partially with the criminal his- Republic of Latvia. dience, but also the viewing process main premises of the New Riga The- tory of the entertainment venue. Fischer-Lichte’s third spatiality strat- itself: the reactions of fellow audience atre in the city centre. egy was most commonly used in Lat- members when faced with the pro- For the purposes of this performance, vian theatre in the second decade For the purpose of the performance, vocative reality of the performance; artist Kate Krolle (b. 1984) fitted the st century. According to this an arena-like performance space was their interested or, on the contrary, small performance space with signs of the 21 strategy, theatre productions make created in the centre of the hall. The dismissive facial expressions when characteristic of nightlife venues. use of all the opportunities provided audience, in turn, was seated in rows receiving the albums of pornographic Colourful squares were illuminat- by spaces originally intended for other of chairs arranged in close concentric drawings from the actors. This double ed on the floor, a palm tree folded purposes. It must be noted, however, circles around the arena. It must be focus encouraged the audience mem- from a green neon tube annoyingly that the performative potential of such noted that Latvian theatre audiences bers to look at themselves and their glowed in the background, musical instruments were arranged along the “found spaces” differs and is used in a usually feel uncomfortable when ac- attitudes towards the reality of the tors make them engage and partici- performance. However, this theatre pate in the construction of the theatre experience was not directly affected reality. Hermanis respected this, and by the history of the venue, as was the 4 the building at Talsu iela 1, which is an extension of the Eduards Smiļģis Theatre Museum, case thirteen years later, when Club was originally built for the needs of the Theatre Society of the Latvian SSR and housed the the actors did not touch the audi- office of its chairman as well as other administrative offices.V arious events related to theatre ence members or ask them to answer “Paradise” (Klubs “Paradīze”, (2018) were organised here, such as discussions about theatre performances, academic confer- questions or perform any actions. was performed in the same location. ences and concerts. In the 1990s, after Latvia regained independence, a lack of financial means led to a situation in which the premises became an entertainment venue for semi- Audience members were, however, In a project developed with the in- criminal and criminal circles. This came to an end when a new performance space for the given three types of “hand-outs” dur- dependent Dirty Deal Teatro, direc- New Riga Theatre was established at Talsu iela, named the Music and Theatre Museum Hall. ing the performance: albums of old tor Paula Pļavniece and playwright Soon afterwards, the independent Dirty Deal Teatro moved into the premises.

28 29 myriad of ways. Often a found space to the theatre’s basement; however, in is not suited for theatre plays, but its the context of the performance itself, function in real life nevertheless corre- the action took place at the European sponds to the function planned in the Parliament). The boundary between respective theatre performance. life and theatre – or real and imagi- In 2014, in a collaborative project be- nary space – was also transcended in tween the Latvian National Theatre Heckel’s performance Catching RABIT and Rīga 2014 (the foundation that (Noķert RABIT). Each audience mem- managed the programme for Riga as ber viewed the performance while the European Capital of Culture), Val- seated next to a complete stranger ters Sīlis directed a cycle of four per- inside a narrow cabin built especially formances called Glory and Misery of for the performance, thus taking the the Schengen Area (Šengenas zonas viewers outside their comfort zone. spožums un posts). In it, directors of The performance was moderated by four different nationalities – Lithuanian an estranged, recorded voice, and the director Vidas Bareikis (b. 1986), Ger- “stage” was the street seen outside the man director Julian Heckel (b. 1984), cabin’s windows – Kronvalda boule- Portuguese director Márcia Lança vard and the people and tram passing (b. 1980) and Icelandic collective Kviss by. The voice of the moderator drew Búmm Bang (founded in 2009) – drew the viewers’ attention to various activi- attention to the means of expression ties on the street or in the windows of of performance and explored the the building opposite the theatre. The boundaries of contemporary theatre. cityscape seen through the window The aim of the cycle was to make view- was also included in the performance, ing theatre an open process in which, and the viewers were encouraged to pursuant to the definition of perfor- question the actual and staged signs. mance, a crucial role (if not even the A similar example can be found in the key role) is given to the viewer. For theatre performance Ladies, (Dāmas, example, before Lança’s performan­ 2016) directed by Inga Tropa. In it, the ce Glory and Misery each audience action took place in an apartment on A trip from one place to another member was given a badge depicting the fifth floor of anA rt Nouveau build- means a new perspective, a fox, beaver or eagle, dividing the au- ing in central Riga that was specifically crossing borders and, of course, dience into three groups which were selected for the purposes of the per- the extension of space. then taken on a tour around the Latvi- formance. Audience members were an National Theatre building, starting allowed to familiarise themselves with with the labyrinths in its basement and the apartment not only during the ending on the second balcony. The ac- performance but also after it, when tors in this performance-tour became they were invited to walk through the tour guides who gave new meaning rooms and enjoy some tea and apple to the visited space with the help of pie. During the performance, how- Ladies (Dāmas) stories and the viewers themselves ever, the audience was seated in sev- Theatre TT (for example, on a physical level, the eral rows, similarly to the traditional Photo: Jānis Deinats audience members were taken down arrangement in a theatre.

30 31 The theatre performance opened with ban and suburban environments in a what kind of actions to perform. Each Twenty people took part in the tour. a video projection on a wall. The audi- theatre performance. of the spectators thus obtained an The group was guided by Sīlis, who ence could hear a quiet, monotonous A trip as a basis for performance individual experience, which can per- lives near the Mārupīte River and sound, and the camera took them art was implemented in the cultural haps be interpreted with the concept shared his experience and memories through the rooms, showing a framed and art environment of Latvia in the of immersive theatre, which, although of this part of suburban Riga. Balodis, sign on the wall that read “Please 1980s, when performance artists common on a global scale, is used the playwright of the performance, switch off your mobile phones”. The Hardijs Lediņš (1955–2004) and Juris rather rarely in Latvia. According to explained how he had tried to learn next sign read “Thank you!” Another Boiko (1954–2002), who founded The theatre critic Līga Ulberte, “It is theatre about the history of the leakage of sign read “Please be warned that Workshop of Unprecedented Feel­ in which the viewer is transformed chemical substances. The walk had a guns will be heard during the perfor- ings, (Nebijušu sajūtu restaurācijas from a passive observer into an active combination of planned stops (where mance”. Thus, the organisers of the darbnīca or NSRD, founded in 1982), participant, engaging both physically the audience was greeted by a musi- performance established the rules of organised annual walks along the rail- and emotionally in a situation dic- cal performance, a presentation about the game and informed the audience road tracks from Riga to Bolderāja, a tated by a specific space outside the the history of the Mārupīte River or the members that they could rely not only neglected neighbourhood in the Riga theatre. Conceptually, a boundary be- demonstration of an object) and un- on their sensory perdception but also suburbs. The walks, which took place tween the participants and audience planned interaction with real life. For on the video camera of camerawo­ early in the morning or in the evening, members is demolished and, even if example, a drunkard was interested man Elīna Matvejeva, which played a allowed the participants to experi- the viewer has not been given a role in the aim of the walk, another passer- crucial role in organising the narrative ence the changes in daylight as well in the construction of the story, his or by simply wanted to have a chat, and of the performance. as unplanned events and situations in her unpredictable response may have another one wished to join the tour. The camera acted like the eye of an the mutual interaction between man an impact on it.”5 Under these circumstances it would audience member – the audience and the environment. The performance-tour format was also be difficult for an observer to distin- guish between the actors and specta- entered whichever room the camera In the 21st century, too, Latvian theatre followed in Mārupīte River (Mārupīte, took them to, thus facilitating the audi- has been employing the creative po- 2012), a project directed by Valters tors – anyone who briefly joined the ence’s movement through the space. tential of a walk. In 2018, four young Sīlis and Jānis Balodis which mani- walk could become both an actor and On the other hand, the camera’s total actors founded the KVADRIFRONS fested itself as a three-hour walk a spectator. control over the audience’s eye al- theatre collective, which found a along the banks of the Mārupīte In 2016 director Krista Burāne took lowed it to restrict what that eye saw. home in the old Riga Circus building. River – through wooded areas and un- a new step in the direction of inter- The camera made audience members One of the first projects carried out by dergrowth as well as residential areas, active theatre with the documentary focus on specific details or step back the troupe was a special performance- where both blocks of apartments and performance Borders (Robežas), in and look again from a distance, con- tour called Touched by a Miracle private houses could be seen. The which the action evolved in a block of templating which characters would (Brīnuma skartie), during which audi- tour ended in the sculpture garden apartments nicknamed the Great Wall connect and how in order to shape ence members had the opportunity to established by sculptor Indulis Ranka. of China in one of Riga’s so-called the development and rhythm of the walk through all the levels and rooms The Mārupīte environmental accident “sleeping neighbourhoods”. The per- performance. of the circus building and explore served as the catalyst for the tour. formance included a trip on public Taking into account that we see and its history with the help of an audio The disaster was caused by a fire that transport, “audience members” being perceive more intensely and differ- guide. Before the performance, each started in a warehouse for chemical blindfolded and then walking around ently whilst travelling than when at of the twenty audience members was substances and resulted in extensive the apartments, listening to stories home, directors have often turned to given a serial number, a high-visibility water pollution and ecological dam- told by the inhabitants about how they the road movie method. A trip from vest and a protective helmet with a age, dead fish and a break in the local had experienced various border situa- one place to another means a new light source and headphones, through water supply. tions in their lives – social, emotional, perspective, crossing borders and, of which the voice of the audio guide course, the extension of space, which gave instructions as to which route to a director can evoke by including ur- choose, where to linger longer and 5 ulberte, L., Noķeriet divpadsmit trušu, Diena, 27/10/2018.

32 33 physical – thus allowing people to and Daugavgrīva neighbourhoods, were right there, on site. When a view- narrow rooms where the audience sits learn about about the variety of in- which are known for their high level er of the performance approached a metre away from the performers to dividual experiences that exist right of crime. The performance started these images, unexpected things and the entire city as the site of a perfor- next to us, in the neighbourhood, yet on the banks of the Daugava River processes came into view along with mance, which the audience experi- in a seemingly parallel space. Borders at Strēlnieku Square in central Riga, the object that was intended by the ences through the windows of a bus. was a tour both in the urban environ- where each spectator was given a authors of the performance. Careful The examples discussed above pro- ment and in the consciousness of the raincoat, a flashlight and a laminated to not stumble over the fragments of vide evidence that Latvian theatre in viewers, letting them become aware sheet of paper with the travel route. a wall, the viewers crawled into the st of different types of communication, Then they boarded an old bus for the ruins and dungeon of the fortress and the second decade of the 21 century points of connection between an art approximately half-hour drive to the wandered along paths through the significantly distanced itself from the experience and the reality of life, and fortress. Through the dusty windows bushes or thick grass. At each stop proscenium stage as the prevalent also the boundaries of mutual trust. of the bus they noticed various signs they were met either by an individual model of theatre. Theatre directors strategically chose specific venues One of the most ambitious events in along the way: Furniture from Belarus, whose story had to be heard, or a blu- and spaces so that a certain type of the genre of performance-tour was Gambling House Phoenix, Top Store. ish light that shone over the viewers Fortress (Cietoksnis, 2017), co-authored As they approached their destination, while they quietly contemplated what contact could be created between an by Krista Burāne and Mārtiņš Eihe, they saw abandoned industrial sites they had heard and seen. actor and an audience member, en- whose historical prototype, similarly to and docks with buildings like fingers the Mārupīte project, could be traced lifted up into the air. A group of as- Latvian theatre in the second decade of the sistants welcomed the spectators at back to medieval street processions 21st century significantly distanced itself from the with tableaux vivants at certain stops. the last stop. In constantly changing In medieval society the theatre pro- groups of two, three or four people proscenium stage as the prevalent model of theatre. cession served as an instrument of di- they went from one point marked plomacy in order to honour rulers and on the map to the next one. A siren, Since 2016, the Valmiera Summer couraging the audience member to foreign guests. Nowadays, this tool is which was a sign often used also by Theatre Festival has also explored the actively experience the performance used to explore the human being and performance artists of the 1960s, sig- opportunities provided by environ- situation, as opposed to being a pas- contemporary life. nalled the beginning and end of the mental theatre. Initiated by artist and sive observer of the actors’ actions. time to be spent at each point. director Reinis Suhanovs (b. 1985), the New performance spaces were tested Fortress invited the audience to travel festival has become an annual event in former factories, schools, private through various information spaces in A road always means new experien­ that mainly attracts young-generation apartments, station buildings, mar- order to experience the complexity ces and knowledge. In addition, these teams of directors, actors, stage de- ket halls, parks, suburbs, libraries and of the world. The venue of the perfor- experiences and knowledge essen- signers and playwrights from Latvia fortresses – places that are filled with mance was the Daugavgrīva Fortress, tially differ from those one may obtain as well as special guests from abroad. memories, where the sense of space which has a long history and special when sitting passively in a chair and al- The theatre performances at the festi- arises not only from their use by actors aura.6 The “actors” in this performance lowing a flow of images drift by.A t the val are original works adapted by the and audiences but also from the at- were the inhabitants of the Bolderāja Daugavgrīva Fortress, the “images” creative teams to the specific venues mosphere and history of the particu- of the performances. Theatre perfor- lar space. Both in theatre and beyond, mances can be experienced both in the use of space makes it necessary 6 the fortress in the Daugava River estuary, where the Buļļupe River meets the Daugava, was built by the Swedes in the 17th century and in subsequent years served as fortifications, a enclosed indoor spaces (garage, han- to redefine the relationship between military base and also a prison. In the Soviet period, units of the Soviet Navy’s Baltic Fleet gar, furniture store, firefighters’ depot, actors and audiences by breaking were based at the fortress. After the restoration of Latvia’s independence, it has become a nightclub, empty swimming pool, down the boundaries between them platform for cultural activities. The large fortress includes barracks, warehouses, gunpowder etc.) and open spaces outdoors (for- and creating a community in which magazines and defensive ditches dug all around the territory. Before the theatre perfor- mance, the creative team organised communal clean-up events at the fortress in order to est, meadow, under a bridge, etc.). In the roles of the actors and audience improve the degraded environment. size, the venues range from very tiny, overlap.

34 35 VĒSMA LĒVALDE PhD, theatre researcher, assistant professor at the University of Liepāja

Latvian Theatre in the Digital Age

We should all be concerned about the future because we will have to spend the rest of our lives there.1 Charles F. Kettering, American inventor and engineer

urrently, the civilised world unmediated contact between the ac- is split into two realities. At tor and spectator (“What a piece of one extreme, people wor- work is a man!”2). And finally, the third ship the endless possibilities and largest segment moderately in- Cof digital technology. At the other ex- fuse technology into the organisation treme, they predict a looming apoca- of space in theatrical production or lypse caused by technology. Theatres, utilise several principles of the lan- including Latvian theatres, mirror such guage of the digital media, all the collisions of the contemporary ethos. while preserving the dominance of Theoretically, one could distinguish the actor as a physical and psycholog- three different movements. Some be- ical being. Nonetheless, when consid- lieve that digital technologies are the ering the environment of theatre as a philosophical foundation and practi- whole, one notices a slight confusion cal tool of a future theatre. Others, on caused by the current ethos. Ac- principle, are attempting to preserve cordingly, theatres are engaging in The Bride of the Grass Snake (Zalkša līgava) New Riga Theatre 1 https://quoteinvestigator.com/2017/03/28/future/ 2 Shakespeare, W., Hamlet, Act II, Scene 2. Photo: Jānis Deinats

36 37 experimentation and testing their aesthetic characteristics derived from Likewise, since the last decade of the an indispensable component of cin- audiences, and the perception of the computer processing that acquires 20th century, European theatres have ematography. However, they can be audience grown up in the digital age unique features in each new context. employed various technologies that used in theatres as well, in order to differs significantly from their prede- Its main feature lies in the emphasis allow artists and directors to expand create a realistic background or, on cessors: “Digital Natives are used to of visual aspects as a new form of tex- the possibilities of expression on the the contrary, to build a surreal, magi- receiving information really fast. They tuality.4 Digimodernism is based on stage. Such technologies (mainly cal environment. Although the im- like to parallel process and multi-task. and connected with modernism. The video) are primarily incorporated as ages on screens are two-dimensional, They prefer their graphics before their aesthetics of new media resemble the a component of sce- 3 text rather than the opposite.” aesthetics of the leftist avant-garde of nography. However, oc- the 20th century. For example, Bertolt casionally technology Technologies add a completely Brecht’s strategy of intentionally re- is not used merely as a vealing the conditions of the forma- tool to create the form new level of symbolic meaning The potential and risks tion of an illusion is included in hard- of a theatre production. for audiences to decode, 5 of digimodernism ware and software, while the user of In such cases, technol- provided that the spectator the computer would correspond to ogy tends to become a perceives the projections and The first expressions of digimodern- Walter Benjamin’s concept of percep- co-creator of the con- ism can be found at the turn of the tion in a state of entertainment, when tent. Latvian theatres actors’ performance as a single, th st 20 / 21 century. The advancement the progress of technologies “for the began using video a integrated whole. of the Internet era changed the way first time had freed up the human little later, probably due people communicate all around the hand from important artistic tasks, re- to financial reasons. In world. In Europe, like everywhere linquishing them only for the percep- 2005, the Performers’ Night Award projections may enlarge the three- tion of the eyes.”6 Moreover, Kirby’s else, digitalisation and video technol- (Spēlmaņu nakts – Latvian National dimensional space of the theatre by ogy steadily grew to influence almost concept fits right into the semiotics of Theatre Award) for best debut went revealing different angles, close-up every aspect of our lives. It should the theatre, because in the theatre the to director Mārtiņš Eihe for his pro- shots, or by constructing entirely dif- come as no surprise that, in an at- concept of text is understood not only duction of Gunārs Priede’s play The ferent spatiality. When done correctly, tempt to react to changing audiences, as a written or spoken word but as a Blue (Zilā) at the Liepāja Theatre. The such technologies add a completely the digital age influenced the arts as totality of all elements (or conveyors stage was enhanced with several tele- new level of symbolic meaning for au- well. Some ten years ago, British cul- of the meaning) of the entire theatri- visions synchronously broadcasting a diences to decode, provided that the tural critic Alan Kirby defined the con- cal production. Thus, the centrality of 7 video by Carl Björsmark depicting a spectator perceives the projections cept of digimodernism as a cluster of the verbal text is diminished. calf hanging out the window of a car. and actors’ performance as a single, During the finale, the image shown on integrated whole. Audio-visual instal- the televisions was blurred in red and lations frequently utilise projection 3 Prensky, M. Digital Natives, Digital Immigrants. https://marcprensky.com/writing/Pren- combined with a screeching sound. sky’- Digital Natives, Digital Immigrants-Part.1 pdf mapping – a technique of projecting This symbolised the main message of 4 kirby, A., Digimodernism: How New Technologies Dismantle the Postmodern and Recon­ video on various forms and objects. figure Our Culture (New York: Continuum, 2009), 50–72. the play: nobody is immune from en- For example, the play Beasty Love 8 5 manovich, L., Global Algorithm 1.3: The Aesthetics of Virtual Worlds: Report From Los Ange­ countering tragic accidents. (Zvērīgā mīla, 2017) at the Dirty Deal les, Publishing Service, 1996. http://ctheory.net/ctheory_wp/global-algorithm-1-3-the-aes- Currently, theatre productions are Teatro projected the image of an ani- thetics-of-virtual-worlds-report-from-los-angeles/ using video projectors, animation, mal cemetery upon the naked body of 6 Benjamins, V., Mākslasdarbs tā tehniskās reproducējamības laikmetā, trans. Ivars Ījabs, in an actor. Technology makes it possi- Iluminācijas (Rīga: Laikmetīgās mākslas centrs, 2005), 154. Original: Benjamin, W., L’œuvre virtual reality simulators and various d’art à l’époque de sa reproduction méchanisée, Zeitschrift für Sozialforschung V, (Paris: Félix other technologies. Projections are ble to change the stage layout within Alcan, 1936), 40–68. 7 Pavis, P., Analyzing Performance: Theater, Dance and Film (Michigan: University of Michigan Press, 2003), 199. 8 according to an online conversation with Carl Björsmark, 01/29/2020.

38 39 a few seconds, thus broadening the Kirby views digitalisation as a provoca- Fragmentation of Narrative so forth. One of the characteristics of potential of scenography. Ināra Slucka the digital age is visualised drama that tive step towards solipsistic subjectiv- and Space was one of the first directors to utilise ity, similar to autism. He is concerned seeks to “translate” the spoken word such potential in the play Quoting about the spread of superficiality as In contrast to Lithuania, which has a into the visual effect of scenography. Lost Time (Zudušo laiku citējot, Latvian well as the loss of the sense of space long-standing theatre tradition that In Latvia, this type of visualised dra- National Theatre, 2016) In this produc- and the perspective of thought in the emphasises form, Latvian theatre ma is represented by scenographers tion, the screen played a central role arts, writing that “This puerile primitiv- is solidly rooted in the psychologi- Krista Dzudzilo and Reinis Dzudzilo. in the scenography by Kristīne Abika, ism of the script stands in stark con- cal approach. This tradition might Inga Tropa should perhaps be distin- with the actors’ performance on stage trast to the sophistication of contem- be the reason why Latvian theatres guished as the theatre director who alternating with precise imitations of porary cinema’s technical effects.”10 utilise digital technologies predomi- has most decisively chosen a style film noir classics. Elīna Gulbe’s review On the contrary, the “priests” of the nantly as an auxiliary or experimen- that closely aligns with the principles describes the effect as follows: digital age, such as Eric Schmidt and tal technique rather than as a strat- of digimodernism. She studied at a The reality depicted on screen Jared Cohen of Google, are ecstatic: egy of narrative creation (as it is, for business school but also holds a mas- is broken up and, alongside the “Communication technologies repre- example, in the work of Lithuanian ter’s degree in theatre directing and actors, flows into the theatre sent opportunities for cultural break- director Artūras Areima or German has significant experience both as hall, assuming the shape of the throughs as well as technical ones. [...] director Susanne Kennedy). There an actor as well as a theatre director. are currently no theatre productions memories or dreams of the main Our propensity for selective memory In her productions, Tropa frequently in Latvia in which the scenography protagonist, Mark. At other times, allows us to adapt new habits quick- uses cameras to achieve at least three the video materials enlarge the relies solely on projection mapping. ly and forget the ways we did things distinct purposes: to expand the space by revealing the places Nonetheless, the new generation of space-time, to show close-up angles before.”11 Schmidt and Cohen insist where the protagonists are head- directors is experimenting with such of the actor’s faces, and to reveal the that digitalisation will change identi- ing to when they disappear from technologies, and the technical level conditions of creating an illusion (or ties, citizenship, nations, uprisings, the audience’s sight. In this way, of the video arts in Latvia is sufficiently to achieve the so-called estrange- conflicts and the restoration of the without having to resort to un- sophisticated. The principles of the ment effect). In 2017, audiences as world after various conflicts and colli- necessary re-arrangement of the language of the new media, mainly well as theatre critics were fascinated stage, the audience can experi- sions. Such subject matter is trending expressed as an emphasis on visuali- by Tropa’s production of Flea Market ence a police station, a garden in the theatres as well. The digital age sation and fragmentation,12 are pres- of Souls (Dvēseļu utenis, Dirty Deal by the house of the main pro- is thriving. And the theatre is trying ent in the theatre productions of such Teatro, 2017). Līga Ulberte’s review tagonists, a beach, a bar, etc. The to figure out if this age will usher in new directors as Inga Tropa, Valters accurately formulated the play’s con- actors move freely between both an extreme subjectivity and primitiv- Sīlis, Elmārs Seņkovs, Laura Groza- nection with the principles of digi- spaces – the one that is real and ism of the message, or whether it will Ķibere and others. Likewise, the work modernism: “First, out of the row of the one virtually created by the merely be a case of the arts acquiring of dramatists Rasa Bugavičute-Pēce six separate refrigerators and TVs video – playing games with the broader spaces and new means of and Artūrs Dīcis exhibits Kirby’s con- comes the sound of the voices of in- temporal sequence of the actions expression. cept of new textuality. Their work visible speakers. Then the speakers’ within the play.9 frequently contains collages of vari- mouths, eyes and faces appear. And, ous texts, parallel narratives that end finally, six young people tumble out abruptly without any resolution, the of six separate shelves. The sense of 9 Gulbe, E., Laikmeta starptelpa. https://www.satori.lv/index.php/article/laikmeta-starptelpa/ combination (or even replacement) of a divided, fragmented world is further 10 kirby, A., Technology and Consumer Fanaticism Killed Postmodernism. https://www.wilde- the spoken word with closed captions, intensified by the manner of the actors’ rutopia.com/landscape/urban-art/alan-kirby-technology-and-consumer-fanaticism-killed- postmodernism/ visualised text messages, emojis and communication. They keep talking to 11 Schmidt, E., Cohen, J. The New Digital Age: Reshaping the Future of People, Nations and Busi­ ness. https://books.google.lv/books/about/The_New_Digital_Age.html?id=OgK0dbE_-gU C&printsec=frontcover&source=kp_read_button&redir_esc=y#v=onepage&q&f=false 12 See Manovich, L., The Language of New Media (Cambridge, Mass.: MIT Press, 2001).

40 41 one another, one over another, mixing the first half of the 20th century. He languages and dialects, interspersing was an artist, a writer of aphorisms The artistic team employed speech with song fragments…”13 The and an overall unordinary personality. scenography of the play was created The title of the play is borrowed from various digital reality by Pamela Butāne in collaboration Irbe’s essay The Unconsciousness, in techniques, including with video artist Austra Hauks. The which he wrote that “unconsciousness elements from the stage was equipped is an unexamined thought of light- Minecraft computer game. with a video camera ning.”14 Although the play is a solo that broadcast in performance by actor Juris Bartkevičs, real time the back- he is constantly shadowed by camera- ground ac­tions tak- woman Elīna Matvejeva. Parallel to the ing place inside space of the physical action, there is a the six refrigera- correspondingly large screen display- tors – the symbolic ing projections from a live camera. representations of The designer of the space, Ūna Lauk- the protagonists’ mane, intended the show to happen rented rooms in simultaneously as a live performance a communal flat. and as the video on the screen, in this This approach ac- way highlighting not only the polarity curately depicts the between the conscious and uncon- estrangement and scious, but also juxtaposing the actor’s simultaneous ex- raw performance against the visual hibitionism of the technologies. The minute details of digital age. Irbīte’s character that Bartkevičs mas- terfully presents throughout the play Another production, are transformed into art photos and Lightning Thoughts: video scenes on the screen, revealing Irbīte (Zibeņu do­ expressive close-up shots and bodily mas: Irbīte, support- postures. When the actor’s work is ed by the Culture combined with the projections, it ac- Capital Foundation quires an additional symbolic layer. of Latvia, 2018), The play starts and ends with the de- uses technology to piction of the artist’s death, when he address the rela- was shot by a stray bullet during the tionship between Second World War. In the finale, the the conscious mind and the uncon- camera shows on the screen the mir- sciousness. The play is dedicated to a ror image of Irbīte’s collapsed body, real person, the legendary Voldemārs as if lifting him up and reproducing Irbe, nicknamed Irbīte, who lived in his spirit, rather than his flesh. Alice’s Adventures in Wonderland (Alise Brīnumzemē) Latvian National Theatre 13 ulberte, L., Izrādes “Dvēseļu utenis” recenzija. Komunālais karnevāls. https://www.diena.lv/ raksts/kd/recenzijas/izrades-_dveselu-utenis_-recenzija.-komunalais-karnevals-14185266 Photo: Kristaps Kalns 14 irbe, V., Atziņu druskas. Voldemārs Irbe, ed. Guntars Pupa (Rīga: Preses nams, 1995).

42 43 In contrast to the aforementioned bally describe a part of the visual screen above the life”. Sometimes all philosophically saturated story about space of the show at the National stage displays re- three spaces are an artist’s life, theatre critic Ulberte Theatre.15 ality as perceived inhabited simul- The reaction from aptly named Tropa’s theatre play for The performance of the actors is ex- in the eyes of the taneously, while children (based on Lewis Carroll’s aggerated in both its physical and characters in the audiences confirms at other times the fantasy Alice’s Adventures in Wonder­ verbal aspects. The IT specialist Leo play. Two opera- that the “digital gene­ technical elements land, a production at the Latvian Na- Seļāvo perceives in this style the influ- tors manage live ration” accepts the (such as lights or tional Theatre, 2019) as a “digitalised cameras and proj- cameras) help con- ence of so-called YouTubers, who are fragmented narratives Carroll … playing on the multi-media a significant part of pop culture, and ect the live images centrate the action swings”. The artistic team, comprised believes that “this exaggeration helps onto the screen. constructed with the within one single of scenographer Gints Gabrāns, light- to capture one’s attention”.16 However, The intention is to help of technology space. The final el- ing designer Oskars Pauliņš and video psychotherapy expert Aelita Vagale show the relativ- and is excited by the ement of the stage artists Gustavs Voldemārs Lociks and ity of reality and to is a large-scale cin- has pointed out the primitive charac- experience of conspi- Toms Zeļģis, employed various digital ter of the narrative, which she believes blur the boundar- ema screen that reality techniques, including elements stems from impulsivity: “Too liberal – ies of space and cuous visualisation. blocks the entire from the Minecraft computer game. you can do whatever you want.”17 time. Second, a stage during the According to Ulberte: part of the stage scenes when the In 2020, Tropa directed a theatre is a traditional space for the physi- action takes place in the underwater Latvian theatre had long de- production at the New Riga Theatre cal action with plywood decorations world of the Grass Snake. The theatre served the awaited return of based on the folk-legend The Bride depicting the inside or outside of a becomes a cinema that shows the Gints Gabrāns from SAN, the aug- of the Grass Snake (Zalkša līgava). The farmhouse. The house is situated on ideal world of Ziednese and the Grass mented reality app he created, to play was written in 1928 by the clas- an old railway as if it were a train car, Snake (played by Vilis Daudziņš) – life his first profession – scenography, sic Latvian author and poet Aspazija. implying that this world is both physi- in a sunbathed, bright green wood- or theatre as a multidimensional This large-scale multi-media produc- cally and morally outdated. An essen- land on the banks of a rushing river, space. […] The virtual objects of tion consciously utilises digital tech- tial component of the play’s sound where both protagonists play with SAN, which can be “caught” by nologies to construct the narrative environment is a squeaking, rattling their children. In Baltic folklore, the using the smartphone app be- and is characterised by an overload noise that accompanies the change image of the grass snake is rooted in fore the theatre show and during of audio-visual effects and typifying of of every mise-en-scène inside the ply- the cult of the dead. The grass snake the intermissions, include mirror the characters. The form of the show wood house on the rails. At the back is regarded as a gateway between the images and projections of vari- resembles a shattered mirror in which of the stage is a surreal and fascinat- two worlds, as the symbol of the soul, ous sizes and angles as well as each shard reflects one and the same ingly beautiful lake surrounded by a and is characterised by ambivalence. clouds and bolts of laser beams story from different viewpoints and in sky-blue bank of fog and ornamental The grass snake reigns over the dead, and multi-coloured lights that different light. According to the vision silhouettes of trees painted in fluo- yet it also guarantees the continuation literally draw the stage and au- of scenographer Miķelis Fišers, the ac- rescent colours. The shapes of the of life. Such an interpretation can be ditorium together by means of tion takes place in multiple symbolic trees resemble snake heads, fish tails, found in the original text by Aspazija an illusory stage curtain – all this environments, breaking up the space tridents and cauldrons with fish tails is but a primitive attempt to ver- into three different sections. First, a as well. The play, however, does not hanging over the rims. As pointed out depict the mythological layer. Instead, in the play, this lake is a portal to an there is only an ideal family: a loving 15 ulberte, L., Super Mario lotosa ziedā. Izrādes “Alise Brīnumzemē” recenzija. https://www. augmented reality that only the main husband (the Grass Snake), a mother diena.lv/raksts/kd/teatris/super-mario-lotosa-zieda.-izrades-_alise-brinumzeme_-recenzi- protagonist, Ziednese (played by (Ziednese) and their two children. Al- ja-14229017 Marija Linarte), can enter. In the words though one of the children has Down 16 Jonīte, D., Alises Brīnumzeme digitālajā laikmetā, Teātra Vēstnesis IV (2019), 24. of the scenographer, Ziednese “is suf- syndrome, the family is truly happy. 17 ibid., 25. focating in the banal routine of daily The message on the big screen is

44 45 clear – such a beautiful life can exist formances and installations. The cov- In a playbill for the student theatre Meirelles’ movie The Two Popes on only in an unreal world. According to er of the playbill features an image of production Fresh Blood (Svaigās asi­ Netflix, and both productions bear the director’s explanation in the an- Succo (played by Egons Dombrovs- nis, New Riga Theatre, 2019), direc- many similarities. The play seeks to notation to the play, earthly life is de- kis) that intentionally bears a striking tor Alvis Hermanis concludes, “The create a feeling of cinematographic picted as the realm of the dead and resemblance to Beuys (costume de- new technologies of our age have authenticity, and its text runs as a is visualised through the bouquets of signer Jolanta Rimkutė). The play is a turned into the next trendy object of dialogue comprised of multilingual black flowers as well as the dark cloth- loosely strung-together list of motifs universal adoration, the new gospel.” phrases loaded with metaphor and ing of the actors, as if they have been in Beuys’ creative work. The drama Hermanis represents the view that “… key words and expressed at various soaked in mud. Despite its overall itself is left to serve as a source of in- theatre is nothing other than the ex- tempos and rhythms. Nonetheless, esoteric mood and the multi-media spiration for presenting situations that change of living energy between the based on form and content, Herma- blurring of the space-time, the play are resolved as pure performance. stage and the audience.”18 He insists nis’ play can still be categorised as a itself should be regarded as social The scenography by Mārtiņš Vilkārsis that “theatre should not be merely a classic theatre production. According critique. The reaction from audiences unmistakably uses visuality as the car- place to execute the director’s vision, to theatre critic Kitija Balcere, the au- confirms that the “digital generation” rier of meaning by mingling Beuys’ but, first and foremost, it should dis- thentic stage setting serves as a ploy accepts the fragmented narratives works of art with quotes from Koltès’ play the artistry of an actor.”19 Herma- to draw the viewer into the space and constructed with the help of technol- text. The concept of dualism perme- nis believes that the actor is always the frame of Joseph Ratzinger’s mind.20 ogy and is excited by the experience ates everything on the stage. Jean carrier of the meaning, and the suc- Yet there are items in this environ- of conspicuous visualisation. Baudrillard’s “implosion” is incarnated cess of the entire play hinges on the ment that clearly don’t belong here, One of the most unique, daring and in the merging of differences, contra- actor. It should not come as a surprise, that have been placed here by the technically complicated productions dictions and opposites that, in turn, then, that Hermanis’ own work argues new world. For example, an exercise in the creative biography of director erode the boundaries between fact against the new theatre and the new bike that Baryshnikov’s pope gets Laura Groza-Ķibere is her interpre- and fiction and refute the very possi- era, exploiting the propensity of digi- on, peddles a bit and climbs off, out tation of the play Roberto Succo by bility of establishing an unambiguous modernism to controvert itself. While of breath. This equipment restricts Bernard-Marie Koltès (Liepāja The- meaning. Roberto Succo is a compli- integrating the tools of digimodern- bodily movement, and it is too swift, atre, 2019). The genre of the play may cated experiment and not easily ac- ism, such as visual expressiveness, too mechanical, too primitive for the be described as “various experienc- cessible to the majority of audiences. fragmented text, rejection of a linear Pope. In contrast, the audience is es”. As pointed out in the annotation, Great importance is placed on Artis story and new technologies, Herma- treated to a dance by the Pope under the play is based on real-life events Dzērve’s video projections depicting nis seeks deeper interconnections a single beam of light. The gestures in and is a story about the Italian serial excerpts of Beuys’ performances and and philosophical generalisations. the dance are delicate and expressive, killer Roberto Succo (1960–1988). The documentary snapshots. Overall, the His play White Helicopter (Baltais he­ the movement is fluid. Such a contrast playwright ironically reflects upon the play is a conceptual refutation of nar- likopters, New Riga Theatre, 2019) clearly justifies the desire to invite the relationship between a mentally ill rative, or, more precisely, a composi- talks about the resignation of Pope world-renowned ballet dancer to play criminal and society and makes the tion made up of the fragments of two Benedict XVI (Mikhail Baryshnikov as the role of Ratzinger and prioritises audience wonder whether the entire different narratives. the Pope, Kaspars Znotiņš as the Sec- the suggestive nature of personality. human race is predestined to violence retary, Guna Zariņa as Sister Tabiana). Likewise, there is a significance at- and harbours an unconscious ten- The play ran almost simultaneously tached to the metaphor of the heli- dency towards murder. This theatrical with the broadcasting of Fernando copter. At the beginning of the play, production merges the text by Koltès Discussion about the future with the personality of avant-garde artist Joseph Beuys (1921–1986), Some Latvian directors perceive digi- 18 Hermanis, A., Dienasgrāmata (Neputns, 2016), 82. who was one of the most noticeable talisation as the evolution of theatre 19 ibid., 32. conceptualists of the 1960s and 70s, language. Others worry that the es- 20 Balcere, K., Piezīmes par JRT izrādi “Baltais helikopters”. Atlūgums. https://www.lsm.lv/raksts/ producing various happenings, per- sence of theatre might become lost. kultura/teatris-un-deja/piezimes-par-jrt-izradi-baltais-helikopters-atlugums.a339944/

46 47 a stray drone accidentally flies into the (with text by Rasa Bugavičute-Pēce on the Internet now comes back to or whether we have instead lost our- room. In the finale, the roaring noise and stage and costume design by bite the one who said it. This is a con- selves in the process. of a real helicopter drowns out all oth- Krista and Reinis Dzudzilo) tells about tinuation of the former game, how- In the present age, theatre can devel- er sounds. an imaginary situation in which Latvia ever, the game is now controlled by a op in various diverse ways, and tech- Directors Gatis Šmits, Vladislavs Na­ is placed under curfew after a terror- mechanical voice coming from some- nologies are expanding this diversity stavševs and Indra Roga are among ist attack. In this context, a group of where behind the scene. The conclu- even further. However, one should be the other staunch advocates of “live former classmates decides to con- sion of the play remains open-ended, cautious about a supremacy of form communication” in the theatre. And, duct their class reunion through a having raised the question of whether without any underlying meaning, although the young directors Klāvs video chat. The scenography displays we can perceive the differences be- which risks robbing the theatrical nar- Mellis, Paula Pļavniece and actress- fragments of five separate spaces, as tween the physical and virtual worlds, rative of its multi-layered nature. turned-director Kristīne Krūze tend if viewed from a computer or smart- to employ modern technologies very phone camera. The protagonists are organically, their plays also always put named according to their Internet the actor at the centre of the produc- aliases, such as @KARITONS and tion. @!!sexy_ibrahim!!. Each of them is cast When discussing the impact of tech- as a stereotypical user of their particu- nologies on the future, one should lar social media domain. The playbill also mention the productions that is written in slang and anglicised Latvi- formally correspond to the principles an vocabulary that is commonly used of digimodernism, yet conceptually in Internet communications. The chat take a stand against the side effects members commence a game of “truth that such technologies create, such as or dare”. Unbeknown to the group, an the incapacity to examine reality ob- unknown user, possibly an artificial jectively, shallow thinking, portrayal intellect, joins the chat room. In the second act, the class- mates suddenly find In the present age, theatre themselves in a single can develop in various diverse physical space – a sort of “black hole”. Their ways, and technologies are clothes are dirty and expanding this diversity even torn, and they appear further. traumatised, as if having survived an explosion. The “black hole” – a pro- of the sordid as the elite, and regard- jection on the large cinema screen – is ing anxiety and fanaticism as typical made to look like a computer screen mental states. This approach is repre- or some sort of portal draped in black. sented by director Dmitrijs Petrenko The screen displays various close-up in his play The Century of Indifference shots of the actors’ faces. The action (Vienaldzības gadsimts, Liepāja The- seemingly takes place in the minds of atre, 2020). The production based on the heads that are displayed on the an idea by Aleksandr Molochnikov screen. Whatever was formerly said

48 49 IEVA RODIŅA PhD, theatre critic, research assistant at the Institute of Literature Folklore and Arts Jubilee ’98, based on the script of the movie Festen by Danish film director Thomas Newcomers in Latvian Vinterberg, was an ironic and Theatre Directing: witty recreation of the time. the New Generation and Forms of Theatre-Making

ince 2010, Latvian theatre when the so-called “new wave” of has experienced significant young theatre directors took the floor changes related not only to the in Latvian theatre. Most visible mem- natural emergence of a new bers of the “new wave” – Vladislavs Sgeneration but also to some conse- Nastavševs (b. 1978), Elmārs Seņkovs quential transformations in the over- (b. 1984), Valters Sīlis (b. 1985), Vies- all theatre-making process. The term turs Meikšāns (b. 1980), Dmitrijs Pet- “newcomers” is here associated with renko (b. 1981), Laura Groza-Ķibere young directors, actors, stage design- (b. 1985) – have left a notable foot- ers, choreographers and others start- print in contemporary Latvian theatre. ing their stage careers at the dawn of Each of them has developed an indi- the second decade of the 21st century. vidual creative path, concentrating on However, more and more new theatre specific themes or aesthetics; howev- groups have also been established in er, most of them (excluding Sīlis, who Latvia in recent years, thus expand- works mainly with the Latvian National ing the traditional boundaries of the Theatre) have staged performances at theatre-making process. various state theatres and sought to explore the means of expression of both psychological and postdramatic theatre. Latvian theatre researchers A very short prehistory have already stressed that this gen- eration of Latvian theatre directors dif- Jubilee ‘98 (Jubileja ‘98) The year 2010 can be marked as a fers from their predecessors not only Daugavpils Theatre significant milestone in recent Lat- in their particular theatre language vian theatre history. This was the time (i.e., moving away from the traditional Photo: Džeina Saulīte

50 51 means of expression of psychological and others. After a few years of hard production cycle the independent or text-based theatre) but also in their creative work, each of these newcom- Free Stage (Brīvā theatre Dirty Deal perception of (national) history, val- ers had already been nominated for skatuve). The Lat- Teatro by staging ues, etc.1 This first post-Soviet genera- the Performers’ Night awards. Further- vian National The- The youngest gene- children’s perfor- tion (born in the 1980s) of Latvian the- more, since 2017 the Performers’ Night atre has included ration of Latvian mances, including atre directors has no internal need to award for best small-scale production in its repertoire In the Shadow of break artistic boundaries by using the has gone to productions by these such graduation theatre directors had Death (Nāves ēnā, tools of postmodernist theatre and youngest theatre directors, namely, works as The Blue to prove their talent 2014) and Clouds therefore opts to explore verbatim Jubilee ’98 (Jubileja ’98, Daugavpils (Zilā, 2017) direct- through hard work (Mākoņi, 2014). theatre, visual dramaturgy, physical Theatre, 2017, dir. by Paula Pļavniece), ed by Toms Treinis and by adapting This led to experi- theatre and other artistic approaches. Flea Market of Souls (Dvēseļu utenis, and This Beautiful to the constantly menting with vari- The next generation of stage direc- Dirty Deal Teatro, 2018, dir. by Inga Future (Šī skaistā ous theatre forms tors (born in the mid-1990s) has al- Tropa) and The Screamers (Kliedzēji, nā­kotne, 2019) changing conditions. and means of ex- ready emerged on the horizon. Un- Daugavpils Theatre, 2019, dir. by Vies- sta­ged by Diāna pression, which like the new-wave theatre directors turs Roziņš). This demonstrates the Kaijaka (b. 1992). she later adapted (Nastavševs, Seņkovs and Sīlis to growing importance of the young and Likewise, such annual national and in- to productions for adult audiences. name a few) who appeared as a group youngest generations of theatre art- ternational theatre festivals as Homo Some of her most noticeable produc- of peers eventually developing their ists in Latvian theatre. Novus (organised by the New The- tions – the aforementioned Jubilee ’98 careers in individual artistic direc- Another significant aspect to empha- atre Institute of Latvia), the Valmiera at the Daugavpils Theatre and Club tions, the next wave of newcomers, in sise is the organisational context of Summer Theatre Festival (initiated by “Paradise” (Klubs “Paradīze”, 2018) at contrast, entered Latvian theatre one the entrance of newcomers into the stage designer and director Reinis the Dirty Deal Teatro – were created by one. Moreover, after the “explo- arena of Latvian theatre. While around Suhanovs) and the traditional Autumn in close collaboration with the young sion” of creativity generated by such 2010 the new-wave stage directors of the Patriarch student theatre festi- playwright Justīne Kļava (b. 1990). In new-wave members as Nastavševs, debuted in independent theatre plat- val of the Latvian Academy of Culture both of these productions, Pļavniece Seņkovs and Sīlis, who found them- forms such as the Dirty Deal Teatro and have provided various opportunities and Kļava investigated the rather re- selves at the top of the nominees’ Ģertrūdes Street Theatre, the large to accumulate and exchange creative cent past – the 1990s as a time of so- lists for the Performers’ Night already state theatres now opened their doors ideas. cial and economic change. Moreover, shortly after their debuts, audiences to newcomers by giving them the op- by using both nostalgia and self-dep- and critics mainly focused on the de- portunity to stage performances in recating humour, the team offered a velopment of the new-wave directors’ their small halls, thus facing lower fi- rather unique point of view by look- careers, leaving little space for new nancial risks in comparison to the large Newcomers in stage ing to the past through the eyes of the theatre makers. Already around 2012 halls. Accordingly, the Daugavpils post-Soviet generation and therefore directing: A few names a few notable post-new-wave theatre Theatre, led by artistic manager Oļegs trying to understand the dramatic directors, such as Paula Pļavniece Šapošņikovs, has served as a launch to remember consequences of the collapse of the (b. 1989), Viesturs Roziņš (b. 1990) pad for young theatre directors such Soviet Union. Jubilee ’98, based on As mentioned previously, the young- the script of the movie Festen by Dan- and Inga Tropa (b. 1985), appeared on as Georgijs Surkovs (b. 1990), the est generation of Latvian theatre direc- the map of Latvian theatre, followed aforementioned Pļavniece and oth- ish film director Thomas Vinterberg, tors had to prove their talent through was an ironic and witty recreation of by such recent newcomers as Klāvs ers. The Daile Theatre has produced hard work and by adapting to the con- Mellis (b. 1989), Toms Treinis (b. 1994) several titles in its experimental stage the time when exotic fruit and fancy stantly changing conditions, all the clothes of foreign origin were a sign while trying to meet the requirements of prestige, etc. However, the perfor- of contemporary performing arts. 1 See, for example, the recent study about Latvian theatre: Latvijas jaunā režija, 2015 (ed. by mance didn’t stop at recreating the S. Radzobe). Paula Pļavniece started her career at everyday reality of 1998; instead, it

52 53 grew into a tragicomic story about a Flea Market of Souls was the big of Tropa’s interpretation of Aspazija’s interpreting literary classics, including family trying to cope with changes in breakthrough for the young stage di- classic work, offering an investigation plays by William Shakespeare and Ed- society, in the economy and, accord- rector Inga Tropa. Tropa earned her into the subconscious and the never- ward Albee as well as Latvian classics ingly, in the global perception of a bachelor’s degree in theatre directing ending transformations of a woman. by Rainis, Rūdolfs Blaumanis, Gunārs world no longer divided by the Iron at the Latvian Academy of Culture al- Working both as a teacher and a stage Priede and others. One of the new- Curtain. ready in 2005, however, up until 2012, director, Viesturs Roziņš has col- generation stage directors who has when she finished the master’s study turned to classic texts is Toms Treinis, This interest in the post-Soviet trau- laborated with various independent programme, she was mostly known whose artistic interests most resemble mas and stereotypes that still haunt theatre platforms, including the Dirty as an actress with the New Riga The- 3 those of Elmārs Seņkovs, his former Latvian society today (such as the per- Deal Teatro in Riga, Gods’ Theatre atre troupe. Since then, Tropa has teacher at the Latvian Academy of ception of Russians as the enemies in Liepāja and theatres in Daugavpils produced two large-scale produc- Culture. Treinis’ diploma production of Latvians, or of the Germans as the and Valmiera. Recently, he has turned tions. Both Alice in Wonderland (Alise to experimenting with the aesthet- when graduating from the academy, initiators of every evil in the world)2 Brīnumzemē, based on Lewis Carroll’s ics of the theatre of the senses. Cre- The Blue (Latvian National Theatre, was the focus of Flea Market of Souls Alice’s Adventures in Wonderland, ated in collaboration with his wife, 2017), attempted to “modernise” a (2018), created by playwright Justīne Latvian National Theatre, 2019) and playwright Ludmila Roziņa, and com- play by Priede, a Latvian playwright Kļava and director Inga Tropa. Staged Bride of the Grass Snake (based on a poser Jēkabs Nīmanis, The Screamers of the 1970s, by setting the action in at the Dirty Deal Teatro, the perfor- st play with a similar title by Latvian play- (based on the novel Snows, (Sniegi) the 21 century and thus moving away mance took audiences to a shared wright Aspazija (b. 1865), New Riga by Latvian author Jānis Klīdzējs) con- from the Soviet-era context of the play. flat in the centre of Riga occupied by Theatre, 2020) manifest Tropa’s two sisted of a dense layer of sounds The production offered subtle psy- a “colourful” group of young people. main interests, which were already and music created on stage by the chological acting, for example, in the At the beginning, the conversations present in her previous stage works, actors themselves. The deliberately portrayal of the complicated relation- between the inhabitants of the flat namely, her interest in the mythologi- close-up, tight space and the dynamic ship between the mother (played by were shown in a video projection of a cal as well as in exploring the possi- stage action created the necessary Daiga Gaismiņa) and her son (Kārlis WhatsApp chat group and resembled bilities of modern technologies. While atmosphere to invite the audience Reijers or Kaspars Aniņš), and thus the politically incorrect comments positioned as a performance for chil- into the world of a blind girl named highlighted the universal nature of the that follow the articles on almost every dren and inviting audiences to re- Tāsīte. Roziņš offered a more provoca- play’s conflict.T reinis then moved to a news website. Difficulties in communi- evaluate the destructive influence of tive setting in Pyramid (Piramīda, Dirty more experimental artistic language. cation were illustrated not only by the technologies such as video games on Deal Teatro, 2019), aimed young au- For example, in The Dove (Dūja, pro- absurdly witty dialogues but also by the minds of children, Alice in Won­ diences, in which the audience mem- duction based on comedy written by the spatial conception. To highlight derland applied a feminist approach bers were blindfolded, seated across Estonian author Andri Luup, Latvian the diverse personalities and lifestyles to Carroll’s classic story and involved from another blindfolded person, and National Theatre, 2018) he explored of the residents of the shared flat, as a broad range of technological tools. together they investigated objects on the grotesque relationships between well as their harsh coexistence, the The performance received mixed re- the table between them as well as the theatre artists behind the scenes, young stage designer Pamela Butāne views from critics, who mostly pointed hands of the other person. and in Who’s Afraid of Virginia Woolf put six refrigerators on the stage and out both a lack of focus in the selec- In addition to creating new, original (Daile Theatre, 2017) he played with had each of the residents inhabit one tion of the target audience and an productions based on national drama, various theatre props to tell the story of them both symbolically and physi- overly broad storyline. Feminism and the youngest generation of Latvian of the destructive relationship of a cally. technologies are also at the centre theatre directors is also interested in married couple.

2 Such and similar statements can be found throughout the comments sections of popular Lat- 3 kaspars Gods, an actor with the Liepāja Theatre, founded a private theatre in Liepāja in vian electronic media, such as Delfi.lv, etc., and are the result of the traumas left by the Soviet 2011, managing small-scale productions in collaboration with other actors from the Liepāja occupation not only on the older generations but also on post-Soviet generations, who have Theatre as well as various Latvian theatre directors. The productions by Gods’ Theatre are heard such exaggerated opinions expressed in the family and thus adopted them. mostly aimed at young audiences.

54 55 Devised theatre and as trying their hand at stage directing or playwriting. Artūrs Dīcis, an actor blurring the boundaries with the Daile Theatre, has in recent between theatre professions years become one of the leading Lat- vian playwrights, with his plays, such Following the example of Alvis Her- as Even Whales Are Afraid (Arī vaļiem manis and his New Riga Theatre act- ir bail, Latvian National Theatre, 2018) ing troupe (for example, their cycle and The Swamp Children (Purva bērni, of Latvian Stories around 2010), as Daile Theatre, 2019), being staged in well as the locally renowned tandem the largest state theatres and winning of stage director Valters Sīlis and Performers’ Night awards. playwright Jānis Balodis, most of the past decade’s young stage directors Like Rēzija Kalniņa, Ināra Slucka and have turned to a collective theatre- other well-known Latvian actors, making process, creating each pro- Intars Rešetins (b. 1980), also of the duction with a group of like-minded Daile Theatre, formally ended his act- colleagues. In recent Latvian theatre, ing career to devote his creative en- ergy to stage directing. So far he has the turn towards the principle of de- intensively explored the plays of con- vised theatre has renewed the im- temporary French playwright Florian portance of the dramaturge. Young Zeller, including the trilogy The Father dramaturges Justīne Kļava, Rasa (Latvian National Theatre, 2016), The Bugavičute-Pēce, Matīss Gricmanis Son (Daile Theatre, 2019) and The and others write their texts not prior Mother (Daile Theatre, 2020), which to, but during the rehearsal process, are rooted in the aesthetics of psy- expanding the functions of the play- chological theatre and pay tribute to wright and emphasising the play as a the personalities of the leading actors. work-in-process adaptable to the cre- At the same time, not only Valters Sīlis ative aims and needs of the produc- and Kārlis Krūmiņš, but also Edgars tion team. Moreover, Bugavičute-Pēce Niklasons (b. 1988) and Klāvs Knuts and Kļava have also become the dra- Sukurs (b. 1987) are actively working maturges at the Liepāja Theatre and both as playwrights and stage direc- More and more actors Daile Theatre, respectively. Neverthe- tors, merging the functions of both have turned away less, this has not lessened the value of professions and proving that the the- finished plays, especially during the atre-making process can no longer be from working in large burgeoning of creativity related to divided into separate fields or profes- public state theatres, Latvia’s centenary celebration in 2018. sions. choosing instead the Another equally important issue to Following the overall trend of visuali- status of freelancer as mention in the context of newcom- sation in contemporary theatre, more ers is the increasing fusion of theatre and more theatre professionals have well as trying their hand The Swamp Children professions. More and more actors turned to the aesthetics of visual the- at stage directing or (Purva bērni) have turned away from working in atre, alongside stage and costume Daile Theatre playwriting. large public state theatres, choosing designers announcing their sover- Photo: Arturs Pavlovs instead the status of freelancer as well eignty from the authority of stage

56 57 directors. Reinis and Krista Dzudzilo, have chosen or have been forced to aging not only the creative but also of Culture in 2019 and who chose or the husband-and-wife team of stage seek freelance work. However, since the administrative process of this newly were forced to part ways with the Lat- and costume designers, already tried 2018, a number of new theatre trou­ founded theatre,6 KVADRIFRONS has vian Puppet Theatre.8 Specialising in their hand at the aesthetics of visual pes have gradually appeared on the set an example for young actors. In its the aesthetics of object theatre, the theatre, from the installation Pathet­ Latvian theatre scene, marking a new first years, under the roof of the Riga new company has so far premiered ique: On Visible Lan­ Circus, KVADRIFRONS explored dif- their first productions –The Last Hours guage (Patētiskā. Par ferent forms of performing – excur- (Pēdējās stundas, 2020) at the Dirty redzamo valodu, Homo More and more young actors sion Touched by a Miracle (Brīnuma Deal Teatro, as well as an open-space Novus Festival, 2017) to have chosen or have been skartie, 2018), children’s production production aSapniensi (2020) dur- the visual dramaturgy The Perturbon (Perturbons, dir. by ing the Valmiera Summer festival, created for the produc- forced to seek freelance work. Paula Pļavniece, 2019) and youth and is planning to explore a variety tions Portraits: Wolves productions Spring (Pavasaris, dir. by of venues according to the concept and Sheep (Portreti. Alicia Geugelin (Germany), 2019), of each new production. The main fo- Vilki un avis dir. by Viesturs Meikšāns, trend in forming creative groups / story-telling and documentary the- cus of EsARTe is the actor’s body and Liepāja Theatre, 2015) and A Century troupes / ensembles that unite art- atre LV vs. RU, (dir. by Reinis Boters, the variety of forms and techniques of Indifference (Vienaldzības gadsimts ists with similar creative interests and 2019), Fake News, (dir. by Klāvs Mellis, reached through movement and plas- dir. by Dmitrijs Petrenko, Liepāja The- views. Klāvs Mellis, one of the rising 2019). Besides, they also collaborated tics. Former actors of the New Riga atre, 2020). PERFOrācija, the tan- young stage directors, pointed out with other cultural institutions, such as Theatre who were dismissed by Al- dem of young theatre artists Pamela in a television interview that found- the Valmiera Summer Theatre Festival vis Hermanis in 20179 have formed a Butāne and Beatrise Zaķe, have been ing a new theatre troupe allows one and the Latvian National Theatre (co- new company called Willa Theatre,10 producing object and visual theatre to not make compromises, which are production of Pride and Prejudice based at the C. C. von Stritzky villa, performances since 2019. In 2020, an- inevitable in any larger theatre for- (Lepnums un aizspriedumi, based on which has previously housed various 4 other stage designer, the internation- mation. His colleague Ance Strazda the novel by Jane Austen, dir. by Klāvs cultural projects. It has become the ally acclaimed artist Monika Pormale, also suggested that, unlike smaller Mellis, 2020). home for different interdisciplinary announced a new creative alliance artistic groups, the two so-called in- Elmārs Seņkovs, one of the most ac- projects – poetic theatre (Putn ilgs, with stage director Viesturs Meikšāns dependent plat­forms, Dirty Deal tive contemporary Latvian stage di- after the works of the Finnish poet called Freshfreshfr, which aims at ex- Teatro and Ģert­rūdes Street Theatre, rectors, became the creative leader Heli Laaksonen, 2020), monoopera have shifted their status to production 7 ploring the possibilities of visual the- of EsARTe, a company created by (the soloperformance of Dita Lūriņa atre and contemporary music. companies, taking on board various the so-called “puppetry course” that in the opera by Kaspars Rolšteins theatre artists and more or less sub- graduated from the Latvian Academy #Ditoo, 2020), etc. At the beginning of jecting their artistic creations to the overall programme of the theatre.5 Expanding freelance Graduated by the Latvian Academy 6 Both Mellis and Boters also work as stage directors, and all four members of the company options of Culture in 2015, Mellis, Reinis simultaneously act in productions by Kvadrifrons as well as in other projects. Boters, Āris Matesovičs and Strazda 7 https://www.diena.lv/raksts/kd/teatris/jauna-teatra-apvieniba-_esarte_-elmara-senkova- As mentioned previously, after gradu- began working on various proj- vadiba-sak-ar-tuvosanos-vecumam-14234054 ating from the Latvian Academy of ects, until in 2017 they founded the 8 the Latvian Academy of Culture offered a programme for young actors specifically in the field of puppet and object theatre, with the aim that the students could join the troupe of Culture, more and more young actors KVADRIFRONS theatre troupe. Man- the Latvian Puppet Theatre after graduation. 9 in 2017, after the theatre’s change of residency from the historic building on Lāčplēša iela to the Tobacco Factory, director Alvis Hermanis announced his decision let go six actors of 4 https://ltv.lsm.lv/lv/raksts/10.03.2020-mazo-teatru-prieksrocibas-un-trukumi-runa-kvadri- the New Riga Theatre troupe, justifying this step as the start of a new phase in the creative frons.id182123/ work of the theatre. 5 ibid. 10 https://www.kroders.lv/highlight/4351

58 59 The Screamers (Kliedzēji) 2020, a group of students in the so- New forms, Daugavpils Theatre called “Liepāja actors’ course”, who The deliberately close-up, are currently studying at the Latvian new opportunities Photo: Džeina Saulīte tight space and the dynamic Academy of Culture with the inten- Emerging new theatre companies, stage action created the tion of joining the Liepāja Theatre, the merging of different theatre pro- necessary atmosphere to have also formed a new artistic forma- fessions and the constant search for invite the audience into the tion, called Mikropole, together with financial support for creative ideas world of a blind girl. students from the writing studies and has changed the overall landscape culture management programmes of contemporary Latvian theatre. at Liepāja University and new media The balance of power is no longer 11 artists. dominated by theatre as a building The active formation of new theatre (meaning traditional state-repertoire troups has also influenced the work of theatres), making the theatre process large stage theatres, especially during more exiting and unpredictable than the Covid-19 crisis. The need to seek ever before. The period between new forms of expression during the 2010 and 2020 altered the aesthet- Covid lockdown, exploration of digital ics and organisational principles of technologies and other factors have Latvian theatre, but only time will tell changed the stable course of reper- what long-lasting values this period toire theatres. has given us.

11 https://www.lsm.lv/raksts/kultura/teatris-un-deja/liepaja-sevi-pieteikusi-jauna-radosa-apvi- eniba-mikropole.a346762/

60 61 Līga Ulberte PhD, theatre critic, associated professor of Latvian Academy of Culture

Methods of Text Production in Latvian Contemporary Theatre

ver the past decade, even atre minus the text.)1 The watershed in Latvia, the understand- in the development of Latvian drama- ing of the playwright’s role turgy, in turn, can be pinpointed to the has increasingly changed. year 2001, when the bachelor’s pro- OA playwright is no longer perceived gramme of the Department of The- as a writer sitting at a desk and writing atre, Cinema and Television at the Lat- plays. Instead, the playwright or dra- vian Academy of Culture graduated matist is a theatre maker who is pres- its first class of dramatists. Although ent at the rehearsal hall or even on this study programme has now been stage. Two main factors have fostered closed (the last class graduated in his process: the current education sys- 2015), its graduates have concep- tem for playwrights and the develop- tually shaped the landscape of Lat- The playwright or dramatist is ment of professional theatre. vian contemporary dramaturgy. Inga a theatre maker who is present As a turning point in the relationship Ābele (b. 1972), Rasa Bugavičute- at the rehearsal hall or even on between the dramaturgy / text and Pēce (b. 1988), Jānis Balodis (b. 1987), stage. Matīss Gricmanis (in the production / staging, the historiogra- Justīne Kļava (b. 1990) and Matīss picture) is both the author of th phy of the 20 century theatre refers Gricmanis (b. 1991) are currently the autobiographic play and among the most influential authors, to a frequently quoted expression perfomer. by the French structuralist Roland although by no means the only Barthes (1915–1980): “Qu’est-ce que ones, who studied under playwright la théâtralité? C’est le théâtre moins le and theatre director Lauris Gundars To be a Nationalist texte.” (What is theatricality? It is the- (b. 1958) and imbibed his definition (Būt nacionālistam) Dirty Deal Teatro

1 Barthes, R., Le théâtre de Baudelaire, Essais critiques (Paris: Éditions du Seuil, 1964), 41–47. Photo: Aivars Ivbulis

62 63 of drama as the action of theatre and Dramaturgy is primarily a techni­ However, the theory and practice of at the New Riga Theatre. It began with cinema, rather than a genre of written cal style of writing. One can learn postdramatic theatre has rendered the play Long Life (Garā dzīve, 2003) literature. to do it if one masters certain the role of the text in theatres an in- and has continued in a succession Gundars defends this perception in tricks of the trade. “Any base for a essential, and yet very topical, issue. of productions dedicated to “Lat- more detail in his book Dramatica, dramatic text-based work intend- The concept of theatrical text (and vian subject matter” (Latvian Stories or Rational Poetry (2009)2, which is ed for public performing is sig- by this one must understand not only (Latviešu stāsti, 2004), Latvian Love based on his personal experience as a nificantly more like a refrigerator the linguistic reality of a written or (Latviešu mīlestība, 2006), Martha playwright and educator. Since 1987, manual than a novel. […] Clearly, spoken text but also the totality and from Blue Hill (Zilākalna Marta, 2009) when the director and theoretician the more straightforward the in- interaction of signs utilised in the and The Grandfather (Vectēvs, 2009), Pēteris Pētersons (1923–1998) wrote structions, the greater the odds show) has enlarged the understand- Black Milk (Melnais piens, 2010) and, his analytical reflection Drama as the that the refrigerator will be func- ing of this phenomenon. As has been recently, History Research Commis­ Criteria, Gundars’ book has been the tioning even in the home of the pointed out by Hans Thies Lehmann, sion (Vēstures izpētes komisija, 2019). st only original work in Latvian dedicated technically unsavvy consumer – who conceptually defined this phe- At the beginning of the 21 century, to the technique and theory of drama. and functioning exactly as intend- nomenon, in postdramatic theatre the this approach ushered in a complete- In it, he dedicates an entire chapter to ed by the constructor at that. […] playwright’s material is exchanged ly new method of producing plays in the relationship between dramaturgy Dramatic material is a technical with the text of theatrical production Latvian theatres and, in a way, mar- and literature. Here he defines the instruction that lays out the way (which is the case even when a text is ginalised the role of the playwright. most significant factors opposing the to reach the soul of the end ad- spoken on stage). The linguistic text By now, in 2020, the creation of text 4 notion that a play is merely a genre of dressee – the viewer / listener.” becomes merely one of the compo- within the process of the production nents of the performance, alongside itself has already become a wide- literature: Although one could criticise this theo- gestures, music, visual images and spread practice in Latvian theatres. retical proposition of Gundars’ (for Unlike the poetry or prose, the text other elements. Instead of the spo- The entire team collaborates on the of a play is not the final product; it example, when judging the quality ken word, the structure of the perfor- text by focusing on a given docu- is designed for further interpreta- of dramaturgy, it excludes categories mance is formed by another type of mentary or fictitious theme. Directors tion. “The direct recipient at whom such as subtext and the use of lan- dramaturgy – a narrative of the pro- such as Vladislavs Nastavševs, Andrejs the text of the play is aimed is the guage as more than merely a means duction that is based on audio-visual Jarovojs, Mārtiņš Eihe, Krista Burāne, director, the producer, the actor or of expression), one must nonetheless information that is not subject to the Valters Sīlis and Elmārs Seņkovs, as even the omniscient cloakroom at- concede that it vastly increases the conceptual meaning of the text and well as the non-governmental theatre tendant. It is only after making its interpretative boundaries of the con- can develop on its own terms.5 As text company KVADRIFRONS founded in way through the wall of these inter­ cept of dramaturgy. It is a text written loses its dominant role, while retain- 2017, have utilised this method in sev- mediary recipients (original italic – for the needs of theatre (or cinema, or ing a particular place in the structure eral of their productions. Some direc- ed. note) of various calibres that television), rather than a specific liter- of a play, it is only inevitable that the tors have themselves authored texts the work of a playwright reaches ary genre, and it includes such inter- function of the playwright in the cre- for their own productions, for exam- its end user (original italic – ed. mediate genres as librettos, screen ation of theatre productions is chang- ple, Hermanis, Sīlis, Andris Kalnozols, note) – the spectator. Consequent- adaptations and movie scripts – the ing as well. Ģirts Šolis and Kārlis Krūmiņš. ly, the end product of the playwrit- type of genres formerly scarcely ad- ing is a completely different mat- dressed in Latvian theatre and litera- As an essential turning point in the However, those theatre texts that ter: a theatre production.”3 ture studies. creation of dramatic material in Latvia have been created with the help of one can note the so-called collabora- a playwright (either during or prior tive creation method practised by di- to rehearsals for the production) still 2 the new edition of this book was reprinted in 2015 (in Latvian), in 2017 (English translation) rector Alvis Hermanis and the actors represent the quantitative majority in and in 2020 (Russian translation). 3 Gundars, L., Dramatica or Rational Poetics (transl. Sabīne Ozola), (Riga: Darbnīcas, 2016), 18. 4 ibid., 20. 5 Lehmann, H. T., Postdramatisches Theater (Frankfurt am Main: Verlag der Autoren, 2008).

64 65 Latvian theatres. Therefore, the fol- director and actors partially taking siderably vast and the selection of the maturgic form is Rasa Bugavičute- lowing analysis is dedicated to three on the role of co-creators. Since his documentary facts that Balodis uses Pēce. For example, she reflected the of the most prominent methods of memorable debut and first collabo- may be subjective, one can nonethe- real-life experience of specific individ- text production that feature the cre- ration with Sīlis in All My Presidents, less unmistakably sense that he has uals in such plays as Me about Rēzija ative collaboration of a dramatist and Balodis has repeatedly proved that perceived the interconnections of (Es par Rēziju, also known by the name have resulted in qualitative text able he feels most comfortable as an art- the respective historical period, be- 0:0, 2012), Girls (Meitenes, 2013) and to stand on its own merits. ist when working with documentary cause he has carefully sifted through The Boy Who Could See in the Dark material. He gets his themes from Lat- historical press releases, in- vian contemporary reality – politics, terviews, memoranda and the economy, the social situation, declarations. Moreover, it The use of documentary ecology. As a whole, Balodis’ drama- is evident that he has read the published documents as The creation of text within investigation in the creation turgy can be characterised by his in- terest in certain historical periods or well as the endless streams the process of the production of the stage script certain social, economic and political of slogans, which frequently itself has already become mean next to nothing, in a Dramatist Jānis Balodis and director issues rooted in a specific, authentic genuine effort to decipher a widespread practice in Valters Sīlis could be regarded as the documentary experience. At the same their underlying meaning. Latvian theatres. founders of contemporary documen- time, his own views as an author about However, the plays by Balo- tary theatre in Latvia. Their collabora- the selected historical period or issue dis and Sīlis are not merely tive theatre plays (All My Presidents are nevertheless always based on the political information or lectures about (Puika, kurš redzēja tumsā, 2019). She (Visi mani prezidenti, Dirty Deal Teatro, current age and his current opinions. history or economics. Instead, they also interpreted several different his- 2011)The Plan of National Develop­ All of Balodis’ plays exhibit typologi- are theatre through and through – a torical periods of the Latvian town of ment (Nacionālās attīstības plāns, cally similar dramatic structure: first, never-ending play with masks, charac- Our Little Town: A Dirty Deal Teatro,2013), Success Story he establishes the question or issue Liepāja in her play ters and transformations. (Veiksmes stāsts, Latvian National The- that bothers him, and then, closely fol- Version about Liepāja (Mūsu pilsētiņa, atre, 2016), Under Two Flags (Zem di­ lowing the facts, he creates the text as Some of the dramatists in Latvia have based on motifs from Thornton Wild- viem karogiem Latvian National The- a detective novel. The contemporary participated as performers in their er’s play, 2016) and the collage of atre, 2019) and others) consistently dialogues seek to find out why some own plays, including Balodis (The Plan episodes titled Liepāja – the Capital of address historical or contemporary of the processes in Latvian (as well of National Development, Success Latvia (Liepāja – Latvijas galvaspilsēta, documentary reality, all the while as in Lithuanian) recent history hap- Story) and playwright and script writer 2018). clothing it in original scenographic pened in the way that they did. And Matīss Gricmanis (To Be a Nationalist Dramatist and actor Kārlis Krūmiņš expression. Additionally, from 2014 to what it would be like if things had hap- (Būt nacionālistam, 2017). In fact, this has written or co-authored texts about 2017 this creative tandem produced pened differently. has become a typical trait of contem- several controversial facts of Latvian two theatre plays in Lithuania and one Many of Balodis’ plays are written an- porary theatre. The central event on history, such as the extradition of Lat- in Estonia: Barricade (co-created with alytically, meaning that the time and stage is not a representation of the vian legionnaires to the Soviet Union Goda Dapšyte, Vilnius, 2014), Forest action of the events are presented in story but an intentional experience of in 1946 (Legionnaires: A Discussion Man (Kaunas, 2015; Riga, 2018) and reverse motion, starting from the time the author’s presence. In this case, the With a Fight (Leģionāri), co-produced Like Finland, But Much Better (Viljandi, when the play was written and leading playwrights act as performers who, at with Valters Sīlis, 2011); a Latvian writ- 2017). back to a definite moment in the past. a given moment on stage, materialise er, pastor, politician and participant All of Balodis’ dramaturgic texts have The aim is to understand at what point some of their own authentic physical in the coup d’etat of 1919 (the thriller a particular qualitative value. Howev- and why the historical events changed or spiritual experiences. Andrievs Niedra, 2015); and an actor- er, the final version of the text is for- the way they did. Although the time One dramatist who has continuously spectator interactive play about the mulated during rehearsals, with the span of the play’s action may be con- recreated authentic material into dra- founding of the Latvian state in 1918

66 67 entitled Meeting Place: Riga City The­ 2108), in which he loosely adapted and Mr. Darcy. However, neither of and Melnalksnis remains similar. The atre II (Tikšanās vieta – Rīgas pilsētas II the novelette of the same title penned them take part in the play’s action. The game is on between two couples of teātris, 2018). by Russian-American writer Ayn Rand play also completely ignores the orig- the opposite sex – Lydia & Robert and Among works based on documentary (1905–1982) as well as another novel inal plot of the weddings of Jane and Roberta & Sebastian get into con- by Rand, The Fountainhead. Both texts sources, one should also count two Lydia. Consequently, the new version frontations on the topics of male and were transferred to a contemporary does not include Mr. Bingley or sever- biographical plays by Inga Ābele. female pride and prejudice. In the context, to the experience of a mod- al other prominent characters of Aus- One of these is dedicated to the original novel, the main relationships ern person in present-day Europe. ten’s novel. In the version created by prominent Latvian romantic poet As- gradually proceed from mutual an- Later, Mellis and dramatist Justīne Mellis and Melnalksnis, the spectators pazija, who lived and worked around tipathy to mutual love. However, the Kļava produced a play Martin Eden become witnesses to what transpired the turn of the 20th century (Aspazija: complete opposite happens in the (2019), which used Jack London’s nov- one afternoon in the humble drawing Personally (Aspazija. Personīgi, 2015). short time span of the play. The very el of the same title, yet localised it in a room of the house in provincial Eng- The other is a one-act play about the witty dialogues quote, stylise and put self-centred bubble of contemporary land where the four unmarried Ben- Latvian modernist painter Aleksandra a contemporary spin on the charming Latvian intellectuals. Finally, in 2020, net sisters live. New neighbours have Beļcova, who lived in the first half of mannerisms of Austen’s text. Mellis and playwright Evarts Melnalk- come to visit from afar – the twins Rob- the 20th century – The Master and Alex­ A similar aesthetic style is present in snis created a sequel to – or autono- ert and Roberta May and their child- andra (Meistars un Aleksandra, 2019). mous story-line continuation of – Jane hood playmate Sebastian McCorby. the works of director Regnārs Vaivars It should be noted that Ābele, who is Austin’s novel Pride and Prejudice. Al- Robert has serious intentions towards (b. 1973), who deconstructs existing the most significant Latvian dramatist though the play kept several original Lydia Bennet, while Sebastian has for original texts and places selected of the first decade of the 21st century, characters and situations, it is actually quite some time harboured tender characters and situations in a com- has recently dedicated herself to writ- an original work in its own right. feelings for his step-sister, Roberta. pletely new story of his own making. ing prose and stage adaptations of His most recent production to reflect works of prose. All three of the aforementioned pro- One of the most interesting elements this style is the poetic libretto Through ductions by Mellis and their texts do of Mellis’ directorial style is his ability the Marsh in the Fire (Purva bridējs not even bother to hide their connec- to attach a double meaning to an oth- ugunī, 2019). It combines motifs from tion with the original source – if any- erwise seemingly elementary melo- two different works written by the re- thing, they emphasise it. However, the dramatic plot line. The literary genre nowned Latvian playwright and repre- Re-creation of relationship with the internal struc- of his Pride and Prejudice is that of a sentative of realism in drama Rūdolfs existing texts ture of the original storyline is quite “sad drawing-room comedy”, and it Blaumanis (1853–1908), the novel nuanced. The playbill of Pride and conceptually toys with the images of Director (b. 1989) has Through the Marsh (Purva bridējs, Klāvs Mellis Prejudice announces that the story Austen’s classic novel and the signifi- staged three productions, for which 1898) and the play In the Fire (Ugunī, resumes “approximately fifteen years cance of our contemporary life. At the he also co-created the text. He has 1905). after the events of the novel have basis of the plot structure of Austen’s worked with a frequently used strat- transpired. Yet some parts of what novel are two couples of the opposite The texts that Mellis and Vaivars se- egy in contemporary theatre, namely, happened in the novel are elegantly sex – Elizabeth & Darcy as the lead- lect and recreate for their plays are the use of a classic text as raw mate- ‘annulled’, while Austen’s feminine ing protagonists and Jane & Bingley not merely objects of scenographic rial that is then recreated from a new, perspective is subtly tinted by a mas- as the secondary protagonists – as interpretation. Instead, they are the often completely different ideological culine element.”6 And that is certainly well as Elizabeth & Jane and Darcy & very foundation for the creation of the or aesthetic perspective. correct. The storyline begins fifteen Bingley as two same-sex couples serv- plays – a research tool to unlock the As his graduation project, Mellis years after the wedding of the main ing as parallel protagonists. The sto- questions that the director finds im- produced the play Anthem (Himna, couple in the novel, Elizabeth Bennet ry-line structure in the play by Mellis portant and intriguing.

6 Playbill of the production Pride and Prejudice, Latvian National Theatre, 2020

68 69 Contemporary presentation six young adults – Latvians Lāsma and Viesturs, Russian Vitaly, German Her- of classic drama Although plays are mann, the Roma man Dollar and a Pol- almost never published Since 2014/2015, the Latvian Theatre ish woman named Jadwiga – who con- Awards of the Performers’ Night have verse with each other all night long. anymore, dramaturgy included a category for Best Origi- Their relationships represent a micro- has become a respec­ nal Drama. Justīne Kļava, currently model of our contemporary multicul- table professional one of the artistically most persua- tural Latvian society, in which social occupation in theatres. sive and multifaceted personalities and household problems become in Latvian dramaturgy, has received intertwined with unresolved historical this award twice. She has produced issues. The communal flat – the most several original adaptations of exist- horrifying nightmare of Soviet domes- ing scripts or texts (Jubilee ’98, based tic life – ironically becomes a voluntary on motifs from Thomas Vinterberg’s and conscious housing choice among Festen (2017); Martins Eden; The Lat­ the contemporary youth. The stage vians (Latvieši), based on a book of presentation of one night in the do- the same title written by the 16th-cen- mestic life of six young adults of differ- tury author Garlieb Merkel (2019) and ent ethnicities is based on a very well- others). She has also utilised docu- known psychological phenomenon, mentary material (productions Club namely, petty kitchen-sink conflicts “Paradise” of 2018 and In Search of a that tend to grow and grow, eventual- ly escalating beyond anyone’s control. Performer (Meklējot spēlmani, 2019) “You placed the dirty pot on my shelf and created plays for children (Planet because I’m a Russian!” “You stole the No. 85 (Planēta Nr. 85), 2018). bottle because you’re a Gypsy!” And Notwithstanding this, Kļava has so forth. The title of the play is a pho- achieved a completely new level of netic allusion to a well-known Latvian quality when working within the frame- novel (with Latvian utenis / putenis work of the tradition of classic Latvian meaning ‘flea market’ / ‘snowstorm’). drama in her plays Ladies (2016) and It offers a very accurate testimony of Flea Market of Souls (2017). These the deconstruction of national pathos plays are characterised by a classical in contemporary Europe. What used form (dialogues following the natural to be a romanticised journey of souls pattern of conversation, a linear story (putenis, the snowstorm) has now line, keenly perceived conflicts of the turned into an ironic flea market of contemporary situation in Latvia) and souls (utenis, a market for junk items). original, non-borrowed content. Flea Market of Souls is by no means an Flea Market of the Souls is one of infantile work, although the protago- the most significant original works of nists are drunk most of the time and Latvian dramaturgy produced in the constantly bickering amongst them- Flea Market of Souls (Dvēseļu utenis) past decade. The action takes place selves. In reality, this is an hour-long Dirty Deal Teatro in an apartment in present-day Riga. “black comedy” performed on stage. Photo: Jānis Amoliņš The residents of the apartment are However, the laughter here should be

70 71 understood with the specific connota- time for A Date with 50 Grams of Bal­ ing the past few years, the playwright director but also the spectator, reader, tion of buffoonery of life and the arts, sam (Randiņš ar 50 gramiem balzama, has turned from a lone, mysterious, costume designer, lighting technician, as explained by the Russian cultural 2019). Both texts can be regarded as mythic person into a social being, a actor and other companions in the philosopher Mikhail Bakhtin (1895– a modern Latvian version of a well- conversation partner for not only the creation of a production.”7 1975) when analysing the cultural crafted theatre play. They are charac- context of the Middle Ages: when the terised by domestically recognisable mighty and the lowly have exchanged features of the 21st-century Latvian their respective positions, then shared environment. The dialogues are nim- laughter helps to overcome the fear ble and clever, and Dīcis’ take on the of the unknown. In the context of this problems of the generation now in play and performance, this axiom their thirties is self-derisive. His play is conveyed in the following way: a The Swamp Children (Purva bērni, gang of young theatre artists proceed 2017), although aesthetically uneven, to dethrone seemingly untouchable is innovative in its attempt to use the sacred things. The Great War has genre of dystopia. been transferred to the kitchen of a communal flat, and a squabble about a dirty pot airs uncomfortable issues regarding Latvia’s past and present. Conclusion As the level of intoxication of the pro- tagonists escalates together with the The past decade in Latvian drama- grotesque nature of the situation, turgy has been shaped by authors Kļava creates a masterful dramatic who were born in the 1980s and 90s. counterpoint near the end of the play. Alongside the authors mentioned in Each character is allowed to present this article, one should also include a short, individual story – the story of Agnese Rutkēviča, Inga Gaile, Anete a Latvian, a Russian, a German, a Pole Konste, Laila Burāne, Ludmila Roziņa, and a Roma. The stories are seeming- Edgars Niklasons and others. This is ly drawn from the life experiences of the first generation whose aesthet- real people and all of them end with ic perceptions and understanding an ironic rhetorical question: “Yes, so about the theatre have been entirely it was like that, but what should I do formed in the context of democracy about it?” The new generation, the and a seemingly borderless world- generation of the creators of Flea wide culture. Many of them have Market of the Souls, is not afraid to call supplemented their education out- a spade a spade, to laugh about prob- side Latvia. In addition to working in lems and coexist with them. the theatre, many of them also work Actor and active dramatist Artūrs in the fields of literature, cinema and Dīcis (b. 1985) has also received the education. Although plays are almost Performers’ Night Award for Best never published anymore, dramatur- Original Drama twice – once for the gy has become a respectable profes- 7 Bugavičute, R., Preface // Text in Contemporary Theatre: The Baltics within the World Experi­ play Even Whales Are Afraid (Arī sional occupation in theatres. In the ence, ed. by Guna Zeltiņa with Sanita Reinsone (Newcastle upon Tyne: Cambridge Scholar, vaļiem ir bail, 218) and the second words of Rasa Bugavičute-Pēce, “Dur- 2013).

72 73 ZANE KREICBERGA PhD candidate, Professor, head of Performing Arts Department at the Latvian Academy of Culture Independent theatres, associations of producers and informal artist groups have entered the picture, developing and maintaining themselves in the Theatre Education theatre environment of Latvia and in Latvia: Traditions consequently making it more diverse. and Challenges

n his book Aesthetics of Absence, curricula are mostly focused on mas- German theatre director and com- tering the disciplines related to the poser Heiner Goebbels, who is also actor’s craft. Emerging directors, too, the long-term director of the Insti- saw the fulfilment of their profession Itute of Applied Theatre Studies (In­ only within these repertory theatres. stitut für Angewandte Theaterwissen­ Work beyond these theatres was con- schaft) at Justus Liebig University in sidered a failure, as opposed to an ac- Giessen, has published “nine theses knowledgement and achievement of about the future of theatre education” special talent. under the significant title “Research or Craftsmanship”.1 He reveals that the- However, the situation has conside­ atre education was initially established rably changed over the past ten years. as a talent bank for existing institu- Independent theatres, associations of tions, namely, for the existing “labour producers and informal artist groups market”, and was not aimed at the cre- have entered the picture, develop- ation of new aesthetics or questioning ing and maintaining themselves in the theatre environment of Latvia and the work these institutions were car- Disappearing Future rying out. A similar approach can still consequently making it more diverse (Izzūdošā nākotne, LKA, 2018) be observed in Latvia, where actors in terms of aesthetics and organisa- directed by Davide Giovanzana, are enrolled in theatre programmes tional forms and offering alternative production of Drama acting students for specific public theatres and their models of action for emerging artists. with specialization in puppet theatre – Agris Krapivņickis, Una Eglīte, Elizabete Skrastiņa, Rihards Zelezņevs. 1 Goebbels, H., Aesthetics of Absence: Texts on Theatre (London and New York: Routledge, 2015), 77–81. Photo: Kaiva Dreika

74 75 However, this is not an easy route due and directors since the 1990s as well Today, LKA has become the leading On the other hand, typed translations to the restricted financial means and as outlines the future challenges for university in Latvia providing stud- of the Polish theatrical reformer Jerzy resources; the path is not secure and theatre education. ies in the performing arts, where it is Grotowski’s recordings circulated also demands constant effort. Overall, possible to study acting and theatre among theatre professionals, inspir- the eight repertory theatres in Latvia directing both at the bachelor’s and ing a different view of acting tech- (five in the capital city and three in master’s level, while certain cohorts nique. However, after regaining inde- the regions) are still the most impor- The Heritage of emerging actors are trained for pendence in the early 1990s, Latvian tant employers in the field of theatre, Latvia’s theatres beyond the capital theatre education continued to ad- and to a certain degree they dictate The history of theatre education that city as well. These are mostly regional here to the so-called “Russian school” the rules for theatre education as well. prepared actors and directors for pro- theatres such as the Daugavpils The- tradition based on different variations In the time since Latvia regained its fessional work in the theatre in Latvia atre and the Liepāja Theatre, which and interpretations of the Stanislav- independence, at least one of these dates back to the beginning of the are genuinely concerned about the sky system, which was still considered theatres has created its own educa- 20th century. The first drama courses reticent attitude of actors trained in the main primer for theatre in Latvia. tion course for resident actors in co- were organised in Latvia in 1909, and Riga towards working outside the This was also due to the fact that the operation with the Latvian Academy up until the Second World War acting capital and the “sharks” of Riga’s rep- majority of the acting and directing of Culture (a leading higher education skills could be acquired in numerous ertory theatres, which attract the most teachers, such as stage directors Anna institution in performing arts in Latvia) private classes and special workshops talented youth. The Mikhail Chekhov Eižvertiņa (b. 1945), Mihails Gruzdovs or another partner. organised by several professional the- Riga Russian Theatre can also be (b. 1953), Pēteris Krilovs (b. 1949) and Goebbels is of the opinion that one of atres. Along with the establishment termed an outsider, because its work- Māra Ķimele (b. 1943) acquired their the tasks of responsible educators in of the Soviet regime, the question ing language is Russian and it relies education in Russia or were students performing arts is to prepare emerg- of a “centralised state institution for on the Russian theatre tradition. I will of these teachers, for instance, actress 2 ing artists also for an insecure, unpre- theatre education” was raised, and focus on the tradition and strategy and director Indra Roga (b. 1968) and dictable and complex future. He states in 1952 the Faculty of Theatre was es- of theatre education at LKA, because director Elmārs Seņkovs (b. 1984). that it is crucial to make a decision and tablished at the Latvian State Conser- this university is the dominant one in Professor Inga Pērkone, the compiler choose either the skills to succeed in vatoire (now the Jāzeps Vītols Latvian many aspects, including the number and scientific editor of the Te-Ki-La: the craft or the path of artistic study. Academy of Music), where aspiring of graduates. Theatre and Cinema Readings year- Theatre education in Latvia in the actors and directors studied up until The only formally accepted and book of LKA scholarly articles pub- 21st century must also take into ac- 1993. When the Latvian Academy of promoted method of theatre train- lished in 2012 and dedicated to the count the rapidly changing situation Culture (Latvijas Kultūras akadēmija, ing during the Soviet era was the training of actors in Latvia, concluded (in which the key factors affecting the LKA) was founded in 1990, along Stanislavsky system. The pedagogi- in the book’s introduction that “in gen- theatre are increasing interdisciplinar- with the renewed state of Latvia, the cal legacies of Vsevolod Meyerhold, eral, we can talk about a uniform Lat- ity and performativity in art), the po- studies in theatre acting and directing Mikhail Chekhov and other alternative vian theatre training school based on tential of theatre formation and pro- were transferred there. Furthermore, methods, even if passed on to future the Konstantin Stanislavsky method duction models against the backdrop new directions in Latvian arts educa- generations as “embodied history” in enriched with the experience of the of institutional crisis, and the impact tion were developed. For the first time the classes of particular masters, were 20th and 21st centuries and psycholo­ of technologies and the “digital revo- in the history of Latvia, it was possible not expressed loudly. Their texts and gical realism.”3 This is particularly true lution” on theatre as a form of live art. to study drama, film directing and the testimonies became available and of the actor cohorts prepared outside This article focuses on the tradition of art of the director of photography. were studied and published in Rus- the LKA, such as those for the Liepāja theatre education in Latvia, drawing Since 1999, a programme in contem- sia and other areas of influence of the or Daugavpils theatres, because they attention to the preparation of actors porary dance has also been available. Soviet Union only in the mid-1980s. have been trained taking into account

2 akurātere, L., Aktiermāksla latviešu teātrī (Riga: Zinātne, 1983), 209. 3 Te-Ki-La: Theatre and Cinema Readings (Riga: Mansards, 2012), 8.

76 77 the context of Latvian theatre and of- basics of stage directing and means which includes workshops, confer- Ķimele also believes that stage direc- ten involving LKA teachers. A special of expression, stage movement, stage ences and co-productions with the tors should fully learn the art of acting case was the Liepāja Theatre Cohort dance, stage speech, and solo and goal of incorporating international (this principle is one of the corner- (2006–2010), which was trained in ensemble singing, an important role professional experience into study stones of stage directing education collaboration with Klaipėda Univer- is also played by a theoretical sub- programmes as a mandatory compo- at LKA). Thanks to Ķimele, the LKA sity in Lithuania and under the lead- ject block consisting of the history of nent. has developed a regular collabora- ership of Lithuanian theatre artists literature, art, music and theatre, the Traditionally, the cohort manager, tion with Finland-based director and Velta Anužiene (b. 1954) and Vytautas theory of drama, cultural semiotics, or master, has a great degree of au- educator Davide Giovanzana, who in Anužis (b. 1956), who also acquired etc. On the one hand, the study pro- tonomy in the implementation of the intensive workshops and graduate their theatrical education in Moscow. cess at LKA still preserves a certain education programme, so The strategy of the Liepāja Theatre to conservatism, focusing on dramatic we speak about “Krilovs’ distance future actors from Riga and theatre, working proportionally with actors”, “Ķimele’s cohort”, Stage directors should fully prepare the situation in such a way the classics (the compulsory pro- “Gruzdovs’ cohort”, “Eiž­ that the whole cohort could be ac- learn the art of acting. gramme includes ancient tragedies, vertiņa’s cohort” or “Roga’s cepted into the theatre troupe was Shakespeare, Russian classics, Latvian cohort”. The programme entirely justified – the actors of this dramaturgy, etc.) and allowing plenty does not change on a broad scale, work settings gives LKA’s actors and cohort, along with a number of pow- of time for actor skills training. On the but the approach and accents vary. directors the opportunity to practise erful actors of the middle and older other hand, it is open to collabora- For example, for Krilovs it is important the techniques of Jacques Lecoq and generations, currently form the core tions of varying intensity and scale, to get to know the actors “from the commedia dell’arte. Gruzdovs, in turn, of the theatre troupe in that city. The both domestically and internationally, inside” by developing very personal works in tandem with Roga, and de- Liepāja Theatre is currently preparing which allows future theatre makers to relationships with his students that, scribes their approach, which has re- its next generation of emerging actors acquire new, often interdisciplinary to some extent, lead to something sulted in a relatively closed system, in cooperation with Liepaja University and international experiences in the like “interdependence” (for many as follows: “There is a professional (2017–2021) and under the direction context of the contemporary perform- former students, Krilovs continues to programme which includes acting of the director and producer of the ing arts. For example, since 2017, ev- be a mentor in their professional life). skills training, tasks and methodology theatre, Herberts Laukšteins (b. 1954), ery year three arts universities – LKA, “The actor becomes the object of the for various stages of learning, and, who also studied theatre directing in the Art Academy of Latvia and the teacher’s observation, which needs to parallel to that, there is a personality Moscow. Jāzeps Vītols Latvian Academy of Mu- be learned about from within so that development programme which runs sic – have been working together on the actor can do the same with oth- through various “rituals”, starting with implementing the MALKA project,4 in 7 ers,” says Krilovs, characterising his a requirement for basic order.” which future directors, contemporary method.5 For Ķimele, it is important In some cases, when the actor cohort dance choreographers, jazz musi- Summary of the study “to make the emerging actors get as is trained in cooperation with one of cians and illustrators work together process much sense as possible about differ- the public theatres, the group’s man- for about two months in small groups ent types of stage acting and differ- agement is entrusted to the artistic The bachelor study programmes at on thematic études that are eventually ent acting techniques.”6 Like Krilovs, director of the theatre in question. LKA in acting and stage directing combined into a public show. A good are four-year academic programmes, example of international cooperation which means that, in addition to spe- is LKA’s participation in Platform Eu- 5 kreicberga, Z., “Pēteris Krilovs”, in Te-Ki-La: Theatre and Cinema Readings (Riga: Mansards, cialised subjects such as stage acting, ropean Theatre Academies (PLETA), 2012), 102. 6 murāne, A. and Pērkone, I., “Māra Ķimele”, in Te-Ki-La: Theatre and Cinema Readings (Riga: Mansards, 2012), 113. 4 the name, which translates to “firewood” in Latvian, is a play on words consisting of letters 7 murāne, A., “Indra Roga and Mihails Gruzdovs”, in Te-Ki-La: Theatre and Cinema Readings from the acronyms of the universities and has nothing to do with wood. (Riga: Mansards, 2012), 137–138.

78 79 they are required to create composi- theatre skills and puppet and per- tionally complete works (e.g., a fairy forming object theatre specifics and tale in the 1st semester, an interpreta- stand out with their great autonomy tion of a work by the Latvian classicist and creativity. Thus, in 2005, upon Rūdolfs Blaumanis in the 2nd semester, completing their studies, a group of a single act or excerpt of absurd dra- graduates founded the umka.lv the- maturgy in the 3rd semester, a prose atre of objects, which established the excerpt from Fyodor Dostoyevsky in genre of object theatre in Latvia and the 4th semester, an excerpt from a gained international recognition. In play by Shakespeare in the 5th semes- 2020, the graduates of the latest pup- ter, and a piece of realism dramaturgy pet cohort, together with their acting in the 6th semester), which are pre- teacher and director Elmārs Seņkovs, sented to the public under training founded the independent esARTE theatre conditions. Theatre and artistic troupe. It should be concluded that, directors are invited to these shows, paradoxically, LKA has managed to thus establishing timely contacts with provide more advanced education the professional environment so that than required for the Latvian Puppet at least some of the graduate perfor- Theatre, which essentially operates in mances in the directing programme a traditional puppet theatre niche and are eventually staged and become serves primarily children’s audiences. In the picture from left to right: Prof. Gunta Bāliņa (dance), part of the repertoire in professional Another notable event in recent years prof. Edmunds Freibergs (acting), prof. emeritus Anna Eižvertiņa (acting), theatres. worth mentioning is the creation in doc. Ruta Vītiņa (stage speech), asoc. prof. Mihails Gruzdovs (acting and It is worth mentioning the fact that the 2017 of the independent theatre stage directing), prof. Rūta Muktupāvela (rector of LKA), prof. Jānis Siliņš LKA has, in cooperation with the Lat- group KVADRIFRONS, with four ac- (theatre history), prof. emeritus Aina Matīsa (stage speech), asoc. prof. Indra vian Puppet Theatre, developed three tors from LKA’s 2015 graduating class Roga (acting and stage directing), prof. Olga Žitluhina (contemporary dance), special programmes (1992–1996; continuing to show one of their grad- prof. Pēteris Krilovs (acting, stage and film directing). 2001–2005; 2015–2019) focusing uation works and quickly becoming on the art of performing objects and an active and sought-after theatre unit Photo: Kaiva Dreika puppetry. Because LKA does not have with its own écriture, where future the- permanent teachers specialising in atre directors now do internships. puppet theatre, they are secured by For example, LKA is currently (2018– audiences, as opposed to the prin- involving artists from the puppet the- 2022) preparing actors for the New ciple otherwise observed at LKA, that atre and organising workshops with Riga Theatre, and the principal of for at least the first two years students guest lecturers from abroad. The Alternative education the cohort is director Alvis Hermanis work in something like lab conditions programme is based on the existing (b. 1965), for whom this is his first ex- and do not seek any publicly measur- bachelor sub-programme in dramatic Despite focusing on the Stanislav- perience in theatre teaching. Starting able result. It is interesting that Ķimele theatre stage acting and is comple- sky system as the foundation of the already with their first year of study, (Hermanis’ former acting teacher and mented by study courses in puppet performing arts, unanimously fol- the future actors have been work- the chair of the Bachelor of Dramatic theatre styles and methods, puppet lowed by not only the professors at ing on their tasks in stage acting and Theatre study programme at LKA) has making and management techniques, LKA but also the organisers of other, stage speech as performances that had a similar approach to educating and the history of puppet theatre. alternative professional acting study are included in the theatre’s reper- future stage directors in recent years. The graduates of these study groups programmes, the practice of contem- toire and are regularly played to live Already from their first year onward, are equally strong in both dramatic porary theatre implemented by the

80 81 emerging theatres their work in the- in Latvia has been atre has been defined by the- strongly and im- atre critics both It is evident that, in the portantly affected as postmodern in practice of emerging by alternative edu- the 1990s8 and as cation and interna- post-dramatic in theatre devisers, it tional opportu­ni- the 21st century.9 A is not so crucial to ­ties provided most- school is not a sys- follow the hierarchy ly by the activities tem closed to the of dramatic theatre or of the New Theatre outside world; the certain disciplines. Institute of Latvia “spirit of the times” (NTIL) – such as the impacts both the Homo Novus Inter- students and their national Festival of teachers. It can be questioned to Contemporary Theatre, the Homo Al- what extent the practice of emerg- ibi Experimental Theatre Festival and ing theatre devisers reveals the skills various master classes – and participa- and knowledge obtained during their tion in international networking proj- studies and to what extent it is formed ects and festivals. In fact, the founder as a result of (or despite) certain cir- of both the NTIL and Homo Novus is cumstances and contexts. Many of LKA professor Pēteris Krilovs. Being the active directors of the new gene­ an active and curious theatre and film ra­tion included in the 2015 book practitioner in the 1990s, Krilovs also Latvijas jaunā režija,10 for example, began several other initiatives related Mārtiņš Eihe (b. 1975), Andrejs Ja- to theatre education which at that rovojs (b. 1981), Viesturs Meikšāns time broadened the understanding of (b. 1980), Inese Mičule (b. 1979), theatre and intensively integrated in- Vladislavs Nastavševs (b. 1978), ternational experience in Latvia, turn- Elmārs Seņkovs (b. 1984) and Valters ing it into a necessity for the newest Sīlis (b. 1985), are of the opinion that theatre generation.11

8 See: Radzobe, S. (ed.), Postmodernisms teātrī un drāmā (Riga: Jumava, 2004). 9 radzobe, Z., “Latvijas jaunās režijas jaunā valoda”, in Latvijas jaunā režija, ed. Silvija Radzobe (Riga: LU Akadēmiskais apgāds), 25–35. 10 radzobe, S. (ed.), Latvijas jaunā režija (Riga: LU Akadēmiskais apgāds, 2015). 11 in 1995 Krilovs and his contemporaries founded the Homo Novus International Festival of Contemporary Theatre, which was launched in Daugavpils and dedicated to theatre educa- Disappearing Future tion in the changed circumstances of the newly independent country. The festival provided a platform for theatre performances from Latvian, Lithuanian, Estonian and Russian theatre (Izzūdošā nākotne, LKA, 2018) schools as well as many discussions and master classes. In 1996, the Michael Chekhov Since 2012, the students of performing arts at Latvian Academy of Culture Summer School took place in Jūrmala, with the participation of outstanding interpreters have their own blackbox at Zirgu pasts,Theatre House of LKA of Chekhov’s method from all over the world. In 1998, on the initiative of Krilovs, the New Theatre Institute of Latvia was founded. It continues to play a crucial role in the development Photo: Kaiva Dreika and internationalisation of theatre processes in Latvia.

82 83 Future challenges LKA master’s programme in theatre emerging artists for the choices they able, and in order to prepare our stu- staged a complete dramaturgical make. “[..] we should educate clever dents for this complex reality, we have Reflections and discussions about work; the rest mostly created the re- young artists who are also capable of to involve them in our own research the content of the curricula, formats, quired material during the rehearsal developing their own aesthetics. And and put them in the position to con- methodology and compliance of the process, examining interactive the- as their teachers we shouldn’t pretend duct their own experiments.”15 Agree- performing arts to the needs of con- atre, theatre of the senses, documen- that we already know what that should ing with Heiner Goebbels’ opinion, temporary theatre have also been tary theatre, synthesis between the- look like. We don’t know. The future of I wish you well on your path into the raised in the last few years in various atre and contemporary dance, etc. performing arts is, I hope, unpredict- unknown.16 international contexts and formats It is evident that, in the practice of under such eloquent titles as, for ex- emerging theatre devisers, it is not ample, Teaching to Transgress, Gies­ sen and Others – Cross-disciplinary so crucial to follow the hierarchy of Theatre Education, Mind the Gap, Fu­ dramatic theatre or certain disciplines. ture School, Learning for the Future, They devise collectively and change etc.12 On the one hand, theatre is still roles; for instance, a playwright or a considered to be a language- and director becomes a performer, en- text-based art meant for national audi- gaging “non-actors” in performances, ences and continues to follow inherit- etc. Perhaps the actor’s transformation ed traditions. This inertia is also main- into a performer, the performance into tained in the system of education. an event, and the actor into a partici- On the other hand, the “performative pant – all approbated in the practice turn”13 noticed by theatre researchers and theory of contemporary theatre – and the “postdramatic theatre”14 para- should in the future be strictly taken digm have considerably changed the into account, including the respective landscape of contemporary theatre, skills and competencies in performing and performing arts education tends arts education. However, can we claim to react accordingly. The following that conventional dramatic theatre, a example illustrates this situation in director’s capability to analyse a play the context of Latvia. If comparatively and an actor’s capability to embody a recently there was a serious discus- role will not be important or on trend? sion among LKA pedagogues regard- One of the most essential things is to ing theatre directing studies, namely, find balance – how to appreciate and whether it is permissible that the not to lose something that is valuable graduation work is implemented as and unique in our classical educa- a devised performance, then in 2019 tion, at the same time facilitating the 15 Goebbels, H., Aesthetics of Absence: Texts on Theatre (London and New York: Routledge, only one out of six graduates of the independence and responsibility of 2015), 77. 16 this article was written in March 2020, during the Covid-19 pandemic, when an emergency situation was in force in Latvia, as it was in many other countries all over the world. Con- 12 Over the past three years, the author of this article has participated in at least ten interna- sequently, there were restrictions on gatherings of people and suspension of studies at tional forums and discussions dedicated to the performing arts and taking place in Latvia, higher education establishments. The students and faculty of performing arts had to be Lithuania, Poland, Czech Republic, Sweden, Denmark, Norway and Germany. especially creative in order to find ways to continue practical classes based on close contact and communication. Another question is how and whether theatre itself will change after 13 See, for example: Fischer-Lichte, E., The Transformative Power of Performance: A New Aes­ this intensely remote and digital experience, during which it has been possible to watch thetics (London and New York: Routledge, 2008). so many theatre performances from digital archives all over the world for free and many 14 See: Lehmann, H.-T., Postdramatic Theatre (London and New York: Routledge, 2006). theatre troupes collectively organised rehearsals on the Zoom digital platform.

84 85 LAINE KRISTBERGA PhD, art researcher

Liminal Performances: In-Between Threshold States

iminality as a theoretical frame- British anthropologist Victor Turner work can be used in the con- (1920–1983), American performance texts of various research fields, theorist and theatre director Richard yet primarily it is drawn from Schechner (b. 1934) and German pro- Lthe discourses related to social sci- fessor of theatre studies Erika Fischer- ences, especially anthropology. The Lichte (b. 1943), to name just a few. Latin word limen means ‘threshold’, In her 2008 book The Transformative whereas liminality refers to the physi- Power of Performance, Fischer-Lichte ological, psychological and spiritual writes that liminality is accompanied experience of threshold states. As by a profound sense of destabilisa- a concept, it was first introduced by tion1 in which the traditional dichoto- the French ethnographer Arnold van mies and binary oppositions are over- Gennep (1873–1957) in his 1909 book turned. For example, through active Les Rites de Passage (Rites of Pas- engagement in a performance piece, Through active engage- sage). Van Gennep noted the impor- a spectator may become a performer ment in a performance tance of rites marking the passage of or a participant and vice versa. The piece, a spectator may an individual or social group from one collapse of dichotomies consequent- become a performer or identity or status to another, for ex- ly leads to a liminal experience in ample, the transition from childhood which it is difficult to mark a bound- a participant and vice to adulthood. Further on, the concept ary between “this is art / theatre” and versa. of liminality was discussed by the “this is reality” (or “representation” Bearman (Lāčuvīrs) Laboratory of Stage Arts 1 Fischer-Lichte, E. The Transformative Power of Performance. (London and New York: Rout- ledge, 2008), 157. Photo: Paulis Jakušonoks

86 87 and “presence”, respectively).2 performances is the Tanztheater of the annual “Starptelpa” International music, with the Sami singer Torgeir According to British professor Susan Pina Bausch, which is a hybrid form Performance Art Festival, which offers Vassvik singing in the ancient yoik tra- Broadhurst in her 1999 book Liminal between dance and theatre. a platform for local and international dition of the Sami people and Sanita Acts: A Critical Overview of Contem­ In this context, performance art as a performance artists to exhibit their Sprūža playing the kokle, a traditional porary Performance and Theory, “all hybrid between visual arts and the- works. Starptelpa, which translates Latvian musical instrument. Moreover, liminal works confront, offend or un- atre offers a testing ground for liminal as ‘in-between space’, focuses on the the bear is a sacred, totemic animal in settle”3. She writes that hybridisation, practice. In Latvia, performance art concept of liminality, in which the con- both Sami and Latvian mythology and indeterminancy, experimentation, has always been marginal and prac- stant dissolving of boundaries, as well folklore. Our ancestors believed that heterogeneity, innovation, marginal- tised rather sporadically by visual as hybridisation, is nurtured. the bear was a creature in between a 7 ity and the centrality of non-linguistic artists who from time to time want At the Starptelpa festival, both group human and an animal. modes of signification appear to be to experiment with new disciplines. performances, devised through col- Second, liminality was revealed on among the quintessential aesthetic On very few occasions, theatre ac- laboration, and individual perfor- the narrative level, with the story un- 4 features of the liminal . To under- tors have also tried out these trajec- mances are presented. The festival folding as an initiation ritual in which stand the liminal in performing arts, tories, for example, Dārta Daneviča offers a panoramic and kaleidoscopic a Bearman (performed by Arvis Broadhurst offers the framework of in- and Elīna Dzelme, who in May 2014 view of a myriad of creative and con- Kantiševs) was born. The birth of a tersemiotic analysis. This means that, spent twenty-four hours in a transpar- ceptual strategies em- for example, all separate units or ele- ent box of glass during their perfor- ployed by the artists ments in a performance piece, such mance Dzīvo damies (lit. Live-Ing) at to explore the concept As an ephemeral, transient as a dance, costume design, video Kalnciema Street Quarter in Riga. As 6 of liminality. For ex- and immaterial process-based projections, digital technologies, the an ephemeral, transient and immate- ample, in the group performer’s body, etc., can be regard- rial process-based act, performance performance Bearman act, performance art defies ed as separate “texts”, which together art defies the rules of objecthood and (Lāčuvīrs, 2018) direct- the rules of objecthood and create meaning beyond verbal lan- thus commodification – it is difficult to ed by Simona Orinska, thus commodification – it is guage. Often, such works are experi- sell. To address this lack of exposure the concept of liminal- mental, multi- and interdisciplinary and visibility, the Latvian Centre for difficult to sell. ity was revealed from and ritualistic.5 One of the examples Performance Art (LCPA) was founded multiple perspectives. Broadhurst offers to define liminal in 2018. One of the LCPA’s initiatives is First of all, Bearman exposed hybridity new man was revealed as a complex in terms of traditions and symbols from process in which the masculine and 2 the concept of liminality, in which hierarchies and norms disappear, also resonates with three cultures: Japanese, Sami and feminine, as well as the creative and Mikhail Bakhtin’s theory of carnival. Pursuant to Bakhtin’s definition, “carnivals are playful Latvian. The Japanese culture was in- destructive, primordial forces embod- subversions of the established social and political order of things, which might otherwise troduced in the performance through ied by the Butoh dancers collided in appear fixed. Through common practices of masquerade, the burning of effigies, the des- the Butoh performing tradition imple- a cathartic, ecstatic clash, leaving the ecration of sacred objects and spaces, and excessive indulgences of the body, carnivals loosen the hold of the dominant order, breaking free – though only for a time – from law, mented by the IDEAGNŌSIS perform- Bearman empty, exhausted and in sta- tradition, and all that enforces normative social behavior” (Auslander 2008: 41–42). ing arts group. The Sami and Latvian sis. The new man could only be born 3 Broadhurst, S. Liminal Acts: A Critical Overview of Contemporary Performance and Theory. cultures were represented through from this empty shell. The birth was (Bloomsbury. 1999), 168. 4 ibid. 11–13. 5 an earlier attempt to define a theatre that would advocate a system of signs beyond the 6 every year, a new thematic scope is employed (liminality in 2018; control in 2019; ritual and dramatic text was expressed by Antonin Artaud in his 1933 book Theatre and Its Double. myth in 2020). From Artaud’s perspective, theatre should be seen as a rich source for semiotic experiments 7 For example, “Aijā žūžū, lāča bērni” (Hushaby, hushaby, bear cubs) is an ancient Latvian lul- with a certain “visual language of objects, movements, attitudes, and gestures, but on con- laby in which a bear is identified as a human, since according to ancient mythology, humans dition that their meanings, their physiognomies, their combinations be carried to the point descended from bears. In fact, a motif from this particular lullaby was also integrated in the of becoming signs, making a kind of alphabet out of these signs” (Artaud 1958 [1933]: 90). closing part of Bearman.

88 89 also signified through universal sym- absolutely non-verbal; thus, liminality bols of motherhood. The Bear Mother was also revealed through the non-lin- Liminality in the work of individual and ancestress was performed by guistic mode of signification, a feature performers is often explored voice improviser and singer Dana noted by Broadhurst. The Butoh danc- Indāne-Surkienė, who was heavily ers produced non-articulated sounds, through the problematic concept of pregnant at the time laughter, sighs, cries and groans, authenti­city, which is juxtaposed to of the performance, and these noises provided a certain acting and “pretending” in theatre. whereas the move- rhythm to the performance, yet at the ments of the Butoh same time they symbolised primeval dancers were cho- forms of existence or the pre-verbal reographed so that stage of human development. Indeed, at one moment their such an Artaudian devising technique bodies formed a developed a “unique language half- nest, and at another way between gesture and thought”9. moment their rhyth- In this context, the white bodies of mical movements the Butoh dancers in Bearman could referred to labour also be regarded as semiotic signs contractions. Overall, and carriers of meaning.10 According the performance was to Japanese theatre scholar Gunji Ma- devised as a process sakatsu, the white colour in Butoh is of transformation, ambiguous: “On the one hand, white and liminality was represents a world with no colour presented through whatsoever and is a sign of the world the initiation ritual as of the dead; on the other hand, it is “a transitional state a sign of the world of the living and filled with ambigui- denotes the white light of the sun”11. ties and contradic- This kind of in-betweenness added tions”8. another layer to the concept of limin- It should be empha- ality explored in the performance. sised that, apart from Liminality in the work of individual Vassvik’s singing in performers is often explored through the Sami language, the problematic concept of authenti­ the performance was city, which is juxtaposed to acting and

8 Westerveld, J. Liminality in Contemporary Art, 2011. http://www.judithwesterveld.nl/pres- sandpublications.html. 9 artaud, A. The Theatre and Its Double. (New York: Grove Press, 1958 [1933]), 84–100. 10 another non-verbal and yet important component of the performance was revealed through the kinetic, revolving video projections created by the artist Gita Straustiņa. These Bearman (Lāčuvīrs) projections not only served as instruments of stage design to add a surreal and dreamlike Laboratory of Stage Arts atmosphere, but also delivered the concept of the cosmic bear. 11 masakatsu, G. Butoh and Taboo. In: Baird, B., Candelario, R. (eds.) The Routledge Compan­ Photo: Paulis Jakušonoks ion to Butoh Performance. (London and New York: Routledge, 2019), np.

90 91 “pretending” in theatre. Performance “male” and “female” is a form of social the artist’s intentions. These per- spectator put their stone in a spe- artists frequently create works that are performance to adapt to society’s ex- formances plunge the spectators cial costume worn by Vētra. The total based on autobiographical experi- pectations. By putting on a feminine into a crisis.13 weight of the stones reached 120 ki- ences or questions of identity. Conse- look with the help of make-up, high Although no artists have injured lograms, and then Vētra – in the heavy quently, performing in performance heels and a dress and then exchang- themselves at the Starptelpa festival, costume – was lifted up in the air at art differs from acting in theatre, in ing them for a boyish look with a pair the threshold of endurance has been least three metres above the ground. which: of shorts and a T-shirt, Šterna demon- tested several times. For example, She proceeded to slowly get rid of The performer goes from the “or- strated that gender representation is the Mørketid photography exhibition the stones, throwing each stone down dinary world” to the “performa- performative and that, like her, some was organised as part of Starptelpa in one by one and saying “thank you”. tive world”, from one time / space people do not belong to either of the 2019. It focused on the visualisation The spectators at this performance reference to another, from one binary categories – indeed, they are in- of depression by combining perfor- also experienced a liminal state, be- personality to one or more oth- between. By engaging the spectators mance and photography. At the exhi- cause Vētra had an attachable micro- ers. He plays a character, battles in the performance and asking them bition opening, artist Anna Maskava phone and her heavy sighs indicated demons, goes into trance, trav- to help her wax her legs, Šterna also stood with her head bent down for how hard it was to hold the stones on els to the sky or under the sea or broke down the binary opposition be- two hours while pouring water on her her tiny body. On a symbolic level, earth: he is transformed, enabled tween the viewer and performer. Such head and long blonde hair. This repet- through her physical and mental dis- to do things “in performance” he participatory experience was liminal itive, monotonous movement in the tress Vētra showed that a person is 14 cannot do ordinarily.12 to the viewers, because it made them quiet gallery space, where only three able to endure only so much. Though question the prescribed rules, norms she voluntarily took on the heaviness Instead of playing a fictitious charac- to four spectators could enter at a and order, as well as boundaries, be- from others, she also retained control ter from a dramatic text, for example, time, gave rise to strong associations tween art and life. over the maximum limit. Hamlet, performance artists are sus- with the cyclical nature of depres- pended in an in-between state in Performance artists explore another sion, immobility and feelings of being Because liminality can also occur as which they perform and act out them- aspect of liminality by testing their trapped and caged. Some spectators a result of hybridity when artists inte- selves. For example, in her 2019 per- physical and psychological limits. Of- were touched emotionally so power- grate various modes of representa- formance Genderbender artist Laura ten such performances are durational fully that they wept. After the perfor- tion and technologies in their perfor- Šterna drew attention to the social and last several hours. Fischer-Lichte mance, Maskava acknowledged that mances, Anda Lāce’s performance All pressure she constantly experiences writes that liminality becomes espe- she had lost the sense of time and the best! (Daudz laimes!) performed because of her androgynous look. cially apparent in performances in- experienced a state of trance during at Starptelpa in 2018 should also be The forty-minute-long performance volving self-injury: those two hours. mentioned.15 In it, Lāce worked with had a minimalistic mise-en-scène – These performances erase valid At the 2018 edition of the festival, art- several layers of time: the objects (all there were just a few props, such as a rules and norms and establish a ist Daniela Vētra in her performance kinds of crockery inherited from pre- bicycle and a mirror, and a screen on state of radical betwixt and be- The Unbearable Heaviness of Oxygen vious generations) represented the which various comments that she had tween for all participants, even (Skābekļa nepanesamais smagums) layer of past; the big screen behind heard in real life were projected (“Are for the artists inflicting injuries asked the spectators to choose a the installation, where all the crockery you a girl or a boy?” “Hey, dude, pass on themselves. In this situation stone, which was weighed and reg- was carefully placed in huge piles by the ball!” “Do you know that you’re in a purely “aesthetic” response istered by her assistants. Then each the artist during the performance, a women’s bathroom?”). During the would border on voyeurism and performance, Šterna attempted to sadism. Ethical responses, how- show that the binary representation of ever, contain the risk of violating 13 Fischer-Lichte, E. The Transformative Power of Performance. (London and New York: Rout- ledge, 2008), 176. 14 after the performance, Vētra said that at one point her rib cage was pressed so hard that it 12 Schechner, R. Between Theatre and Anthropology. (University of Pennsylvania Press, 1985), was difficult for her to breathe. 126. 15 For this performance, Lāce was nominated for the prestigious Purvītis Prize in 2018.

92 93 projected the gaze of the artist that artists rid themselves of a burden. was tracked by a real-time camera at- To conclude, the concept of liminality tached to her head; and occasionally, not only in performance art, but also the real-time frames were interrupted in the performing arts overall, can be by a speedy rotation of photographs examined from various perspectives. of the artist that could be found on As such, it offers fertile ground for the- the Internet, registering yet another atre and performance theoreticians. layer of time. The performance end- Liminality can be addressed from the ed with Lāce smashing the crockery point of view of the performers, audi- while balancing on the installation. ences, engagement and interaction Not only did she literally and meta- between performers and audiences, phorically destroy this heritage; she mise-en-scène, a system of semiotic also referenced a culturally specific signs, and the experience and inte- idiom about smashing crockery.16 To gration of technologies. This list is not a certain degree, All the best! reso- exhaustive, and the next Starptelpa nates with the performance by Vētra festival will definitely bring new- ex described previously, because both amples of liminality. IN MEMORI A M

16 When one accidentally smashes a plate or a cup in Latvia, it is perceived as a sign of luck and happiness.

94 95 Theatre Research Studies at the University of Latvia: Contingent and Methodology

Dr. philol., Dr. habil. art. prof. Silvija Radzobe (1950–2020)

his page comes instead of That was so until the year 1991, the article that was not writ- when, after the restoration of the ten. It was suspended by the independence of Latvia, the state will of the almighty stage Di- severed the ties with the Mos- rector above us in last days of April, cow State Institute of Theatre Arts T th shortly before the 70 anniversary of (GITIS) – the previous foundry of the the distinguished professor, theatre next generation of theatre critics. critic and the Maestra of many current The idea that one could train the- Latvian theatre critics as well as bright atre researchers right here in Lat- personality on- and off- stage of her via was simultaneously conceived long professional career. by two people: by Silvija Radzobe By the late 1980s, Silvija Radzobe was who at that time worked at the a bustling and regularly published Division of Arts of the Institute of theatre critic, editor of the almanac Language and Literature, the Lat- “Theatre and Life”, co-author of sev- vian Academy of Sciences, and by eral books about the history of the- Ieva Kalniņa who was the head of atre, an excellent organizer, and the the Literature Studies in the De- head of the Division of Young Theatre partment of Philology, the Univer- Critics at the Theatre Association. One sity of Latvia. Silvija Radzobe had would assume that Silvija Radzobe ideas, inexhaustible enthusiasm was set to continue on this course for for theatre and a love for educa- a long time to come. tion. Ieva Kalniņa had means to

96 97 secure institutional weight and “100 Outstanding Latvian Actors” support for Silvija’s endeavors. (2019) – a collaborative work of 22 It was a fortunate pairing that al- the­atre critics and researchers. lowed Silvija Radzobe to create an Silvija Radzobe had two loves in litera- academic specialization in theatre ture – Latvian poet Aleksandrs Čaks Y studies and to raise several gen- and Russian writer Mikhail Bulgakov. erations of theatre critics. Today She succeeded in dedicating two her graduates are active influenc- books to the first one of her loves: ers of Latvian cultural processes, “Brochure About My Hate” (1990) regardless of whether they write and “The Case of “Cosmopolitans” about theatre or work in some oth- and Aleksandrs Čaks: A Documentary er professional field. If I’m not mis- Chronicle With Annotations” (2017). taken, there were nine graduations The completion of her third work, of bachelors’ and masters’ classes conceived several years ago, is now during her tenure. entrusted to her daughter Zane who The work ethic of Silvija Radzobe is also a theatre researcher and critic. should be characterized as truly Regrettably, Radzobe’s work about Mikhail Bulgakov remains as an unfin- phenomenal. She was a talented E STUD CAS theatre critic, inexhaustibly in- ished project, contained in her writ- teresting writer and speaker, re- ings, outlines, and notes of her fasci- searcher and historian, a professor natingly interesting lectures. in the Department of Humanities Although born in spring, her favou- at the University of Latvia, the cor- rite flower was dahlia, the queen of responding member of the Latvian autumn. On 29th April, the 70th anni- Academy of Sciences, editor and versary of Silvija Radzobe, the Face- co-author of many books about book timelines were silently blos- theatre. Her most significant books soming in dahlias of all colours. This (and, by the way, the thickest) are year, many of us, members of Latvian the three volumes of “The 20th theatre community, planted at least a Century Theatre Production in Lat- few dahlias this spring to cherish the via and in the World” (2002–2009), memory of a passionate theatre lover, “Theatre Production in the Baltics” fervent critic, and a colleague whose (2006) that received the Baltic As- loss leaves a blank page not only in sembly Award, and, unquestion- this bookazine, but also in written sto- ably, her most recent and most ry of Latvian theatre criticism after the prominent work in two volumes, Restoration of Independence in 1991.

98 99 INTA BALODE Dance critic, curator, performer

Towards Invisible Choreography Some Thoughts on Latvian Theatre Meeting Contemporary Choreography

The condition of being unseen is a fantasy of power, and a metaphor for powerlessness.1

here is a state of emergency phy having had a large impact on the in Latvia due to the global development of the theatre scene in Covid-19 crisis2. What will the Latvia over the past decade. And cho- performing arts be like in the reography having struggled, despite Tnew normal, whenever that comes? this growing impact, with invisibility All performances have been post- due to the low status of dance result- poned while we fight the invisible. ing from ignorance at various levels, This inspired me to think about how from cultural policy makers and venue the invisible layers of reality link to management to actors, audiences, Last call for audience invisibility as a powerful tool in con- theatre critics and the media. members to join temporary choreography, choreogra- peformers to try out the movement phrase they have seen many times. Don’t be shy, She dances (Viņa dejo, 2016) Created and performed by 1 kathryn Schulz, “Sight unseen: The hows and whys of invisibility,” New Yorker, April 13, 2015, we turn our backs Santa Grīnfelde, Krista Briģe, https://www.newyorker.com/magazine/2015/04/13/sight-unseen-critic-at-large-kathryn- not to see you... Inta Balode schulz 2 the article was written in spring 2020 during the worldwide pandemic of Covid-19 virus. Photo: Žanna Mironova

100 101 “At the very base of dance as an ab­ “In contemporary dance everything is stract art form lies a task to access more nuanced than just ‘let’s dance the broader layers of what the hu­ now’, which is what one often encoun­ man being is. To make visible what is ters in the theatre as the common often hidden behind words and ideas understanding of what dance is. You about proper behaviour. The process need to offer a different experience, so of dance is to get deeper into the in­ that after the premiere the actors smile visible forms of human existence and and say, ‘We kind of did not dance, but find a way to show them. For me it is there was so much choreography!’”9

the physicality of the ungraspable, the 10 Jana Jacuka invisible.”3 Kristīne Brīniņa4

“It is a very pleasant and enjoyable “It’s quite rare that critics mention process when the director and I have something broader about the move­ a similar vision for how dance and ment scores for performances. Maybe movement are integrated within the they don’t see them, maybe they don’t performance. However, there have find them significant, maybe they think been a few cases when I have asked that the actors move like that naturally the theatre management to release and are just great actors.”11

me from the choreographer’s position, 12 Agate Bankava because there has been an absolute mismatch of taste and opinions with a specific director.”5 Liene Grava6 I am a dance advocate. Contempo- rary dance saved my life. I wrote my BA paper about the death in Tibetan “The director invites me to collaborate Buddhism and the MA paper about so that I work with the overall rhythm the concept of emptiness. After that of the performance, the physical pres­ my soul started separating from the ence of the actors over the duration of body, I saw myself from above, and I the whole performance. That’s why, if am not kidding. Since then, I stand for somebody needs to know the length dance and talk for dance. Dance gives of the choreography in minutes, I say me the best philosophical questions that it’s the same as the duration of the and answers. However, due to the un- performance.”7 derdog status among other arts, the wisdom of dance is often overlooked. Elīna Lutce8 I want to give more voice to dance through its own language. Inta Balode13

102 103 To look back upon the past decade 3 interview with Kristīne Brīniņa, Facebook Messenger video chat, March 12, 2020. A time for words and of Latvian theatre meeting contempo- 4 Kristīne Brīniņa is an independent Latvian choreographer and dancer who lives and works a time for the body in Latvia. She graduated from the Dance Department of the Latvian Academy of Culture in rary choreography, I interviewed the Riga in 2011 and has since then been active as a solo artist, also working in collaboration five young female choreographers with other artists and non-professionals. Her work is inspired by daily life as well as situations quoted above: Agate Bankava, and encounters with strangers, which she transmits on stage with empathy and humour. In Kristīne Brīniņa, Liene Grava, Jana The body cannot 2014 Brīniņa moved to the countryside in Cīrava where, together with her husband, she runs an artists’ residency in an old watermill, testing out different ways of local involvement. Jacuka and Elīna Lutce. They work talk because it is According to stage director Valters Sīlis, “Kristīne Brīniņa finds the spaces where dance is regularly within the Latvian public and language in itself.14 still present within art and life, and then turns them into a performance.” independent theatre system and at 5 interview with Liene Grava, Facebook Messenger, March 18, 2020. the same time have their own dance 6 Liene Grava is a choreographer and dancer of contemporary dance. In 2011 she graduated practices. I consciously chose chore- Over the past decade and more, the from the Department of Contemporary Dance Choreography at the Latvian Academy of ographers who create their own work theatre scene has become a “regular Culture. Since 2010, in collaboration with the best Latvian directors, she has done chore- playground” for ambitious and tal- ography for state and non-governmental theatres as well as independent projects. She has and consider themselves primarily been nominated for the “Spēlmaņu nakts” Latvian Theatre Award four times in the Chore- dance artists. This helps to highlight ented contemporary dance chore- ographer of the Year category. In 2014 she won this award for Piaf and Red Damn Moon. In problems that would not be so clear ographers to work on a bigger scale 2018 she created a performance called Filament, which was Latvia’s first-ever vertical dance or would not come up at all for cho- for more appropriate fees and more show. reographers working only in a subor- visibility. Dance and theatre profes- 7 interview with Elīna Lutce, email, March 2, 2020. dinate role. Over the past years, the sionals collaborate on a regular basis, 8 Elīna Lutce (since 2020 Gediņa) studied dance and choreography at the Latvian Academy role of choreographers has changed resulting in strong links between the of Culture. After graduation in 2011 she has worked as an independent choreographer and dancer, presenting her work at independent venues in Riga. Lutce has collaborated a lot, and they are not the only tradi- two fields and affecting both sides in with theatre directors Elmārs Seņkovs and Viesturs Kairišs on several drama productions at tionally subordinate role wanting to terms of working methods, value sys- the Latvian National Theatre and Latvian National Opera. As a performer, Lutce has worked make their voices stronger and more tems, audiences, the role of text and with choreographers Koen Augustijnen, Willi Dorner, Heine Avdal and Yukiko Shinozaki, the level of abstractness possible. and Contact Gonzo. visible. Although the overall trajectory towards interdisciplinarity in the per- 9 interview with Jana Jacuka, email, March 9, 2020. The work of a choreographer in the forming arts scene is still very new, the theatre lies at the intersection of in- 10 Jana Jacuka is a performer and choreographer who has a bachelor’s degree in contem- porary dance art from the Latvian Academy of Culture. She is currently active in the field young generation of artists is part of visibility as power in dance and be- of dance and theatre in Latvia and also finds ways to combine her interests in sound de- this new world wishing to overcome ing unseen as an ongoing trouble- sign through movement in her performances. Jacuka was nominated for the Latvian Dance hierarchic structures and become en- maker. Stage directors rationally and Award in the Performer of the Year 2017–2018 category as well as for the “Spēlmaņu nakts” gaged in the creation of art on equal Latvian Theatre Award in the Movement Director of the Year category in 2019. intuitively feel the need to bring into terms. their productions choreography that 11 interview with Agate Bankava, Facebook Messenger, March 8 and 10, 2020. is able to make visible the deep hid- 12 Agate Bankava’s work is characterised by an interest in movement as an artistic language I quote the five choreographers - ex in its own right, which she uses to communicate with the spectator as an equal. In 2019 tensively without interfering much den layers of the reality taking place Bankava received the first annual Latvian DanceA ward for Best Contemporary Dance Cho- with or analysing their statements in on stage. Simultaneously, the low Bad, Memor Future Freak reographer for her works and . She received the “Spēlmaņu nakts” order to give them a direct voice and status of dance leads to unnecessary Latvian Theatre Award in the Movement Artist of the Year category for Blow, Wind! (collabo- tension in the creative and assessing ration with choreographer Jānis Purviņš) in the 2018/2019 theatre season. let the reader get to know the artists processes. 13 Inta Balode is a dance writer, curator, dramaturge and performer. Since 2004, Inta has been and draw their own conclusions about curating dance projects, including seminars for artists, journalists and managers, as well as the exciting encounter between the The relationship between a stage mini-festival “New Dance in an New Place”. Inta holds MA degree in Theory of Culture, she worlds of the word and the body. director and choreographer can be acquired additional training in dance writing and management in the USA and Europe. While working as dance expert at the State Culture Capital Foundation and jury of Perform- ers’ Night, she managed to lobby for the status of contemporary dance. Inta is a member of Latvian Dance Council – a consultative group at the Ministry of Culture and one of the founders of international non-profit organization LAUKKU (www.laukku.lv) as well as runs 14 marija Saveiko, “Ķermenis nevar runāt”, https://dance.lv/kermenis-nevar-runat-jo-tas-pats- Latvian Dance Information Centre (www.dance.lv). ir-runa-intervija-ar-tatjanu-gordejevu/

104 105 seen as similar to that between an comes complicated to translate it into Bankava: “The hardest thing to ex- just an exact technical performance is architect and engineer, or a designer words, in best-case scenario confu- plain to everybody is that every bodily enough, the rest is already there; you and sculptor. The choreographer is sion sets in; in the worst case, it leads thing needs time. More complicated just need to trust that the movement directly responsible for the embodi- to the denial of dance as an art form. things demand not only time but also tells everything by itself.”18 ment of the idea in a figural sense regularity for a certain exercise task This is why choreographers quite sig- Lutce: “For actors, the most important and very literally putting it into the both during the making and showing nificantly adjust their working meth- thing is to understand why they’re do- performers’ bodies. The choreog- process of the performance.”16 ods after having begun working in the ing what they’re doing; they need to rapher is the medium between the field of theatre. Lutce: “There has been a lack of un- understand that to the most absurd stage director and the actor or singer. derstanding that a certain quality of 19 The choreographer is in the role of a An interesting issue is the choice of detail. The word comes first.” movement demands time. You can’t priest translating God’s message into showing movement on a choreogra- Jacuka: “Actors need to be addressed, just say ‘You are the sea!’ and every- the flesh. As Richard Rohr said in his pher’s body, that is, teaching through you can’t scare them. Many of them body gets it and turns into the sea. It talk in Riga, “It would be quite stupid demonstration, which leads to learn- become afraid because they think doesn’t work like that. That’s exactly to think that God sent his son to be- ing by mimetic repetition. Grava ‘there will be dancing!’ But instead what the work consists of – to come up come flesh in order to learn how to says actors and musicians need to with the necessary conditions for the of dances, I try to understand what is overcome it.”15 be shown everything. Jacuka also movement you have imagined to be needed for a performance and then stresses the need born in the actors.”17 search for a solution by adapting to to show everything the individuality of every artist, search- The relationship between a stage in order to avoid The choreographers explain that ac- ing for their strong sides, creating en- director and choreographer can be seen misunderstand- tors need words in different ways. Ac- joyable, understandable, comfortable as similar to that between an architect ings. However, this tors really care about having a conver- movement material for them so they sation explaining why they need to do 20 and engineer, or a designer and sculptor. might not be the don’t feel uncomfortable on stage.” this or that movement, what it means, case in the work The choreographer is directly responsible etc. However, it is not so easy to dis- When commenting on differences of Elīna Lutce, Ag- for the embodiment of the idea in a tinguish whether actors care about between actors and dancers, chore- ate Bankava and figural sense and very literally putting it understanding and being talked to, or ographers say that dancers need less into the performers’ bodies. Kristīne Brīniņa, being convinced verbally to engage explanation, especially before action. especially when in the unknown, in not knowing be- Lutce says that for dancers “move- working with stage forehand how things will get done. ment comes first, that’s why it’s pos- The Latvian theatre tradition is mostly directors who have “choreographic sible to dedicate a lot of time to ‘how’ Brīniņa: “In conversations with actors text-based, and theatre criticism is thinking” and when having enough and not ‘what’”. I really focus on being as precise as also mostly oriented towards analys- time to do their work. possible and creating the understand- Grava: “The difference between an ing this kind of theatre. Other lan- Regardless of the nuances when work- ing of ‘why’ and ‘how that specific actor and dancer is that dancers guages are quite foreign to both movement helps’. Though there are fully control their bodies. We can ex- theatre-makers and audiences. In this ing more with readymade movement situations when questions and expla- periment and create choreography context, the language of dance is one phrases or offering more research- nations are not helpful at all. When together. I can give exact feelings, of the most cryptic, and even more based, individually adjusted move- tricky is the fact that it is not seen as ments, all of the interviewed choreog- a language at all but as an illustration raphers say that time is crucial when of something else. Whenever it be- working with the body. 16 Bankava 17 Lutce 18 Brīniņa 15 richard Rohr, from his talk in Riga, July 19, 2018. https://www.lnb.lv/en/event/lecture-what- 19 Lutce kind-spirituality-do-we-need-richard-rohr 20 Jacuka

106 107 sensations, emotions, ideas and tasks, temporary dance study programme should be discontinued – because we performance – Henrik Ibsen’s play and a dancer can immediately reflect established at the Latvian Academy have two professional dance genres Brand – also attracted unmatched at- them in the movement.”21 of Culture in 1999. The graduates of in Latvia. I am grateful that the request tention from theatre critics and re- Bankava: “Dancers ask little, do a this programme form the main voice was accepted. Until dance received searchers. This experience demon- lot and rehearse. They understand in the current dance scene in Latvia, its own Latvian Dance Award in 2019, strated that the Latvian theatre scene through movement, through action. and 90% of the choreographers work- contemporary dance performances is fully ready and craves dance theatre Dancers can search for three hours ing in Latvia’s theatres are graduates or events were noticed only as part productions. before asking why, what does it mean, or faculty of the dance programme at of the celebration of theatre. Always When asked for any additional com- how it will be?”22 the academy. locked together with ballet as a very ments regarding the relationship be- artificial appendix and sometimes Jacuka: “Dancers don’t need every- Over the past decade, the voices in tween dance and theatre, Brīniņa says contemporary dance have grown despite it, the contemporary dance that it is very important to have good thing to be explained verbally! Some- still received some thrill of a win- times words can confuse a dancer quite diverse and a Latvian contempo- dance performances within public rary dance scene with its own dynam- ner’s speech, collective recognition, a theatres. “OK, it’s alright to call them even more. Dancers and choreogra- statue and a monetary prize. After the phers are very able to observe, to catch ics exists, although the works it has put movement performances,” she cor- Latvian Dance Award was established, rects herself. Brīniņa argues that con- not only movements but also feelings, on have mostly been of a small scale the only dance presence in the the- temporary dance and physical theatre atmosphere and small details which, due to a lack of funding. In fact, it has atre awards is the category of Move- performances deserve being in pub- when explained, can sometimes just only been in the past few years that ment Artist of the Year. lic theatres so that they are not always cause more confusion, more misun- the field of dance in a broader sense seen only as an experimental art form, derstanding, making beautiful mo- has begun to be seen, defined and Despite the dance field still often be- which they are not. The public theatre ments become superficial.”23 funded as an art form with different di- ing overlooked and lacking perma- rections, mostly with the introduction nent infrastructure, the past decade system is a way to become seen by a of dance as a separate art form in the has been good. New voices have wider audience. Institutional theatres documents of the Ministry of Culture entered, strong work is being made, could be braver in staging movement in 2012 and the establishment of the and international visibility is growing. performances. Invisible dance meets Latvian Dance Award in 2017. In 2019, the Baltic Dance Platform was There are brave choices to be made visible theatre Between 2011 and 2017, the Perform- established, and Latvian dance began that give more power to a choreogra- finding its place in European, Asian The first modern dancers in Latvia ers’ Night (Spēlmaņu nakts – Latvian pher, but unfortunately it seems that and American organisations and fes- began performing at the beginning Theatre Award) devoted an award one must be a foreigner to be invited tivals. of the 20th century. With the rise of a category to contemporary dance, to do such things...or remain behind nationalistic authoritarian regime in in addition to a category for ballet. International recognition always en- the director’s back. the 1930s and subsequent Soviet oc- When I was working on the jury of hances local visibility – that is the glory In 2011 Pūt, vējiņi!, directed by cupation in 1940, new forms of dance the theatre award for the 2011/2012 and curse of small countries. A good Dž. Dž. Džilindžers, but mostly staged ceased to emerge until the 1990s. season, I wrote a letter to the board example is the Ārā / Out (2013) dance by choreographer Inga Seņkāne Contemporary dance returned to of the Latvian Theatre Labour As- performance by Olga Žitluhina, Lat- (ex. Krasovska), was loved by audi- the Latvian cultural scene in the mid- sociation requesting that contem- via’s best-known contemporary dance ences and critics alike. It won three 1990s. Its trajectory of development porary dance should be included in choreographer. It was awarded the awards at the Performers’ Night, elicit- has been strongly linked to the con- the awards – or that the ballet award Ibsen Scholarship of almost 20,000 ing a deservedly enthusiastic reaction, euros, which is an unprecedented but this was because at that time the budget for a dance performance. The award category for Musical Perfor- 21 Grava international success of receiving a mance still existed. After 2011, musi- 22 Bankava grant drew unparalleled media at- cal and dramatic productions have no 23 Jacuka tention. The inspiration for Žitluhina’s more been differentiated.

108 109 In 2017, the movement performance The beauty and the curse In its search to reach deeper of Nikolai Gogol’s Marriage at the of invisibility layers of reality and speak its Liepāja Theatre, choreographed by own language, contemporary Sergei Zemlyansky from Russia, won When asked to tell about some ab- choreography becomes more seven awards in Performers’ Night, in- surd situations that have arisen re- invisible. The same happens cluding the Grand Prix and Audience garding feedback to her work in the- when it is a more integral award. atre, Liene Grava answers that she part of the overall fabric of a These are examples of the need and does not understand why dance is theatre performance. To the power of movement-based perfor- mentioned so little in theatre reviews: untrained eye, the work of a mances. Both are works of dance the- “It seems that it got more attention a choreographer is harder to see. atre. Dance theatre is not something while ago. There have been several that the current contemporary dance cases in which a choreographer has movement is very active in, seeing it worked very intensely in the creation as a form of dialogue that is topical of a production and there’s really a lot of movement in the performance, and today. That also explains why foreign in my opinion it’s also successful, but experts, especially those from coun- there’s nothing said about the cho- tries with stronger movement and reography. There was a review about dance theatre traditions, were less Peter Pan at the Daile Theatre that was passionate about Marriage than local even titled ‘Everything is in motion’, community of theatre critics in Latvia but the name of the choreographer However, as excitement about the- was not mentioned.”24, 25 atre language beyond words is huge, I am convinced that much more con- Lack of knowledge and education in temporary and abstract thinking in dance matters are the most obvious movement can also enjoy the same reasons why the work and role of the amount of success. The continuous choreographer remains outside the work of bringing contemporary cho- focus in theatre reviews and is seen reography into the theatre has the with scepticism by actors and in other potential to close the gap between contexts. Other reasons for dance, the how choreography is understood in choreographer and choreography the Latvian theatre and dance scene. being invisible are more subtle and And that is not for the sake of helping say a lot about the nature of dance. the “poor” field of dance, but to give Contemporary choreography tries to audiences the opportunity to experi- get rid of surface layers in order to let ence a broader spectrum of what con- the movement be seen. The choreog- temporary theatre is and what it can raphers I talked with try to facilitate a do to move beyond verbal language. presence of this kind; they work on

Marriage (Precības) Liepāja Theatre 24 Grava 25 atis Rozentāls, “Viss ir kustībā”, Diena, September 18, 2014. https://www.diena.lv/raksts/kd/ Photo: Ziedonis Safronovs recenzijas/izrades-_piters-pens_-recenzija.-viss-ir-kustiba-14070420

110 111 channelling movement through each (whether intellectual, visceral or emo- regarding my ideas and courage. It’s Lutce: “I read reviews, I wait for re- individual, space and time in a way tional), and how much input and in- less scary to take risks if you’re taking views. Not only about my own perfor- that supports the concept of the per- terpretation will be asked of me. Not risks together”.29 mances but about the arts in general. formance, and this kind of invisible knowing is a reason to get up and go In its search to reach deeper layers of There are cases when the choreog- choreography puts the performance to the show. reality and speak its own language, rapher is not mentioned at all, and in motion. All five choreographers Bankava: “When creating dance per- contemporary choreography becom­ there are cases when the reviewer has I talked with said that their work in formances, there’s a lot of empty es more invisible. The same happens gone one step further and you’re at theatre extends far beyond “making space that needs to be filled, and the when it is a more integral part of the least mentioned in parentheses. For a dances”, which is still quite often the message is born parallel to the cre- overall fabric of a theatre perfor- while, that was the norm for people in expectation and understanding of ative process. Certainly, this way of mance. To the untrained eye, the work my status. I laughed that I’m a person choreography not only from the point creating might seem risky, because of a choreographer is harder to see. in parentheses. ‘The actors say equal- of view of audiences but also from very little is known or stable, but at the At the same time, ambition is growing, ly much both in words and body lan- many professionals in the stage arts. same time it’s an exciting process and which can be witnessed in the amount guage (choreographer Elīna Lutce).’30 “Making dances” in this context means makes me feel as if I’m creating some- and depth of work put into illustrating music or action or making thing that has certain value. (..) I al- productions. However, this an entertaining or poetic break in the ways try to give everything possible, work often ends up with Lack of knowledge and education flow of a performance. In all these but working with the body of another the choreographers being in dance matters are the most cases, the “dances” have a very clear person is a dialogue in which the bod- function and through that also mean- praised for short “dances” obvious reasons why the work and ies of both the giver and receiver have without recognition of role of the choreographer remains ing. They are ordered according to to be ready to collaborate.”27 clear knowledge of what is needed. their significant participa- outside the focus in theatre Russian choreographer Tatiana Gor- Lutce: “Some actors are very tired, tion in the overall process. reviews and is seen with scepticism deeva, however, has formulated a def- and they know what real theatre is Choreographers are un- by actors and in other contexts. inition that is much more in line with and what it is not. But there are also fortunately completely for- what contemporary choreography is some actors who still have hope and gotten when every second are ready for challenges. I have zero about: “Dance is the refusal of what I and breath of a show several hours This quote from a review was followed interest in working with the first kind know in order to get somewhere else. long is calculated down to the small- by a long description of Peer Gynt’s of actors. You can be part of an amaz- Dance is the conscious practice of not est detail. Choreographers are often body language, but obviously that’s knowing.”26 ing, similarly thinking group, but if valued for the result of what they do, not enough to fill the gaps.”31 the people with whom you need Every time I go to see contemporary and not so valued for their actual to achieve the actual outcome on At the same time, directors value the dance, I am excited and my heart rate work. And they are unseen or even stage are not interested, then you’re detailed and in-depth work choreog- increases as if I were preparing to per- criticised for not doing much about screwed!”28 raphers do on movement scores and form myself. I feel like that because in the work they find significant. This 99% of the cases I have no idea what Jacuka: “In teamwork, the huge bur- clash between choreographers and continue to choose contemporary will happen, how it will be, what parts den of responsibility is removed, theatre critics has been going on for dance choreographers as collabora- of my perception will be triggered and that results in better outcomes at least ten years, and not much has tors. There is at least one good ex- changed. ample of a stage director and theatre

26 marija Saveiko, “Ķermenis nevar runāt, jo tas pats ir runa. Intervija ar Tatjanu Gordejevu”, www.dance.lv, April 7, 2020. https://dance.lv/kermenis-nevar-runat-jo-tas-pats-ir-runa-inter- 29 Jacuka vija-ar-tatjanu-gordejevu/ 30 edīte Tišheizere, “Karaļvalsts, tā bija te”, IR, November 2, 2016, https://ir.lv/2016/11/02/ 27 Bankava karalvalsts-ta-bija-te-2/ 28 Lutce 31 Lutce

112 113 helping a choreographer to become Brīniņa: “When we worked on The Cu­ visible in a very direct sense. A post- rious Incident of the Dog in the Night- er for Salome at the Latvian National Time (Latvian National Theatre, 2017), Theatre featured three last names: I was so new in theatre, and everybody “Kairišs / Dzudzilo / Lutce, – Director / looked at me with great suspicion and Set designers / Choreographer”. The was sure they knew better what to do. initiative to make the teamwork more When I told actors where to put their visible came from the set designers hands, they thought it was crazy to and was supported by the director, think about such details – it doesn’t but there were intense discussions matter that I have my own internal ac- with the theatre administration. Lutce tion going on; I’m working with my says: “That definitely attracted some character now! After the premiere, a attention and made people think well-known theatre historian asked about the creation of a performance what it was that Kristīne actually did, as teamwork. It got me out of the gap where’s the choreography? That felt and made me an equal creator.”32 like a knife in the heart. But despite Most of the active and talented chore- this offensive question, I was happy ographers working in Latvian theatre with the result. I was very satisfied with are young women. This raises another what we managed to achieve from the issue, and one with a feminist touch. point of view of the ensemble’s work. Namely, being a young, female dance They acted as a united body, and I artist is not something that is taken succeeded in getting the result I was 34 very seriously, especially by elderly aiming for.” actors in public theatres. Being fe- male, young, unknown, and perhaps with a soft voice are distinct disadvan- tages. It is not about criticism of the Dreaming about work but about the person who is do- the invisible future ing the work. “What is the positive post-Covid-19 Jacuka: “In the field of dance, profes- scenario you are seeing?” the curator sionals see and take notice of you al- and researcher Nastya Proshutinskaya ready from your first year of studies. asked after reading a longer version In the theatre, on the other hand, I of this article. She got my point as I Choreogrpahers find their often get asked, ‘Who are you? You’re responded: “Theatre in Latvia that has interest and passion in this a young girl, why should I listen to the money to invite a choreographer you?’”33 work and manage it well, is quiet conservative, and the critics but this invisibility is unfair. writing about such theatre are likewise Something needs to change Solo performance Membra, 2016, after this virus crisis ends. 32 Lutce chor. Agate Bankava 33 Jacuka Photo: Uldis Bardiņš 34 Brīniņa

114 115 conservative. Choreographers agree happen with “invisible” choreogra- to work as invisible service personnel, phy in the coming decade. Maybe because there are not many alterna- the Covid-19 crisis will slow down tives. They find their interest and pas- the world, support the meaning of sion in this work and manage it well, the invisible, improve the dialogue but this invisibility is unfair. Some­thing between the inside and outside and needs to change after this virus crisis value function more than form? But ends.” what if dance were to become mostly This, therefore, is a good moment digital? How much of this invisibility to reimagine the future. If theatre can be communicated and sensed in continues to change towards a post- such conditions? Physical distancing dramatic approach, interdisciplinarity, will distance people from perceiving new methods of creation (first trying the nuances of physicality, especially and then understanding), rejection the physicality of the other. Bankava

If theatre continues to change towards a post-dramatic approach, interdisciplinarity, new methods of creation (first trying and then understanding), rejection of macho behaviour by directors and actors and more openness among critics and audiences, things will improve. For all involved sides. IN S I D E O UT of macho behaviour by directors and says that choreographers and dance actors and more openness among and movement therapists will have a critics and audiences, things will im- lot of work after the Covid-19 crisis in prove. For all involved sides. reteaching people communication, Is there hope that the mood of soli- touch and physical closeness. What if darity during the Covid-19 crisis will the big spaces and funding of public encourage a more equal sharing of theatres become places for closeness resources with independent chore- therapy – spaces for being fully hu- ographers? I also wonder what will man?

116 117 KRISTA BURĀNE Theatre maker, director The festival has always asked questions about how to change our lives so that we can become friendlier to our fellow humans and Homo Novus’ to the environment. Gaze at the World

Before the beginning Here are the two words that first come weeded, so that the crop that has to my mind when I think about the been planted can grow and, so to Homo Novus New Theatre Festival: say, accomplish its intended purpose. wild and field. Such is my first sensa- Only when the weeding is done will tion of the festival. you be free to go off and wander in Woods. Morning. Darkness fades the woods. However, you will have left away; birds hustle and bustle like cra- behind a slightly more orderly piece zy in the thickets and on the branches of the world. There will be something of mighty trees; fog rises from the that you will have affected through meadows, the air is crisp; my feet are your work. soaked wet with dew; everything is This is how I feel about the Homo No- still shrouded in mystery and exudes vus festival that I love and from which great joy. So great, that my heart is I have learned what it means to be racing uncontrollably. Because of the free, what it means to have the self- beauty, because of some unknown, awareness of being a part of the sur- all-encompassing breath that lets rounding world, and how to nurture you realise how everything is totally both of these mindsets. Not only in inter­connected and how free you can the theatre, but every day. And I must truly be. confess that over the past fifteen years A field. Not some sandy barren land, I have looked at the world through the nor a meadow carpeted with wild- eyes of homo novus. Fortress (Cietoksnis) flowers. The field is full of mile-long This will be the subject of this article, furrows. And you realise that there bearing the title: Homo Novus’ Gaze Photo: Raitis Valainis is no other way. The field must be at the World.

118 narratives that join documentary, cur- The following evening, on the 25th of rently relevant, authentic features September, I was taken aback by a Jo- and fantasy, changing the audience hann Le Guillerm and Cirque Ici pro- from mere anonymous observers into duction titled Secret, which was per- active co-creators of the play; and, formed in a circus tent erected on the above all, an invitation to see and to AB Dambis riverside walk in Riga. For n my article I will tell my personal story about the New Theatre the first time in my life,I found out that Festival Homo Novus, which has significantly influenced the field hear, to perceive and to tune in to life here and now, to the people around there was such a thing as contempo- of Latvian contemporary theatre, and my own professional un- rary circus and that there were artists derstanding as a theatre maker about the nature of contem- us, to the events that affect us. And to take responsibility. To search out and whose works and existence proved Iporary theatre. the reality of fantastic fairy tales. In to provide opportunities for the audi- Let’s go back to the year 2005, when the festival was already this performance I was allowed to be ence to see itself as a capillary of life, ten years old. However, that exact year I had my first inten- a child again – to believe in the unbe- as an indispensable part of our shared

tional experience with the Homo Novus festival. I saw lievable, to be scared and to laugh

cardiovascular system. almost all of the performances on the festival’s sched- simultaneously, to hold my breath in ule, and I was breathtaken by the diversitydown. of the upside I can recall the warm darkness out on wonder and to love life with abandon content and form of contemporary theatre. I was Valdemāra Street after I saw the play because something so beautiful was thirty-six years old then, held a degree in philos- Thanks that had just been performed next possible. Since that September eve- ophy, had ten years’ experience of teaching at to the festi- to the then-vacant building of the ning, in all productions that come to the University of Latvia, and I was working at val schedule, Ministry of Foreign Affairs, where Ri- my attention I keep searching for the mystery that is born when an artist’s an advertising agency – generating ideas, which can still mini Protokoll had brought in vastly courage, knowledge, mastery, joy of writing texts and supervising artistic as- be found in the ar- diverse inhabitants of Riga with their performing and constant self-chal- pects of advertising campaigns. After chives of the festival,1 strange lives. Afterwards, my friends lenge collide. If there is no such mys- work hours, I was doing some pho- I can even name the and I stood out there on the street for tery in the performance, there is no tography and was writing stories. exact dates when it hap- a long time, excitedly relating to each performance. My bar is set that high. Because of my family, I was pened. other our different individual takes acquainted with the theatre on the play. For the first time I had a Another event worthy of attention On the 24th of September, arts – mainly in the form physical urge to share with somebody when recalling the 2005 festival is 2005, for the first time I became of the classical Latvian my experience of it; instead of silently Prove, the collection of shows created aware of the existence of the Ri- National Theatre. My and internally reliving the scenes on by new Latvian artists. Among others, mini Protokoll theatre company, father used to work the stage, to actively tell somebody Andrejs Jarovojs and Mārtiņš Eihe, and I found out that theatre produc- there as an actor. about the scenes, to think about together with the impressive puppet tions could be personal and individual them, to ask questions, to compare, and object theatre Umka.lv. (now dis- But that Septem- journeys between people in strange and to argue and to keep on smiling, smil- solved), presented and created their ­ber, my world mysterious environments. This company’s ing, smiling… Almost all of the plays experimental new works. The starting production of Cameriga, and its concern for turned that I experienced in the coming years point for these performances was a giving voice to those whose voices usually re- at the Homo Novus festival had the question put forth by the director of main inaudible in the public space, echoes in same effect on me. It seems that this the festival, Gundega Laiviņa: “Got nearly all of my own performative works. Everyday is truly one of the main spheres of the an idea?” The shows were performed experts; research of urban environments; creating festival’s influence – to liberate audi- in abandoned factory sheds. The au- ences to engage in a lively conversa- dience meandered from one space tion about their own experience of the to another and, to their amazement, 1 the schedule of the 2005 Novus festival is available at http:// arts. To generate willingness to share discovered that Latvian theatre can www.theatre.lv/hn/index.php?&2 their adventure. exist without golden portals, movable

120 121 stages and fancy buffets during the how to change our lives so that we fail to mention the special vision of share with each other on a daily basis. intermissions. It turns out that even in can become friendlier to our fellow the former director of the festival, Accompanied by works of art, daily Latvia young artists can work at the in- humans and to the environment. In Gundega Laiviņa. In my opinion, her life becomes a bit easier to live, be- tersection between open space, new this respect, the festival has openly main contribution was her ability to cause life itself turns out to be a nev- dramaturgy, media, dance and the- expressed its political stance and has perceive and shape an entire festi- er-ending creative process. Life opens atre. As an accidental visitor, I was very encouraged artists to use their public val as a unified piece of art in which spaces and the boundaries of our ex- glad for such discoveries. So, I decid- voice to influence social processes. I each event contributes, continues istence and reveals the infinite possi- ed to continue exploring the venue believe nobody would question the and highlights the other events. In bilities hidden within them. Including and started to wander through the fact that a generation of Latvian art- a way, the festival was created as a the joy of life that resides in the realm abandoned parts of the factory. I did ists interested in creating socially en- utopian space where all artists and of boundlessness. not notice a sizable hole in the floor, gaging works of art (and I presume to audiences become aware of their ex- Third, at the centre of the festival is a fell into it and sprained my ankle. The count myself among them) have de- traordinary interconnectedness, their youthfully minded person. This means phrase very aptly describes “fell into” veloped their own specific character- personal responsibility and, at the questioning, wondering, discovering, my future relationship with the Homo istics as a result of the following facts: same time, their personal freedom. frolicking, breaking boundaries, tak- Novus festival. Just like many Latvian 1) We have had the opportunity The word “utopia” in this case also ing risks. The festival has been a sig- theatre viewers, I fell in, both literally to get to know the work of such touches upon a state of battle. Year nificant education and launch pad not and figuratively.I fell in love and could after year, the festival’s creative team only for a large segment of middle- not fall out of it. At that time I could artists as Milo Rau, Dries Verho- has been challenging the ingrained and young-generation Latvian artists not have known that a few years later, even, Walid Raad, Romeo Castel- or, one could even say, unbreakable but also for those whose works over because of an unbelievable chain of lucci, Rabih Mroué, Kornél Mun- perception in Latvian society that the- the past twenty years have already coincidences, I would participate in druczó, Philippe Quesne, Forced atre is a specific building rather than a become a part of the history of world the festival myself. Entertainment, Kristian Smeds, Gob Squad, Vacuum Cleaner and process. The dominant system of the theatre. I don’t belong to the latter The aforementioned three experi­ others. Their courage to not avert state-sponsored repertory theatres group, but I have had the privilege of ences, in my view, reflect the essence their eyes from the scars on the with their full-time employees and learning from them. of the Homo Novus festival. directors keeps producing a specific face of the contemporary world When recounting my life and the the- type of professionals and audiences, First, the festival has always kept an inspires us to create theatre that atre schooling that I have received who perceive theatre in its classic in- eye on current trends in society and tells the story of Latvia’s traumatic from this festival, I must return to the terpretation, tolerating some devi- has offered a platform for artists who experiences, with the aim to offer year 2008, when the festival was con- ance as to what gets presented on would like to share their stories about possible solutions for healing. ducted in a petite version, named events that are important for the men- stage only when it corresponds with 2 2) the festival has actively pro- Homo Alibi. The subject of this festi- tal wellbeing of humanity. The word the styles of the select theatre direc- moted the production of new val was puppets and objects. Latvian “sharing” in the context of the festival tors or managers involved. works by young Latvian artists, artists were invited to put on shows assumes economic and political con- thus becoming a stage that sup- Homo Novus, on the contrary, consis- for children, because “the goal of the notations. Over the twenty-two years ports the search for content and tently utilises the urban environment festival organisers was to shake up the of its existence, the festival has created form that are suitable for our con- as a stage, casting plays into the con- stiff environment of the theatre ad- countless experiences of performanc- 3 temporary age and lets artists po- text of everyday life, this revealing dressed to youth and children”. And es, conversations, master workshops, sition their works in the context of new facets in space and time that we they succeeded! At that time it was friendly get-togethers, surprises and currently relevant world events. serious thought-provoking moments, during which “sharing” has become a Second, Homo Novus has always 2 at the time, the New Theatre Institute of Latvia used to hold the Homo Novus festival bien- well-recognised and important prac- taken care to bring artistically chal- nially. In the gap years it produced smaller-scale festivals dedicated to particular themes. tice of human coexistence. The festi- lenging, high-quality, unconventional 3 “The Homo Alibi 2008 puppet and object theatre festival”. https://www.tvnet.lv/4827992/ val has always asked questions about works of art to Latvia. One must not lellu-un-objektu-teatra-festivals--alibi-2008

122 123 a rare exception in Latvia to see a the- festival (which took place four times, atre production for children in which from 2011 to 2014) was one of the the artist interacted with the audience most socially significant projects pro- as rational people. Now, looking back duced by the Nomadi creative asso- at the whole progression of theatre ciation. We provided a platform for processes, I am certain that it was pre- fledgling independent theatres and cisely Homo Alibi 2008 that in a way artists who sought to address the served as a catalyst for the boom of youngest members of Latvian society. high-quality Latvian theatre produc- More than that, we intentionally fo- tions for children and youth. cused on introducing them to all the I participated in Homo Alibi 2008 as regions of Latvia, showing the main the playwright for director Mārtiņš programme of the festival in such cit- Eihe’s object theatre production enti- ies as Liepāja and Valmiera instead tled Little Person. This was one of our of the capital, Riga. At that time our first collaborative productions for chil- festival was the only platform for con- dren and youth – as a project of the temporary theatre in rural areas of Nomadi creative association, founded Latvia. It acquainted new audiences in 2007. with various forms of theatre: docu- Being aware of the necessity to contin- mentary, environmental, physical the-­ ue the trend of offering contemporary atre, object theatre, participatory the- productions for children and youth atre, audio theatre, new circus and audiences, as initiated by the New the like. Such forms of theatre did not Theatre Institute, we started to pro- have a place on the traditional stages duce a theatre festival for children and in Latvia. youth, called NoMadI. It was based For several years now, the Valmiera on principles similar to Homo Novus. Summer Theatre Festival, under the Through NoMadI, we brought to Lat- guidance of Jānis Znotiņš and Reinis via theatre plays as well as produced Suhanovs, has picked up the NoMadI plays of our own that addressed is- baton with fresh vitality and new ideas. sues that are important to and trend- ing among children. We proved that Every second year this festival fosters children’s and youth theatre can exist the creation of original contemporary theatre plays for children and youth. I believe that it is essential outside the space of classical theatre. Most importantly, we opened up a dis- I am glad to see that more and more to work with uncomfortable cussion about whether there are any young theatre directors are ready to subjects and within taboo topics in art designed for chil- create solid shows for the youngest uncomfortable locations. dren and youth. As strange as it may audiences, and, in doing so, they are To be in situations that sound now, a mere decade ago many assuming responsibility for the society theatre artists in Latvia believed that in which they live. frighten me, situations that one cannot and should not talk with There! The word responsibility. It is I do not understand and children about life as it is in reality. precisely within the context of respon- Boundaries (Robežas) that I would like to change. Within the context of my own person- sibility that one should examine the Photo: Raitis Valainis al history, I believe that the NoMadI other works that I have authored or

124 125 co-authored. Directly or indirectly, all embodies sometimes mutually exclu- 4. Fortress (2017, at Daugavgrīva • The authors, or so-called “every- of them are connected with the histo- sive perspectives on activations and Fortress, produced by the Homo day experts”, represent a specific ry of the Homo Novus festival and with the relationship of authorship and so- Novus festival and the British social group in a given location the adoption of theatre forms that ciety during the creation and duration Council). or circumstances, such as resi- were formerly uncommon in Latvia. of the play. However, nobody denies 5. Nocturne, co-created by Andy dents of Birznieka Upīša Street, Personally, I believe that it is essential that participatory art happenings are Field (2018, in the Ķengarags workers in the meat pavilion to work with uncomfortable subjects essentially connected with social turn. suburb of Riga, produced by the at Riga Central Market, people and within uncomfortable locations. For example, installations and inter- Homo Novus festival). who write diaries or advocate for Ķengarags’ wildlife, inhabitants To be in situations that frighten me, active art tend to focus on the acti- Alongside these productions, I would situations that I do not understand vation of an individual viewer within also like to mention The Reading of the town of Cēsis, residents and that I would like to change. To the framework of his or her interac- Room by Mārtiņš Eihe (2015, pro- of Bolderāja, Daugavgrīva or the 6 turn alienated, hostile, dull relation- tion with the specific work of art. On duced by the Homo Novus festival), of “Wall of China” in Purvciems. ships into personally engaging ad- the contrary, participative works of art which I was a co-author and one of the Although the authors have been ventures based on trust. I like to cre- emphasise the collective dimension performers. shaped by their distinct social cir- of the social experience.4 Creation of cumstances, they bear witness to ate the contact opportunities where All of the above-mentioned works this kind of experience has been the our society as a whole. The audi- strangers can meet, where they can share several common traits: discover something in common. I like basis for many of my theatre produc- ence is given the opportunity to to work in large-scale locations in or- tions and performative happenings. • The substantive basis for the meet people whom they would play’s dramaturgy is a documen- most likely ignore or not notice der to find in them both space and Let me mention a few of them (videos tary story about the real experi- in their normal daily interactions, time for an intimate experience. And and photos can be accessed in the I like to challenge the audience. Most ences of real people that hap- to listen to their stories and to archive on my website, kristaburane. pened or are happening around likely it is because I myself, when sit- 5 talk with them. By doing so, on com): us here and now. ting in the audience, want to actively the one hand, the audience can engage with the artist. 1. Stories of the Grey Pavement • The audience becomes acquaint- get in touch with parallel realities (2010, International Festival of ed with these stories through I believe it is important to turn a piece as well as realise the parallel or Contemporary Art Survival Kit). a performance by the authors of art into a dynamic, action-filled conditional nature of their own themselves, not actors. It is im- experience that allows one not only 2. Road Maps (2014, a day-long reality. On the other hand, the au- portant to note, that these stories to observe but also to express trust, show in the meat pavilion at Riga dience can experience the merg- maximally preserve the narrator’s Central Market to celebrate the ing of such realities into a sense respect, freedom and creativity. I be- genuine manner of expression. inauguration of Riga as the Eu- of a larger existential community. lieve that these are the most impor- The authors choose a mode of ropean Capital of Culture, pro- tant forms of human existence both expression that is most suitable • The audience meets the author duced by the New Theatre Insti- for an individual as well as for society. for themselves. Instead of be- of the story in a close-up, face-to- tute of Latvia). The idea that an audience member coming acquainted with an actor, face manner, although the level can be a participant in a theatre play 3. Boundaries (2016, in the town of the audience gets to know a per- of their interaction may vary. This or any other work of art is almost a Cēsis and the Purvciems suburb son who is brave enough to en- allows the members of the audi- hundred years old and saturated with of Riga, produced by the DOTS trust his or her personal story to ence to become active partici- various critical aspects. This history Foundation for an Open Society). strangers. (In this case, even the pants in the situation rather than author’s self-image retains traces remain merely passive viewers. of authenticity.) The manner in which an author 4 Bishop, C., “Introduction//Viewers as Producers”, Participation. Ed. by Claire Bishop (Lon- don: Whitechapel, 2006), 11. 5 videos and photos of the productions can be accessed in the archive on my website, www. 6 Bolderāja and Daugavgrīva are two of Riga’s suburbs. The “Wall of China” in the Purvciems kristaburane.com suburb is a very large cluster of nine-storey-tall apartment buildings.

126 127 narrates his or her own story • The show can never be experi- and which casts a changes brought depends greatly on the reactions enced in its totality because the shadow that com- by the altered tra- of the audience members – what structure, framework and varia- pels the admin- jectory of the gaze they do, how they listen, how tions of the show far outweigh istrative and cre- When creating documen- that happens to they behave. The attitude of the what a single person can physi- ative team to view tary participatory theatre the place that the audience members determines cally access in a single show. A their own work performances, I strive to show inhabits. In whether the author of the story fully comprehensive experience from a sales per- foster maximally equal the place that all will choose to speak to them at would not be possible even if of us share. The spective. When relationships between all all. one were to attend every single the consumer re- place that is our participants of the show – • The show takes place in docu- performance. la­tionship domi- common home. the authors as well as the mentary settings that play a part All the above-mentioned aspects nates, even so- In conclusion, let in the daily life of the story’s au- challenge the viewers to re-evaluate cially crucial the- people who have come me offer some thor or that bear witness to the their perceptions of the nature and atre productions to meet the authors. naïve illustrations subject of the story. The contrast tasks of theatre and what it means to tend to lose their of BEFORE and between the size of an individual be an audience member. At the same impact, because, AFTER. I get that person and the size of the mas- time, they raise questions about the na- essentially, the audience member and reading descriptions of theatre plays sive contextual surroundings ture of the society we live in, the rules the artist re-enact society’s hierarchi- may be rather boring, and writing (such as the meat pavilion at of societal existence, what it means cal power structures, even if the sub- about my own theatre productions Riga Central Market, the huge to be a part of society. They bring us ject of the show seeks to invite view- feels rather strange. Therefore, the fol- nine-storey apartment buildings, into connection with other, unfamiliar ers to question such power structures. lowing sketches are perhaps just the Daugavgrīva Fortress, or a sec- and formerly unknown parts of soci- The political aspects of the theatre right solution to let my readers open tion of the Ķengarags suburb) ety. The article that you are currently plays that I have mentioned here are the gaze of their imagination and to plays a significant role in these reading, and that will soon come to an reflected not only in their subject envision what happened at some of productions. end, is entitled “Homo Novus Gaze at matter but also in the relationships the plays I have mentioned. The gaze the World”. I believe that during a the- • The trajectories and forms of that are formed between all the par- through which the homo novus looks atre show it is important for the mem- the audience’s movement within ticipants of the production and in the at the world. the given documentary setting bers of the audience to sense how the become a significant part of the world is gazing back at them. dramaturgy of the show. The When creating documentary partici- Stories of the Grey Pavement (2010) movement of the audience is patory theatre performances, I strive a means to construct the situa- to foster maximally equal relationships tion and perception of the show. between all participants of the show – Before Changes in the trajectory of the the authors as well as the people who movement, barriers to the move- have come to meet the authors. In a ment and the duration of the way, the goal of such performances is movement are intentionally set in to remove from the audience the atti- After order to change the audience’s tude that I would define as “consumer perception of what is visible and glasses”, which tends to perceive the to draw them closer to what is in- performance as a product for sale visible. and the artist as a service provider,

128 129 Road Maps (2014)

Before

After

Boundaries (2017)

Before

After

Fortress (2018)

Before

After IVE NEIG HB O U R S’ P ER SP E CT

130 EDGARAS KLIVIS PhD, theatre researcher, professor at Vytautas Magnus University in Kaunas

Difference and Repetition in Classical National Drama in Latvian and Lithuanian Theatre

ne of the clichés of theatre But what if we think criticism dealing with new about this eternal re- stagings of plays that have turn of national clas- the status of national clas- sics in a more Deleuz- Osics is “return”. It paints a picture of ian sense, as a joyful prodigal theatre producers and their (rather than guilty or audiences who eventually decide to intimidating) affirma- stop nomadising around in differ- tion of difference-in- ent directions and perspectives and itself? There is a dif- ference, says Deleuze, return to the classics with a sense of between a generality, guilt and a need for consecration. A law, resemblance (of, less Christian reading of this cliché of- say, a national myth or fers us “an eternal return” in the form national culture that ex- of a cycle, as the classic play itself ists as a general struc- tends to return over and over in order ture, model and cycle) and repetition to (re)assemble the dissipated bodies or return, since repetition (in his own There are stagings of classical (of the nation) and their parts into a particular meaning) is rather a miracle, national drama in both Lithuanian configuration that has already existed while a return is a way that something and Latvian theatres that can be before, which means that heroes and different and unique can come into described as a disaffirmation of enemies, characters and landscapes, being. The leaves of a tree are shaped change and alternation and that words and actions will inevitably fall by biological laws, however, shouldn’t Blow, the Wind! (Pūt, vējiņi!) into the same combinations that have we also consider another, deeper re- sacrifice the intensity of ongoing Latvian National Theatre already been drafted in the major na- ality, which makes every single leaf of transformation for the celebration tional epics and plays. every tree unique? of mythological presence. Photo: Kristaps Kalns

132 133 If repetition can be found, even By the way, the eternal return of dif- Grušas about the 16th-century histori- Soviet intelligentsia. Or, to be more in nature, it is in the name of a ference does not mean a rejection of cal figure Barbora Radvilaitė, symbol- precise, as if they were always the power which affirms itself against history or some kind of neoliberal loss ising noble patriotic love, but also the same cyclic community. the law, which works underneath of memory, including all attachments performance Jurašas made in 1972 We should remember that what can laws, perhaps superior to laws. If and loyalties. On the contrary, it is an (based on the same play), which was be considered the legitimation of na- repetition exists, it expresses at affirmative acknowledgment of histor- mutilated by Soviet censorship and tional theatre includes more than just once a singularity opposed to the ical becoming when a performance eventually renounced by the director stasis of canon and weight of tradi- general, a universality opposed of a classic play is not a celebration of himself (and which also served as one tions and mythologies communicated to the particular, a distinctive mythological burden but instead an of the reasons for his emigration to through the chain of generations. opposed to the ordinary, an in- intense experience of continual trans- the West a few years later). This most First, the mythological repertoire of stantaneity opposed to variation formation. After all, the laws of nature, recent performance reinterprets the heroes and symbols accepted as na- and an eternity opposed to per- seasons and cycles, as well as the laws play and features the legendary Lithu- tional identity markers (as generalities manence. In every respect, rep- of organicist mythologies, are not his- anian actress who played the role of and laws) are still a result of choice etition is a transgression. It puts torical; instead, they are a denial of Barbora Radvilaitė in the Soviet-era and invention, creativity and contin- law into question, it denounces being in history. production and thus retells the story gency, so that, at least in theory, there its nominal or general character from her point of view. Eventually, is a distant moment of voluntary het- in favour of a more profound and Consequently, it is not just about “re- however, as theatre researcher Jurgita erogeneous creativity somewhere at more artistic reality.1 dressing” classic characters, but mak- ing real choices, which for Deleuze Staniškytė points out, this triple histor- the source of every nationalist culture So it is possible to ask if the produc- includes selection, will and freedom, ical linkup “asserts an attitude that the canon, which has been constructed tion of a classic play seeks generality resulting in new perceptual orders distance of time changed very little”, through the private creativity of ran- (a general structure, historical cycle and new lumps of reality. Because re- because the 2015 performance func- dom people (such as Rainis, or Jānis and resemblance between two differ- dressing is actually a denial of history; tioned as a consecration of theatrical Pliekšāns [1865–1929], in Latvia) ent historical situations and societies, it is based on the cliché of the return in elements into “a space of legend”, as well as public considerations in a kind of historical exchange, a sub- the sense that “the garments change, which is consistent with stitution) or repetition in a Deleuzian 2 but the essence remains the same”. It patterns of mythology. sense – a repetition of difference, or is a heavy return, falling on the shoul- Another example from a return of difference (of reflections, We should remember that ders of contemporary people. Lithuanian theatre is echoes, doubles and souls). What in- the choice by Oskaras what can be considered the There are stagings of classical na- terests me here is whether the pro- Koršunovas to stage a legitimation of national theatre tional drama in both Lithuanian and ducers of the classic play submit to play by another impor- Latvian theatres that can be described includes more than just stasis of the demands to return contemporary tant Soviet playwright, as a disaffirmation of change and canon and weight of traditions society with all of its deviations, ramifi- Justinas Marcinkevičius, alternation and that sacrifice the in- and mythologies communicated cations, divergences, breaches and in- namely, the historical tensity of ongoing transformation consistencies back to a general myth, play Cathedral (Lithu- through the chain of generations. for the celebration of mythological origin, community and historical cycle anian National Drama presence. For example, the perfor- or – on the contrary – do they aim for Theatre, 2012) – again mance of Barbora staged in 2015 by the return of difference and the cre- an attempt to return to general and the early public sphere. This means ation of something unique, thus offer- the Lithuanian director Jonas Jurašas, permanent moral laws, as if the audi- that, at the historical moment of cre- ing audiences new social formations which invited the audience to return ence in the theatre were still the same ative considerations, national culture and shapes? not just to the original play by Juozas

2 Staniškytė, J. “Praeitis ir jos liudininkai”, Lietuvos teatras: metraštis, http://lteatras.lt/lt/2014- 1 Deleuze, G. Difference and Repetition (Columbia University Press, 1994), 3. 2015/spektakliai/164-praeitis-ir-jos-liudininkai

134 135 faced the realm of plurality and the I see this contradiction between the The way Kairišs constructed Fire and are also offered the opportunity to es- canon (those petrified images that all national-mythological structures, cyc­ Night (Latvian National Theatre, 2015) tablish an ironic distance towards the schoolchildren have to suffer through) les or laws that work as a generality as a montage of light illuminating the anthropology of the Latvian wedding was once a chaotic witch’s cauldron in reflected in the particulars – the plays guilty internal lives of chambermaids in the first act, or become involved in which the originators of national rep- of national classics and their stage and their bourgeois masters leaves no more political reflection as a group of resentations (traditions, history, lan- productions and, on the other hand, opportunities for the audience to get employees of the Latvian Museum of guage, folklore) could throw in what- a different reality with no general immersed in any common, general National History enter the stage at the ever they fancied. laws but with singular unique events myth of origin. On the contrary, I pre- end of Act 1. related in amorous, echoing repeti- sume (because I only saw a recording For example, in 1973, American- On the contrary, it seems to me that tions – as effective in analysing the- of the performance) it multiplies the based Latvian literature and theatre in his production of Blow, the Wind! atre productions of national classics. possibilities of readings – from Freud- researcher Juris Silenieks compared Seņkovs offers viewers national cul- And, when comparing the three Baltic ian parodies to Wagnerian fantasies two artists – Rainis and Aimé Césaire, ture as a stable identity of change- theatres, the best example of these and further to Lewis Carroll and yet an Afro-Caribbean surrealist – and differences are the plays and stage other images that gave birth to both less order as the crowd of performers their views of nationalism as a plat- interpretations of Rainis. A number nationalism and hysteria. At this point, dressed in stylised national costumes form to resist colonialism, racism and of productions based on the texts by the performance is (paradoxically!) a fills the whole stage, moving in a syn- imperialism (colonial slavery in the this poet and main figure of Latvian loyal staging of Rainis, because, like chronised manner and regrouping Caribbean and feudal serfdom in the national culture – including Rainis’ Rainis in the early 20th century, Kairišs’ in horizontal and vertical lines. What Baltic region) but not as an end in it- Dreams staged by Russian stage di- performance invents and offers new comes to mind when watching this self, for the eventual aim of both poets rector Kirill Serebrennikov at the Lat- shapes for the audience’s experi- performance are the numerous ex- was universal humanity and interna- vian National Theatre in 2015, the re- ences. Hence the link between these amples of the permanent patterns 3 tionalism. But there is also something cent production by Elmārs Seņkovs of creations, these works of art, is not in that symbolise the timeless existence else. Césaire’s Notebook of a Return Blow, the Wind! at the same theatre, service of something else, a bigger of a nation: the supposedly ancient to the Native Land (Cahier d’un retour the production by Viesturs Kairišs of order or a national existence, but an geometric framework of folk dances, au pays natal, 1939) is exactly the case Fire and Night, the opera by Imants echo and a reflection thereof. the codes and designs woven into the of a return (and the African identity in Lielvārde belt (Lielvārdes josta) and Kalniņš and Imants Ziedonis based on As is often the case with stagings of the colonies) as an act of difference, Rainis’ play I played, I danced directed opera based on national drama, dif- other images that we associate with invention and freedom with all the by Laura Groza-Ķibere in 2019, and a ferent elements in the opera produc- the Latvian nation. And this effective striking neologisms, involving us in a number of earlier productions, such tion of I played, I danced directed by disciplinary picture eventually domi- “poetics of cultural invention”. 4 If this as the Fire and Night opera by Jānis Laura Groza-Ķibere work in different nates the whole performance to the could also be said of Rainis, shouldn’t Mediņš, directed by Alvis Hermanis in modes, because the music and the degree that even the characters in the stagings of (or the returns to) Rain- 1995 as well as the legendary produc- performance of the opera singers Rainis’ play become hard to identify is’ plays be, first of all, faithful to his in- tion by Eduards Smiļģis in 1947 – give remain almost neutral to the visual as they come out from this general or- ventiveness, his creative plurality, his us a stunning scope and perspective concept of the director and the stage der only to return and dissolve into it. affirmation of selection and freedom for understanding the significance designer. In this production, stage de- This was especially noticeable due to instead of the laws and myth suppos- and reasons behind the “return” of signer Miķelis Fišers and costume de- the fact that, having no direct transla- edly functioning in his works? national dramaturgy. signer Kristīne Pasternaka successfully tion, I could focus more on the plastic alternate the modes of perception and visual aspects of the production, and the sense of the spectators – they which resulted in the sense that the 3 Silenieks, J. “Nationalism and the Promethean Mission: Profiles of Two Poets, Rainis and characters emerged from the eternal Césaire”, Problems of Mininations: Baltic Perspectives, eds. Arvids Ziedonis Jr., Rein Taage- are thus not just the national commu- pera, Mardi Valgemäe (San Jose: California State University, 1973), 57–63. nity celebrating the myth of the Latvi- community to say their text and then 4 Clifford, J. The Predicament of Culture: Twentieth-Century Ethnography, Literature, and Art an Orpheus and their community with returned – but the experience could (Harvard University Press, 1988), 176. the dead, with past generations; they be different for the Latvian audience.

136 137 Lokis Lithuanian National Drama Theatre

Photo: Dmitirj Medvedev

Like many other post-communist societies, Baltic societies share a belief in the almost magical power So, one possible reading of the pro- ing of this performance, one that of national identity and belonging ing essence of the Latvian duction of Blow, the Wind! with its also reveals something else, namely, to a national community. nation ultimately become almost perfect geometrical Gesamt­ references to the history of interpret- a solemn, almost ritualistic kunstwerk is that it presents the fanta- ing Rainis and the national tradition, atmosphere (and this was sy of a lost or broken community that including, for example, the aesthet- However, I had the feeling that, in felt quite well in the audience). has to be reconstituted. A community ics of the national song festivals? I spite of this double game that the that is an alternative to society (which think the director reserved the pos- Because the Lithuanian national dra- audience is offered, the tradition, or is just an association and division sibility to retain both readings: the ma tradition does not have such a immutable origin, still puts its bur- of forces and needs5), where every myth and the history, the community figure as Rainis, whose staging would den on the shoulders of the contem- member participates directly in the and the images that this community so definitely reveal the development has historically produced of itself. It porary audience even if it evokes a production and maintenance of an of national dramaturgy in theatre, the is characteristic that the performance smile – in the end, it does not offer organic and shared identity through similar tendencies in Lithuanian the- started with the appearance of ac- anything new or provoke any new so- intimate communication (in this case, atre are more fragmentary. Apart from tors Ģirts Jakovļevs and Esmeralda cial formations, roles or shapes. The represented via synchronised move- the above-mentioned productions Ermale, who played the leading roles nostalgic smile does not bring about ments). by Jurašas and Koršunovas based on in the film adaptation of the same play an opportunity to transform oneself, plays that represented Soviet national Is there still another possible read- by Gunārs Piesis (1973). to experience new formations or to culture, one should point out one of invent new forms of community. The the last performances by Eimuntas 5 nancy, J. L. The Inoperative Community (Minneapolis, London: University of Minnesota dominant visual modes and ornament Nekrošius, which was staged at the Press, 1991), 5. patterns that symbolise the unchang- National Theatre in Warsaw in 2016

138 139 and based on Forefathers’ Eve, a liter- nian count turns into a bear. The story the canon even if it goes against their tion both in terms of production and ary piece by the 19th-century Polish- by Mérimée has been staged before, own values and knowledge? in terms of perception. Can this dyna- speaking Lithuanian poet Adomas for example, as an opera by Bronius If every national tradition (including mism then be treated as a combina- Mickevičius (Adam Mickiewicz) and Kutavičius, directed by Jonas Jurašas. theatre traditions) has at some point tion of homogeneous community and a paradigmatic work for both Poles However, in the intermedial postdra- been invented, then each staging of heterogeneous society, comprising and Lithuanians. This performance matic performance by Twarkowski the classical national drama itself bears two stages of the same circle in which is an interesting example of how the narrative of the human-bear is just this genetic mark of creativity on its national society reinvents its own ca- perception of the significance of a an echo, a repetition to bring about own and involves at least some de- nonic self-representation through text can be different for the director something different and unique, gree (at least secondary or interpre- free artistic creativity? There is some and for the actors, because the rather opening up an infinity of interpreta- tive) of freedom, choice and reinven- plurality that even the most ardent na- conservative Polish tradition of stag- tional freedoms. tionalists accept. ing Mickevičius (which is old, broad and profound) was much more impor- Like many other post-communist soci- tant for the actors than for the direc- eties, Baltic societies share a belief in tor from Lithuania, where this play is the almost magical power of national staged quite rarely. So, due to their at- identity and belonging to a national tachment to the tradition, which high- community. Productions of national lights the mythological roots of the classics, especially on the prestigious play, the actors were loath to submit stages of national drama or opera to the playfulness of Nekrošius’ imagi- theatres, are traditionally perceived nation and to the joyful singularity of as portrayals of this sense of belong- his readings of classic plays that cor- ing, as performances of identity, as respond to Deleuzian affirmation.A s a nation building, as an apparatus for result, the performance pulled in dif- an imagined community or as “theat- ferent directions at the same time and rical nationhood”.6 At the same time, was eventually not that successful. this function is severely attacked as Another recent Lithuanian example, hopelessly outdated xenophobia, a which is not directly a staging of a suffocating regime of reproductive 7 classic national drama but still relates heteronormativity, etc. Moreover, to the representation of Lithuanian the moral and mythological laws and identity, is Lokis, staged by Polish di- general structures that stagings of rector Łukasz Twarkowski. The literary national dramaturgy often seek to “re- predecessor of the performance (al- turn” to open up a number of political though it involves a variety of material questions, such as who has access to and narratives) is the homonymous the means of production of the na- novella by the French writer Prosper tional imaginary and the authorisation Mérimée written in the mid-19th cen- to perform the traditional representa- tury and narrating the Lithuanian ver- tions of identity? And who is left be- sion of Dracula, wherein the Lithua- hind and forced to obediently accept

6 kruger, L. The National Stage: Theatre and Cultural Legitimation in England, France, and America (University of Chicago Press, 1992). 7 Spivak, G. C. Nationalism and the Imagination (Seagull Books, 2015).

140 141 Meelis Oidsalu Theatre critic Blending the crisp tools of Japanese theatre art with the melodramatic The Multifunctionalism style of Russian theatre, of Contemporary Theatre Mumu represents an attempt of art-focused in Latvia: a Few Examples theatre. An Outsider’s View

his article is inspired by the The cultural favours showcase of Latvian theatre productions organised in ear- of theatre ly November 2019 in Riga by The theatre critic’s first job is to iden- Tthe Latvian Theatre Labour Associa- tify the type of non-art-related value a tion to introduce the nominees of the performance is offering (even if it does Spēlmaņu Nakts (Performers’ Night) not coincide with the intentions ad- theatre award for the 2018/2019 Lat- vertised in the marketing campaign) vian theatre season. This week gave and not get discouraged when, in- me an excellent opportunity to com- stead of an art-focused performance, pare the state of Estonian theatre with he or she is faced with, for example, a the best of Latvian theatre, and I can theatricalised history lecture. Lectures confirm that my trip had a reassur- performed in the spirit of a “people’s ing effect. The Latvian theatre scene also seems to be rather quiet at the university” on the history of a certain moment, especially when it comes to place, people or culture are complete- art-focused theatre, and that is why – ly acceptable and a wonderful public according to the experts – the nomi- service offered by theatre. At the Lat- nees included some performances vian Performers’ Night showcase, this that pulled their weight not so much genre was presented in a stylistically in terms of art but by providing some clean way by an independent docu- other type of cultural favour. When it mentary production about the Latvian is done well, theatre that is not inten- literary classic Zenta Mauriņa, namely, Mumu tionally focused on art can be as great Zenta Mauriņa: Documentary Dreams Mikhail Chekhov Riga Russian Theatre as theatre that sets artistic tasks and (Zenta Mauriņa. Dokumentālie sapņi , tries to solve them. dir. by Kristīne Krūze-Hermane, 2019). Photo: Inese Kalniņa

142 143 Nowadays, people do not have as of the theatre. The favour of shared to blend the crisp tools of Japanese topic of disclosing the KGB files that much time to read fiction as they did reading was provided by the Valm- theatre art with the melodramatic have kept Latvian society on its toes in the past, so theatres are left with the iera Drama Theatre’s production of style of Russian theatre. Here one for a long time. The publicist style of important role of keeping up people’s Hamlet (dir. by Indra Roga, 2019) and, could detect an aesthetic ambition Hermanis’ production is the same as reading habits: performances that as a more modern example, by Dirty that the direction did not reach. An that described by Juhan Peegel, the stay true to an original text offer as a Deal Teatro’s performance Based on a intriguing expressive form had been legendary Estonian professor of jour- bonus the service of a shared public Book (Pēc grāmatas motīviem, dir. by created, but it looked as if the director nalism at the University of Tartu.1 reading. In a few hours, one can obtain Viesturs Sīlis, 2019), which refers to had allowed himself to enjoy the form According to Peegel, a publicist style a full dose of a drama text or excerpts the Austrian author Thomas Bernhard. for too long: the outcome was geeky, deals with the contemporary times in of fiction or poetry, all of it without too tightly tied to the newly discov- Apart from the already mentioned el- which the writer lives as well as the much effort; also, readers no longer ered rules of the game. ements, theatre also carries the func- current issues of those times, and have to make the sometimes painful And to contradict myself for the sake its goal is to influence the reader. A act of choosing a piece of literature, tion of national identity formation of developing this thought even fur- publicist tries to convince the reader because theatre does it for them. I am (whether by building it or by poking ther, I have to admit that a production through a variety of facts, demonstrat- happy to pay for such a service. fun at it). An example of this is the Lat- vian National Theatre’s performance analysis should look at the favour level ing the content and essence of spe- However, because the word “service” Blow, the Wind! (Pūt, vējiņi! dir. by and at the aesthetics level at the same cific current issues, comparing some has a judgmental, derogatory and de- Elmārs Seņkovs, 2018), which is dedi- time. One should not rule out the oth- facts to others, and using them for basing connotation, I am going to re- cated to the centenary of the Latvian er; the analysis levels should comple- illustrative generalisations and thus place it with the word “favour”, just to state and refers conceptually to the ment and enrich each other. This does for proving their point. While doing make the text more acceptable from Latvian Song and Dance Festival. In not mean that all levels always exist in this, publicists can also use figures of this point onwards. One should be fact, in terms of form, it is a grand re- all productions. And not all aesthetic speech in order to prove their point, well dressed when talking about the- production of a song festival in a the- events are intentional; even a master to convince the reader or to influence atre; the elevated expressiveness of atre hall. On the idea level, the pro- creator might not be aware of all of the reader’s awareness. Thus, a publi- a theatre review is part of theatre cul- duction seems a bit grotesque due to them during the process of creation. cist style ties together factfulness and ture itself. Hence, theatre offers many the fact that the folk song Blow, Wind!, The same might apply to social fa- figurativeness. Peegel sees publicist favours to society, of which setting an vours, which can get added during style as a border genre between fic- aesthetic task or solving existing ones or Pūgõ, tūlõ, which provided the per- the reception phase. tion and journalism. Because publi- in a new manner is only one service formance with its title, originally be- cist-style theatre often uses documen- out of many and statistically rare at longed to the Livonians, who speak a tary material, it is often equated with that. nearly extinct Finno-Ugric language and have been largely assimilated by a contemporary approach to theatre. Theatre’s favour of keeping up the Latvians and Estonians. Baltic people Publicist-style theatre There is, however, an important dis- reading habit carries an additional should once and for all sort out the tinction to be made between the in- value due to its collective nature. For Livocide topic. On the other hand, it Alvis Hermanis’ History Research vestigative approach that journalism already a few decades, we have had to was Rainis, the canonical Latvian clas- Commission (Vēstures izpētes komisi­ or documentary theatre uses and the listen to justified complaints about the sical poet and playwright, who linked ja (2019, New Riga Theatre) can be one Hermanis’ publicist-style theatre fragmentation of the cultural experi- this Livonian song to Latvian drama, categorised as publicistic theatre. The exploits. Hermanis’ production un- ence and about the lack of readers – and this issue has never been ques- five-and-a-half-hour-long production veils this distinction with its publicist- in the good old sense of the word – tioned. is mostly a humorous theatrical es- style arrogance. It draws on fragments united by core texts. The performance say by Hermanis and his group on the of the Latvian historical experience experience should lessen the anxiety Art theatre was represented at the about the fragmented cultural field. showcase by the Mikhail Chekhov The accompanying top roles cre- Riga Russian Theatre’s Mumu (dir. by 1 ERR radio’s night university (ööülikool): Publitsistlik sõna. https://arhiiv.err.ee/vaata/raadiou- ated by actors only uphold this effect Viesturs Kairišs, 2018), which tried likool-publitsistlik-sona

144 145 (Hermanis uses anthropologic meth- dislocation through form or a drama * Text on the screen: odology to map how the Latvian classic – as was done in the Daile The- It is particularly unpleasant to shoot the person, who laughs – either already out of the mind or hating you from the bottom political presence is tormented by atre production of The Witches of of heart... This meant screaming and swearing on both sides. events from fifty years ago), but it is far Salem (The Crucible), in which Arthur from aiming at a truthful journalistic Miller’s classic text was purposefully representation of the current politi- used to pursue a genre shift (balleri- cal atmosphere. It is worthwhile to ex- nas on stage) – would have perhaps amine this production in more detail, been too burdensome, considering because it depicts how a theatrical the substantive scale of the produc- form aimed at being contemporary tion. can in fact be anachronistic in the way The story itself has properly theatri- it portrays the ideological conflicts of calised Latvian public life. After the modern Latvians and how careful one restoration of independence in Latvia, should therefore be when perceiving the parliament tried three times to and analysing this production as an make the KGB files public, but the Lat- example of contemporary theatre. vian president vetoed the decision ev- In the many dozens of scenes in His­ ery time.2 In 2014, it was finally decid- tory Research Commission, the New ed that the agent files and intelligence Riga Theatre has compared facts, reports found in the “Cheka bags” drawn glaring generalisations and in would be read and worked through some rare cases also used strong sym- by a special commission of research- bols, such as in the scene about the ers. The files were made public inM ay old Chekist drowned in the kvass bar- 2018, but the same decision did not rel, who later delivers a monologue apply to the reports. Both the research about his “hard job” executing prison- itself and the disclosing of the files ers. However, the focus of the perfor- have been criticised, because it could mance is neither on the form (truth be not be proved whether every person told, it is the least show off-y produc- considered to be an agent actually tion by Hermanis that I have seen) nor was one or whether the agent candi- on discovering the historical truth, but dates were even aware of their status History Research Commission rather on shaping the perception of (sometimes data was just gathered on depicts how a theatrical public life, which weighs heavily on people to ease the recruitment pro- form aimed at being the minds of modern-day Latvians. cess). After disclosing the files, many contem­porary can in fact Prior to creating the dramatic sketch- poignant stories came to light. One be anachronistic in the way es, the theatre group researched the woman from Latgale, for example, it portrays the ideological files themselves and also interviewed could no longer go to church or do conflicts of modern Latvians recruited agents and the operatives her shopping after one of her family and how careful one who had recruited them. Poetising the members was declared a KGB collab- should therefore be when topic of the KGB files, or a polemic orator. The shame was that strong. perceiving and analysing this History Research Commission production as an example of (Vēstures izpētes komisija) New Riga Theatre 2 kinstler, L., A Partial Freedom’: What Latvia Found in the KGB Archives (The New York Review contemporary theatre. of Books, March 5, 2019). Photo: Jānis Deinats

146 147 I also visited the website of the State been planning on dissecting the KGB The tragedy of historians lies in the slightly patronising Western style of Archives of Latvia and found at least as a phenomenon on stage since the fact that they need to undertake their communication was not included in one agent card for a person born in KGB files were made public. research in the present. But this comes the production by chance. Through th the 19 century. Most of the collabo- After the premiere, there were also with the assumption that the research this, the New Riga Theatre created a rators, however, are reportedly still people who found the New Riga The- material itself has to be at least partial- research situation that is curated by quite young – people in their 50s and atre’s approach to the topic too simpli- ly destroyed. Distortion as a method someone who speaks no Russian and 60s who still have to live with the mark fied, comical and grotesque. Accord- is also embedded in the research pro- has no real experience of Soviet Latvia of being an agent on their foreheads ing to the Hermanis group, however, cess due to the fact that people who himself – an alternative Latvian who for some decades to come. A pitifully grotesque was the only way to create have lived through the times that are actually does not understand Latvia to funny story came up while reading any sort of observational distance be- being studied are not suited for study- a certain point. the materials on the disclosing of the tween Latvian society and the public ing it themselves. They can only be re- A person’s filter of experience makes files: Jānis Rokpelnis, one of the most exorcism performance that deals with search objects, and their statements them blind to a society they have not prominent Latvian poets of the 1970s, identity politics. The goal was also to have to be taken with a pinch of salt. lived in; hence, any talk about discov- confessed to having collaborated with avoid strong didactics. Hermanis him- Of course, historians can also make ering scientific truths is nonsense and the KGB in 2017, before the files were self has said in one of his interviews the conscious decision to avoid study- should not be politically provoked. made public, although later it became that it is impossible to put together a ing a certain topic or avoid to publish With suave humour, Hermanis seems evident that not a single word was generalising performance on the KGB their research results. to say that the public investigation of 3 mentioned about him in the files. In files because every case is unique and The performance begins with a meet- the contents of the Cheka bags could the thematic documentary made for the files do not give a full, or probably ing of historians who are facing this not have been a scientific operation; th the 100 anniversary of the Republic a fully truthful, idea about what really same difficult situation – they are a instead, it was a national cultural per- happened to the people involved and of Latvia, Rokpelnis comments that commission that has been assigned to formance. His statement is supported what they actually did. everything is not lost and he can now undertake historic-scientific research by the fact that the documentary men- even say that he was only joking. The acts the recruits did not under- on the content of the Cheka bags. The tioned earlier ties this holy event to take, the offers they said “no” to, and 44 sketches in the performance seem the centennial celebrations of the Re- the amount of evil they prevented to drop onto the stage from the com- public of Latvia. from happening through those deci- mission’s table. The commission also Hermanis’ decision to not allow any sions are equally important. No one Comedy and grotesque includes a representative of the Latvi- actors to leave the stage despite the keeps a list of those things. According an diaspora, an expatriate Latvian who unusual length of the performance Instead of Hermanis’ History Research to the director, it was a devilish plan does not understand Russian, so on works as a comment on public life. Commission, this spring the New Riga to put all those files into the same pot, top of reading agent cards and inter- Even if an actor is not needed in a Theatre was supposed to bring out and theatre does not want to be part preting the reports, the commission’s sketch for a long time, he or she sits Henrik Ibsen’s Brand directed by Ei- of that plan. Hermanis’ production researchers also need to translate for quietly at the edge of the stage, get- muntas Nekrošius. But because the showed me that history isalways used a person who fled to the West to es- distinguished Lithuanian stage direc- ting dressed for the next scene or for manipulation; events are violated cape the KGB and actually is appoint- tor passed away in November 2018, watching the other actors. This type of already at their birth, and even in the ed as the leading expert of the group. the production had to be substituted. present day, those most noble of pa- Brechtian ploy makes the viewer once However, the decision could not have thologists, the ones who serve the just The first two scenes depict the com- again acknowledge that the real re- come completely out of the blue, be- public hatred, can completely des- mission’s meeting (interestingly, the search commission was nothing more cause Hermanis and his group had ecrate a body. commission meets in a restaurant due than a theatre group and the entire to a lack of facilities!), the dynamics of society has inevitably been part of which are mostly driven by the expa- the exorcism performance focused on 3 Laugen, L., Läti luuletaja Jānis Rokpelnis tunnistas, et oli KGB koputaja: aitasin aru saada, mis triate Latvian, or at least this is how it identity politics, including the people toimub intelligentsi peades, (Delfi, December 27, 2017). looks. In my opinion, his smooth and standing far away, close to the wall.

148 149 Riga Wall West, the neurotic and self-harming early for the Baltic states. It would not certain whether I attribute the in- statement of a West-craving Latvian. have helped to first go through a herit lyricism of the Latvian language The third scene introduces the alter- The production then shows many hu- decolonisation process, followed by to them. As can be expected, the set native history that periodically cre- morous scenes of recruitment by the a restoration of self-awareness, and design follows the Soviet nostalgia ates the rhythm for the performance, KGB and the ensuing relationships only then deciding whom and under route: the visual scene is dominated namely, Berlin’s post-war status is between recruiter and recruit. The what conditions to join. But this kind by an authentic tank of kvass from the given to Riga. The Riga Wall cuts the KGB officials are not highly carica- of “would have” was an illicit bad boy, Soviet period, from which the body of city in half and West Riga becomes a tured; quite the opposite, caricatures at least in 2004. At the Hong Kong-like capitalist oasis in the are more often used to portray the time, joining the EU and middle of Soviet Riga. recruits, including the ones active in the West was emotion- Hermanis uses this symbol for two the cultural field. There is not a single ally similar to the new purposes. First, he uses it to mock the scene on stage that would meet one’s marriage of a woman In both Estonia and Latvia politically driven expectations sur- expectations, including the non-stan- who has just escaped a violent (ex-) husband, theatre seems to care for identity rounding the collapse of the Riga Wall dard behaviours of the KGB officials not knowing which part confirmation much more than that society kept alive for decades – and the recruiters. With this, the New of her affections are real the belief that making the KGB files Riga Theatre is teasing the audience, identity development through its emotions towards the public will bring liberation. We are discouraging anyone who expected constant critique. new husband and which obviously dealing with a parodic de- the disclosing of the files to bring en- are unresolved anxiety vice. Second, Hermanis uses this sym- lightenment. and an attempt to es- bol to criticise the West, depicting it as cape digesting the trauma. In this way, a drowned Chekist climbs out at the a place of opulence in the middle of Hermanis as a publicist has managed end. The realisation of the Chekist’s modern-day Riga but which is actually to create a powerful symbol through death reaches the taste buds of the an oasis forced into defence mode by Decomposing trauma the West Riga colony. kvass drinkers through the tap– the the vulnerable security situation, just in a tank of nostalgia Still, in summary, the one-dimensional body has already decomposed into like West Berlin. symbol of the West was presented slurry. Next to this very human message, These lectures are not chronicles of an as an oasis of the cult of materialistic To me, this final symbol speaks of nos- Hermanis’ humorous but still simpli- alternative Latvian history but a map success or as an imperialistic outpost talgia (the kvass tank) as well as of the fied criticism of the West comes off of the current mental state of Europe, in the wilderness of Eastern Europe. means to contain and dissolve trauma as odd. The Soviet occupation and its which is quite on par with the direc- Thus, those two parallel endeavours – (the Chekist). Nostalgic people do repressive acts are shown more from tor’s national conservative and Eu- to humanise and to heterogenise the not try to push the trauma aside, to the “us” perspective. This is the ele- rosceptic views (although the perfor- Soviet repressions and to unequivo- deny it; it is nostalgia that makes the ment that Latvia has incorporated, the mance was a group creation). Europe cally demonise the West at the same trauma digestible. While researching Soviet style, the postcolonial identity. is like an unreal civilisation forced into time – seem contradictory. But after history, lots of new, dark violence gets But the Western stuff still feels alien. defence mode, which is represented seeing the performance, I have to ad- added to the bygone repressions that It is likely that I interpret the produc- in Latvia in a half diplomatic, half colo- mit that even this contradiction might people tend to not even be aware of – nising way. At least, Europe has not tion whilst too deeply affected by the play its part in the publicistic impact of violence towards the events and the been embraced by post-communist political views of the director. A kinder Hermanis’ production. motifs that really took place. Through and perhaps more just interpretation Latvia; it has not dissolved into it. It On the artistic level, Hermanis has his production, Hermanis seems to would be that the West Berlin symbol seems that, according to Hermanis, this time stayed away from his usual, say that researching history, especially is used more as a statement. the cultural act of making the KGB slightly insipid poetics. Latvian ac- traumatic history, can in some cases files public is the result of a deficit of You never know, perhaps EU mem- tors tend to be bold on stage, lyrical prolong the effect of the crimes com- cultural self-awareness, a duty to the bership arrived psychologically too to the limits of good taste, but I am mitted.

150 151 History Research Commission was on theatre as a mode of governance nominated for the Performers’ Night of national identity rather than a form Latvian Theatre Award in five catego- of art. ries but only received the award for best actor in a supporting role for Vi- lis Daudziņš, one of the most highly acclaimed Latvian actors of the past It could have all been done decade. The sweeping winner at the in a more human manner awards gala was Blow, Wind!, a per- formance exultingly celebrating the As an Estonian, those five and a half Latvian Song Festival tradition. With hours of the History Research Com­ this as a background, Hermanis’ pro- mission offered me the following solace: if one starts feeling sad again duction feels even more important about how unprecedentedly and hor- with its internal controversies. The hu- ribly wrong things are at home, it is mour of the Latvian national exorcism always worthwhile to go and have a performance has been successfully look at how the neighbours are do- conveyed – and this will not be so eas- ing to become convinced that certain ily forgiven. The publicist-style arro- things at home could also turn out a gance of Hermanis’ production is that lot worse. At least on the surface, the of a true auteur, a person (or rather a process of disclosing KGB officials has group of persons, in the case of His­ been organised in a more humane tory Research Commission) who risks way in Estonia. If I am not mistaken, provocative controversy to unveil ver-

anyone who is interested can go to IVE LAB C RE AT sions of truths that the audience does the archives to see whether and who not necessarily look forward to hear- was snooping around about them on ing. Blow, Wind! by Elmārs Seņkovs behalf of the powers of the occupy- speaks the Latvian mainstream nation- ing regime And then decide whether al ideology fluently and therefore re- they want to drag out history longer sembles a state-sponsored ceremony through their archive visit or not. (like the May 4 military parade) rather May the diversity of content in Her- than the art of theatre. In both Esto- manis’ production be what it is, it un- nia and Latvia theatre seems to care equivocally tells people to refrain from for identity confirmation much more public laceration ceremonies. There is than identity development through its no question about it, the truth about constant critique. Thus, theatre is cor- occupations and other crimes needs roding the social significance of art as to be brought to light. But no one, nei- a catalyst for liberty. Because theatre ther the repressors nor the victims nor is an art form that is largely financed the historical research, wins from this by public funds, its inner moral and type of political, highly theatricalised social unawareness or disorientation sacrifice ritual, says the research re- means that public funds aimed at the port by the History Research Commis­ flourishing of Latvian culture are spent sion of the New Riga Theatre.

152 153 JĀNIS BALODIS else setting up? Theatre maker, playwright

text means anything, text means nothing

y position towards text um while spectators were invited to The artistic essay below was writ- in theatre that I try to do take turns sitting opposite her. Sitting ten during my master studies at DAS is double sided. I have down in theatre, facing a stage and Theatre program in Amsterdam in the worked and I still do work paying attention to what happens on spring of 2020. The studies are posi- Min situations where a written text the stage (unspoken agreement is not tioned as a two year full time, experi- (a play) is asked and is needed as a to disturb the show) is a performative mental, residency type program with starting point before the rehearsals setup. I can say I don’t have a problem mentorship and extensive exchange start. At the same time theatre is not with the former performative setup of feedback between other partici- a text. I am still curious to understand but for some reason I am curious what pants. I can say that the program laid the ways how to start to build theat- else theatre could be? What else the- down some fundamental knowledge rical setup that doesn’t take text as a about the ways how to think and work atre could do? And I assume that to starting point. Regarding this, the key with performative setups. My experi- understand that, I am trying to learn word for me here is a word “setup” – ence there helped me to articulate the ways and tools that would help to a theatrical setup or I would prefer to and question my previous work, and think of performative setup that is not use a term performative setup. As at the same time understand im- a term suggests “something that has entirely rooted in text. To formulate it portance of working in the studio. been set up”, in this case a performa- in other words – to think more about I realised that a work that tries to tive situation. Everyday life consists what happens between an audience deal with spectatorship needs a test of performative setups. A well written member and a performer/actor. What spectator/s much earlier than a gen- play sets up a performative situation. kind of spectatorship is being activat- eral rehearsal. It might sound obvious “Artist is present” by Marina Abramov- ed? Where is the stage located? What but it wasn’t obvious for me – a profes- ic is a performative setup where she is at stake (in reality and in fiction)? sionally trained playwright. And it is was present at the Museum of Mod- And how is the performative setup still my challenge – to think and think ern Art for 736-hour and 30-minutes mirroring the content, theme or ques- again not about the text but about sitting immobile in the museum’s atri- tions of the material? what is that text or action or anything

154 155 *** GUEST. I am here to have a moment with you.

Here we are – me, sitting in a bed, and he, standing right behind the front I think I know this voice. door. GUEST. I think by now you know who I am. I try to imagine how he would look like? I think is he the same presence I have felt before? Usually, when coming back home late, walking up ME. Yes, I think. You are welcome. Do you want some tea? the stairs and thinking – what if something comes out from somewhere? GUEST. No, it’s okay. I can’t not notice that you refer to me in your writing What if it firstly appears at distance? That there is some distance between as a “guest”. you and that being. The thing is seeing you. Observing you. And you are standing still. It makes a first step towards you. And you don’t know what is ME. Aren’t you a guest, are you? going to happen. GUEST. Well, who is in front of you? There is now a knock on a door. ME. A voice. I hear the knock. I’m in my room – Dennenrodepad 393. 393 is a number of GUEST. How do I sound like? my metal container that contains me, my shower and toilet, and my room that is also a kitchen. I take a look outside. There are more containers. My ME. I think it’s my voice. It sounds very similar to the one I have now, but container is a part of campus of 1250 containers that are divided into 15 it is still different. It’s not from the past. When I hear you, I think your voice groups. Each of those groups are either 3 or 4 storeys (containers) high has accumulated time and things. It’s the voice from days ahead. with an open hallway in between and entrances into the containers to both sides of the hallway. I am still in my bed that is approximately 3,2 square GUEST. How many days ahead? meters large. The bed occupies 15,5% of the total square meters I have. ME. I think some 25 years, you could be 57. The math exercise would now ask to tell what is the total amount of square meters of the container (3,2 is 15,5, x is 100, so x is (32x100x10)/(155x10))? GUEST. So, I’m not a guest anymore?

Again I hear a knock on the door. ME. No.

It takes 6 steps for me to reach the door. I see myself doing that. I see The GUEST transforms into ME57. ME transforms into ME32. myself opening and letting him in. My eyes don’t register him. One could I take a look outside again. I am not bothered by his presence. Or the fact say – there is no-one there. But there is. The presence of the one who is arrived manifests itself into sounds. that there is someone from the future sitting in my room. I’m not even sure that he is the presence I thought I will suddenly encounter when coming I hear him taking off the jacket and boots. home late, walking up the stairs or walking down a long hallway.

I return to the bed. “Am I disappointed?” I think. Did I want it to be something more? Did I want it to be something more spectacular? What did I think there was I hear him washing hands, drying them, then coming closer, taking a chair behind the door? Did I thought it would someone from other side or and placing it closer to the bed, sitting down. maybe Death itself? Or maybe it is Death? GUEST. Hi. ME57. I am not Death, sorry. ME. Hi. Well, he can read my thoughts. For now I choose to have a audible The voice sounds familiar. conversation.

156 157 ME32. Why are you here? I don’t know how to go with it. And he can read my thoughts. Fuck it. Okay, I can cancel this question if I think about Yoko Ono. Three steps from my ME57. I think I am a bit lost. I think it is good to be lost in some way but sink is my Amsterdam book shelf. On the third shelf is “Grapefruit”. It is a I don’t like being lost in the way I am now. In fact, I am trying to do you a book that contains instructions to imagine things. I think she wanted to say favour. that everyone can do art. Maybe at first a person can see the she or he can ME32. I am not sure that I understand. create things by following her instructions and then later understanding that it isn’t so hard to come up with your own manuals. I think it was ME57. Let me explain. I can start with the question – do you think that life important for Yoko that this kind of instruction practice becomes a part of is long? everyday. Or in other words – borders between life and art disappears. ME32. To what kind of life do you refer to? Everything becomes artistic practice. I also felt that she tried to produce not maybe explicit, but very powerful political message. ME57. We both are a part of artistic essay, right? So I do refer to artistic life or trajectory, if you like. ME57. Can you say why it is political?

ME32. Okay, but can I go and wash dishes while we talk? ME32. With political I mean the way how Hans-Thies Lehmann refers to political in Postdramtic Theatre. I think there he describes that a piece ME57. Like now? not necessarily becomes political if you put refuges on a stage. Explicit topic is not enough to make it really political. A piece becomes political ME32. I could do it now. if it refers to ways we are together. In other words – how does this event ME57. I don’t know. functions? What kind of a power dynamic is there? And is this dynamic acknowledged and addressed in some way? ME32. I think it helps to talk. I mean, you gather in a kitchen, do things, talk about stuff, right? But I want to come back to erasing border between art and life, and why this is political. Maybe she thought that canceling that border will stop ME57. No. It’s not anymore like this from where I am coming from. many things. Maybe she thought that people need to see that everyone ME32. What do you mean? can build out from herself / himself nice things all the time.

ME57. It’s true. Everything now has to happen as it has to happen. You ME57. Everyone can build out nice things – you mean everyone can make would get a huge fine if you would start talk about art stuff while washing art? dishes. ME32. Yes, creation process is possible for everyone. Maybe someone will Pause. ask – from where are those things coming from? One can think as it, but it will not change the fact that the access is there and things can come. ME57. It’s a joke. Go for it. I think she thought about it as a liberating feeling. Even more – it is is ME32.He, super funny. another world that you have access to. You can seemingly from nowhere materialise things in this world or change the way how you can perceive ME32 takes 4 steps to the sink and starts washing up dishes. reality. I think she thought it is something that will expand freedom.

ME32. You have a cheesy question. ME57. And if you have felt this freedom, you want to keep it. You also can also see that taking a part in a war is taking a part in someone’s wish ME57. Sorry. to materialise some reality. Maybe before you thought – I will follow this vision, but now you know that you can make your own visions.

158 159 ME32. But this will not work if there is good art and bad art. If there are The kettle boils and switches off. museums. If there is that border between art and life. ME57. The moment I walked in I started to delete myself. I am sure that ME57. And – what do you think about it in 2020? after our conversation you are going to do some things differently. This means my past will be changed. The outcome of this meeting will be ME32. What exactly do you mean? different “you” after 25 years and, it means different me. This means, that ME57. Isn’t everyone creative? Isn’t everyone an artist now? Don’t we all the “me” who is now in front of you, who speaks to you now is going to create and create, and create great immaterial things? vanish. I will vanish. And it’s fine. It’s already too late to stop this. I will just tell how I am being lost and why I don’t like it. No. I will tell the way I like to ME32. And how is it in 2045? be lost. I like being lost and feeling hungry. But I am not anymore hungry ME57. Can you finish those dishes? for something. Hunger is gone. At some point I lost it. Maybe I didn’t take care of it. It is absolutely nightmarish to not have it. I thought that if I will ME32. Yes, of course. get lost again, it will appear. It didn’t. I was trying the usual getting lost routine – new territories, overloading, loosing focus, but there was no ME32 finish the washing up, puts the kettle on. more this tiny, little voice who guides me through. The voice who talks ME57. As I said in 2045 I feel a bit lost. I don’t like the way how I am being to my hunger, so you intuitively assemble the new meal to eat. I am not lost. sure but I am afraid that this “not feeling hungry anymore” will sip into other parts of my life. In some way – your life. When I say this, I think of ME32. What is that way? someone.

ME57. It was connected with the question – “isn’t life long?” But you ME32. Who? wanted to go sideways about Ono. Fine. I come back to it now. ME57. Our grandmother. ME32. Yes, please. ME32. We don’t know if that was her reason to.. ME57. Either you perceive life and art as one or two separate things, I am busy with the ways how can you reinvent yourself. I am here that you ME57. To go? would be busy with this too. ME32. Yes. ME32. If you say this, it almost feels that you are not me 25 years after. ME57. Yes, we don’t know. But I already can recognise some things of her ME57. What do you mean? in me.

ME32. You would know that the main thing about me being here in ME32. You mean you wish to wake up in the morning and then right after this container for around 18 months for two years is to be busy with go to sleep again? And you want sleep all the time until one day you will reinventing myself. fall asleep forever as she did?

ME57. Great, I want to hear more how is it going. ME57. I am afraid I might arrive to this in the near future.

ME32. Why? You are me in the future. You know every detail about the ME32. Hunger. things now, you know what is in front of me. ME57. It’s about being hungry. ME57. Okay, I am here on a suicide mission. What does he want? What does he think he can get here? Everything I am ME32. Okay. busy with could possibly in the future start to erode the hunger he is

160 161 speaking about. What does he want to dissect here? What does he want ME57. Okay. What’s there? to look at? My personality traits? My habits? My thinking? My tools? My ME57 gets back to the bookshelf. values? My believes? My hopes? My dreams? My strategies? And why are you afraid of a decision not to wake up anymore? It might be that you ME57. Fifth shelf. Five notebooks. Some thirteen, some fifteen years old. have grown to be very, very tired. Why don’t you ask me how is tiredness High school poems, notes and diaries. building up? How does weight on your shoulders increase? How much can you eat? And have you looked into a face of that hunger? ME57 opens one and reads.

ME57. I haven’t. Have you? Isn’t everything we do now in this talk an ME57. Sniegs krīt un krājas uz jumtiem attempt to see it? nākotne pārtiek no sapņiem Domas nav radītas burtiem ME32. Yes, if you like. Cālis ir slepkava tārpiem ME57. I don’t want to go yet. I have no plan. And I have no criteria that Ja jumti kristu sniegā would indicate me that things here in our conversation are done. Bēdas pārvērstos priekā

ME32. Ah, so you are planning to stay forever. For a moment, ME18 appears and translates.

ME57. No, if you will say to me “go”, I will. ME18. Snow falls and accumulates on rooftops. the future has to eat dreams. ME32. Go. thoughts are not made for letters. Chick is a killer for worms. ME57 stands up walks to the door. if the roofs will fall in the snow, ME32. Stop. Not yet. Sorrow would turn into joy.

ME57 stops. ME32. Great, let’s invite everyone.

ME57. Time travel is weird. We have it now, but almost no one uses it. ME18. So this is how it’s going to look like. Amazing! Because in 99% it means to vanish. And the feeling I feel now is weird. That I am alive, but I know that I am not anymore. And I also remember ME32. Amazing? Fuck you! Look at this guy! He has traveled from the this room. Even after 25 years. How many steps? future, and he is about to vanish. Basically he did a suicide. And why? Because he is getting tired and thinks apathy will come and take over ME32. To what? him. And then look at me. I am here with your fucking notebooks! And – be happy that I found one poem that doesn’t sound like a total garbage. ME57. To a bookshelf. Secondly, how insane you were thinking that the last thing you want is to ME32. From a place you are, I would say two and a half. sit behind the desk from 9 to 5. Well, I can tell you now – quite often I sit from 9 to 9. Or more. At the moment I am sitting in this bed 6 days in a ME57. One, two, yes. Two and a half. Five shelfs. Two rows of books. On row, and I haven’t spoke to any other living being than that pile of sadness the third shelf the ones you read. On the fourth shelf the ones you wanted by the bookshelf and you, my young poet. And guess what – for have but you didn’t have time to. Three steps to the opposite wall. 88 key many years since I started to work, I have been fully socially ensured? keyboard. One step to the right – the table. Instrument cables. Do you want to know how everything went with this music thing? ME18. Six?

ME32. No, I don’t want to. ME32. Four. When I worked in a theatre wardrobe.

162 163 ME57. Can I say something? ME57. Why?

ME32. No. ME32. Because I think that whatever I try to evoke into someone, in ME18. I have to say it still sounds like, great, no? the end something that gets evoked will always be more important to that someone then my thing that was evoking it. I think of this as a rock ME32. Of course. Yes. Go back and continue to suffer and write. Now! concert. I will never be a headliner. I can only be an opening band, and each person in the audience will either bring or not bring out their own ME18 disappears. headliner. If my opening band plays blues, but their headliners has no ME57. Wasn’t it nice? connection to blues at all, they can just admire me playing my blues.

ME32. What? ME57. Which is also a thing.

ME57. 6 days. No people. ME32. Yes. And can be super effective one. It can actually create a ME32. It was. situation where you would ask: “How come I have thought about blues so little?” In this case, I would still say that even you don’t have your own ME57. You were not kind to him. headliner that can play the blues, you can still have a conversation with ME32. True. I slipped. your festival manager, who is asking you: “Well, I have tried to make you more aware about the blues, and maybe now you will start to be interest ME57. Where are your DAS notebooks? in them.”

ME32. In the locker. At school. ME57. In a way person’s festival manager aka conscience becomes the ME57. I have a DAS shelf for them, I went through them before coming. headliner. I think this is the most amazing thing to happen, isn’t it? ME32. And? ME32. It is definitely very powerful.A t the same time – you have to have that manager showing up. ME57. No poems there. ME57. Otherwise no headliner coming out. No festival manager going ME32. There were some. into conversation with you. You don’t find interesting to admire someone ME57. Not so many. playing blues. You become an audience member in front something that does something, and it is irritating or boring, or maybe just nothing for ME32. There were many other things. you. Which is also not so bad. But, anyways, I want to continue with fiction. ME57. Things about care. About fiction. Why fiction? So – despite the fact that naming things can be super effective, this would still not be a reason to discard fiction. ME32. You want to discuss fiction? ME32. Yes, if I continue the analogy of the rock concert, I see a potential in ME57. Please. creating a relationship between my opening band and headliner/s. With ME32. To make a shift in reality and to make reality more real. Although, I acknowledgement of frontal confrontation, I am looking for the ways how don’t know if it is still true for me. something can come from aside. How would it be possible that someone suddenly realises that there is something walking with him / her already ME57. Why? for some time, but that someone doesn’t know for how long it has been ME32. There could be also reasons to discard fiction. One reason would there? For this to happen I need audience to bring out their headliners. I be a belief that things change if they are named as they are. I don’t think need to see how can we play together. I also see this situation as being a that it is a good enough reason not to use fiction. magician. I have spent very long time alone (sometimes not alone) to

164 165 prepare to pull out those things I am pulling out now as a magician. In a Saying this, I think that the elements you mentioned and how they work way – I have been thinking about the meeting with the audience for a very together, meaning: long time. So then there is a very important trick that I think is actually not that transforms into , that transforms into , a trick – you trust someone who cares for you. A term “care” is something effort care care trust trust that make possible and makes sure that that I would try to explore further, look for different intriguing ways of care playing uncanny shadow appears unnoticed (which you sometime refer to as ), but it creation in performative setups. a knife doesn’t end anything because there is fiction that functions as a safety ME57. And fiction? net and at the same time can lure us more into the dark. ME32. If time and effort transforms into sensing care, and this transforms That this for me looks like an attempt to have again something closed, into trust and if I still want you to suddenly feel an uncanny shadow self-sufficient and universal in all eternity. Sorry, saying this, my question is: walking along with you, and it is even more uncanny that you don’t now how to keep things open? How to make sure that there are gaps? That since when and for how long, and what it is exactly, I might need fiction there are gaps in the work? And there are gaps in the ways you arrive that can help to secure care, trust and playing that despite the uncanny to a work? How those gaps can function as invitations for the audience shadow. I also think that everybody involved needs to know we are buying in your work? And how those gaps in your process / work can REALLY into this fiction, but it’s fun a thing to do so we continue. I think of this as a function as something that can ask the question: “What this process / Blair Witch Project. work could be?” And are you actually interested in having a work / ME57. Which you haven’t seen. process that is possibly not closed, eternal and seeing more of what things could be. ME32. For now I have read a script. I might now try watch the movie in daylight. But the whole problem with me and any other film like Blair And in the end – if you keep yourself busy with these question – can you Witch is that I lose the element that I am buying into that fiction. In fact stay hungry? I would be happy to enjoy it as much as I enjoy reading Poe or Ligotti ME32. I have a story on my mind. A few days ago. I had a conversation where I constantly negotiate between being in the bed and being in the with a member of a famous synth wave band from the 80ties. He told house of Usher. Tell me, am I becoming a horror movie director in the me about the relationship he has with his neighbour. He told that his future? neighbour who works as a lawyer, sees him working at night – sitting ME57. Go and get a magic yes / no ball and ask this to the ball. behind the keyboard, composing. Neighbour calls him ands says: “I see that you are awake, do you want to come by?” And he comes, ME32. I hate you. and neighbour shows him that he has bought an analogue synthesiser, ME57. That’s okay, I am actually puzzled about something else. because despite he is working as a lawyer, he graduated form a music school and has interest in music. They check the synth, and then that guy ME32. Of course. from the band says, it’s great, although now I am making everything with MIDI keyboard and Cubase. ME57. No seriously. I think you will agree that you are playwright who has went through classical Russian writing school. After some time there is another night, the same call, he comes, and neighbour has bought MIDI keyboard and Cubase, and says that now ME32. Do you say that you know what is classical Russian school? he is going to make things with this, and maybe the band guy can show ME57. Everybody dreams to be Chekhov, so the goal is to create a closed, some ways and tricks. “Sure,” the band guy says, “only I am not sure I will self-efficient, universal work. It has to be closed, so it can become eternal. remember everything right, because I switched to Logic some time ago.” With eternal I mean that it can make sense now, after 25 years and forever. “Oh,” neighbour says.

166 167 The question would be – what will happen the next time the neighbour calls? Will he share whatever he has made on no matter what or will he show that he has Logic now?

ME57. How is this relating to the questions above?

ME32. Why do you want everything to relate to everything? I think it is a nice story that tells a lot about relationship with instruments and the act of playing. Yes, there are “instruments” that do not go for exploring what a performative setup could be and and there “instruments” that do that more. And I don’t know what will make you hungry forever.

ME57. I think you have avoided to answer the question.

ME32. No. What is this hunger? Why do you want this hunger? Where do you want it to take you? Where do you want to arrive? What hasn’t happened yet for you? Or actually your question is – do you want to remembered or do you want to be forgotten?

ME57. Maybe this is the question. Maybe not anymore for me, because I am going to go. But maybe for you.

ME32. Right, not for you. I forgot. C E S OR S’ VOI ME57. It’s fine. I have had good time, and I tried my best.

ME32. There should be some way how you can not disappear.

ME57. It’s fine.

ME32. Then just stay. We can still hang out, you know.

ME57. No, it’s time.

ME32 remains silent. D IRE CT

ME57. You have to say it.

ME32 shakes his head.

ME57. Common.

ME32. Go.

ME57 leaves.

ME32 becomes me.

168 169 ropa T aivars V alters Sīlis I nga V K lāvs M ellis egnārs A lvis Hermanis E lmārs Seņkovs R V ladislavs N astavševs

Compiled by Lauma Mellēna-Bartkeviča

During the last decade, the de- they are working on would challenge Theatre in the Age vised theatre has become a no- each of them a bit. Not just some ca- tably widespread phenomenon.­ tering to the director, but a pursuit of of Changing Rules In your opinion, what are the the highest value of one’s own work. main gains or losses of such a All the little ambitions put together co-creative process? often make the emerging product better than mediocre. Maybe even an Elmārs Seņkovs: The teamwork is outstanding product. If all of us feel very important for me. Before each comfortable, we cannot reach the top. production, I assess quite extensively I am not interested in staff that caters which artists I will work with. It is es- to the whims of the director, but in art- sential to have a person at my side, ists that can offer something special. It sually, they do not talk much. Especially about their pro- with whom I could have a professional is not essential in which theatre troupe ductions, unless forced by the marketing department or conversation. Mainly this person is one works, but it is important to meet spotted by journalists at the premiere. Originally, this ma- a scenographer, occasionally a cho- the right sort of artists in this theatre. terial was planned as a discussion, but due to Covid-19 re- reographer. During the co-creation Alternatively, you could work with strictions, it turned out to be individual Q&A series by seven Latvian U process, I sometimes feel like a psy- people, with whom you are not afraid stage directors, who leave notable footprint in the last decade’s chologist, producer, leader, trying to to plunge into the unknown. Latvian theatre scene. They are as diverse as contemporary Latvian steer everyone toward the same goal. theatre field, from newcomers to renowned masters mentioned Occasionally, I have to find a balance Regnārs Vaivars: The gains of the previously throughout this bookazine: Elmārs Seņkovs, Regnārs among the artists, so that the common co-creation process are countless, Vaivars, Inga Tropa, Vladislavs­ Nastavševs, Valters Sīlis, Klāvs vision would not get lost. I want to feel and they are indisputable. It is more Mellis and Alvis Hermanis. safe in my team. I trust my colleagues, interesting, more fun, it has more and allow them to explore – some- love and less work. That is everything times even demand – that the thing that people strive for and long for.

170 171 Regrettably, the theatre companies phy, choreography, music. I reshape rate, to produce rich content that, in the other – I’m very dependent on the that I work for leave such a short time the author’s text,1 and write the text turn, requires mutual revision, selec- team I work with. It is not the case, that for the rehearsals of the production for my productions – the scripts as tion, thus raising it up a notch. The the actor is the only subordinate occu- that these past years I had to choose well as librettos in poetic form. Mostly, director must constantly be ready to pation. The director is very much de- radically opposite ways to reach the I choose to create so called author’s give up his personal ideas, if they do pendent on his collaborative partners qualitatively adequate result that theatre. not contribute to the intended result as well. I personally attach great impor- would satisfy me. Nevertheless, I had of the entire ever-changing co-cre- tance to not only the senses, skills and worked with actors, by writing, as well Inga Tropa: The gains are the wid- ated material. Nonetheless, he must talents of all the involved persons, but as by creating the rest of the produc- ening of the subject matter and it is not drown in his own team and lose also their personal character. When tion’s outfit and shape. Simply, when more in-depth analysis. If the rest of his authority. Essentially, the director a director enters into some theatre taking this path, one should stick to the team is also sufficiently interested must become a subtle manipulator – troupe, in reality the range of choices working with the same team of actors in the subject matter and genuinely on the one hand, being very open and that are available to him are quite lim- and developing the co-creative skills has joined in the process of research interested in diverse view-points, ca- ited. For example, he cannot chose together. Currently, I prefer to create and analysis, transforms the informa- pable of accepting sometimes even a technical director, yet so much de- the production in my head in a maxi- tion into a creative material, the per- completely opposite opinions and pends on it. Frequently it is impossible mally detailed manner in order to be formance acquires a multifaceted nar- heated discussions, yet regarding all to get the specific actors with whom maximally prepared. When working ration, which, in turn, provides more of them as valuable and worth utiliz- you would like to work, or you can get with particular actors, I would be suf- options for a viewer to interpret it and ing in the creative work, and, on the only two actors out of five. These are ficiently flexible and attentive, would to identify with it. In such a model of other hand, not losing the designated unending compromises and adjust- not fear to take the concept that I have theatre-making, the hardest task for central question and vision. The losses ments. Besides, there is such a thing constructed in my head, to decon- a director is not to become confused that the director faces during the co- as expectations of theatre managers struct it in tiny details, and then to put by the sheer volume of the manifold creation process are mainly pertain- and their vision about their audience, it back together in a manner suitable choices, to be able to shape a unified ing to the fact, that there is always and one must consider it. Sometimes for the specific actors. The more de- final story, yet also not to be scared to something that is sacrificed for the it is hard to discern, who is making the sake of compromises. And also the tailed the scheme I have put together take risks even up to the last moment, production – me, or the manager, or fact, that time to time one has to in- in my head, the easier it is for me to to be elastic, to make room for chang- the producer, because our interests vest too much additional energy to re- deconstruct it and to re-assemble it es in the envisioned final result. In the and notions about what makes a good mind everyone about the boundaries in other combinations, without losing scheme of co-creation, the director theatre are different. I find it extremely and hierarchy, because, although the any of the components of my equa- must also be a skilled psychologist, in important that people place their trust designation of roles in such a collab- tion, but rather gaining a few more. order to unify and unleash the creativ- in me. For example, the production orative process is broader and more This is exactly the reason why I in my ity of the rest of the team, so that the of Lorca’s Blood Wedding at the Lat- flexible, nonetheless – there can exist most recent productions am the au- team members could create and con- vian National Theatre (2016) turned only one chief conductor. Otherwise, thor, among other things, scenogra- tribute their creative input at a high out so well, because the collaboration the co-created product cannot be based on trust and the development completed in full value. of ideas happened in a productive 1 Scenes from Married Life (Laulības dzīves ainas, based on Ingmar Bergman’s play, Daile Vladislavs Nastavševs: When start- reciprocation. On the contrary, the Theatre, 2016), Two Sisters and a Girlfriend (Divas māsas un draudzene, based on Mika production Bird of Youth with Sweet Myllyaho’s “Chaos,” Gertrude Street Theatre, 2016), Flying Travolta (Lidojošais Travolta, a ing my work on a production, I sel- play by Artūrs Dīcis, Latvian National Theatre, 2017), Silent Night, Drunken Night (Klusa dom have a ready-made vision, rather Voice (Jaunības putns ar saldo balsi, nakts, dzēra nakts, based on Ivan Viripaev’s play “The Drunks,” Valmiera Drama Theatre, it is a feeling, a set of subject matters orig. play Sweet Bird of Youth by Ten- 2017), The Blue Room (Zilā istaba, based on David Hare’s play, Liepāja Theatre, 2018), that I want to tackle. The final product nessee Williams) in the New Riga The- Ivanov! (Ivanovs!, based on Anton Chekhov’s play, Daile Theatre, 2018), Passion Train (Kaisles in the theatre is practically always a atre (2018) failed for many different vilciens, based on Tennesey Williams’s “Streetcar named desire,” Daile Theatre, 2018), Trudging through Marshland in Fire (Purva bridējs ugunī, based on Rūdolfs Blaumanis’ novel fruit of co-creation. On the one hand, reasons, because the joint efforts did and play, Liepāja Theatre 2019) – editor’s note. I am a rather authoritarian director, on not find a common wavelength. When

172 173 one can gather a team with which one have to have teammates who accept Alvis Hermanis: Theatre always and see fit. The text in the contemporary had already previously worked on your proposals. At the same time, it is at all times had been created by uti- theatre has to fight hard against vi- something, and the result had turned important to be able to discern when lizing the creative input of an entire sualization. Visual arts are becoming out great, then it is a completely differ- your vision starts to diverge and then team and all the people involved. clearer, smarter, and more perceiv- ent story – it is true happiness. you have to find a common ground. This factor has distinguished theatre able. The text perception for the mod- What I like about devised theatre is from other forms of art for centuries. ern person requires some effort. The Valters Sīlis: I think that this is how that members can push each other If we talk about the collective creation text in the contemporary theatre will theatre actually works. It always has into unknown territories and you can of dramaturgy, then I do not know go on fighting with visualization, how- been a collective process unless one really surprise yourself about capa- and have not heard of a single case, ever, the text will never disappear en- person has done everything. Direc- bilities you did not know you had. To that the production would have hap- tirely, I am sure of that. The text creates tor’s responsibility is to make sure that make it work it is very important to lis- pened without a director’s leadership. live and concrete connection. Some- all the elements are working for the ten respectfully to each contributor’s At least in the European professional times everything can be trivialized as purpose of the performance. Thus, creative process, because it is a very theatres. Maybe in some amateur the- well. Therefore, I truly hope that finally this part of this profession has not intimate process and it can be eas- atres it is different, but I cannot give an we will see the development of even lost its meaning in most of the cases. ily broken, if team members are not opinion of that. Likewise, no one has stronger drama. To achieve that we Depending on the performance, I attentive toward one other. In such ever heard that somebody would like still have a long way to go. have experienced different ways of cases, it is very hard to arrive at any to entrust flying an airplane to some Regnārs Vaivars: I prefer to work with organizing the creative process. Quite results. team, rather than to the pilot. It would my own text or with my own adapta- often, I am still working in a very tra- be an interesting experiment, though. ditional way where I am directing the Klāvs Mellis: I do not believe that tions of some texts by other authors. team towards the result, which I have the director himself would specifical- Therefore the question “how much envisioned, but, given the way I work, ly get any gains or losses during the does it mean for you” is itself begging it cannot happen without large cre- process of co-creation. In the reper- What do you understand as a for an answer “very much.” However, ative input from all the participants. toire theatres of Latvia, in ninety-nine text in the contemporary the- the most essential aspect for me is the The difference is that I have set the percent of the cases a director is ulti- atre? What is your preferred very fable of the story, because, if the fable is good, then everything else boundaries of our common work. mately the person, who has an unwrit- form of text that you like to work can be added to it in writing., I can However, I have had quite a number ten power and final say, whether the with the most (a classical play, stage the play completely without any of works where the creation happens creative process will be governed as adaptation or localization, an text, or with very little text. Anything is in a real collaboration, where the idea a dictatorship, democracy, anarchy or original creation or co-creation, possible nowadays. how the performance will work comes something else. Moreover, by having the dramatization of works of out from the dialogue. Sometimes, this very choice, the director becomes prose, etc.) and why? Inga Tropa: Text is one of the tools it is a co-work with a playwright to “the highest institution of an artistic with which I can play around in many find the way in which the production hierarchy.” In a word – even the very Elmārs Seņkovs: Contemporary the- different ways. But the primary thing could work and it would be interest- method of co-creation is mainly a di- atre is a theatre created today. Cor- in creation of the production for me ing for both of us. There have been rector’s own choice. In reality, I in all respondingly, the text is such, as to is the entire thought and vision of the cases when the authorship has been truth cannot really imagine any cur- address the today’s subject matters. I play, which I want to express through spread out evenly among all the par- rently existing Latvian theatre troupe am accustomed to search for it in the this specific work, and only then the ticipants of the performance. In order that would fundamentally function as classical works. Quite often, I create methods emerge that help to achieve for such a collaboration to work well, it a team of artists, who would preserve it together with the playwrights from this vision in the specific creation pro- is very important to have mutual trust a horizontal hierarchy during the en- scratch, too. Of course, the production cess. At the same in my works a great and respect. What you lose in such a tire creative process. I myself have of new texts demands a lot of work significance is given to the form and process is the status, that you can just never practiced in this way. As an idea, and attention. The classical works, on the methods (as well as to the form of make decisions without much expla- this seems to me very nice, but practi- the contrary, come with a ready-made the text), and sometimes it may influ- nation. In collaborative process, you cally – it is terribly complicated. structure that you can adapt as you ence even the main idea of the play.

174 175 Vladislavs Nastavševs: I have wor­ person simply stands and speaks and production of an already written play. the contrary, has become more open ked with plays, novels, short stories, the text is powerful, it “works.” I as a I would dearly like to try it, but so far, and more reflective. The spectator is verbatim, as well as written something graduate of St. Petersburg Academic I cannot figure out which play should ready to watch even a complicated myself in collaboration with the ac- School of Theatre in my productions I produce and why. theatre form. What sort of audience tors. The plays I use less frequently. maybe still to a great degree tend to are we actually talking about? About All options have Probably I feel the most at ease with “find a footing” in the text, by- inter Alvis Hermanis: the person who has driven all the way their use. The competition in the con- the texts of prose, but I have had vari- preting the text, being in dialogue from a country province and is look- temporary theatre are over. All tools ous experiences with them as well. with it, questioning it, worshiping it, ing forward to experience the wonder of theatrical language are fine. Every- The text alone can never guarantee arguing with it, and so forth. of the theatre, or about a person who thing depends on the right usage. the success of the play. Because of has just indulged in a fine wine and re- our cultural tradition, the text in Lat- Valters Sīlis: Text in my works usu- ally has had one of the most impor- read “Ulysses”? In this respect, the au- vian theatre is very important, practi- tant roles in the performance, if not dience does not change. I prefer not cally, in many productions it still plays the most important. I quite often may How have the relationship be- to distinguish my audience by gen- the dominant role. I belong to this use contemporary plays, but I have to tween the theatre and the audi- der, sexual orientation, intellect, na- tradition, because I grew up read- be in love with them in order to serve ence, the actor and the spectator tionality, etc. My spectator is anyone, ing books. I can clearly picture those them well. However, I have found ad- changed in Latvian contempo- who has come to follow the progress works that could be produced without aptations and creating original work rary theatre, and how do you, of the story or the theme. In my opin- a text because, in all truth, it is rather (sometimes in collaboration, some- as a director, evaluate your in- ion, the contemporary Latvian theatre hard to make a text-based theatre times alone) much more rewarding. volvement in this process? What is not so much involved in searching show “to work” in the current age. At In this process, text and performance in your opinion is the ideal audi- for the forms of dramatic theatre, but the same time, maybe because I am really can become one thing, and I ence of your productions? in searching for a more intimate dis- getting old or something, I have be- feel considerably freer. When select- cussion with the audience. How are come increasingly interested in the Nothing has chang­ ing already made works, I tend to feel Elmārs Seņkovs: the classical works represented to- ancient forms of theatre, where text ed. The audience is very diverse. The like I have to find a way to convey to day? The audience wants to see in is recited, for example. I’d like to play audience always demands personal the audience my admiration towards the theatre what is happening with us around with it. When I directed Three treatment and respect. The changes the text. When you create an original in contemporary society, and what is Sisters, I had an idea to use the re- work you have to invent the unique in theatre reality consist of what we cording of the 1946, and to perform happening with this society currently. theatre language what would fit the sometimes call an attitude of “I be- the play in such an archaic style. In I have always been interested in put- idea both in in the text and the way it lieve in” or “I don’t believe in” what I Medea I took archaic text and placed ting a well-known story in today’s set- is performed. see. It is as simple as that. It does not it in the contemporary, minimalistic matter, how relativistic, contemporary ting, so that it would move the con- temporary viewer of all generations. form. I believe it is a bit ridiculous to Klāvs Mellis: The Latvian theatre or abstract the theatre is. Everything try to prove to someone, that the clas- roots in the text, and it is a characteris- is much simpler– can I believe the Secondly, I have always been looking sic works can be eternal by remaking tic of my works. For now, I consciously people who are showing something for new forms of drama, I have worked them in different ways. Sometimes choose to work with the newly creat- to me, and is it interesting? Boring with Latvian original texts in order to it seems more productive to return ed texts and stage adaptations of the and overly conceptualized theatre narrate more pointedly about the cur- to some former values, but only if it works of prose. I am a very inexperi- means death. Theatre must simply rent age, such as Mii Mii Generation in does not look like a caricature. Now enced director and still, largely, I have be interesting. In all of its aspects – the festival Homo Novus (2015) and is the time when all ideals have van- not answered for myself a question, theme, acting, discussion, problem, several productions of the Latvian Na- ished, we believe in nothing. Maybe, what I should be doing as a director, narrative. The theatre in Latvia has tional Theatre, such as My Poor Dad the return to the tradition might be an therefore meddling with a text gives become uniform. All of us, without (2014), The Boy (2016), Even Whales attempt to revitalize the ideals? There me a sort of consolation or safe ha- even realizing it, have become bor- are Afraid (2018), and Concerning the is something in a simple fact, that a ven. However, I have never directed a ing in our own eyes. The audience, on Fathers (2019).

176 177 Regnārs Vaivars: I have not noticed are watching the performance as if it viewers, although I do like to provoke Klāvs Mellis: To answer this ques- any change in the relationship be- were the show “of that guy Regnārs.” as well. I am fascinated when a per- tion completely literally, I believe that tween the theatre and the audience The best way is to watch the show in- son can come to the show and see since the time I have been attending or between the actors and the view- stead of aiming to fulfil some expecta- something unexpected, maybe even theatre – some fifteen years or so – ers in Latvian contemporary theatre. tions. I am aware, that my best plays shocking, something that gives a sort nothing has fundamentally changed. Therefore, my answer is – there is no are equally in demand, equally liked of push to step out of one’s comfort The audience for the most part still change. However, maybe it is simpler both by old people, and by maximally zone. At the same time, I can calmly sits behind the fourth wall and any than that – maybe my plays still are radically minded youth. accept that something will remain not experimental forms usually are per- not “Latvian” enough or “contempo- fully understood, because I do not ceived as marginal occurrences. If I rary” enough to cause the change in Inga Tropa: In my opinion, the main feel a special need to explain every- were to think in larger scale, I have a our relationship. Even if the “change” change in this relationship is an ever- thing, or to achieve an objective that feeling that the spectators, perhaps, increasing introduction and use of means the modernized attempt to in- the viewer should definitely under- are a bit more differentiated: they technology devices in theatre, as well vite to the theatre some “new” audi- stand everything. I like to leave a kind know what they want to see, and then as creation of mergers between di- ence, without losing the already exist- of open option, so that the viewer is they purposefully go for it. I believe verse methods and branches of art. ing audience (as it is more prevalent free to “connect” up to the point he is that this is to a certain extent a rather I believe that I am one of interdisci- in the “repertoire theatres”), and if it able to do so. If a person has bought a positive thing, because certain artists plinary directors. When I work on my means that more and more frequently ticket and is attending my production, in their creative work can afford to production, I create this interdisciplin- the audience is directly or indirectly then he or she is my audience. take a little less compromise. Usually, ary space as well. For my own produc- I try to imagine my audience to be as asked to participate in the production, I think that in the last ten tions, I welcome an audience that is Valters Sīlis: diversified as possible. In theory, it in my opinion, it does not change the years, Latvian non-institutional the- interested to participate in discussion should be clear that, since I work in relationship between the individual atres have managed to take a much and that is open to various forms and the sphere of independent theatre, I spectator and the theatre or the actor. more important place in the theatre experiments. am aware, that my viewer will be, per- In my production Two Sisters and a scene than ever before. Moreover, it haps, a bit younger, more open, more Girlfriend (Divas māsas un draudzene, Vladislavs Nastavševs: There is a big influences the theatre which is- per liberal, and so forth. However, when I Gertrude Street Theatre, 2016) I used difference if we are talking about the formed in such houses like Latvian working on theatre productions, I am the audience instead of scenography. large or small form productions. The National theatre, too. Many people always trying to consider, if our grand- Yes, they were shy, timid, and yes, they most provocative plays I have created who work for Latvian National theatre mothers will like the show as well. I am liked it, but it did not change our rela- all were for the small theatre halls. have very strong ties with indepen- aware that in a way it is a conformity tionship. The participation of the audi- The theatre companies are not always dent scene. So several genres of con- on my part, however, at the same time, ence can change the relationship only ready to take the risk by letting me in temporary theatre like documentary I truly want to bring delight to my own seemingly, at best only for a short mo- the large hall that, after all, has to be theatre, lecture performances, partici- grandmothers. ment, during the time of the show, but sold out. I believe that the relation- patory theatre are much more in the it does not change the relationship in ship has not significantly changed. mainstream than they were ten years Alvis Hermanis. The audience is not substance. This is simply one differ- The human being in reality does not ago. Therefore, I think that theatrego- reading books as much as before, and ent form of the show, just another tool change at all, only grows older. Age ers are not so often talking about how they have a different sense of time, to entertain the spectators. Through gives the opportunity to re-evaluate this or that director has interpreted not as it used to be. The viewers are conversations and other types of one’s opinions, viewpoints and pre- one or another classical play by Chek- becoming more and more impatient. feedback I have come to believe that sumptions. My audience is ready to hov or Shakespeare, although that the less the viewer knows about me, feel, to open emotionally, and is not part of theatre is still very important. the more he can see, feel, intuit and so grounded in rational processing of For general audience it is much easier enjoy what actually takes place on the the action on the stage. I am not ap- to accept that theatre goes beyond stage in my plays. However, the more pealing to the intellect. I even do not the frames of contemporary dramatic they know about me, the more they expect any special openness from my theatre.

178 179 Are there any taboo subjects in This is my phobia – lest I myself step taboo subjects that are still sensitive a person should or should not live. Latvian theatre? Which taboo on the same rake as they have done. in our society: Firstly, I portrayed the Definitely, to follow these trends isa subjects would you shy away Sometimes I see white as white. And it family with disabled children, that taboo for me. For example, a switch from discussing or which of cannot be black. But we try to accept can form a complicated and difficult between conservative and liberal val- them would you be reluctant to the fact that white can be black. I see family pattern, potentially leading ues, fluctuating alongside some sort address? theatre in a poetical level, rather than to complications and psychological of ideological fashion. I don’t care to a social level. Although my plays had trauma in the relationship between a please or to annoy anyone, I simply do Elmārs Seņkovs: The only reason addressed social problems, I attempt man and a woman. Secondly, I dared not feel any need for it. that one should talk about the ta- to find artistic generalization for them. to uncover woman’s awareness of Valters Sīlis: I don’t think there is any boo subjects is to educate. That is all. her internal psychological world, her Regnārs Vaivars: Yes, such subjects taboo for me. Sometimes there is The taboo subject is any subject that ego, her sexuality, and her choice to definitely exist. This would be, for ex- question of finding the right collabo- touches the values and interests of follow her calling still to this day in ample, paedophilia and, definitely, rators, who would have adequate ex- another community. In the play any our contemporary society can cause Latvian symbols portrayed from any pertise in certain subject I would like currently hot topic – be it feminism, af- inadequate violence from her peers, unusual angle, because for the op- to tackle. Working in documentary filiation with some ethnic community since it destroys some imagined con- pressing majority of people it feels like theatre it has been important to make and so forth – sometimes turns into a structs, that relegates a young woman blasphemy. I think that, if it was neces- a distinction among private and pub- present-day conjuncture. Sometimes to second- or third-tier roles in the sary for my narrative and I could not lic people. Sometimes story is great I become perplexed by it, because overall scheme. I would not undertake get by without it, I most likely would and I choose to change names so that many directors are paying attention be willing to cross the boundaries of creating a taboo subject that I myself it would not be public knowledge to to it solely because it is currently a hot any of the taboo subjects. However, I had not first meticulously researched whom these events happened. At the topic. Today in Latvia, normally there have never been fascinated by the ta- and had not first become acquainted same time if the performance is about are no taboo topics. We can talk about boos, if for no other reason than for with the diverse opinions about this public politics I want to take respon- anything we want. The question – are the simple fact that, when creating the specific issue. Rather than didactically sibility and not change their names. these truly current issues for the con- productions, I very frequently tend to announcing only one single stance, This implies that I haven’t invented temporary viewer? Personally, I do not unearth or come upon a taboo even I find it to be important to open the anything. The stage uncovers what ac- have any taboos; therefore I am not in the most seemingly innocent top- question a bit and to activate further tually happened or shows my genuine very interested to distinguish such a ics. Sometimes it even comes as a sur- thinking processes, leaving room for a thoughts about particular politicians’ category at all. On second thought, prise to myself. free choice. actions. For me it is important to take the only taboo subject would be all responsibility what is going on stage, things that go against liberal values Vladislavs Nastavševs: I have taboo Inga Tropa: In Latvian theatres (as well even if we are doing crazy and irre- and call into question democracy. subjects. One of them is politics. I am as in society), taboo subjects still exist, sponsible things on it. Right now, I do not see the reason for or there are the topics that are uneasy, not making a political theatre. Possi- it. I would not like to denigrate any unpopular and that go beyond the bly some would think that The Lake of Klāvs Mellis: I believe that there are public figure; I do not want to talk generally accepted norms of opin- Dreams (Cerību ezers, New Riga The- no real taboo subjects in Latvian the- about the hot topics that many peo- ions, which we are not yet completely atre, 2015) might be interpreted as a atre. Rather, maybe it is a kind of in- ple are already discussing. Because ready to address from the alternative political play. However, this is precise- ternal sense, that it is bad taste to talk many people are doing it very well viewpoints, because in such cases one ly why I chose to use a very personally about the current issues too directly. already, for me it would become bor- has to confess too much about soci- focused approach to the subject, in As a result, in my opinion, we do not ing. Of course, there are uneasy top- ety’s collectively and individually held order to preclude any sort of general- have a significant number of truly so- ics in the society, and it is regrettable, lies and / or persistent narrow-minded ization. Politics largely is manipulation, cial theatre performances – any socio- that some directors take advantage attitudes. In my latest production, The and I try to stay out of it. Moreover, political issue in the play eventually of it in order to gain attention and to Bride of the Grass Snake (New Riga my taboo is to pontificate or moral- acquires some sort of “poetical gen- make a cheap marketing campaign. Theatre, 2019) I touched upon some ize about what is right or wrong, how eralization.” Perhaps, we are simply

180 181 afraid of being didactic and preaching financial subsidies. Theatre is forever Inga Tropa: There are some prob- mas pēc atmiņas, 2020) in the Mikhail too much. Sometimes this fear is well forced to make both ends meet. This lems. They arise if one does not un- Chekhov Riga Russian Theatre. Of founded, but other times it becomes a is the perpetual issue arising first in derstand the rules. Each of the forms course, the large halls always demand kind of internal censorship – to use the the conversation between the direc- are governed by different rules of the more attention, the responsibility for concept in its worst possible meaning. tors and managers of the theatre. game. One must learn how to master the risk that the theatre is assuming, This, I believe, is a characteristic of my Which works should be performed them and how to manoeuvre within and this imposes restrictions on the di- productions as well. I cannot imagine in the large hall? Certainly, it does them. It really does not minimize the rector. The story is not so much about that there would be a real taboo sub- not alter the artistic interests. This is creativity and the specific idea that the volume of the hall, as it is about ject for me. a question, whether the chosen topic you want to express in your work of the side factors – the theatre troupe, is too marginal, resulting in dimin- art – rather, it only channels them into management, tasks, the opinions I would not stir the- Alvis Hermanis: ished numbers of viewers. This has specific set of rules. However, one can about who can and who cannot do atre arts and social projects in the always been the hot topic for manag- even experiment with the rules. Of something, what the people will buy same common porridge. However, ers, not for directors. I am more and course, the experiment might not al- and what they will not buy. The large it is clearly visible, where one starts more attracted by the large halls. I am ways end up brilliant. Moreover, I be- halls of the theatre are perceived as a and the other ends. Since the Living not afraid of them. However, I fear, lieve that such experiments are neces- production for masses, and it is a bit Theatre Company produced the play whether my work is worth the toil that sary, in order to promote the common sad. If one does not pacify or adjust Paradise Now, where the actors were other people have put into it, so that creative development. The second to some formulated expectations, the copulating with the audience, the con- it would be cost-effective both finan- problem – the large form theatre pro- large hall always imposes a level of cept of taboo in the world theatre is no cially as well as mentally. Naturally, duction requires a much larger team pressure. It is strange talking about longer a hot issue. That happened fifty my ideal stage hall is the one that can and a more complicated scheme. The the creative expression on various years ago. If anyone feels troubled by seat three to four hundred specta- stage director is not always capable spatial platforms – I had a conversa- such problems in Latvian theatre, then tors. There are no such theatre halls in of leading this process adequately, tion with a theatre director, who said this should simply be repeated – to Latvia. As time passes, my ambitions that they would hire me as a perma- achieve finally some peace and quiet because the director is merely a tiny to then to be able to proceed and ad- are growing, the thought takes flight screw in the large scheme and other nent employee, because I am not “a dress what is essential. and that requires large space. I have internal processes, while the creative universal director,” because I do not had such an opportunity. Right now, idea dissolves in the complex tangle produce, for example, productions for it is not important, whether I make my of relationships. I am a type of direc- children. I must confess, that the very play in the basement, in the so-called tor for whom it is necessary to express concept “universal director” some- Is there any reason to discuss black box, or in the large hall. If I am oneself alternately in various forms, what unnerves me. I like chamber set- some special challenges or pro­ convinced about the subject matter, because it develops some qualities in tings and small halls. However, if I had blems that arise from using the the premises don’t scare me. me that will be useful in the next pro- a chance to choose, I would definitely large hall (stage) productions ductions. The never-ending fluidity make productions for the large hall. in contemporary theatre, or is Regnārs Vaivars: in the great hall, helps me to maintain a sharper vision it merely a myth? How has your the face of the actor is his entire body. and more nuanced sensitivity – that is Valters Sīlis: It is really the responsi- personal creative experience This is the main difference. In addi- of great importance for a creative indi- bility of the artist not to limit the range changed your opinion about the tion, based on this, the director must vidual. The creative energy inside me of choices based on perceived no- director’s options of creative work accordingly, not only with the ac- cannot be contained only within the tions as to what would be adequate expression in different stage tor, but also with the rest of the com- framework of a single form. for a certain theatre or stage. How- spatial settings? ponents of the production. One could ever, the architecture of the space say, of course, that both the large and Vladislavs Nastavševs: Right now, or scene has enormous influence Elmārs Seņkovs: The horrible myth small hall theatre are and remain the- I would like to experiment with the on the production. A big part of the about the large halls has been cre- atre, but the one could say the same large hall. A great example of it was work for the director is to make sure ated by the grim capitalism and scant about men or women’s basketball… my Five Songs by Heart (Piecas dzies­ that every audience member can see

182 183 key moments in the performance. In (Eimuntas Nekrošius, a distinguished influence in the global situation. How- cal director. Latvia is my home, and for classical black box theatre, you don’t Lithuanian theatre director (1952– ever, our spirit is not small. Therefore, the most part, I create productions for have to worry about that. Unfortu- 2018) – editor’s note) once said: “the we spend so much time looking at our the people who live here. If the theatre nately, there is no black box stage large hall demands large ideas.” internal problems. Latvian community language that I use can address larger in Riga that would be a proper am- that keeps track of the contemporary audiences, then it is all very well, but phitheatre setting for the audience. theatre trends is very small. I advo- I do not purposefully think about it. Thus, you always have to think about cate that we should collaborate more In any case, it does not pertain to the How does Latvian theatre reflect the way you work with the space. Big closely with the European theatres. I specific form or the selected subject global trends or their contexts? stage of National theatre is a classi- believe that state-subsidized profes- matter, because the local flavour is a How do you perceive the rela- cal proscenium stage. If you want to sional theatres should create collab- rather specific cultural environment, use the entire space on the stage, you tionship between the global orative projects with other theatres, language, history, mentality. It is im- have to think about the audience who and local trends in Latvian the- in order to intensify and speed up the portant to realize with whom I am in a sees the performance from sides; and atre processes collectively and blood circulation of our theatres. dialogue. I usually deal with personal what is lost or gained from their field in your productions individual- experience or memories and Latvian of view. There are ideas that work bet- ly, and what should be changed Regnārs Vaivars: When I start choos- audience, and this is how the local ter for smaller audiences. Sometimes about this relationship? ing the subject based on its global or aspect comes forth even if I am work- you have an idea for such a piece that local principles, I catch myself calculat- ing with a topic that might be a little Elmārs Seņkovs: To tell you the truth, will be interesting for big audiences, ing benefits, and I don’t like it. There- bit unknown for the Latvian mentality, we are still stuck in tackling our own but I have had situations when, after fore, it would be unethical for me to such as in my production Travellers national problems. We are address- a premiere, I understood that a piece talk about this issue in the context of by Sea and Land (Peldošie – ceļojošie, ing issues that Europe has already which I have made for the small stage Latvian theatre. For the most part, I New Riga Theatre, 2014). The more exhausted. Our society and our audi- would have worked on the big stage make the plays about myself, and it is intimate the approach in staging pro- ence are not yet ready to watch com- as well or even better. Sometimes it is already a rather global localism. cess, the better the result, at least I plicated post-dramatic works. Why? It the other way around. Being creative believe so. is hard to tell. Maybe it relates to the Such relationships ex- or daring is not limited by the place Inga Tropa: fact that we are developing together ist; however, the greater emphasis is for which you make the performance. Valters Sīlis: I think that this is a prob- with our audience. As long as our placed on the internal processes of At least for me. lem in Latvia. We tend to be local in press and mass media in their head- an individual, and on the local pro- the subject matter concerning today’s Klāvs Mellis: I have had no experi- lines will write about the cabbage- cesses. Only a small percent of the politics. There are some very good ex- ence with large halls as of yet, there- patches and who has set fire to last productions reflect on the global cur- ceptions, but overall there is certainly fore I couldn’t comment on this. year’s grass in the Dobele province, rent events. In a way, it is naturally very room in theatre to care more about we will never be able to tackle large human to concentrate on ourselves as what is happening outside our coun- Alvis Hermanis: To direct a produc- global problems in our theatre. Be- individuals. In my work I also tend to try. I think that audiences care about tion for a large hall and a small hall cause the audience truly does not concentrate more on the microcosm these affairs much more than theatre are two different professional occupa- care what happens in the world. The (the individual), because I believe that makers are aware of it. tions. The small hall can be filled with viewer is poorly informed. Take a look in this way I can also uncover and un- friends, acquaintances of acquain- at “Panorāma” (the main evening news derstand macrocosm. Klāvs Mellis: This is a very compli- tances, and critics. To sell tickets to broadcast in Latvia – editor’s note) and cated question, because we can talk several hundred people every night BBC news. There is a difference. Other Vladislavs Nastavševs: Sure, it is about the global and local aspects is completely another case. A director nations follow the world events much cool to be convertible, not to feel any both in the context of a production’s can, of course, express his creativity more closely. Because they are large boundaries between the local and the theme and form, as well as when try- equally well in both cases. However, nations and can influence big geopol- global. When working on my produc- ing to understand how we compre- it would have to be done in a com- itics. Regrettably, Latvia, as hard as it tions, I likely do not reflect about it in hend the theatre as media in its entire- pletely different way. As Nekrošius may be to admit, does not have large any detail. I believe I am mostly a lo- ty. In my opinion, as far as the content

184 185 goes, the Latvian theatre first and fore- of his protagonist, we feel authentic- many times that real life is much more that in my opinion is simply madness. most addresses the so-called “issues ity. The main task of the director is to like theatre, and the things we create I believe that theatre in its own right of general humanity.” Next, they grap- find each actor’s “switch of genuine- in the theatre are but a modest child’s is a rather elite form of art, therefore ple with the “local problems,” and the ness.” To find an approach, that will play in comparison. there is no need to pretend that the- “global aspects” come last. I like the- help an actor to pulsate with thought atre in some way is trying to show so- atre that is both markedly local and and energy. Then the entire ambience Vladislavs Nastavševs: Overall, it is a cial responsibility, or trying to make meant for the consumption of the lo- and audience will pulsate as well. This difficult question. The question itself the world better and more egalitarian. contains a dose of paradox, because cal audience, as well as a theatre that is the case, if we are talking about the Authenticity in a vacuum becomes theatre in a manner is essentially fake, is so heavily local that it already be- theatre in its academic and dramatic problematic, if not impossible. At the and make-believe. Art in its very foun- comes interesting and in a way even aspect. If we were to talk about the same time, the task of the director is dation is not and cannot be real, and exotic for the foreign audiences. I like current day reality – then I must con- to create an illusion of authenticity, by there is nothing wrong about it. One theatre that is convertible and multi- fess we must do just about everything using different conditions and tools could say that my productions are cultural as well. I truly do not have any possible to make the contemporary offered by the theatre as a form of art. personal, and therefore genuine, but opinion about which of these strate- viewer not to pull out his smartphone we are not talking about that. Rather, I don’t worry about be- gies should be preferred. I believe and to check his Instagram. If the spec- Valters Sīlis: authenticity is something connected lievability or realness of the action in that it is very important to know what tator picks up his phone, this means with perception. I want to believe in the theatre production. I think about is happening outside your own home- that the reality for him is not exciting what I do. For me, the authenticity in the meaning that produced by the ac- stead, but, at the same time, I am not and he is bored. In addition, this is a theatre after all, means to experience tion in the theatre work. The event of so convinced that there is much sense director’s fault. If the audience forgets emotional stirring. Probably this cur- the theatre being played and watched to follow mechanically the tendencies about the smartphones, then the di- rently is not in vogue. Nonetheless, is very real. It is always particularly im- that are present in the contemporary rector has done everything right, and the further we advance in the sphere portant to think about how this event theatre of Western Europe. However, the action on the scene is “for real”. of technology, the more we are yearn- will be organized. What kind of live sometimes there might be a good Regnārs Vaivars: Theatre, in my ing for emotional excitement. For experience will you create for your reason to do so. opinion, is a very simple imitation of example, during the show I like to sit audience? The rules of the perfor- somewhere in the far corner and ob- Alvis Hermanis: I do not know how it life. Therefore, in theatre I usually do mance, the world that is created for serve the audience. Sometimes I am is in other theatres, but I have always not seek the true, the natural, and the this certain performative event, which moved to tears when I see a spark of worked based on the creed – maxi- genuine. More frequently, I am search- will have a certain effect on all the par- interest, if I see, that the viewer “plugs mally local, but in global context. This ing for the theatre that lies behind the ticipants is the reality I have to think into” the events on the stage and has holds true in the New Riga Theatre, as genuine, the natural, the authentic, about every day when I rehearse a a reaction to it. The emotional stirring well as in my productions abroad. the realistic and the naturalistic. new performance. is something that can foster a con- Inga Tropa: The authenticity has al- nection between strangers on some Klāvs Mellis: Recently, I read an ar- ways captivated me, and I like to play other, immaterial level. What is con- ticle about present-day pornography. What do you understand by the with it and to use it in my works, for sidered real differs for each individual According to the article, twenty or concept “authenticity” within example, in the production Ladies person. The genuineness in an actor’s thirty years ago the absurd and cliché the interpretation of contempo- (Dāmas, Theatre TT, 2016). However, performance, and his / her capacity plots featuring a “sexy plumber” rary theatre? I (as well as the audience, hopefully) not to pretend, but to be in the play, dominated porn. Nowadays the most have always been interested and fas- is a characteristic of the especially tal- popular porn is the so-called “gonzo Elmārs Seņkovs: The authenticity in cinated by the capacity of theatrical ented performers. Nevertheless, one porn,” where the viewer in principle theatre resides in truth, whether the art to create such a manipulation, that should not forget that there is an op- all the time is confronted with details people on the stage remain true to ev- even the most theatrical expression tion to perform “for real”, and it is quite and means of expression, that con- erything they are doing. When an ac- later turns into something truly genu- usual in the contemporary theatre, sciously destroy any sense that you tor merges with the thinking or theme ine and alive. I have come to realize because it makes art overly social, and are watching a fictional narrative. In a

186 187 word, contemporary porn actors con- most interesting aspect that the the- stantly shove in our faces not that they atre can have. are “sexy plumbers”, but that they are actors, who are aware that they are be- Alvis Hermanis: It seems that in the ing on camera, and this is the way the future theatre, the physical presence viewer is given the sense of authentic- will become even more important ity, which, of course, is not less con- than it had been until now, and, for structed and illusory, only the method example, the utilization of video in is different. I perceive the authenticity the theatre plays will be regarded in theatre in a similar fashion. At the as tasteless, to say the least, or even same time I believe, that the relation- as tactless. Theatre will be like a zoo, ship between reality and fiction – both where the public will come to look at in terms of content and form – is the live real human beings. VI A RE S IN LAT TH E AT

188 189 STATE THEATRE STATE THEATRE

Latvian National Theatre Daile Theatre

Address: organizes the National Competition Address: production and experiments, mean- Kronvalda bulvāris 2, Riga of Plays. LNT has a bunch of nomina- Brīvības iela 75, Riga while the Large hall of nearly 100 www.teatris.lv, [email protected] tions and awards in Spēlmaņu nakts www.dailesteatris.lv seats aims to satisfy large audiences (Performer’s Night – a yearly national [email protected] with dramas, comedies, tragedies, Founded: 1918 theatre award) with 4 Grand Prix in last +371 67270463 musical performances, children’ per- Financing sources: decade: in 2014 for by Elmārs Seņkovs Founded: 1920 formances and concerts. The style of 55% state dotation Ezeriņš (Ezeriņš, 2014), in 2015 – for Daile Theatre has always been differ- 45% self-financing Antigone (dir. by Elmārs Seņkovs), in Financing sources: ent from so called natural-psycholog- 42% state dotation Stages: 2016 for (dir. by Vladislavs Nastavševs) ic style theatres. The reality of art pre- 58% self-financing Large hall – 709 seats and in 2019 for Pūt, vējiņi! (Blow, the vails in the house welcoming the most Actors’ hall – 70–90 seats Wind!, dir. by Elmārs Seņkovs). Stages: talented artists of their time. LMT New hall – 90–120 seats Large hall – up to 980 seats Stage directors: Edmunds Freibergs, Small hall – 198 seats Dž. Dž. Džilindžers, Productions per season: 14 Stage directors: Valdis Lūriņš, Indra Roga, Viesturs Chamber hall – 83 seats Laura Groza-Ķibere, Alexander Mor- Kairišs, Valters Sīlis, Elmārs Seņkovs, fov (Bulgaria), Jan Willem van den Artistic profile: Repertory theatre Productions per season: 15–18 Vladislavs Nastavševs, Kirill Serebren- Bosch (UK) fo­cused on contemporary interpreta- nikov (Russia), Ināra Slucka tions of world and Latvian classics and Artistic profile: Daile Theatre – a the- atre with the most acclaimed history Most important productions original drama. Strong, well-estab- Most important productions of director’s theatre in Latvian culture, 2010–2020: lished troupe of professional actors, 2010–2020: who regularly appear among the best cultivated by Eduards Smiļģis, its • P. Shaffer Amadeus, dir. by Willem • G. Buechner Woyzeck, dir. by Kirill founder, actor and director for more actors of the year etc. The mission of van den Bosch, 2011 Serebrennikov, 2012 the theatre is to be a modern art in- than forty years. In 2020, Daile The- atre celebrates its centenary. From • n. Erdman. Finita la comedia!, dir. stitution addressing a wide-ranged • F. Ebb / J. Kander Cabaret, dir. by. the very beginnings, the repertory of by Alexander Morfov, 2012 audience of different social strata, to Indra Roga, 2015 Daile Theatre focuses on world clas- • k. Lācis / J. Elsbergs Onegin (musi- offer top-quality productions, to culti- • rainis Uguns un nakts (Fire and sics – Shakespeare, Schiller, Ibsen, vate the national sense of belonging night), dir. by Viesturs Kairišs, 2015 cal), dir. by Dž. Dž. Džilindžers, 2013 Rainis and contemporary plays by the by emphasizing the plays by Latvian • n. Dear Frankenstein, dir. by Laura • m. Bērziņš Svina garša (The taste of most talented authors. Currently, Dai- authors and go in line with European Groza-Ķibere, 2015 lead), dir. by Valters Sīlis, 2016 le Theatre is the largest professional culture activities. One of the main Repertory theatre in Latvia with three • k. Kessey Someone flew over the tasks of the theatre is to promote • F. Garcia Lorca Blood wedding, dir. stages. The Chamber hall and Small cuckoo’s nest, dir. by Alexander Latvian original plays; therefore each by Vladislavs Nastavševs, 2016 hall serves for zoomed psychological Morfov, 2015 season is started with a new produc- • rainis Pūt, vējiņi! (Blow, the Wind!) tion by a Latvian playwright. Theatre dir. by Elmārs Seņkovs, 2018

190 191 STATE THEATRE STATE THEATRE

New Riga Mikhail Chekhov Theatre Riga Russian Theatre

Address: building at the creative Miera street Address: premises with historical ambience. In Miera iela 58a, Riga district, while its’ historical building in Kaļķu ielā 16, Riga 2006, the theatre retrieved its histori- www.jrt.lv, [email protected] the center of the city has been reno- www.mct.lv, [email protected] cal name “Riga Russian Theatre” and +371 67 22 46 60 Founded: 1992 vated. The New Riga Theatre has per- obtained the right to add the name of formed at major festivals around the Founded: 1883 Mikhail Chekhov, actor, stage direc- Financing sources: world, including Festival d’Avignon, tor and pedagogue who worked in 40% state dotation The Edinburgh International Festival, Financing sources: Riga 1932–1934. Since 2018, the ad- 55% self-financing 50% state dotation Wiener Festwochen, Salzburger Fest- ministrative director is Dana Bjorka, 5% other financing 50% self-financing spiele, Holland Festival, BITEF, Kun- producer and actress, in the autumn Stages: stenfestivaldesarts, and, to date, has Stages: of the same year Sergey Golomazov, Large hall – 301 seats toured to more than 200 towns and Large hall – 533 seats Russian stage director and Distin- Small hall – 250 seats cities in 40 countries, both in Europe Small hall – 50 seats guished Artist of Russian Federation Experimental stage – 50 seats Productions per season: 8 and overseas. from Moscow was appointed as the Alternative space Kvartirnik – 40 seats artistic director of the theatre. New venue platform “Andrejsala” – Artistic profile: The New Riga The- Stage director: Alvis Hermanis atre is a state repertory theatre that 100 seats Stage directors: Sergey Golomazov, provides innovative art correspond- Most important productions Productions per season: 8 Viesturs Kairišs, Elmārs Seņkovs, Vla­ ing both in its content and form to the 2010–2020: dislavs Nastavševs, Alla Sigalova, Rus- lan Kudashov requirements of the independently- • Ziedonis un Visums (Ziedonis and Artistic profile: Mikhail Chekhov Riga thinking contemporary spectator. The the Universe), dir. by Alvis Herma- Russian Theatre is the oldest Russian artistic principles of The New Riga nis, 2010 dramatic theatre outside Russia. The Most important productions Theatre include highly professional, repertory consists of Russian and 2010–2020: ethic and aesthetic quality. The the- • i. Goncharov Oblomov, dir. Alvis world classics as well as contempo- • Granyonka, dir. by Elmārs Seņkovs, atre has an intelligent and attractive Hermanis, 2011 rary plays. Theatre aims to support the 2011 repertory of high quality focused on • Brodsky / Baryshnikov, dir. Alvis widest range of artistic diversity. The a modern, educated and socially ac- Hermanis, 2015 audience can enjoy deeply social and • a. Scherbak Tango with Strok, dir. tive audience. The New Riga Theatre psychologic productions, musical per- by Igor Konyaev, 2012 • Vēstures izpētes komisija (History was founded in 1992. In 1997 the formances and creative experiments, Research Commission) dir. by Alvis • W. Shakespeare King Lear, dir. by leadership of the theatre was taken as well as academic traditional pro- Viesturs Kairišs, 2017 over by its present artistic director Al- Hermanis, 2019 ductions. Theatre often goes on tour • a. Baricco 1900. A legend of a pian­ vis Hermanis. The New Riga Theatre is • Baltais helikopters (The White Heli­ and takes part in different festivals. In located in the former tobacco factory copter), dir. Alvis Hermanis, 2019 summer 2010, the reconstruction of ist, dir. by Sergey Golomazov, 2017 the building was finally completed • i. Turgenev Mumu, dir. by Viesturs welcoming the audience in renovated Kairišs, 2018

192 193 STATE THEATRE STATE THEATRE

Latvian Puppet Daugavpils Theatre Theatre

Address: who work together with the creative Address: and world classics, musicals, operet- K. Barona iela 16/18, Riga team of the house polishing techni- Rīgas iela 22a, Daugavpils tas, operas, plastic dramas and post- www.lelluteatris.lv cal and artistic skills and aiming to www.daugavpilsteatris.lv dramatic experiments. Currently, the- [email protected] achieve wide-ranged mastery in vi- +371 65426321 atre aims to strengthen international +371 67285418, +371 67281402 sual aesthetics and content created in Founded: 1988 relations establishing the coopera- close cooperation. tion with several theatre festivals in Founded: 1944 Financing sources: Lithuania, Belorussia, Russia and Ka- 71% state dotation Financing sources: Stage directors: Ģirts Šolis, Duda zakhstan. In addition, the coopera- 8% municipality funding 60% state dotation Paiva, Edgars Kaufelds, Dmitrijs Pe- tion agreement has been signed with 16% self-financing 35% self-financing trenko, Vija Blūzma, Māris Koristins, E. Vahtangov Moscow Academic the- 5% other revenue 5% other financing Valters Sīlis atre in Russia. Stages: Stages: Large hall – 230 seats Most important productions Large hall – 550 seats Stage directors: Oļegs Šapošņikovs, Small hall (blackbox) – 80 seats 2010–2020: Stage of the Large hall – up to 150 seats Georgijs Surkovs, Juris Jonelis, Paula Experimental stage – up to 60 seats Museum hall – 50 seats • e. Kaestner Lottie and Lisa, dir. by Pļavniece, Lucyna Sosnowska (Po- 7 Productions per season: 10 Ģirts Šolis, 2012 Productions per season: land), Dž. Dž. Džilindžers • a. Lindgren Ronya, the robber’s Artistic profile: Daugavpils Theatre Artistic profile: The mission of Lat- daughter, dir. by Valdis Pavlovskis, Most important productions is located in Latgallia, a multicultural vian Puppet Theatre consists of two 2013 2010–2020: and historically multinational region guidelines – high-quality repertory • Tuvība (Closeness) dance perfor­ • H. K. Andersen The ugly duckling, of Latvia that borders with three dif- for children’s audience of different mance, choreographer Irina Saveļ­ dir. by Dmitrijs Petrenko, 2015 ferent countries – Lithuania, Russia age and professional development and Belorussia offering a fruitful soil jeva, 2015 of diverse puppetry art. Therefore, • rainis Zelta zirgs (The golden for unique creativity. The multicul- • e. Schwartz The naked king dir. by last decade in Latvian Puppet Theatre horse), dir. by Duda Paiva, 2017 tural environment makes Daugavpils Oļegs Šapošņikovs, 2016 focuses on involvement of local and • Puscilvēki (Half people), dir. by Ed- Theatre a striking example of integra- • W. Shakespeare Hamlet dir. by international guest stage directors, gars Kaufelds, 2019 tion providing productions in three Oļegs Šapošņikovs, 2016 languages – Latvian, Russian and Lat- gallian. The creative teams consist of • J. Kļava Jubileja’98 (Jubilee ’98) dir. stage directors, actors and soloists by Paula Pļavniece, 2017 from Latvia and guest artists from • n. Gogol, M. Zīle Revidents Syla­­- neighbouring countries. golā (The government inspector The repertory of Daugavpils Theatre at Sylagols), dir. by Oļegs Šapoš­ includes the plays o Latvian, Russian ņikovs, 2018

194 195 STATE THEATRE STATE THEATRE

Valmiera Drama Latvian National Theatre Opera and Ballet

Address: Theatre offers large-scale dramas, Address: placed on the creation and staging of Lāčplēša iela 4, Valmiera comedies and children and youth Aspazijas bulvāris 3, Riga new Latvian operas and ballets, thus www.vdt.lv performances, but at the same time www.opera.lv, [email protected] contributing to the development of offers intimate psychologic theatre the genre in Latvia. Founded: 1923 Founded: 1918 and chamber-style labs. Taking care World renown opera stars such as Financing sources: Financing sources: of development of new and creative Elīna Garanča, Kristīne Opolais, Ma- 53% state dotation 65% state dotation ideas in the context of local cultural rina Rebeka, Maija Kovaļevska, Inese 28% self-financing 35% self-financing environment, has led to interdisciplin- Galante, Aleksandrs Antoņenko and 6% municipality financing Stages: ary Valmiera Summer Theatre festival. Egils Siliņš, and conductor Andris Nel- 13% other financing Large hall – 946 seats sons started their professional careers Oļģerts Kroders, New hall – 241 seats Stages: Stage directors: at LNO. World-famous ballet stars Felikss Deičs, Mārtiņš Eihe, Māra Ķi­ Large hall – 395 seats Productions per season: 6 Mikhail Baryshnikov and Māris Liepa mele, Varis Brasla, Inese Mičule, Indra Round hall – up to 145 seats also started their careers here. LMT Mansard – 101 seats Roga, Jānis Znotiņš, Reinis Suhanovs, Artistic profile: The Latvian National Experimental spaces under the Large Pēteris Krilovs, Viesturs Meikšāns Opera and Ballet is an internation- Most important productions hall stage – 62 seats ally competitive arts centre aiming 2010–2020: Most important productions to develop and support the creative Productions per season: 11 • richard Wagner Der Ring des Ni­ 2010–2020: process, cultural enrichment and edu­ belungen, opera, cond. Cornelius • F. Schiller Mary Stewart dir. by cational functions. LNOB strives for ex- Artistic profile: Valmiera Drama The- Meister, dir. by Stefan Herheim, Oļģerts Kroders, 2010 cellence in its opera and ballet produc- Viesturs Kairišs, 2013 atre is the only professional theatre tions, as well as provides all of society in Vidzeme region and ensures avail- • e. Virza Plūdi un saulgrieži Strau­ • kristaps Pētersons Mikhail and mēnu skaņās (Flood and solstice in with access to high-quality artistry, pro- ability of professional performing motes creativity and public education. Mikhail Play Chess, opera, cond. arts for different target groups contri­ Straumēni sounds) dir. by Viesturs Ainārs Rubiķis, Atvars Lakstīgala, buting to the decentralization of cul- Meikšāns The company has operated under nu- dir. by. Viesturs Meikšāns, 2014 tural processes in Latvia. Fifty years merous authorities and regimes since • m. Bulgakov Zoya’s appartment, • alexander Glazunov Raymonda, ago with young stage directors of October 15, 1918. Today, LNOB con- dir. by Indra Roga, 2012 ballet, chor. Aivars Leimanis, cond. the time – Oļģerts Kroders and Māra tinues to maintain its rich traditions, • r. Blaumanis Raudupiete dir. by by fulfilling its mission to educate on Jānis Liepiņš, 2015 Ķimele, Valmiera Drama Theatre was Elmārs Seņkovs, 2013 the incubator of the contemporary culture and the arts within Latvia, and • Juris Karlsons Antonija #Silmači, theatre in Latvia. Today, it keeps the • r. Blaumanis Pazudušais dēls (The by representing our country around ballet, chor. Aivars Leimanis, cond. line of brave experiments and demo­ prodigal son) dir. by Reinis Suha- the world. Mārtiņš Ozoliņš, 2018 cratic attitude towards every form of novs, 2017 The LNOB has always staged most • Francis Poulenc Dialogues des performing arts. The repertory focuses • valdis Staburaga bērni (The chil­ influential opera and ballet master- Carmélites, opera, cond. Mārtiņš on contemporary versions of classics dren of Staburags), dir. by Jānis pieces, as well as modern examples of Ozoliņš, dir. by Vincent Boussard, and Latvian original plays. Valmiera Znotiņš, 2017 the genre. Great importance is always 2019

196 197 MUNICIPALITY THEATRE INDEPENDENT THEATRE

Liepāja Theatre Dirty Deal Teatro

Address: part in international festivals and is Address: for children and youth in order to Teātra iela 4, Liepāja cirtically acclaimed often welcoming Talsu iela 1, Āgenskalns, Riga bring contemporary performing arts www.liepajasteatris.lv both local stage directors and guest www.dirtydealteatro.lv to these audiences uncovering the artists to be part of the creative plat- [email protected] Founded: 1907 role of art in the intellectual and emo- form in Liepāja. [email protected] tional developent. DDT encourages Financing sources: +371 20119550 the creative deelopment of artists and 60,2% Liepāja municipality dotation Dž. Dž. Džilindžers, Stage directors: Founded: 2007 offers the contents highly appreciated 39,2% self-financing Sergey Zemlyansky, Elmārs Seņkovs, by critics and general audience. 0,6% co-financing by State Culture Konstantin Bogomolov, Laura Groza- Financing sources: Capital Foundation 49% self-financing Ķibere, Regnārs Vaivars, Viesturs Stage directors: Krista Burāne, 42% project financing (State Culture Stages: Meik­šāns, Valdis Lūriņš Inga Gaile, Andris Kalnozols, Mārcis Capital Foundation) Large hall – 468 seats Lācis, Vla­dislavs Nastavševs, Paula 3% municipality financing Experimental stage in premises of Most important productions Pļavniece, Valters Sīlis, Inga Tropa 6% international financing the concert hall “The Great Amber” – 2010–2020: 90–105 seats • G. Grekov Hanana dir. by Dž. Dž. Stages: Most important productions Blackbox – up to 80 seats Productions per season: 8 Džilindžers, 2010 2010–2020: White hall – 50 seats, site-specific • K. Lācis / J. Elsbergs / E. Mamaja • I. Bunin Mitjas mīlestība (Mitya’s Artistic profile: Founded 1907, Lie­ Pūt, vējiņi! (Blow, the wind!), based Productions per season: 6–8 love) dir. by Vladislavs Nastavševs, pāja theatre is the oldest professional on play by Rainis and Latvian folk 2010 Latvian theatre. The building of the songs, dir. by Dž. Dž. Džilindžers, Artistic profile: Dirty Deal Teatro • J. Balodis Visi mani prezidenti (All theatre was constructed for the needs 2011 (DDT) is a professional non-govern- my presidents) dir. by Valters Sīlis, of German theatre, but in 1918 was mental theatre that brings together ex- • Stavangera (Pulp People) based on perienced masters and young artists 2011 assigned to Latvian theatre. Theatre play by Marina Krapivina, dir. by to offer a new, contemporary theatre • M. Gricmanis Būt nacionālistam (To has a well-established troupe of 24 Konstantin Bogomolov, 2012 top level professional actors. Liepāja experience to the audience. The aim be a nationalist) dir. by Valters Sīlis, theatre offers wide-ranged repertory, • N. Gogol The marriage dir. by Ser- of the theatre is to stimulate the artists 2017 gey Zemlyansky, 2017 to seek and find their own handwrit- average 20 productions including all • J. Joņevs, A Konste Zvērīgā mīla ing. The repertory of DDT consists of kind of genres from classics to con- • K. Lācis / R. Vaivars Purva bridējs (Beasty love) dir. by Mārcis Lācis, Latvian original plays mostly focused temporary plays. Liepāja Theatre has ugunī (Marsh crosser in the fire) 2017 strong inherited tradition of musical based on works by Rūdolfs Blau- on today’s life in society and dealing theatre and musicals. Theatre takes manis, dir. by Regnārs Vaivars, 2019 with uncomfortable past from a dis- • J. Kļava Dvēseļu utenis (Flee market tance. The theatre offers productiosn of souls) dir. by Inga Tropa, 2017

198 199 INDEPENDENT THEATRE INDEPENDENT THEATRE

Ģertrūdes ielas teātris (Gertrude Street Theatre) KVADRIFRONS

Address: brace the challenge when encounter- Address: something they find interesting, nec- Ģertrūdes iela 101a, Rīga ing the unknown. The collaboration Merķeļa iela 4, Riga Circus horse essary and fascinating. They are con- www.git.lv, [email protected] between GIT and artists is established stable, (entrance from A. Kalnina iela); temporary, dramatic, interdisciplinary, +371 2202 0616 and based on a shared belief in the From 2020: Zeļļu iela 25, former performative, they create their own value of creative work and the cross- space make everybody feel welcome Founded: 2009 Faculty of Physics, mathematics and ing of borders – we support and en- optometry of the University of Latvia and belonging. Joining theatre, mu- Financing sources: courage new impulses and ideas to www.kvadrifrons.lv sic, visual arts and filmKVA DRIFRONS 45% self-financing aid artistic growth. A group of actively [email protected] aims to address the interaction of the 55% project financing (State Culture engaged partners helps strengthen individuals and society, react to the Founded: 2017 Capital Foundation and other Found­ GIT as a platform for current trends in topicalities and build the vision of a­tions) contemporary theatre in Riga. In this Financing sources: future through contradiction, laugh Stages: task we equally value our compan- Mostly project financing (State Culture and jokes. Studio theatre – up to 120 seats ions- thoughtful and empathetic spec- Capital Foundation), revenue from Rehearsal hall – studio for rehearsals tators who want to explore the diverse ticket sales, donations Stage directors: Klāvs Mellis, Reinis and residencies world of the performing arts. Stages: Boters, Paula Pļavniece Productions per season: 4–6 Riga Circus horse stable – up to 50 seats Stage directors: Mārtiņš Eihe, And­ Most important productions rejs Jarovojs, Arnita Jaunsubrēna, Productions per season: 5 Artistic profile: For now, the hall at 2010–2020: Vladislavs Nastavševs Gertrudes street 101a has gone from Artistic profile: KVADRIFRONS is a • a. Kivirehk Three stories dir. by Varis hosting events to becoming one of the Piņķis, 2015 Most important productions non-governmental, non-commercial most influential independent theatres 2010–2020: and institutionally independent the- • a. Rand Hymn, a warlike melodra- in Latvia and affecting change in the atre troupe founded by a number of ma based on dir. by Klāvs Mellis, • Leģionāri. Diskusija ar kaušanos. country’s theatre system. In this time young theatre professionals – Reinis 2018 (Legionnaries. A discussion with GIT has produced and co-produced Boters, Klāvs Mellis, Āris Matesovičs, fight) dir. by Viesturs Sīlis, 2011 • Brīnuma skartie (Touched by the 48 new productions and held guest Ance Strazda and Evarts Melnalksnis, miracle), performance-excursion in performances in 17 countries. Artists • i. Gaile Āda (Skin) dir. by. Andrejs joined by the best technical team in premises of former Riga circus dir. from various performing arts back- Jarovojs, 2011 the world – Jānis Sniķers, Kārlis Staņa, by Reinis Boters, 2018 grounds – theatre, dance, and music – • Rondo dir. by Andrejs Jarovojs, Kārlis Tone and Inese Tone. KVADRI- come together in a total of over 100 2015 FRONS is a sign of changes, path • Vecmāmiņu valsts (A country of events each season. Each drawing and duality. The name of the com- grandmothers), almost a documen- from their field and complementing • S. Uhanov Black sperm dir. by pany means a 360 degrees surround- tary, dir. by Paula Pļavniece, 2019 Vladislavs Nastavševs,­ 2015 one another, they create and develop ing view in past and future. Together Peturbon, a detective story for chil- theatre as an experiential medium • Taņas dzimšanas diena (Tanya’s with contemporaries and sometimes dren dir. by Paula Pļavniece, 2019 that encourages spectators to em- birth­day) dir. by Mārtiņš Eihe, 2016 on their own, KVADRIFRONS does

200 201 INDEPENDENT THEATRE INDEPENDENT THEATRE

GODA Theatre Theatre TT

Address: cial needs. The productions of Goda Address: diotheatre to be launched soon as a Kaiju iela 30, Liepāja Theatre regularly goes on tours in Talsu iela 28, Riga new development of Theatre TT. www.godateatis.lv Latvia, mostly to schools. In 2015, the www.teatristt.lv, [email protected] [email protected] production Slaves of Derby marked +371 29567442 Stage directors: Inga Tropa, Marta the transition to adult audience. Cur- Elīna Martinsone, Klāvs Knuts Sukurs, Founded: 2011 Founded: 2001 rently, theatre offers several projects Juris Strenga, Lauris Gundars Financing sources: for schools (average 100 performanc- Financing sources: Self-financing and co-financing for es per year). Self-financing, chan­geable part of Most important productions projects by State Culture Capital co-financing by State Culture Capital 2010–2020: Foun­dation Dž. Dž. Džilindžers, Foundation Stage directors: • L. Gundars, M. Brauns, E. Zirnis Viesturs Roziņš, Leons Leščinskis Stages: Stages: Karaliste (The kingdom) dir. by Lau- The performance venue is flexible and Each production is staged in different ris Gundars 2010 changeable up to 50 seats in theatre Most important productions venue, no traditional theatre venues • R. Mings Minga rēgi (Ghosts of premises, mostly the performances 2010–2020: and stages are used. Ming) dir. by Lauris Gundars, 2013 go on tour in schools, culture centres • S. Valters Žurka (The Rat) dir. by Le- Productions per year: 2 and theatre venues in Latvia ons Leščinskis, 2011 • Latviešu kāzas (Latvian wedding) The number of performances prevails dir. by Lauris Gundars, 2013 Productions per season: 1–2 • R. Bugavičute-Pēce Tikai nesaki the number of new productions. Each • Avotu iela (Avotu street) by ten au- nevienam (You don’t tell anyone) production is shown 50–60 times. Artistic profile: In 2011, the actor dir. by Leons Leščinskis, 2013 thors, dir. by six emerging stage Kaspars Gods founded the theatre directors, 2015 • L. Judina Dērbijas vergi (Slaves of Artistic profile: Professionalism. The­ aiming to have an independent, ex- Derby) dir. by Viesturs Roziņš, 2015 re is no theatre without actors. Con- • J. Kļava Dāmas (Laydies) dir. by perimental and alternative venue of versation about ourselves. We would Inga Tropa, 2016 performing arts in Liepāja. In nine • R. Bugavičute-Pēce Bļitka (Ice- like to sit in the audience. There is no • Cabaret Siberia, dir. by Lauris Gun- years the theatre has accomplishes fishing) dir. by Dž.Dž. Džilindžers, such thing as lukewarm. Mobile au- dars, 2018 several social projects and theatre 2016 productions, including the coopera- • K. K. Sukurs Čomiņi (Buddies), tion with Society Integration Fund and production for adolescents dir. by Liepāja School for children with spe- Leons Leons Leščinskis, 2017

202 203 INDEPENDENT THEATRE INDEPENDENT THEATRE

Theatre of Drawings ESARTE

Address: techniques are applied – acrylic co- Address: An important aspect in the creative J. Čakstes bulvāris 13–92, Jelgava lours, oil pastels, felt-point pens, wa- K. Valdemāra iela 33, Riga work of the theatre company ESARTE https://zimejumuteatris.lv ter, projections from the drawing and [email protected] is to set the task for the actors to ex- [email protected] tablet. Form is flexible and includes [email protected] plore the human being and the soci- +3712641427 improvisations. The number of partici- ety, to capture the real-life characters Founded: 2020 Founded: 2008 pants is 2–35. and integrate them into a literary work Financing sources: and drama, thus developing the art of Financing sources: Stage director: Varis Klausītājs Mostly project financing (State Cul- acting. The purpose of the company Self-financing ture Capital Foundation), revenue is to reflect, evaluate, explore the phe- Stages: Most important productions from ticket sales, donations nomena existing next to us in the ev- Depending or production, mostly 2010–2020: Stages: eryday world using different theatral schools, culture centres, concert halls, Company without premises, different and artistic means. churches and other venues. For tra- • Dzejtaurenis (Butterfly of Poetry), 2012 venues ditional performances theatres up to Stage director: Elmārs Seņkovs 400 seats preferable. • Dāsnumātika (Generosimatics), 2014 Productions per season: 4 Productions per year: 4 • Pazudušais dēls. Burkard Waldis. Most important productions Artistic profile: Theatre company 1527. Riga (The prodigal son. Bur­ 2010–2020: ESARTE is an artistically indepen- Artistic profile: Theatre of Drawings kard Waldis. 1527. Riga), 2017 • ESARTE Pēdējās stundas (Last hours), dent group – a theatre platform that is a professional chamber theatre that an acquaintance dialogue directed • Muzikālā darbnīca (Musical work­ explores the present time and a per- applies a unique form of performing by Elmārs Seņkovs, co-production shop), 2017 son from a close perspective. In this using drawing on stage, music, dance with Dirty Deal Theatre, 2020 and acting. The drawing can be the • Tanabata jeb teika par divām purpose, ESARTE is collaborating element of set design or main story zvaigznēm (Tanabata or a legend of with other artists, producers, and in- • Ivan Vyrypaev Iran Conference, on- of the production. Different drawing two stars), 2019 stitutions. The theatre company unites line production, directed by Elmārs several actors: Matīss Budovskis, Seņkovs, 2020 Agris Krapivņickis, Elizabete Skrastiņa, • Elmārs Seņkovs, Matīss Budovskis Sandija Dovgāne, Una Eglīte, Alīda αSAPIENSI, about evolution in one Pērkone and Mārtiņš Gailis. The Artis- part directed by Elmārs Seņkovs, tic director of the Theatre Company choreography by Elīna Gediņa ESARTE is Elmārs Seņkovs, the direc- (ex. Lutce), Valmiera Summer The- tor of the company – Asnate Siliņa. atre Festival, 2020

204 205 INDEPENDENT THEATRE

Willa Theatre Theatre festivals

Address: spire us on our path to the hearts of Homo Novus Riga Opera Festival K. K. fon Stricka villa, Aristida Briāna the audience”. The International Festival of Contem- The Riga Opera Festival, founded iela 9, Riga Willa Theatre was founded on 2020 porary Theatre Homo Novus is the in 1998 as the first festival of its size http://facebook.com/willateatris and is kindly hosted by C. C. von leading performing arts festival in Lat- and scale in Eastern Europe, has be- http://instagram.com/willateatris Stritzky villa – a new venue of concerts [email protected] via and one of the biggest in the Baltic come a valuable tradition. The Festi- and other events in Riga. Willa Theatre region. It takes place in Riga and in- val is highly anticipated by both Lat- Founded: 2020 offers theatre productions, perfor- troduces audiences to both emerging vian audiences and opera-lovers from mances, poetry and music evenings Financing sources: and renowned artists that seek ways abroad who form the biggest part of Self-financing, reve­­nue from tickets as well as productions for children. of expressing their views and opinion all Riga Opera Festival’s visitors. Every sold about contemporary world and soci- summer, the Festival marks the end of Stage directors: Varis Piņķis, Rolan- ety. Since 1995, 15 festival editions the Latvian National Opera’s perfor- Stages: das Atkočūnas, Dž. Dž. Džilindžers Open-air performances take place in have taken place. mance season with an overview of the the garden of C. C. von Stritzky – up best moments of the previous season, Most important productions to 100 seats offering fans a chance to relive their (all in 2020): Large hall – up to 100 seats favourite scenes or see what they’ve • Putn ilgs (Bird’s longin’), dir. by Varis Valmiera Summer missed. The high quality of the opera’s Productions per season: 5 Piņķis Theatre festival productions has been noted outside of the country, and has helped the op- Artistic profile: The manifest of the • Stāsts par MĪ... (A Story of LO…), dir. An interdisciplinary summer festival era to draw brilliant guest conductors company says: “We want to speak by Varis Piņķis staged in Valmiera city environment, and soloists to Riga. about the most important things • Petuški (Petushki), dir. by Dž. Dž. in unusual places and original forms. without pathos, to reveal the serious Džilindžers Performances that entertain, enrich matters without didactics. We aim to and provoke, created especially for • Ceturtais krēsls (The Fourth Chair), be sensitive, deep and challenging. the festival by national and interna- Paradoxes, irony, sincerity, love, writ- dir. by Rolandas Atkočūnas tional professionals. Festival has been ten word and our own adventures in- • #DiToo, dir. by Dita Lūriņa taking place every year since 2016.

206 207 I am deeply thankful to my authors, editorial board, international peer reviewers, translators and proofreader, artist, and the editorial for the cooperation. I thank all the theatres for publicity photographs and information provided, and I am grateful for the moral and material support of Latvian Theatre Labour Association, Ministry of Culture, the Centenary Bureau of the Ministry of Culture, and the State Culture Capital Foundation.

Lauma Mellēna-Bartkeviča