Polish director J. Skrzywanek, presenting the premiere „Lithuanian Forefathers’ Eve“, explores the sins of the past and the present

Director Jakub Skrzywanek is one of the most prominent contemporary Polish artists, renowned for his provocative works that explore social and moral boundaries. At the end of September, he presented the play Mein Kampf, based on the works of Adolf Hitler, at the National Kaunas Drama Theater, and soon audiences will be able to see his latest production, Lithuanian Forefathers’ Eve, based on the works of Adam Mickiewicz. We spoke with the director about his choice of this classic work and its relevance today. By Jolanta Garnytė.

Written by Adam Mickiewicz two hundred years ago, FOREFATHERS’ EVE was usually staged in theatres, especially in Lithuania, shortly after the occupation or at the beginning of the restoration of independence. You begin working on this material at a time when the world is undergoing geopolitical changes. What specifically prompted you to reach for this classic work from the Romantic era?

Forefathers’ Eve is very closely associated with the theme of war, especially the third part, which refers directly to the struggle for national liberation. Probably for this reason, Forefathers’ Eve very often became a kind of national liberation manifesto, and productions from this period were the most famous. However, this play is staged continuously in Poland. It is often staged without reflection, just as it is taught in schools. I find this harmful and even dangerous. I ask myself why the Romantic paradigm has remained so important in literature, dominating the canon and the narrative, over the last few decades, which have been the best time for our part of Europe in hundreds of years, a time of incomparable development and security. There is a war going on very close to us and we have quickly moved from denying its return to accepting its inevitability and preparing for it. Perhaps it is because, deep down, we are drawn to it by this romantic call to death and suffering. Perhaps the millions who died in the last century taught us nothing. That is why I turn to Forefathers’ Eve, to the ritual of the dead, to look at this land, which is full of corpses from many recent wars and pogroms. We will dig up the dead and ask them if there is still a chance of salvation, or if their fate awaits us and we must come to terms with it.

In your art, you talk a lot about sin and redemption. How did you choose these themes? Can you tell us more about it? Is it the main theme, or do you combine it with others?

One of the main themes I explore in Forefathers’ Eve is ‘soil’ as the context and matter in which we bury the dead and sow seed. The Forefathers’ Eve ritual was performed for the happy harvest of these seeds. I am also interested in earth as a territory that is still being fought over in this part of Europe.

Another theme I explore is the confrontation with the romantic figure represented by Mickiewicz’s Konrad/Gustaw. I wonder why this romantic paradigm, embodied by these strong male figures, demanded freedom and independence for the nation, yet did not fully accept the freedom of the individual, especially women, in the right to self-determination and deciding their own fate. I am particularly interested in the character of Zosia from Part II of Forefathers’ Eve. Why is a woman’s decision not to commit to a man considered a mortal sin? Zosia dies without ever experiencing care or happiness. This is interesting in the context of Mickiewicz’s biography. He wrote parts II and IV as a young man who was unhappily in love with Maria Wereszczakowna. One could theoretically argue that this is not a significant issue, but problems arise when we treat this text as a canon not only of literature or romanticism, but also, on some level, as a canon of masculinity. How has this influenced us culturally and socially, and how might it continue to do so? This also relates to the third theme you asked about at the beginning.

Sin is an incredibly interesting concept to me. It is the foundation of Christianity and, even more so, of the Catholic Church. It is an unusual transaction that we enter into. Because that is what it is: a transaction. Follow the Decalogue and you will be saved. There is also original sin, which you must wash away by joining a religious community. There is no other option. The concept of sin has been carefully developed over many centuries and adapted to different times, contexts, and cultures. It has become a very sophisticated tool of control and oppression. By creating the ritual of Forefathers’ Eve, Mickiewicz firmly establishes this relationship in the text. He himself divides the three stories into light, medium, and heavy sins. For me, the questions of what the cultural limitations are today, what is actually allowed, and who deserves salvation are extremely important.

Together with the playwright Daiva Čepauskaitė, you use additional sources. You even wanted to emphasise the Kaunas Forefathers’ Eve in the title of the play. Why is this so important?

There are two reasons for this. Firstly, we are only staging parts II and IV of Mickiewicz’s Forefathers’ Eve, which he wrote while still living in Lithuania. In Polish literature, these parts are known as ‘Dziady Kowieńsko-Wileńskie’ (‘The Kaunas-Vilnius Forefathers’ Eve’). However, the contemporary context is also important to me. My performances deal with contemporary issues very strongly and engage in dialogue with them. That is why we will reflect on Lithuania’s contemporary and past sins, as indicated by the title.

In your country, your works are often described as provocative, touching on uncomfortable topics, such as teenage suicide, conservative attitudes towards the LGBTQ community, and the radicalisation of nationalism. During the first rehearsal with the cast, you mentioned that it is very important to you to create theatre that is diverse and engages in dialogue with the audience. Do you always succeed in this?

Yes! I think the greatest success of my performances is that, despite the fact that they evoke strong emotions, they very rarely cause protests or complete rejection by any group. I think they are completely ambiguous propositions. They lack clear manifestos and taking sides. This leaves room for at least an attempt at dialogue.

What are your most mortal and venial sins?

I do not believe in the concept of sins. I strongly oppose it. That is why working on Forefathers’ Eve seems so inspiring!

The motto of this season is ‘Must See’. Give three reasons why it is worth seeing the premiere.

Serfdom is a form of slavery that existed in this part of Europe. It was characterised by enormous violence and exploitation, particularly widespread by the church and Polish lords.

Kinder Action refers to the extermination of over a thousand children in the Kaunas ghetto during World War II.

‘Incel’ is a term used to describe an online subculture that incites violence against women on the internet.

The premiere of ‘Lithuanian Forefathers’ Eve’ (N-18) will take place on November 28, 29, and 30, with additional performances on January 17 and 18, 2026. With English surtitles. The performance contains nudity, intimate and violent scenes, gunshot sounds.   The production of the play is funded by the Ministry of Culture of the Republic of Lithuania, the Ministry of Culture and National Heritage of the Republic of Poland, the Adam Mickiewicz Institute, and the Polish Institute in Vilnius.

About the creative team

Director and playwright Jakub Skrzywanek, assistant playwright Daiva Čepauskaitė, set and lighting designer Agata Skwarczynska, costume designer Ugnė Tamuliūnaitė, choreographer Agnieszka Kryst, composer Karol Nepelski, video projection designer Ridas Beržauskas. Cast Povilas Barzdžius, Saulius Čiučelis, Motiejus Ivanauskas, Gytis Laskovas, Inga Mikutavičiūtė, Pijus Narijauskas, Miglė Navasaitytė, Kęstutis Povilaitis, Irena Sikorskytė, Egidijus Stancikas, Dainius Svobonas, and Ugnė Žirgulė.

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