The theatrical mechanism of beauty. A review of DORIAN premiere
For the second night now, certain scenes, flashes of white gloves against a background of black letters, an unexpected, beautiful artist’s studio full of aesthetic rubbish, are all in my head. A palm clenching the scene into a fist, a scene that fades out in the same millisecond, and music that stops with it. The pinnacle of synchronicity. Intonations between romantic lyricism and Berlin decadence whine – “like an alley cat!” (Look it up – Peggy Lee, The Alley Cat Song)
Kaunas turned into Berlin that evening. This is not about the quality of cities, but about aesthetics. This is the kind of performance I would like to see at the Berliner Ensemble. But I saw it here. And I will go again because such aesthetics and a sense of precision restore your sight.
I am very happy for the actors. Who has had the rare opportunity to be in star wars, to win them, and to bless everyone. I am happy for Dainius Svobonas, who in the finale, precisely because of the precision and economy of movement required, looked like he had beaten a triathlon – but he dived into the waters of the desire for honor. And the counterbalance – the surface of Mantas Zemleckas – charming, gallant, narcissistic, and a singing personality (even the intellectuals took the hint and shouted “Eurovision!”), still splitting the steppe in the finale (Mantas, relax your shoulders, you’ve already done it!). But he can also cover five meters in a minute (try it!).
But really, who were we applauding and shouting “bravo” for (including me)?
We applauded that all the mechanisms of the theatre worked well.
That a very beautiful, informative, and even handed-out leaflet with the text of the play (something you definitely missed in the first part) was released.
And with respect to everyone who helped.
To the actors, who simply played well.
To the director, who staged it well.
To the lighting people, the stage technicians, the sound engineers, who worked well.
That is to everybody who worked well. They did what they had to do.
Only maybe not well, but very well. With lots of bonuses for the viewer, and a surprisingly high bar for the viewer, who will now be able to distinguish between lighting and light art. Acting from acting mastery. A performance scene from a burst of energy.
The reason for all this is Robert Wilson, is still precise, demanding, and autographing every detail of every scene. Showing how well he knows his theatrical mechanisms, which draw the viewer to the stage even when he doesn’t understand what is being said. And thanks to his star halo, he has made the theatre and the public grease their mechanisms. Because that’s what the play is also about.
Theatre critic Vaidas Jauniškis
Dorian -actor Dainisu Svobonas. Lucie Jansch photo
Dorian – actor Mantas Zemleckas. Lucie Jansch photo