Wednesday , June 16 2021

Cultural factory – game "Red"

Very soon, on November 22 at 7 pm This performance will be presented to the audience at the Klaipeda cultural factory. In the meantime, we present a conversation about Ken's role in the performance of Donatas Zellvis, a performer of the Youth Theater in Klaipeda.

– What is this drama about?

– He writes about a young and older artist. But not for an assistant and for the artist, as it may seem at first glance.

We decided that this play consists of five parts, like five images. In the end, it's like five lessons, which is a true artist. All five scenes cover a period of two years.

In all five scenes, Rothko shows his attitude, little teaching. Although the show begins to tell Ken's "assistant" that he will not teach him. However, she still learns.

Also, the importance of categorizing the artist was very clear in this material. For a certain day and hour, it must be categorical. I never thought I would ever support this fact, but today I understand it. If I want to prove to you something, I should believe that one hundred percent. Because Rothko himself is absolutely categorical. But this particular character of his character is Rothko.

– What do you think about the play? What gave you an actor?

– Already after reading the play, I saw some very interesting things. It emphasizes the theme of generations, a dominant clash between the elderly and the youth. However, in the play, this "old" man is great. He is an artist. We are talking about Rothko, a world-renowned painter, whose works today are valued by millions. There is a great representation of Rothko: he clearly says how he created art, how often he thought about him, what is a picture at all … This material from the play contains many things written essentially in every art we like: the true content, essence, details … Although ordinary people seem to think that such thoughts are just unnecessary problems. It seems that the difference is yellow or slightly yellow. But all of this has many meanings.

I am very interested in this play because it is one of such material of the play, in which two aspects will be very close to one another – a huge actress and spectator. As an actor, you need to completely reorient psychologically. There will be no action here. It will be sincere, naked saying, without any significant scenic effects. I think the viewer will feel that.

And, of course, where others do the same performance on the same stage with V. Masalsky, one of the most prominent Lithuanian actors. Also, with Mantu Zemelek, with whom we repeat. My presence in this play is very pleasing to me. We are familiar with V. Masalsky, if I'm not wrong, we have been working together for 8 years now. And Mantas brought a lot of new ideas into our work.

– Do you think it's time for the artist to come out and surrender to another? After all, does every person in art during his long working life bring his audience?

– This issue is also raised in the play. Ultimately, Ken, "a helper" to Rothko, is not in vain saying that Rothko is afraid that black will fall in red, that creative and momentary darkness will still come. Ken, however, asks Rothko to see Van Gogh or Matthias in his work, trying to prove that not all artists have died. Anyway, a difficult question. I think that if you, as an artist, think about it, have risen to the question of your need, it means that you do not fall into the curtain of the obsolete society. And if you think you still have the capacity to create, it still needs to. Ultimately, you can never think of yourself as more powerful or powerful for another artist. The artist must always be seen in a common context, to understand who he is. We, as actors, are also in this context to see. Not only Lithuania but also the world. I do not think we're so strong. "

– What is needed to make that force in the global context anyway?

– I think that, above all, there is a lack of the school itself and the presence of authority. Of course, I am speaking from my point of view. Because when I ask what authority there is, I start to "look around" with the majority of people I have not "contacted". Because mainly foreign people, or those I read in books, but in reality I have never had a close contact with him. Today for me, an older person is no longer an organ, because they all give what they said once. I mean, it denies what they're talking about. I think this situation must change. It is not important that old people do not know the latest technology, but inside it can be very dense, strong and strong. Of course, not all people should be that way. But those with a noble spiritual world could be more. The only way for this young person to find his authority. I miss it very much. And in this performance Rothko does what he says, he does not leave his words. "

– Society and its values ​​are changing. Perhaps in today's world, to deny the word and give you believers, it is already becoming a natural human being?

– I'll go back to the man again. Art protects you little from self-publication. You need to put yourself in such a situation and see what you have done before. For if one believes in God, then God first issues it. It's always easier to save when we do not return anything. In the play, Kahn also speaks of other artists as authoritative, pointing to the fact that they even created the death sentence at the table, but Rothko responds with it, so that Caine takes them with his adolescent stereotypes and illusions. "You let them keep quiet, because the silence is so precise," says Rothko Ken. After all, we do not even understand what kind of people they were pressing, or what kind of pain they had. And we share so banally in certain categories. After all, we can not understand them. They are behind us. And silence is not a lie.

– Do not you think the Rothko and Ken equivalents in real life are you and V. Masalskis? However, V. Masalsky was and is still your teacher?

– Well, something like that. But I always run away from the thought of myself as an artist. I even got up on this word. I think he is very strong. The artist must do a lot. I think I have a lot to learn. But, indeed, nothing is compared to V. Masalsky and me. I critically see myself as an artist. I see myself more to look, to seek and to try to create.

When I was a teenager, the artist meant a few things, and now it's completely different. My artist is a fan of perhaps crazy. Of course, in a good sense. He must be insightful. Of course, if you see yourself at the level of Klaipeda or an area, it can always be highly appreciated. However, if you start looking at a wider context, then your eyes open and realize that there is an abundance of real artists who seem very weak by themselves.

Finally, it's not up to you to decide that you are an artist, and people have to say it. Ultimately, it will look pretty stupid, if you start declaring that you are an artist. And I do not mean the teenage meaning, but the true meaning of this term. "

Mark Rothko (real name is Markus Rotkowitz), born 1903, and died in 1970, was best known in the 20th century. an American painter, a spokeswoman for post-war abstract expressionism art. At the end of the decade and the beginning of the 1950s, a sad style of M. painting was formed. Rothko. In 1958, the artist received his first public order for a monumental painting at the Four Seasons restaurant in New York. In the same year he was invited to represent the Venice Biennale in Venice. In 1961 the Museum of Contemporary Art in New York hosted a personal exhibition of M. Rothko. Painter in 1962 He created a painting at Harvard University. In 1964, he accepted a job to work in the chapel in Houston.

Mark Rothko ended his suicide in 1970. February 25 breaking the veins of her workshop in New York. Houston's chapel was named after M. Rothko to mark the painter. 2015 One of the images of M. Rothko "Without a name (yellow and blue)" were sold for 46.5 million euros during the public auction. Dolari 2014 his image "No. 21 (Red, Brown, Black and orange)" was sold for 45 million euros. Dollars

Director – Valentin Masalki

Actors – Valentin Masalkki, Mantas Zemlek, Donatas Zhelvis

Scenography of Mykola Sauka

Music by Niyo Silkenwini

The performance is Ajvars Mokus

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