BER - Klaipėdos valstybinis muzikinis teatras

schema of the Structure of Klaipėda State Music Theatre

General Manager
- Deputy General Manager for Artistic Affairs
  - Artistic Planning and Soloists Department
  - Orchestra Department
  - Choir Department
  - Ballet Department
- Deputy General Manager
  - Human Resources and General Affairs Department
  - Production Department
    - Stage Crew Department
    - Workshops Department
  - Economy Department
- Accounting Department
- Deputy General Manager for Marketing
  - Marketing Department
    - Advertising and Sales Department
    - Customer Services Department
    - Production and Event Management Department
- Strategic
  and Investment
  Management Department

General Manager


Deputy General Manager for Artistic Affairs Artistic Planning and Soloists Department Orchestra Department Choir Department Ballet Department Deputy General Manager Human Resources and General Affairs Department Production Department Stage Crew Department Workshops Department Economy Department		Accounting Department Deputy General Manager for Marketing Marketing Department Advertising and Sales Department Customer Services Department Production and Event Management Department Strategic and Investment Management Department

General Manager


Deputy General Manager for Artistic Affairs Artistic Planning and Soloists Department Orchestra Department Choir Department Ballet Department	Deputy General Manager Human Resources and General Affairs Department Production Department Stage Crew Department Workshops Department Economy Department	Accounting Department Deputy General Manager for Marketing Marketing Department Advertising and Sales Department Customer Services Department Production and Event Management Department Strategic and Investment Management Department

General Manager

Deputy General Manager for Artistic Affairs
- Artistic Planning and Soloists Department
- Orchestra Department
- Choir Department
- Ballet Department

Deputy General Manager Accounting Department


Human Resources and General Affairs Department	Production Department Stage Crew Department Workshops Department	Economy Department

Deputy General Manager for Marketing
- Marketing Department
  - Advertising and Sales Department
  - Customer Services Department
  - Production and Event Management Department

Strategic
and Investment
Management Department

Events & tickets

05.27

Dance

BER

Buy tickets

Tour of the Poznan Opera Ballet

Triple bill

TAKE ME WITH YOU

Choreographer, set and costume designer Robert Bondara
Music: songs by Radiohead (performed from the recordings):

Daydreaming (A Moon Shaped Pool, 2016);
True Love Waits (I Might Be Wrong: Live Recordings, 2001);
The Butcher (2011);
Reckoner (In Rainbows, 2007);
Staircase (Supercollider / Staircase, 2011).

Lighting designer Maciej Igielski
Choreologist Helena van Riemsdÿk

BLIND WORDS

Choreographer and costume designer Martynas Rimeikis
Music: Steve Reich, Lawrence English, Meredith Monk

Steve Reich Music for Pieces of Wood (performed by the LSO Percussion ensemble)
Lawrence English Watching it unfold (A colour for autumn, 2009)
Meredith Monk Environs 2 (On behalf of nature, ECM, 2016) or Walking Song (performed by Katie Geissinger in the album Volcano songs, ECM, 1997)

Assistant choreographer Julija Stankevičiūtė
Assistant costume designer Karolina Grzeszczuk
Lighting designer Maciej Igielski

EPISODE 31

Choreographer, set designer and video projections artist Alexander Ekman
Répétiteur Fernando Morales Troya
Music: Mikael Karlsson (with interpolations from Erik Satie's Gymnopédie No. 1 and Ane Brun's Do You Remember
Costume designer and makeup artist Luke Simcock
Lighting designer Nicole Pearce
Assistant lighting designer Manuel de Silva
Fragments of poems read out by Elinor Basescu
Video production: Karolina fender Noińska (Jajkofilm)
World premiere: 14 December 2011 at the Peter Jay Sharp Theatre in NYC (Juilliard Senior Graduate Class)

Alexander Ekman is represented by the Stepping Grounds Arts/Culture Management.

PREMIERE: 14 December 2020, Poznań Opera House

BER – the energy of contemporary dance. One of the most important new ballet productions whose premiere was watched online by 20,000 people. Three choreographers, three visions of movement, three takes on our times, and just one question: what is dance? Get to know the genotype of our present era.
B is for Bondara – a Polish choreographer quickly gaining prominence on the dance scene, whose choreographies are shown at leading festivals in Poland and abroad. E is for Ekman – an international star of present-day choreography who has collaborated with more than forty companies around the world. R is for Rimeikis – the most accomplished choreographer of the young generation in Lithuania.
BER also stands for the mechanism that repairs damaged DNA; a way of introducing a breath of fresh air, dynamism, energy, rhythm; an impulse to rediscover the pleasure coming from movement – both for the creators and the audience.

This triple bill was developed in collaboration with the National Institute of Music and Dance in Warsaw as part of the 2020 Choreographic Commissions programme.

Tour of the Poznan Opera Ballet in Klaipėda is supported by the:

Marshal Office of the Wielkopolska Region

Ministry of Culture and National Heritage of the Republic of Poland through the programme "Inspiring Culture"

TAKE ME WITH YOU

Radiohead’s music was always present in my life. I think the idea to use it one day and to create choreography has always lived within me. Maybe this is the reason why I’ve decided never to watch Edward Clug’s Radio & Juliet – not to be influenced before creating my own work.
The catchy percussion beat of the Radiohead song “Reckoner” became the first trigger and a source of inspiration for movement language and choreography. Getting deeper into the creative process and the vague lyrics of the song in a very personal way, the content of the choreography got closer to a reflection about our existence, our efforts to grasp the meaning of life despite “bittersweet distractors”. What is essential for the piece is the metaphysical experience and elusive atmosphere, determining the relation between the dancers on stage.
This is how the duet Take Me with You was born in 2016, created for the Polish National Ballet soloists – Yuka Ebihara and Kristóf Szabó. The duet became popular and was performed by Roberto Bolle and Melissa hamilton and later on by Czech National Ballet, Stanislavsky Ballet in Moscow, Slovakian National Ballet, and presented on gala performances around the globe.
Since creating the duet I always wanted to extend it. Finally the opportunity came up and I was able to create a piece with the company I’m currently running – Poznań Opera Ballet. The choreography’s basic principles stayed the same: our dreams, fears and aspirations, the social pressure to which we are exposed, and finally our efforts to find balance between our inner life and the world outside sets the tone and atmosphere of Take Me with You, all expressed by the dancers’ bodies.

Robert Bondara

BLIND WORDS

As in most of my work, the idea for this performance came from observing the environment. Often people don’t understand each other because they hide their true feelings behind words, which are often much weaker than a thought or a feeling. Sometimes words – such as love, pain or happiness – can mean completely different things to different people.
Using words, we create mazes, from which we later try to escape looking for silence. Language is our own creation, and more often than not it is unable to convey the idea or feeling we want to express. We often fill words with connotations that we prefer, drowning in interpretations and at the same time misleading others. They cause different situations ranging from drama to comedy...
When creating choreographies, I try to find the most precise way to translate thoughts into the language of movement. I don't try to solve, teach or explain anything in my works. I am happy if my work encourages the audience to think and discover their own truths and come up with answers to their own questions.

Martynas Rimeikis

EPISODE 31

Episode 31 was created for The Senior Graduation Class at The Juilliard School, 2011 in New York City. It is a large group piece consisting of a number of fast-paced scenes created with the dancers.
From an upbeat drumming sequence to a quiet comment on beauty by Eric Satie, this piece is a showcase for the young enthusiastic energy from these very athletic dancers. When we created this piece, we also experimented with dance in public locations: 20 dancers suddenly busted out dancing, in the subways, streets, squares and parks of New York City.
The piece was first premiered at the Peter Jay Sharp Theatre and then toured to the Edinburgh Festival in 2012. Since then, Episode 31 has become part of the repertoire of the Joffrey Ballet, The Finnish National Ballet, Royal New Zealand Ballet and the Pennsylvania Ballet among others.

Alexander Ekman

Information:

Date of premiere:

2023-05-27

Duration:

2 hrs. (including two intermissions)

Location:

Žvejų Rūmai Klaipėda Cultural Centre, Main Auditorium

Price:

€ 15.00, € 20.00, € 25.00

Upcoming performances:

Start

30 min.

I Part end

20 min.

break

II Part beginning

25 min.

II Part end

20 min.

break

III Part beginning

20 min.

End

Cast

Poznanės S. Moniuškos didžiojo teatro

baleto trupė

Poznan Opera Ballet

Learn more

Klaipėdos valstybinio muzikinio teatro modernizavimas

Projektas finansuojamas iš Europos regioninės plėtros fondo

Projekto Nr. 07.1.1-CPVA-V-304-01-0019

Klaipėdos valstybinis muzikinis teatras įgyvendiną teatro modernizavimo projektą, dalinai finansuojamą Europos regioninės plėtros fondo, pagal 2020-01-10 pasirašytą finansavimo ir administravimo sutartį su VšĮ Centrine projektų valdymo agentūra. Bendra projekto vertė 23 990 642,98 Eur, iš jų ES regioninės plėtros fondo lėšos - 9 510 736,93 Eur, Lietuvos Respublikos valstybės biudžeto lėšos – 14 479 906,05 Eur.

Pastato rekonstrukcijos techninis projektas buvo parengtas dar 2016 m. pabaigoje, rangovas parinktas 2018 m., rangos darbų viešąjį konkursą laimėjo UAB „Infes“. Klaipėdos valstybinio muzikinio teatro rekonstrukcija pradėta 2018 m. rugsėjo 14 d. Apie rekonstrukcijos pradžią iškilmingai paskelbta įkasant kapsulę ateities kartoms būsimo pastato pamatuose

Projekto tikslas – padidinti Klaipėdos valstybinio muzikinio teatro patrauklumą, teikiamų kultūros paslaugų prieinamumą ir kokybę

Klaipėdos valstybinis muzikinis teatras – didžiausias profesionalaus meno kolektyvas ne tik Klaipėdoje, bet ir visame Vakarų Lietuvos regione. Klaipėdos valstybinis muzikinis teatras įkurtas 1987 metų sausio 1 dieną, Klaipėdos liaudies operos teatrą reorganizavus į muzikinį teatrą. Per dvidešimt šešerius kūrybinės veiklos metus teatre pastatyta per 100 įvairių žanrų ir epochų sceninių veikalų, tai: operos, operetės, miuziklai, muzikinės dramos, baletai, šiuolaikinio šokio spektakliai, oratorijos, muzikiniai spektakliai vaikams.

Klaipėdos valstybinis muzikinis teatras teikia šias pagrindines paslaugas – rodo spektaklius (savo ir kitų gastroliuojančių teatrų repertuarą) Klaipėdoje, stato naujus spektaklius, teikia edukacines paslaugas, rodo spektaklius kituose miestuose (gastrolės), įgyvendina kultūrines programas. Teatras orientuojasi į platų visuomenės ratą kaip tikslinę žiūrovų auditoriją. Repertuaras bei spektakliai pritaikomi kuo įvairesnėms tikslinėms žiūrovų grupėms (atsižvelgiant į amžių, socialinę padėtį, pomėgius ir kt.), tokiu būdu siekiama formuoti teigiamą visuomenės požiūrį į teatrą ir pritraukti kuo įvairesnių visuomenės grupių atstovus.

Svarbi scenos infrastruktūra įrengta dar sovietų laikais ir šiuo metu visiškai neatitinka laiko realijų. Nėra galimybės greitai pakelti ir nuleisti dekoracijų, vystyti kitų meninių spendimų. Įdiegus šiuolaikinę scenos infrastruktūrą, būtų pagerintas ne tik vizualinis vaizdas, kuris svarbus žiūrovui, bet ir būtų sudaryta galimybė didesnei režisierių ir aktorių saviraiškai. Tai leistų statyti daugiau ir novatoriškesnių spektaklių.

Šiuolaikiniam jaunimui labai svarbu, kad teatro spektakliai atspindėtų tai, kas yra aktualu. Šiuolaikiniai spektakliai, kuriuose vyrautų jaunimo kultūra (vadinamoji „gatvės kultūra“), būtų naudojamos išmaniosios technologijos (kadangi tokias technologijas jaunimas naudoja ir kasdieniniame gyvenime) leistų padidinti susidomėjimą ne tik jaunimo tarpe, bet pritrauktų ir kitų amžiaus lankytojų grupes, kurios nori susipažinti su siek problemomis. Įdiegus tinkamą scenos įrangą, galima būti kurti vizualinius pasakojimus, kurie taptų neatsiejama spektaklių dalimi.

Šiuo metu Vakarų Europoje ir JAV vyrauja tendencija, kad teatras turi būti aprūpinamas naujausia technine įranga, kuri leistų kurti visiškai naujo lygio pasirodymus. Tokia įranga leidžia išreikšti spektaklio herojaus išgyvenimus vizualiai, scenoje projektuoti vaizdinius, sukurti reikiamą atmosferą (keičiant šviesos spektrą, intensyvumą, spalvą, galima sukurti baimės, gėrio, jaukumo ir kt. atmosferą). Gera garso sistema leistų pasiūlyti įvairesnių garso sprendimų. Labai svarbu pažymėti, kad režisieriai, turėdami tokias priemones, galėtų lengviau interpretuoti scenarijus, pasirinkti sprendinius, kurie iki šiol, dėl techninių sąlygų, nebuvo galimi.

Įgyvendinus projekto veiklas, numatoma pasiekti projekto tikslą - padidinti Klaipėdos valstybinio muzikinio teatro patrauklumą, teikiamų kultūros paslaugų prieinamumą ir kokybę. Bus pasiekti tokie rezultatai:

modernizuoti didžiosios salės scenos technologijos įrenginius ir susijusią įrangą;
modernizuoti didžiosios ir mažosios salės garso ir apšvietimo įrangą;
pakeisti didžiosios salės kėdes bei kiliminę dangą. Pakeisti mažosios salės kėdes, suteikiant daugiau komforto lankytojams.
Pritaikyti teatro erdves ir infrastruktūrą lankytojų poreikiams.