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    • 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
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    • 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
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Events & tickets

2022.03.25

18

30

Dance performance
FAUST

A dance performance in 2 acts
after Johann Wolfgang von Goethe's eponymous drama in two parts (1797–1806, 1824–1831)
Performed to the music by Wolfgang Amadeus Mozart, Fryderyk Chopin, and Arvo Pärt

The production of this dance performance, which unfortunately coincided with the outbreak of COVID-19 pandemic and repeated lockdowns during the year 2020, was conceived as one of the anniversary projects marking 200 years of musical theatre in Klaipėda. The first premiere was shown in an empty hall and was televised to the audiences in November 2020, while the second premiere was shown live after the quarantine was lifted in May 2021.

The legendary character based on the historical Johann Georg Faust (c. 1480–1540), a German itinerant alchemist, astrologer and necromancer, scholar and magician, who made a pact with the Devil exchanging his soul for unlimited knowledge and worldly pleasures, has been a source of inspiration for many literary, artistic, musical and cinematic works that have reinterpreted it through the ages. “Faust” and adjective “Faustian” imply a restless person sacrificing spiritual values in his or her quest for the true essence of life, power, knowledge, and material gain. In the 16th-century chapbooks, such as Historia von D. Johann Fausten first published in 1587, Faust is irrevocably damned because he prefers human knowledge over divine knowledge.

The Faust story became a popular literary subject at the time of William Shakespeare. It was popularized in England by Shakespeare’s coeval playwright Christopher Marlowe who gave it a classic treatment in his play The Tragical History of Doctor Faustus (c. 1587) based on the German Faust-Buch. Two centuries later Marlowe’s Doctor Faustus was studied by Johann Wolfgang von Goethe, whose reworking of the story, which took him over sixty years to compose and refine, ensued in a tragic play in two parts (1797–1806, 1824–1831) written in rhymed verse. The final version, published after his death in 1832, is recognized as his opus magnum and one of the greatest works in German literature. Incidentally, it was written during the period when the German town theatre (Stadttheater Memel) was founded and became established in Klaipėda (then the East Prussian city of Memel) at the turn of the 18th–19th centuries.

Goethe's Faust complicates the simple Christian moral of the original legend by weaving together many different thematic threads into an epic ‘closet drama’, which mainly concerns the fate of Faust in his quest for the true essence of life. The drama’s verbally and visually lavish text gathers together references from Western European history, philosophy, and literature, which span the period from the Classical Antiquity to the Age of Enlightenment and the Sturm und Drang movement in German art of the late 18th-century.

This classic story of Faust was reinterpreted in Klaipėda by Polish choreographer Robert Bondara. It was his second production in Lithuania, after the premiere of ballet Čiurlionis by Giedrius Kuprevičius, which was put on at the Lithuanian National Opera and Ballet Theatre in May 2013. For his first collaboration with the KSMT Ballet Company, which unfortunately coincided with the outbreak of COVID-19 pandemic and repeated lockdowns during the year 2020, Bondara started developing his choreography from a very simple notion that “the desire to fathom the secrets of life and universe is in the nature of all human beings.” Although in this dance performance he follows closely the story of Faust as it is told in the first part of Goethe’s drama and gleans certain key moments from the second, he stresses that his concept has nothing to do with the costume or period drama: “we speak about the present time and highlight the aspects of Goethe’s work, which make it a timeless classic. The performance is visually punctuated by video projections, in which events from various historical periods are seen from a 20th-century perspective. Our story concerns happiness regained, fulfilment achieved, and meaning of life found through the constant quest.” In working out the theatrical setting for this drama, Bondara was aided by the team of young and daring Polish artists, including set and costume designer Martyna Kander, video artist Jagoda Chalcińska and lighting designer Karolina Gębska.

Musical works accompanying the performance were selected by the production’s music director Modestas Barkauskas in close dialogue with the choreographer. “Our goal was not so much to retell or illustrate the action but rather to capture a certain feeling or emotion,” he said. “To highlight the unsettling thoughts and emotions of Faust we used works by Arvo Pärt, while the excerpts from Mozart’s masterpieces appeared most suitable to characterize Margarete. Frédéric Chopin is the third composer whose works we use in this performance. These not only include his original works for piano but also arrangements for orchestra or a jazz combo that plays in the wine cellar while Faust and Mephisto make a wager…” The performance’s soundtrack combines both pre-recorded tracks and live music, which calls for additional forces of opera soloists, choir, and orchestra.

Choreographer

Robert Bondara

Music Director and Conductor

Modestas Barkauskas

Conductor

Tomas Ambrozaitis

Set and Costume Designer

Martyna Kander

Lighting Designer

Karolina Gębska

Video Artist

Jagoda Chalcińska

Information:

Date of premiere:

2020-11-21

Location:

Main Auditorium of the Fishermens’ Palace Culture Centre, Klaipėda

Price:

€ 10.00, € 15.00, € 20.00

Upcoming performances:

Start
01 hr. 35 min.
End
Cast
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Yan
Malaki
Young Faust
person profile image
Mykhailo
Mordasov
Old Faust
person profile image
Roman
Budko
Mephistopheles
person profile image
Daria
Verovka
Margarete
person profile image
Maksym
Sidenko
Margarete's brother
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Kristina
Gudelytė
Margarete's mother
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Iryna
Suslo
Helen
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Povilas
Kažukauskas
Helen's son
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Taurūnas
Baužas
Wagner
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Živilė
Subačiūtė
Bartender
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Šarūnas
Juškevičius
The priest
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Klaipėdos valstybinio muzikinio teatro
baleto trupės artistai
KSMT Ballet Company
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Rita
Petrauskaitė
Soprano
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Ernesta
Stankutė
Mezzo-soprano
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Aurimas
Raulinavičius
Tenor
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Valdas
Kazlauskas
Baritone
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Klaipėdos valstybinio muzikinio teatro
simfoninis orkestras
KSMT Symphony Orchestra

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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.