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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

2024.10.26

18

30

Dance
ON DREAMS AND CACTI

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Choreographies by Robert BONDARA and Alexander EKMAN

PART I

HICCUP

Choreography, costumes and lighting by Robert Bondara
Assistant choreographer Evgeniia Meissner
Music: Jack Nitzsche, Michał Jacaszek (performed from the recordings)
World premiere: 20 March 2015, at the Teatr Wielki in Warsaw (part of the Creations 7 programme, Polish National Ballet)

Dancers:

8m68

Concept, choreography, direction, sets, costumes and lighting by Robert Bondara
Assistant choreographer Evgeniia Meissner
Music: Amon Tobin (performed from the recording)
World premiere: 11 May 2012, at the Teatr Wielki in Warsaw (part of the Creations 4 programme, Polish National Ballet)

Dancers:
Soloist –
Duet I:
Duet II:

PART II

CACTI

Choreography, sets and costumes by Alexander Ekman
Assistant choreographer / Stager Ana Maria Lucaciu
Music:
improvisation for string quartet (performed live);
Franz Schubert – String Quartet No. 14 in D minor, D 810 (Death and the Maiden): IV Presto, arr. for orchestra by Andy Stein (performed from the recording);
Joseph Haydn – String Quartet No. 16 in A major, Op. 9 No. 6, Hob. III:4: IV Allegro; Sonate V (“Sitio”) in A major from Die sieben letzten Worte unseres Erlösers am Kreuze version for string quartet, Hob. XX/1:B (performed live);
Ludwig van Beethoven – excerpt from the String Quartet No. 9 in C minor, Op. 59 No. 3: II Andante con moto quasi allegretto (performed live)
Lighting designer Tom Visser
Text by Spenser Theberge
World premiere: 25 February 2010 at the Lucent Danstheater, the Hague (The Netherlands)

Dancers:
Music performers:
String Quartet: Rasa Šimelionytė (1st violin), Alina Karinauskienė (2nd violin), Gintaras Stebuliauskas (viola), Matvej Goldberg (cello)


On Dreams and Cacti brings together two younger choreographers of international fame—Robert Bondara from Poland and Alexander Ekman from Sweden. Thanks to their extraordinary curiosity, creativity, and willingness to try their hand at new dance scenes, genres, and styles, they have already been lauded by the audiences and critics in different parts of the world and have garnered many prestigious prizes.
Polish choreographer Robert Bondara is a familiar name to Lithuanian audiences, having choreographed two new evening-length dance performances here before, including Giedrius Kuprevičius’ ballet Čiurlionis (2013) for the Lithuanian National Ballet Company and Faust (2020) for the KSMT Ballet Company. After a few years' break, Bondara returned to Klaipėda to revive two of his early pieces created for the Polish National Ballet's workshop Kreacje (Creations). In these non-narrative pure dance miniatures, he explores themes related to human psychology through the language of contemporary ballet movement.
The two dancers in Hiccup are like ego and superego of one’s personality, as it is known in psychoanalytic theory. The latter part of the personality haunts like a shadow, perches like an angel or a devil on one’s shoulders, chatters like an inner censor, groping in hesitation with one’s every action, and manifests itself through one’s body, like an involuntary hiccup. The recognisable theme from Miloš Forman’s film One Flew Over the Cuckoo’s Nest (composed by Jack Nitzsche) and the electro-acoustic music by Polish composer Michał Jakaszek, tinged with dark industrial tones, add additional connotations to this miniature. The idea of 8m68, as well as the title, is even more abstract: it is a tour de force of five dancers, revealing the ‘mechanics’ of human relationships and emotions, influenced by the forces of attraction and repulsion, coercion and submission. The dynamics of the dancers’ movements are amplified by the music of the Brazilian electronic music visionary Amon Tobin, which creates a landscape full of energy and emotions hidden under the snow...
In the second half of the evening, the audience can admire Alexander Ekman’s Cacti, which for the first time sprouted not only in Klaipėda or Lithuania, but also in the Baltic States. Ekman’s idea was to decorate the stage with titular cacti in a performance created for the Nederlands Dans Theater 2 in 2010. Then, the still emerging choreographer, with affection and biting humour, beckoned the audience to think about contemporary dance’s pomposities and pretensions, the role of critics and their often snobbish rhetoric. Since then, Cacti has become a globally recognisable marker of the young choreographer’s work, which has been used to mark the premieres of various companies on the dance map more than twenty times, from Seattle in the Pacific Northwest to Wellington in New Zealand, before they were introduced in Klaipėda.
In the performance, sixteen dancers dance on podiums, as if trapped in white squares. Their rushing, rhythmic movement (Ekman said he was inspired by the sight of Tibetan monks engaging in what looked like a noisy yoga ritual) is accompanied by the music of a string quartet, performed live on stage, and by the ironic commentary that comes from the recording. The dancers furiously try to break out of their invisible prison and eventually they each acquire a cactus carried hither and thither as if profoundly significant object. But what does it all mean?
If it were a play of the theatre of the absurd or an exhibition of Dada readymades, we could say that cacti are sometimes just cacti, or that they are conceptual art objects. The choreographer gave his explanation: “This work is about how we observe art and how we often feel the need to analyse and ‘understand’ art. I believe that there is no right way and that everyone can interpret art and experience it the way they want. Cacti discusses art criticism and it was created during a period of my life where I was very upset every time someone would write about my work. I did not find it fair that one person was going to sit there and sort of decide for everyone what the work was about. Now I have stopped reading my reviews, but still question this unfair system mankind has created.” It is also obvious that the choreographer, who created the set and costumes for his performance, uses the spiky succulents and revealing costumes as a metaphor for man's existential nakedness, his vulnerability, and at the same time his resilience to the adverse environmental conditions. That this existentialism can be as serious as it is funny is signalled not only by the cacti, but also by the cat's dummy that falls from the sky at the most unexpected moment...


AWARDS

Mask of the Gratitude (25/03/2024, Klaipėda) for the Best Performance of the Year 2023
Catch the Wave (26/03/2024) to the KSMT Production Department and Ballet Department for managing the production process and broad-ranging technical solutions (Challenge of the Year 2023); to Anna Chekmarova for solo roles (Best Female Ballet Soloist of the Year 2023); to Yan Malaki for solo roles (Best Male Ballet Soloist of the Year 2023)
Golden Cross of the Stage (27/03/2024, Klaipėda) to Yan Malaki for solo roles in On Dreams and Cacti (Best Ballet Soloist of the Year 2023)

HICCUP

Every choreography I create has its starting point, inspiration, trigger. For the Hiccup, it was something we could describe as superego, known from psychoanalysis theory. No matter what we call it, it's difficult to resist the impression that there is something hidden deep inside each one of us whispering constantly what is right and what is wrong. In a world of rules and patterns of behaviours, this feeling becomes involuntary, just like a hiccup.

8m68

The essence of 8m68 is based on dancers’ relations. Attracting and repelling, controlling others, or being under someone’s control is becoming a driving force of the piece. Seemingly abstract choreography finds its inspiration in our everyday experiences and interpersonal relations translated into movement and shapes. Together with Amon Tobin's music it creates a landscape full of energy and emotions hidden under the snow...

Robert Bondara


CACTI

This work is about how we observe art and how we often feel the need to analyze and ‘understand’ art. Many of my friends have told me that they didn't really understand modern art and started to feel that perhaps it was not for them. I believe that there is no right way and that everyone can interpret art and experience it the way they want. Perhaps it’s just a feeling that you canʼt explain or perhaps it’s very obvious what the message is.

Cacti discusses art criticism and it was created during a period of my life where I was very upset every time someone would write about my work. I did not find it fair that one person was going to sit there and sort of decide for everyone what the work was about. Now I have stopped reading my reviews, but still question this unfair system mankind has created.

While creating Cacti, I had the chance to create a work with musicians in the studio, which was a new way of working for me. Together with a string quartet we created a rhythmical game between dancers and musicians which became the score for the work. Cacti demands a high concentration both from dancers and musicians, which makes it very exciting to observe. I have always been fascinated by human capability during highest concentration and our way of acting in a state of emergency.

Cacti is definitely one of those works which I will always feel a certain love for. It is extremely hard to create a piece which feels complete and finished from beginning to end. I think with Cacti we somehow managed to arrange the pieces of the puzzle in a way that it actually felt sort of ‘finished’.

Alexander Ekman

Choreographer, Director, Set, Costume and Lighting Designer

Robert Bondara

Assistant Choreographer

Evgeniia Meissner

Choreographer, Set and Costume Designer

Alexander Ekman

Assistant Choreographer

Ana Maria Lucaciu

Text writer

Spenser Theberge

Lighting Designer

Tom Visser

Information:

Date of premiere:

2023-03-17

Duration:

1 hr. 30 mins. including one interval

Location:

Klaipėda State Music Theatre, Sea Hall

Price:

€ 20.00, € 25.00, € 35.00, € 50.00

Upcoming performances:

Start
30 min.
I Part end
30 min.
break
II Part beginning
30 min.
End
Cast

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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.

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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;
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