We have received a beautiful message this morning from the Latvian Theater Employees’ Union. At this year’s “Players’ Night” awards ceremony, the “Lifetime Achievement in Stage Art” awards will be presented to the actresses of the Daile Theater Lidija Pupurei and Ilze Vazdika. We are proud, we are happy from the bottom of our hearts and we congratulate you!
Lydia Pupure
Having entered the Daile Theater right after finishing the III studio in 1962, Lidija Pupure is still an actress after 62 years of working there, who has “the posture of a lady, the energy of a girl, the playfulness of a child, the wisdom of life and the skill of a job forged in experience,” as Līvija Pilderes writes (Dūmiņa ).
She studied at the III studio of the Daile Theater, where more than 60 students were admitted, but 41 graduated, so she had to endure fierce competition in order to attract the attention of the head of the studio, Eduardas Smiļģas. Slim, fair-haired and Latvian, Lidija Pupure was hardly among Smilģas’s favorites, and she prepared her first roles under the guidance of director Felicitas Ertner. That is why she has always been able to combine the strict form required in Daile Theater with the psychologically flawless inner life of the character, where every detail of the role is researched and justified, but not heavy and depressingly realistic. Lightness, such internal and external springiness is characteristic of all the characters of Lidija Pupures.
Started with the “bright characters” of Latvian classical drama – Raina Baiba from “Pūt, vējiņi!” (1962) and Vizbulīti’s “Indulī and Arīja” (1971), Blaumaņa’s Kristini’s “Ugunī” (1966) – the actress gradually showed will and a firm backbone in her characters, which were still bright and calm. Kalpone in the production of Kārlis Auškāpas’ “Lord of the Dark Dwelling” (1986) became a great success – complete acting freedom within the strictly defined direction. Lidija Pupure is elegantly able to combine respect for the director’s requirements, serious immersion in order to make them her own, and then joy and convincing joy of playing, even if the role is dramatic or tragic. Lidija Pupure also revealed this acting joy – to connect form and content and to freely exist in the character in the most difficult conditions – in Ęirta Đeča’s production “Vigīlija” (2011) in the New Riga Theater, in close partnership with Ęirta Krūmiņa, but without saying a word during the entire performance.
Lidija Pupure still plays a lot, in performances by different directors and in a wide dramatic range: Seraphim Ilyinichna, who “twitches in the air” in Alexander Morfov’s ambitious Soviet absurdist “Finita la commedia” (2012), dry Bach in Dmitry Petrenko’s production “possible meeting” (2016), under Viestur Kairis – Smiļģ’s mother in “Smiļģī” (2021) and Anniņa in “Spīdolas nākti” (2023), Emily in “Leopoldstadt” (2023) performed by John Malkovich. And now her appearance on the stage is more than just good acting. It is a benchmark.
Edith Tischheiser
Lydia – a royal actress! Time is powerless to harm her! The routine of the profession has not possessed him! Tenacious, powerful, optimistic, helpful, smart, great partner, full of fun and excitement! And you can continue the series of epithets! Look and wonder! She can live on stage in any genre, she can give professional advice to young people, it’s always interesting to discuss the shows you’ve seen with her or just drift through the twists and turns of life! The poster image for Donald Lee Coburn’s A Game of Cards shows her wearing a royal crown. It’s not for everyone! For Lydia!
Juris Bartkevičs
The show “Vigil” brought us closer. Lydia, fragile and strong at the same time! With his special voice. Intelligence. The word youth suits Lydia, because she is always young, curious. Infinite depth and tenderness. Mystery, Presence of Eternity. Sparkling humor, audacity, willingness to take risks!
Girts Krumins
Ilze Vazdika
Having felt the spirit of art theater since childhood, Ilze Vazdika managed to play on the same stage and even in the same performances with her parents – Vilma Lasmani and Hermani Vazdika, as well as her brother Uldi.
Ilze Vazdika, who studied together with her brother at the III studio of the Daile Theater, of course started with Latvian classics, but a bit on the character side of the blonde heroines – not the shy Baibins, but the self-aware Zane in her diploma thesis “Pūt, vējiņi!” (1962). After that, there were also lyrical heroines – Ibsen Solveig’s “Pērā Gintā” (1964), Laimdot’s “Ugunī u nātī” (1965), Pēteras Pētersons and Imantas Ziedoņš’s “Motorcycle” (1967). However, Ilze Vazdika’s talent really opened up in roles that required sharpness and not being afraid to laugh at herself – like the exuberant Roze in Arnold Linin’s drastic “A Short Instruction in Loving” (1973) or the colorful Mrs. Eisbein in “John Neiland” (1992) staged by Kārlias Auškāpas, where is the eternal pregnant and giving birth Edith Potter, who with careless grace removed cigarette ash from the infant’s nose in Aina Matīsa’s brilliant performance “Women, Women….” (1986).
Ilze Vazdika has an absolute sense of humor and a sense of proportion, which has allowed her to accurately dose the funny in dramatic roles as well – like Zenta’s “Land Tax” (2003). This expression of acting has been highly appreciated by Mihails Gruzdovs, who directed the ugly old Meg in “Linen Beauty Queen” (2007) and Ms. Petrovičas in “Sisenios” (2008). Brightness, humor and a sense of proportion have helped Mildiņa, the hotel cook played by Ilze Vazdikas, to maintain the constant love of the audience in the series “The Price of Madness”, “UgunsGreks”, “UgunsGreks. The Return” (2006-2023) in its long screen life.
Edith Tischheiser
Ilzīte comes from a family of actors, already from high school, participating in Robert Liger’s performances at Buuvstrādnieku club, then at Daile’s 3rd actor’s studio, she safely made her way to Daile’s stage. I admire her tenacity, sense of humor, logical thinking, which even sometimes did not coincide with the demands of the directors. In a word, Ilze continues the strong tradition of Daile Theater actresses.
Juris Strenga
Dear actresses, colleagues, wardrobe mates, partners, time mates since the days of the 3rd actor’s studio of the Eduardas Smilģas Daile Theater.
Dear Ilze Vazdika and Lidija Pupure, I sincerely congratulate you on the Lifetime Award at the traditional Gambler’s Night. This means that your work in the theater is valued, visible, important and recognized. It has proven through roles that the reality of art is higher than the reality of life, as the great Smilģis told us when he finished his studies. He accepted us in the theater as “screws” in the theater workshop, so that we would strengthen and continue the Daile Theater ensemble and unite the generation of actors and spectators. This is what we learned, what we were able to do, and what we could do.
Thank you for lifelong friendship, trust until “death do us part”, for pain, difficulties and creative successes, joys, laughter and memories, for the changes of different times, which we each endured with our own destiny and life story.
Olga Drege
Latvian Theater’s Players’ Night – A Celebration of Lifelong Passion
This morning, we received a heartfelt message from the Latvian Theater Employees’ Union celebrating the esteemed “Players’ Night” awards. Our warmest congratulations go out to Lidija Pupurei and Ilze Vazdika for their well-deserved “Lifetime Achievement in Stage Art” awards! Bravo, ladies!
Lidija Pupure
Starting her journey in the Daile Theater right after her studies in 1962, Lidija Pupure is a remarkable force. For 62 years, she has graced the stage with the “posture of a lady, the energy of a girl, the playfulness of a child, and the wisdom of life,” as Līvija Pilderes aptly puts it. She’s like a fine wine – or maybe a fine Latvian honey – getting better, sweeter, and more complex with every year!
Can you believe that out of 60 ambitious students, only 41 graduated from her studio? Talk about fierce competition! Lidija managed to shine under the watchful eye of director Felicitas Ertner. It’s like getting picked for a school team; only, in this case, your whole future was riding on it and you had to be more dramatic than a soap opera star just to get noticed!
As she transitioned from “bright characters” in Latvian classical drama, Lidija evolved into the embodiment of resilience and creativity, proving that she could handle the drama offstage just as well as on it. Who else could play a role full of “complete acting freedom” in a tightly controlled production?
“Look, I’m not just acting; I’m not just living – I’m SLAYING,” seems to be her motto. Even when she’s silent on stage, like in the production “Vigīlija”, she is still commanding the audience’s attention without uttering a single word. If only we could all learn that art of presence – maybe during awkward family dinners too!
Lidija has become a benchmark of excellence, having played a wide array of characters, from dry and witty to solemn and reflective. At 62, she is not just surviving but thriving, making every appearance on stage a lesson in finesse and brilliance. Future generations will look at her and think, “That’s what I want to be when I grow up!”
Ilze Vazdika
Meanwhile, Ilze Vazdika emerges from a lineage of talent, with both parents adept on stage and a brother who’s no slouch either! Growing up in the realm of art theater, Ilze embraced her family’s legacy and emerged as a force of nature on her own right. She began as a self-aware heroine unlike the typical wallflowers of Latvian stories, and you can see her artistic flair really took flight.
Ilze’s transformative talent has allowed her to tread both dramatic and comedic pathways with grace. From playing a pregnant woman cleaning ash off an infant’s nose to diving into humorous roles, she’s like that chef who adds spice just right—too much and it’s overwhelming, too little and it’s bland. Nobody wants a bland actress; we want the full seasoning!
Known for her sharpness and the ability to laugh at herself, Ilze crafts roles that resonate widely with audiences. Hailed as one of the most entertaining actresses, she captures the light of humor even in the murky waters of tragedy. If you’ve not caught her in action yet, I suggest you do – she’s like that punch line you never saw coming but left you in stitches!
From “The Price of Madness” to “UgunsGreks”, Ilze’s performance has been consistently entertaining, knitting a bond with audiences that’s as strong as the fabric of the costumes she wears. Talk about talent running in the family; they should put out a sign reading, “Family of Actors: Enter at Your Own Risk.”
So, a big tip of the hat to both Lidija Pupure and Ilze Vazdika! Your passion and dedication have not just lit up the theater but illuminated our lives. Keep shining and entertaining – the stage isn’t going to share itself!
This morning, we were thrilled to receive an inspiring message from the Latvian Theater Employees’ Union. At this year’s much-anticipated “Players’ Night” awards ceremony, the prestigious “Lifetime Achievement in Stage Art” honors will be bestowed upon the talented actresses from the Daile Theater, Lidija Pupurei and Ilze Vazdika. It fills us with immense pride and joy to extend our heartfelt congratulations to both of you!
Lydia Pupure
Entering the Daile Theater right after her graduation from the III studio in 1962, Lidija Pupure has dedicated an impressive 62 years to the stage as a cherished actress. As noted by Līvija Pilderes, she embodies “the posture of a lady, the energy of a girl, the playfulness of a child, the wisdom of life, and the skill honed through experience.”
During her studies at the III studio of the Daile Theater, Lidija faced fierce competition among over 60 students, ultimately emerging as one of the 41 who graduated. With her slim frame and fair hair, she had to capture the attention of the renowned head of the studio, Eduardas Smiļģas. Under the direction of Felicitas Ertner for her initial roles, Lidija skillfully blended the strict requirements of Daile Theater’s form with a psychologically rich inner life of her characters. Her performances are characterized by a lightness and buoyancy, showcasing the multidimensional essence of her roles.
Beginning her illustrious career with radiant characters in Latvian classical dramas such as Raina’s Baiba in “Pūt, vējiņi!” (1962), Blaumaņa’s Kristini in “Ugunī” (1966), and more, she displayed an unwavering strength and persistence within her portrayals. Pupure’s portrayal of Kalpone in Kārlis Auškāpas’ “Lord of the Dark Dwelling” (1986) marked a significant triumph—allowing her to experience complete artistic freedom even within the confines of a meticulously defined direction. She consistently merges admiration for directorial vision with immersive dedication, imbuing every performance with joy, even when navigating tragic arcs.
Lidija’s profound acting talent continues to shine brightly in contemporary productions, spanning a wide dramatic range. She enthralls audiences as Seraphim Ilyinichna in Alexander Morfov’s Soviet absurdist “Finita la Commédia” (2012), and brings depth to characters like Smiļģ’s mother in “Smiļģī” (2021) and Emily in “Leopoldstadt” (2023), directed by John Malkovich. Her ongoing performances have transcended the role of traditional acting to become a touchstone of excellence on the stage.
Edith Tischheiser
Lidija is a regal actress whose presence is timeless. The rigors of the acting profession have left no mark on her spirit! Her tenacity, optimism, intelligence, and generous nature make her an extraordinary collaborator. Furthermore, her engaging and fun-loving essence truly captivates those around her! Witnessing her on stage—evident even in the promotional poster for Donald Lee Coburn’s “A Game of Cards,” featuring her adorned with a royal crown—is a visual testament to her singularity in the world of theater.
Juris Bartkevičs
The show “Vigil” brought us closer. Lydia, fragile and strong at the same time! With his special voice. Intelligence. The word youth suits Lydia, because she is always young, curious. Infinite depth and tenderness. Mystery, Presence of Eternity. Sparkling humor, audacity, willingness to take risks!
Girts Krumins
Ilze Vazdika
Ilze Vazdika’s journey in the theater began early, as she embraced the arts from a young age within her family dynamic. She had the unique opportunity to share the stage with her talented parents, Vilma Lasmani and Hermani Vazdika, as well as her brother Uldi.
Studying alongside her brother at Daile Theater’s III studio, Ilze opened her theatrical career with roles in classic Latvian works, portraying not only the archetypical heroines but also self-assured characters like Zane in her diploma performance of “Pūt, vējiņi!” (1962). She later expanded her repertoire with poignant roles, such as Ibsen’s Solveig in “Pērā Gintā” (1964) and other lyrical heroines through the 1960s. However, it was in roles that demanded fierceness and self-reflective humor that Ilze truly flourished, capturing audiences’ hearts as the vibrant Roze in Arnold Linin’s daring “A Short Instruction in Loving” (1973).
Ilze Vazdika possesses an extraordinary comedic sensibility that skillfully complements her dramatic roles. This talent was particularly evident in Mihails Gruzdovs’s direction of the ugly old Meg in “Linen Beauty Queen” (2007), where she balanced humor and gravity with finesse. Audiences continue to adore her as Mildiņa, the beloved hotel cook in the series “The Price of Madness” and “UgunsGreks” (2006-2023), showcasing her enduring popularity and talent.
Edith Tischheiser
From her early performances in Robert Liger’s productions at the Buuvstrādnieku club to her seamless integration into the Daile stage, Ilze has significantly contributed to the legacy of Daile Theater actresses. Her determination, sense of humor, and logical thinking allow her to deliver powerful performances that resonate with audiences, reflecting her commitment to the arts.
Juris Strenga
Dear Ilze Vazdika and Lidija Pupure, I sincerely congratulate you on the Lifetime Award at the traditional Gambler’s Night. This means that your work in the theater is valued, visible, important and recognized. It has proven through roles that the reality of art is higher than the reality of life, as the great Smilģis told us when he finished his studies. He accepted us in the theater as “screws” in the theater workshop, so that we would strengthen and continue the Daile Theater ensemble and unite the generation of actors and spectators. This is what we learned, what we were able to do, and what we could do.
Thank you for lifelong friendship, trust until “death do us part”, for pain, difficulties and creative successes, joys, laughter and memories, for the changes of different times, which we each endured with our own destiny and life story.
Olga Drege
