This work testifies not only to the centenary of the birth and the decade of the death of the director Henrikas Vancevičius. It is placed next to the portraits of other personalities significant to the history of the Lithuanian National Drama Theater – Romualds Juknevičius (1906–1963), the founder, director, and artistic director of this theater, and Boris Dauguvietis (1885–1949), the director and head of the theater studio who worked in this theater for six years.
The latter were created by the sculptor Romualdas Kvintas back in 2005. The sculptural portrait is unveiled – as if the director’s return to his home, which he created, cherished, where he spent his most mature creative years. On the stage of this theater from 1966 to 1989. Vancevičius created several dozen memorable performances.
Henrikas Vancevičius is one of the most famous artists of the 20th century. Lithuanian directors of the second half. Back in 1957, when he staged the play “Herkus Mantas” in Kaunas, he spoke at the top of his voice about Lithuania, Lithuanianness, the nation’s destiny; thanks to him, bright classical and modern performances appeared on the stage of this theater – “The House of Bernarda Alba” by Federico García Lorca, “Antony and Cleopatra” by William Shakespeare, “Of Mice and Men” by John Steinbeck.
Vancevičius started working at the Lithuanian National (then Academic) Drama Theater in 1966. Here, among many other plays, he staged Jean-Paul Sartre’s “The Hermits of Altona”, Justin Marcinkevičius’s famous trilogy “Mindaug”, “Cathedral” and “Mažvydas”, Henrik Ibsen’s “Jun Gabriel Borkman”, “The Wild Duck”, Vincas Krėvės “Skirgaila”, in which the talent of Vaiva Mainelytė, Marija Rasteikaitė, Irena Garasimavičiūtė, Regimantas Adomaitis, Henrik Kurauskas, Laimonas Noreikas, Audris Chadaravičius, Arno Rosen, Vytautas Tomkaus, Aldona Janušauskaitė, Adolfos Večerskis, Genovaitė Ciplinskaitė and other actors shone.
Henrikas Vancevičius has said about his work method: “We were the theater of the ‘author’, the theater of the ‘word’. And we valued that very much, we searched for meaning, we sought for the sentence to have subtext, meaning, and intonation.”
Rimantas Eidejus, the author of the sculptural portrait, says: “I received such an order – to make a portrait of the director. While still studying at the MKČiurlionis School of Arts and later at the Academy of Fine Arts, I attended performances, among which there were quite a few produced by Henrikos Vancevičius. So after many years I had to return to my memories again. It was a generation of people who supported Lithuania, created interesting performances, and stimulated artistic thought. While creating the portrait, I once again had to study the biography of Vancevičius.
In general, when thinking about a documentary portrait, the most difficult thing is always to gather the material. You never know when you’ve got it all together. When thinking about Vancevičius, Martynas Budraitis and his assistants helped me the most: they sent me many photos and various links from the theater. It was also interesting to watch the filmed rehearsals of Vancevičius. After examining various materials, the idea arose that the portrait should be in a certain movement, we would not believe it. And looking at it from my professional point of view, I thought that it would be very appropriate for the director to greet all the viewers with his slightly surprised look.
I was concerned that the psychological things would “play” a bit. That was my task. I also had to at least stay close to Romualdas Juknevičius and Boris Dauguvietis, whose portraits were created by Romualdas Kvintas. I measured from all sides, I took a model to the theater that had just been molded from soft material. I wanted to understand if it fits.
I am very happy with this cooperation. Actors were also seen rehearsing in the theater. My heart sang watching the actors and directors work. I even told my son to see how much power he had to give so that the audience could feel the energy the actors radiated afterwards. Just like when we were young, we went to see that synergy, that thought that emanates from the stage. That’s why I was happy.”
Pranas Treinys, a faithful companion of Henrikos Vancevičius, remembers with great respect: “When the former chief director Juozas Rudzinskas saw that the affairs of the theater were already “sliding”, the level had dropped, that it was necessary to withdraw (he himself, after all, without any education), then he became interested in Vancevičius and offered I had to invite him, even though there were more candidates. From the time when Vancevičius came to Vilnius from the Kaunas Theater, we were called twins.
We stood up for each other, even when we weren’t right at times. But since the attack was sometimes sudden and devastating, especially when young people attacked, including his former students, we had to support each other. We probably experienced the most when Regimantas Adomaitis said: “The train has already left.” And this was his most precious actor, with whom he created his most important plays. It was a huge blow. And I defended Vancevičius to the last.
Although in a certain sense, the attackers were right, because after him came the student Rim Tumins, who was not in the Uverus. The last students of Vancevičius also revolted, most of whom followed Tumin. It was very difficult, various complaints began, Vancevičius was persecuted, various letters were written, even to the Central Committee itself. His family also went through a lot because of it. Henrikas Vancevičius was a very sensitive and vulnerable person, so it was very difficult for him.
The mere fact that Vancevičius produced the trilogy of Justin Marcinkevičius, and he produced too much trouble, because ideologically we were constantly followed. We were even told to say the word “Lithuania” as rarely as possible. But we also staged “Mažvyda” (1978), “Cathedral” (1971), and “Mindauga” (1969) saying “Liethuva, Lietuva” many times… And the upsurge was so great that the theater was unknown until then. It was the absolute apogee. The Movement started from that.
If it wasn’t for the Marcinkevičius trilogy, the famous Sąjūdis wouldn’t exist. Vancevičius went forward, how consistently he tried to introduce the team to “Mindaugu” as soon as possible! When I told the director not to burn out on my idea, he shot back: “This is the kind of work that’s worth burning out for, not burning out.” The authorities were not stupid, they did not ban these performances.
Henrikas Vancevičius really deserves such an immortalization in the theater, he should be next to Juknevičius and Dauguviečius.”
The general director of the Lithuanian National Drama Theater Martynas Budraitis, former longtime director of the theater Pranas Treinys, sculptor Rimantas Eideus, actor Vytautas Rumšas, other former students of Vancevičius will take part in the unveiling ceremony of the sculptural portrait of director Henrikos Vancevičius.
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#Friday #sculptural #portrait #director #Henrikas #Vancevičius #unveiled #LNDT #Culture
2024-09-18 23:45:48
– What is the significance of the sculptural portrait of Henrikas Vancevičius at the Lithuanian National Drama Theater?
Table of Contents
Unveiling the Sculptural Portrait of Henrikas Vancevičius: A Tribute to a Lithuanian Theater Legend
The Lithuanian National Drama Theater has recently witnessed the unveiling of a sculptural portrait of Henrikas Vancevičius, a renowned Lithuanian director who made an indelible mark on the country’s theater scene. This masterpiece is a fitting tribute to the centenary of Vancevičius’ birth and the decade of his passing. The portrait is placed alongside those of other notable personalities who have contributed significantly to the theater’s rich history, including Romualdas Juknevičius and Boris Dauguvietis.
The sculptural portrait, created by Romualdas Kvintas in 2005, is a poignant representation of Vancevičius’ return to the theater he cherished and where he spent his most creative years. From 1966 to 1989, Vancevičius helmed the stage, producing several dozen memorable performances that continue to inspire generations of theater enthusiasts.
[Image: Rimantas Eidėjaus nuotr./Kūrybinis procesas]
Henrikas Vancevičius was one of the most celebrated artists of the 20th century, known for his bold and thought-provoking works that explored Lithuania’s identity, nationhood, and destiny. His productions included iconic plays like “Herkus Mantas,” “The House of Bernarda Alba,” “Antony and Cleopatra,” and “Of Mice and Men.” Vancevičius’ work was characterized by his emphasis on the “author” and the “word,” seeking to infuse meaning, subtext, and intonation into every sentence.
Vancevičius’ tenure at the Lithuanian National Drama Theater was marked by his collaboration with some of the country’s most talented actors, including Vaiva Mainelytė, Marija Rasteikaitė, Irena Garasimavičiūtė, and Regimantas Adomaitis, among others. His productions of Jean-Paul Sartre’s “The Hermits of Altona,” Justin Marcinkevičius’ trilogy “Mindaug,” “Cathedral,” and “Mažvydas,” and Henrik Ibsen’s “Jun Gabriel Borkman” and “The Wild Duck” showcased the thespians’ remarkable talent.
Rimantas Eidejus, the sculptor behind the portrait, shared his experience of working on the project: “I had to return to my memories of attending performances produced by Henrikas Vancevičius while still a student at the MKČiurlionis School of Arts and later at the Academy of Fine Arts. It was a generation of people who supported Lithuania, created interesting performances, and stimulated artistic thought.”
Eidejus noted that gathering material for the portrait was the most challenging aspect of the project, but he was assisted by Martynas Budraitis and his team, who provided valuable resources, including photos and footage of Vancevičius’ rehearsals. These insights helped Eidejus distill the essence of Vancevičius’ personality and creative spirit into the sculptural portrait.
The unveiling of the portrait marks a significant milestone in the Lithuanian National Drama Theater’s history, celebrating the legacy of a visionary director who left an indelible mark on the country’s cultural landscape. As we reflect on Vancevičius’ life and work, we are reminded of the power of art to inspire, educate, and transform society.
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Henrikas Vancevičius
Lithuanian National Drama Theater
Romualdas Kvintas
Rimantas Eidejus
Lithuanian theater
20th-century directors
Sculptural portrait
Theater legends
Cultural heritage
Nationhood
Destiny
What were the key contributions of Henrikas Vancevičius to the Lithuanian National Drama Theater?
Unveiling the Legacy of Henrikas Vancevičius: A Tribute to the Lithuanian National Drama Theater’s Illustrious Director
As the Lithuanian National Drama Theater celebrates the centenary of the birth and decade of the passing of renowned director Henrikas Vancevičius, a new sculptural portrait of the esteemed director has been unveiled, taking its place alongside those of other significant figures in the theater’s history. This meticulous and poignant tribute not only honors Vancevičius’s remarkable contributions to the world of theater but also highlights his enduring legacy as one of the most influential Lithuanian directors of the 20th century.
A Life Dedicated to Theater
Henrikas Vancevičius began his illustrious career at the Lithuanian National Drama Theater in 1966, where he went on to create numerous memorable performances that would leave an indelible mark on the theater world. His repertoire included staging masterpieces such as “Herkus Mantas,” “The House of Bernarda Alba,” “Antony and Cleopatra,” and “Of Mice and Men,” among many others. Vancevičius’s unwavering dedication to his craft earned him a reputation as a visionary director who brought classical and modern works to life on stage.
**The Creative Process
