Performs somersault. The actor leaves. On the fateful morning, I woke up far too late, having woken up from a nightmare in which I was flying in a falling elevator, not yet aware of the impending news. Shortly after entering the real elevator cabin, I greeted the blind man.
As he let go, he said, “You know, it’s not as hopeless in the dark as you might think.” And he laughed. When the elevator door opened, the smartphone automatically turned on the wireless Internet connection, and then hundreds of messages and missed calls from another time zone came in…
I deliberately avoid starting the text with a quote from Rolandas Rastauskas‘ verses or prose, in order to avoid banal metaphors of death. The work of the departed immediately becomes mythology for us, who remain here, and every word is overgrown with invisible layers of meanings and meanings, sublimations and personal codes, which, once in the territory of public circulation, lose their essence. The relationship with the text can only be personal, so this will be concise in memory – a few shots that flash by on the memory tape at breakneck speed.
Presentation of the book “Weeping bronze: travel book 1993–2023” by Irmantas Gelūnas/BNS photo/Roland Rastauskas
One rainy evening in November last year, Rolandas called and asked to pick up a package from the MO Museum on Pylimo Street. The girl who met me in the administrative premises handed over the bearer – a plaster impression of Roland’s face cast by Žilvin Kempin, which he jokingly called a death mask. The mask sat in my apartment for about half a year.
Your Face has disappeared, and we are left with its imprint on “millimetre memory paper”. Masks, including the posthumous one, were Roland’s creative credo, which was described by literary researcher and philosopher Nijolė Keršytė in an article almost two decades ago: “Rastauskas basically does not become the most important object of his text anywhere. He is more of an observer than a protagonist, bearing witness to others – people, texts, works, cities. Rastauskas is an actor, word juggler, illusionist. He never undresses, he just changes masks. Let’s not forget, he is not only a poet, but also a playwright.”
Photo by Gintaras Lukoševičius/Rolandas Rastauskas and Kristupas Bubnelis
The symbiosis of poet and dramatist in Roland’s work apparently also determined his literary forms – beakers for the potion of a sentence. The territory of his game was short subway films, in which each frame is like an improvisation on a different jazz theme.
“It’s not as hopeless in the dark as you might think,” the blind tells you. “For those with a literary ear – even bright,” you might answer.
I hope maestro Petras Geniušas won’t be angry if I share a conversation I overheard between the two of them: “I would like to call the way you write.” Roland, of course, answered the same. This example of camaraderie is a certain natural sense of style that transcends disciplines, genres, media, even generations of artists. This is a certain blood group, according to Giedras Radvilavičiūtė, to which we can attribute Vladimir Nabokov, Kęstutis Navakas and others. And the civilizational community, which Roland liked to name with the phrase “partners of biography”.
What is left for the partners? Emails, messages, memes… A failing pantomime of memory. However, you are already going up another elevator (with the elevator driver St. Antanas Škėma), to Leonard Cohen, Jean-Luc Godard.
“It’s not as hopeless in the dark as you might think,” the blind tells you. “For those with a literary ear – even bright,” you might answer. I put a full stop in this place of the supposed dialogue. Regards, Roland.
window.fbAsyncInit = function() {
FB.init({
appId: ‘117218911630016’,
version: ‘v2.10’,
status: true,
cookie: false,
xfbml: true
});
};
(function(d, s, id) {
var js, fjs = d.getElementsByTagName(s)[0];
if (d.getElementById(id)) {
return;
}
js = d.createElement(s);
js.id = id;
js.src = “https://connect.facebook.net/lt_LT/sdk.js”;
fjs.parentNode.insertBefore(js, fjs);
}(document, ‘script’, ‘facebook-jssdk’));
#Kristupas #Bubnelis #Death #Mask #Culture
2024-09-07 21:33:05
Table of Contents
Title: Remembering Rolandas Rastauskas: A Master of Words and Masks
Meta Description: A tribute to Lithuanian poet, playwright, and essayist Rolandas Rastauskas, exploring his creative legacy and the impact of his work on those who knew him.
Introduction
Rolandas Rastauskas, a renowned Lithuanian poet, playwright, and essayist, left an indelible mark on the world of literature and art. Through his unique blend of words, masks, and creative experimentation, Rastauskas crafted a distinct identity that continues to inspire and influence artists today. This article is a heartfelt tribute to his remarkable life and work, as we explore the lasting impact of his creative legacy.
The Master of Masks
Rastauskas’ writing was characterized by his ability to seamlessly blend poetry and drama, creating an innovative style that captivated audiences and critics alike. His unique approach to storytelling was likened to a ”word juggler” and “illusionist” by literary researcher and philosopher Nijolė Keršytė [[2]]. Rastauskas’ creative credo was centered around the concept of masks, which he expertly used to convey complex emotions and ideas. As Keršytė noted, “Rastauskas basically does not become the most important object of his text anywhere. He is more of an observer than a protagonist, bearing witness to others – people, texts, works, cities” [[2]].
The Symbiosis of Poetry and Drama
Rastauskas’ work was often experimental, pushing the boundaries of traditional storytelling. His writing was infused with a sense of playfulness and improvisation, reminiscent of jazz music [[3]]. This unique approach to literature allowed him to craft works that were both personal and universal, speaking to the human experience in a way
In Memory of Rolandas Rastauskas: A Literary Icon and Master of Masks
Rolandas Rastauskas, a renowned Lithuanian poet, playwright, and essayist, has left an indelible mark on the literary world. His work, a testament to his creative genius, has been celebrated for its innovative use of language, clever wordplay, and profound insights into the human experience. In this article, we pay tribute to Rastauskas’ remarkable legacy, exploring his literary credo and the masks that defined his creative identity.
The Masks of Rastauskas
Rastauskas was more than just a poet or playwright; he was an actor, a word juggler, and an illusionist. He never undressed, he just changed masks [[2]]. This metaphor, coined by literary researcher and philosopher Nijolė Keršytė, aptly captures the essence of Rastauskas’ creative approach. His work was an embodiment of his fascination with the concept of masks, which he used to conceal and reveal himself, often blurring the lines between reality and fiction.
From Poet to Playwright
Rastauskas’ literary journey began in the 1970s, when he debuted as a playwright. He went on to publish several collections of poetry in the 1980s, solidifying his position as a prominent figure in Lithuanian literature [[2]]. His writing was characterized by its unique blend of humor, irony, and introspection, often exploring themes of identity, morality, and the human condition.
Literary Innovations
Rastauskas’ innovative use of language was a hallmark of his writing. He experimented with punctuation marks, turning them into words, as seen in his literary work, “Labyrinthus” [[3]]. This creative approach earned him recognition as a master of language and a pioneer in Lithuanian literature.
The Power of Masks
Masks, both literal and metaphorical, played a significant role in Rastauskas’ life and work. He believed that masks could be both a means of self-expression and a tool for concealment. This dichotomy is reflected in his writing, where he often used masks to explore the complexities of human nature [[2]]. The posthumous mask, cast by Žilvin Kempin, serves as a poignant reminder of Rastauskas’ enduring legacy, leaving us with an imprint of his creative spirit on “millimetre memory paper.”
A Personal Relationship with Text
Rastauskas’ relationship with text was deeply personal, rendering every word and phrase a reflection of his inner world. This personal connection is what makes his work so relatable and enduring. In the era of public circulation, his words take on a life of their own, assuming new meanings and sublimations that are both intimate and universal.
Conclusion
Rolandas Rastauskas’ remarkable life and work continue to inspire generations of readers and writers. His innovative use of language, clever wordplay, and mastery of masks have cemented his place in the annals of Lithuanian literature. As we remember his legacy, we are reminded of the power of creative expression to transcend mortality, leaving behind an indelible mark on the world.
References:
[1] https://www.delfi.lt/en/politics/strong-protest-expressed-to-belarus-over-death-of-detained-lithuanian-citizen-96096077
[2] https://vilniusreview.com/fiction/171-rolandas-rastauskas
[3] https://artbooks.lt/en/product/labyrinthus/
