Is history repeating itself?
The director of the play and the author of the play, Kristina Marija Kulinič, admits that the war against Ukraine, the October 7 attack on the Israeli population and the subsequent war, the unrest, awakened the idea that history repeats itself and has now taken on a real form.
“Premonitions of what will happen next and what we can do often pass us by. The interesting thing is that when you step away from the news flow, go out into the street, sit down in a cozy cafe, it seems that the days are going on in their usual course, nothing terrible is happening: peace, sun, entertainment. But is it really?”, says the director.
The Holocaust and the sense of shame
As geopolitical changes take place in the world, resurgent anti-Semitism and its manifestations are becoming more and more apparent, therefore it is more necessary than ever to bring these topics to the surface. The director investigates the reasons for all this in the play.
Books, excursions, and open lectures helped KMKulinič write the play. The memoirs of Holocaust survivors also helped to better understand and become aware of this dark period of Lithuanian history.
“Some of the books I’ve read form the basis of the stories and dilemmas raised in the play. I even quote or paraphrase some fragments. First of all, it is Aneta Anra’s “Jehudit. The world could be so beautiful”, as well as “The Secret History of the Kaunas Jewish Ghetto Police”, written by the police officers of the Kaunas Jewish Ghetto themselves, and “Ours” by Rūta Vanagaitė, the author of the play mentions.
The director admits that while delving into this topic, she often had doubts about whether it is at all possible to pour at least part of that pain into a theater work and in what way it would make sense to do so. The creative process was different from the previous ones, the director faced dilemmas, doubts, fears.
Photo by Telman Ragimov/Rehearsal of the play “Good weather if you don’t think too much”
“My own understanding of the Holocaust, I will admit, was quite school-based. Reading the material did not leave a growing sense of shame. How did it happen that people who experienced and survived such a tragedy, people I passed on the street or even at performances, people who made up a huge part of Lithuanian society before the Second World War, do not have an awareness of the tragedy in my consciousness. There was almost no understanding of what was happening here and what an important part of society we lost,” KMKulinič thinks.
What would a hipster say about all this?
The characters in the play are today’s hipsters trying to create their own lives. One of the questions that concerns us is what is more important to prevent the recurrence of horrors like the Holocaust? Is it knowledge of historical facts or knowledge of oneself as a very complex and contradictory being?
For some time after the Holocaust, especially in Western societies, questions were raised: How could things of this scale have happened? How could such a large proportion of ordinary, average, mentally healthy people commit such heinous crimes? Such and similar questions arise for the characters of the play, who in the course of the play get to know the stories of their ancestors, which did not exist in their memory before they found themselves in the post-catastrophe space.
Two young people, history teacher Marija and soldier Julius, are stuck in an uncertain space reminiscent of the 21st century. Outdoor cafe in the old town of Vilnius. How did it end up here, how did it live until then – a white spot. The only memory is the first date between the two… in the former Jewish ghetto.
Photo by Telman Ragimov/Rehearsal of the play “Good weather if you don’t think too much”
The performance features a dreamy, magical realism style that helps to construct and reveal the complexity of the Holocaust issue, its volatility and perception.
According to the director, the audience is an essential element that completes the work. The author hopes to be able to reach an open, sensitive viewer who has the courage to face uncomfortable questions and feelings, and claims that it is important to study uncomfortable details about the Holocaust in Lithuania – this will only make us stronger.
Kristina Marija Kulinič is a young generation actress, playwright, director. She started her creative career as a theater actress and performance artist. Its amplitude is wide – from classical forms of theater to experimental theater.
She has participated in the performance festivals “Creature”, “Warsaw International Performance Art Weekend”, “Sofia Underground”. The particularly interesting search for the synthesis of theater and performance art has receded into the background, but still influences the aesthetics created by the artist.
As a playwright and author of plays, she worked in the association Teatronas, Artūros Areimas Teatras, No Shoes, Latvian National Drama Theaters. in 2017 wrote his first text for the performance “Window Shopping”, the plays “Dedukas”, “Tikslai ir davavianii”, “Good weather if you don’t think too much”, which are characterized by a mixture of domestic, dreamy, “thoughtful” speech.
The creative team of the performance: director – Kristina Marija Kulinič, scenography and costume designer – Karolina Klimavičiūtė, video artist – Kristijonas Dirsė, composer – Monika Poderytė, lighting designer – Ramūnas Nėnius. Played by Edita Gončarova and Dovydas Stončius.
The show will be shown in Lithuanian.
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#Vilnius #theater #premiere #hipster #Holocaust #Culture
Rimental performance art. In her new play, “Good Weather If You Don’t Think Too Much,” she takes on the challenging subject of the Holocaust and its resonance in contemporary society, particularly in the context of a resurgent anti-Semitism.
The director emphasizes the necessity of confronting history, especially in light of conflicts such as the war in Ukraine and recent upheavals in Israel. She highlights how, while life may seem idyllic on the surface—people enjoying sunny days and gatherings in cafes—deep societal issues persist beneath that veneer. KMKulinič’s exploration of these themes draws heavily from historical texts, survivor memoirs, and personal reflections that highlight the disconnect between past traumas and present-day awareness.
The narrative features characters that embody the modern hipster ethos, reflecting on their lives while grappling with the haunting memory of the Holocaust. This duality raises critical questions about the importance of historical awareness versus self-awareness. As they navigate their existence in a contemporary Vilnius café, the characters are confronted with uncomfortable truths from their lineage, emphasizing the idea that understanding history is crucial to preventing its repetition.
Through a blend of magical realism and poignant dialogue, KMKulinič aims to engage the audience’s reflections on discomforting realities, offering a space for dialogue about the Holocaust and its implications for today’s society. By inviting viewers to face these uncomfortable truths, the director hopes to foster a deeper understanding and acknowledgment of the past, thus contributing to a more informed and empathetic society.
