Andriaus Olekos-Žilinsko "Šarūnas" ir tautiškumo problematika 3–4-ojo dešimtmečio sandūros lietuvių kultūroje

LTŠio straipsnio objektas – Andriaus Olekos-Žilinsko „Šarūno“ (1929) percepcija 3–4-ojo dešimtmečių sandūros lietuvių kultūros kontekste ir joje išryškėjusi tautiškumo problematika. Pasitelkiant sociokultūrinį kontekstą, analizuojami kritišką lietuvių teatro visuomenės laikyseną „Šarūno“ atžvilgiu sąlygoję veiksniai – visų pirma A. Olekos-Žilinsko pasiūlytos modernios tautiškumo interpretacijos ir viešojoje vartosenoje galiojusios tautiškumo sampratos kolizija. [Iš leidinio]Reikšminiai žodžiai: Valstybės teatras; Nacionalinė drama; Konceptuali režisūra; Modernus teatras; Ekspresionizmas; Tautiškumas; State Theatre; National drama; Conceptual theatre directing; Modern theatre; Expressionism; Nationality.

ENOne of the most important Lithuanian interwar theater events, “Šarūnas” directed by Andrius Oleka-Žilinskas, was produced at this very time – at the turning point of the third and fourth decades when Lithuanian culture experienced the necessity to renew its artistic language. However, the renewal of stage language inspired by “Šarūnas” evoked a strong opposition of the Lithuanian theater society. Modern theater direction principles and language used in plays such as “Šarūnas” were misunderstood and incorrectly interpreted by the Lithuanian audience that cherished literature theatre traditions, and resulted in miscommunication. Thoughthebroadconceptofnationalitywasformedin the Lithuanian culture of that time, it did not function in the fieldoftheaterperception. Plays were accused of disdaining the native land and having dangerous soviet influences,whereasproductionslike“Šarūnas”werejustamodernreflectionofnationality, expressing both the vitality of the primitive concept of national theater and the Lithuanian interwar culture’s fear of Russia, which was partly related to the theatrical immaturity of the Lithuanian society of that time. [From the publication]