Siaubingosios Motinos archetipas A. Strindbergo pjesėje "Sapnas" ir pagal ją pastatytame J. Vaitkaus spektaklyje

ENAugust Strindberg (1849-1912) was Swedish playwright, the first who used surrealist stylistics in literature, the father of modern theatre. He studied dreams, unconscious, mythology, religion, occultism, gnosticism and used this knowledge in conventional dramas, written in his late period of creation: “To Damascus” (1898-1904), “A Dream Play” (1902) and “The Ghost Sonata” (1907). In this trilogy A. Strindberg opened archetypes of collective unconscious. In “A Dream Play” playwright talks about the archetype of Terrible Mother. This article is dedicated to look how this archetypal image is represented by A. Strindberg and in the performance of Lithuanian director Jonas Vaitkus. The Terrible Mother – symbol of unconscious, she can have forms of monsters, ghosts, she is a queen of material reality, pain and death. Also she symbolizes rebirth, when human soul can escape through death from this material world like a prison. In “A Dream Play” the archetype of Terrible Mother is conveyed through life-dream metaphor, when the material reality portrayed as illusory dream world consisted of the contradictory poles of good and evil. The main character Daughter is dreaming three dreams, in which A. Strindberg shows three aspects of Terrible Mother – time, recurrence and pain. In “A Dream Play” of J. Vaitkus time and recurrence are expressed through repeatable music, elements of scenography and misanscenes. The Terrible Mother is shown as a time and environment in which director lives. J. Vaitkus quotes his and others Lithuanian theatre directors, performances, analyzes post-Soviet identity and looks to mass culture with irony. J. Vaitkus creates the crowd character as a symbol of Terrible Mother, the crowd does not allow other characters to escape from material reality.Actors use an alienation effect, when the audience does not identify themselves with characters, but looks at them with critical view. J. Vaitkus creates dialog between his and writer’s interpretation of life-dream metaphor using postmodern theatrical features: self-reflection, intertextuality, irony, polyphony and musicality. [From the publication]