Aldonos Liobytės ir Kazimieros Kymantaitės inscenizacija Antano Vienuolio apsakymo "Paskenduolė" motyvais
LTStraipsnyje analizuojama Aldonos Liobytės ir Kazimieros Kymantaitės in scenizacija - 1956 m. pagal Antano Vienuolio apsakymą „Paskenduolė“ sukurta to paties pavadinimo 4 veiksmų 5 paveikslų pjesė. Pirmoje straipsnio dalyje pristatoma sovietmečiu teatrui ir dramaturgijai taikyta cenzūra, aptariamas tuometinis inscenizacijos žanro populiarumas. Remiantis išlikusiu Liobytės ir Vienuolio susirašinėjimu, rekonstruojama pjesės genezė bei nesutarimai tarp pjesės ir novelės autorių. Antroji straipsnio dalis skirta pačiai inscenizacijai aptarti. Svarstomi prozos ir vaidinti skirto kūrinio ypatumai bei inscenizatorių pasirinkimai: sekimas novele ir dramaturgijos žanro diktuojamas nutolimas nuo jos, socialistinio realizmo primesti pasirinkim ai bei pagrindinės pjesės veikėjos interpretacija. [Iš leidinio]Reikšminiai žodžiai: Inscenizacija; Teatro cenzūra; Socialistinis realizmas; Stage adaptation; Theatre censorship; Socialist realism.
ENThe author of the article analyses the play Paskenduolė (The Drowned Girl) in four acts and five scenes written in 1956 after Antanas Vienuolis’s short story of the same title. It is one of the three stage adaptations by the writer Aldona Liobytė and the theatre director Kazimiera Kymantaitė. Paskenduolė is their most successful: in 1937, the theatre director Kazimiera Kymantaitė and some of the actors engaged in the play were awarded the state prize, the play was performed 500 times, was shown on many stages in the periphery of Lithuania, and enjoyed success in Riga, Moscow, and Tallinn. The popularity of stage adaptations during Soviet years was explained by the period’s political situation and ideological requirements: as drama works acceptable to the Soviet authorities were in shortage, prose works that met the ideological demands were adapted for stage. The path of Paskenduolė to the theatre stage presents the complex censorship apparatus of the Soviet period: the play underwent censorship at the playwrights’ section of the Writers’ Union of the Lithuanian SSR; the rehearsed play was discussed by the art council of the theatre; the representatives of the Board for Art Affairs under the Ministry of Culture attended the dress rehearsal, and, last but not least, the author of the short story, Antanas Vienuolis, also submitted his observations. The never-ending consideration of the play gave rise to tensions between the co-authors of the stage adaptation and Vienuolis. The author of the article concludes that stage adaptations abound in the creative legacy of Aldona Liobytė due to the nature of this genre. It fitted well among Lioby tė’s other "invisible" works; also, it is a genre positioned between prose and a performance, and it lasts as long as it "serves" the production of a play.In the second part of the article, the author discusses the stage adaptation itself. She deliberates on the peculiarities of prose and a prose work suitable for stage as well as on the choices of the authors of stage adaptations. In adapting Vienuolis’s short story for stage, not only did Liobytė and Kymantaitė have to tune the faithfulness to his work to stage requirements, but also to accommodate the demands of censorship and ideological requirements. The authors of the stage adaptation followed Vienuolis’s work by echoing its lexicon and preserving the plot of the short story; they added some emphasis on the main developments of the plot and sharpened the plot lines. On the other hand, they digressed from the short story by introducing new characters that were necessary to show the perspective of the main heroine. According to the principles dictated by socialist realism, the characters’ interpersonal relations had to be shown in the light of class antagonism thus reducing the characters’ independence, while officially promoted optim istic image of the woman enabled treating the main heroine purely as a victim by connecting the interpersonal relations between sexes with class antagonism. [From the publication]
