The great poet of the stage

On November 20, Aimuntas Nyakroshus left

It has long been not ours - the world, but in the Soviet years, and in recent history, when Lithuania became a separate country - the great director. The great poet of the stage. One of the very few on the globe has the way of the theater as a conversation with the creator. One of the very few who can see the secret and flour of being through a stage metaphor. Heaven and Fire, Earth and Water, Stone and Blood, Wood and Lead - From these matters, the gloomy Lithuanian hermit built his theater.

... Witches, interfering with their hellish brew in Macbeth, a happy desademona in red, flying and soaring over the stage, a huge block of ice, which is overwhelming on Hamlet’s head, a ghost growing above his son, smooth, gullible movements-tiles of Nastasi Filippovna, people Boris Godunov, forever shod in the colleges,-nyakroshus not Melshchi.

His thoughts about life shocked. He, not asking, destroyed what is now called the “comfort zone”, torn the viewer from warm earthly dreams for the sake of light and cold of other worlds.

For the sake of the truth, to which he strove with peasant perseverance and sequence.

Aimuntas Nyakroshus did not like to talk. He rarely smiled. Equipped publicity and fuss. Its performances are ruthless experiments of metaphysics given to contemporaries in sensations. In them, rage and challenge, the finest understanding of love and vice, the tube power of the questions that he put, asked, left unanswered.

It was hard for him to carry what was entrusted to him, he made shoots, but he did not want to and did not know how to do anything else. He pulled him and kept a number of interlocutors, on the dialogs with whom he spent himself and his life with whom he was looking and created his other language: Dante and Donelaitis, Goethe and Dostoevsky, Pushkin and Chekhov, Shakespeare.

Shakespeare of Nyakroshus is the greatest event of the scene of the XX - XXI century. But even something more-protruding beyond the boundaries of the theater, beyond the boundaries of history. Emuntas on the stage was engaged in everything - the gait of the hero and the meaning of his existence, the rhythm of speech and the drawing of the mise -en -scenes, but as a result, something more arose than the performance, no one would say.

The sky generously shed its gifts on him.

But, it seems, he was not going to live long. Only until then, while he will be able to work in the full strength of breathing. To die like Job, rich in days, was not his fate.

His fate was to put a performance about Job, to go in circles of his hell - and let go into the air of time. He seemed to experience the maximum formats of life with his heroes - with Faust, Hamlet, Myshkin, Caligula, Othello. The greatest seriousness of his performances always had a bright inside - humor, tenderness, fun ...

The Baltic House Festival and the Festival “The Seasons of Stanislavsky” are those cultural institutions thanks to which Russia knew its performances in the 21st century. He made the most important with his actors from Meno Fortas. But these are not his actors orphaned, the theater universe was empty.