SETKÁNÍ/ENCOUNTER

"Hamlet" is the performance-walker for three locations. The far-fetched existence of artists allows you to combine all kinds of genres: kabuki, pantomime, clownery and a rock concert. The performance begins in a scenic space where we Imagine that the troupe of wandering artists with whom Hamlet played performance in front of Claudius had just returned from Elsinore, where they fell into the midst of palace intrigue, murder, love and betrayal. These artists will present their views on the most famous story in the world about revenge, because only they saw it personally and know how everything was in reality. And to whom, if not wandering artists to tell this story? Indeed, in their arsenal of music, clowning, pantomime, plastic theatre and other theatrical directions and means of expression that they mastered while travelling around the cities. And you will also have to make a short trip: at the beginning, you will be guests at the funeral and wedding, then you will be invited to the palace, where the local prince is crazy and, as a result, the action will be mixed on the stage, where the same mousetrap performance will take place and passions will unfold, truly a Shakespearean scale! Watching the performance, one should not forget that these are only artists and everything that happens in front of the viewer is nothing more than a booth. Therefore, if you want to laugh - you need to laugh boldly, if you need to argue with the artist - you need to argue, it’s not forbidden to cry at certain points, and if the actors’ play was delighted, it’s definitely worth rewarding them with hard currency. All this is the freeway to play, where the viewer becomes an accomplice in the performance, and, sometimes, can even change the whole story!"

"“I didn’t call him a psychopath. I called him a psychopathic stock broker.” A son of socialists brings his new partner to a family dinner. A child takes pictures with crying strangers. A woman brings out the Kleenex to satisfy her fans. “Frothing Mouths. Hungry Eyes.” is a play that serves a kaleidoscopic view of a fractured world in which people hope and long for love and care, but where the norms of our society and immediate surroundings have permeated our minds to such an extent that a pure connection seems almost impossible. In a staging that moves from the absurd to the realistic whilst the language takes the reverse turn, the play also asks the question: Which truth do we recognise? “I turn around, giving them one last glorious look, and I see the frothing mouths and the hungry eyes, I see the binoculars, I see the camera lenses and the drones outside my window.” Review by Marcin Rudy, Head of Movement at East15 and former member of Song of the Goat Theatre: “Frothing mouths. Hungry eyes” is like Marmite - you either love it or hate it. A big majority of people I spoke to loved it, including myself. It is not a linear story that the audience follows. Instead, it is a collage of scenes, impressions on our reality. A very skilful group of actors make us watch, and hopefully, reflect on topics like our relation to elderly people, immigration, climate change, plastic surgery and many, many more urgent matters. We do not watch a lecture with plenty of facts, graphs and data. Instead, the company uses a very specific and original sense of humour to lead us through the performance. It is light and funny but at the same time makes us think about those issues. Very clever and original type of theatre. Highly recommended.”"

"“I didn't cover up my ears. Everyone covered theirs up and I alone didn't cover mine and therefore I alone heard everything. Similarly, I didn't blindfold myself with a rag, as everyone else did, and therefore I saw everything. Yes, I alone saw and heard everything. But unfortunately, I didn't understand anything and, therefore, what was the value of me alone seeing and hearing everything?” - Daniil Charms The play tells the story of a writer trying to survive in the preposterous and absurd reality. The protagonist fights against the nonsense of life with the only available weapon - his imagination. Imagination turns the performance's engine on. Logic and rationality dissolve in the theatricality of the play. Violence and cruelty prevail in the background of the performance. However, all characters openly play on stage, because if they did not play, they would die. And for the viewer, the efforts of the characters turn into scary and funny scenes, something reminiscent of their very being. ""The young director Augtumas Danielius Harner was able to master precisely the directorial style of the young Oskaras Koršunovas [head of the 3rd year class of acting and directing in the LMTA], the aesthetic of ""silent cinema"", which his teacher used in his early plays by the works of the Russian OBERIU movement authors [Daniil Kharms, Aleksandr Vvedensky]. The impulsive rhythm of action, cunning acoustic accents, dynamic mise-en-scènes, macabre manners, pantomime, clowning, object equilibria, witty grimace, grotesque mimics, angled black jackets. Director Harner and his actors seem to have seen it all before and have understood it very well."" - Theatre critic Jurijus Lozoraitis (original text “Proceso dalyvio samprotavimai (II)” in art magazine “Literatūra ir menas”)." Hra vypráví příběh spisovatele, jenž se snaží přežít v nesmyslné a absurdní realitě. Protagonista bojuje proti nesmyslu života jedinou dostupnou zbraní - svojí představivostí. Představivost je motorem inscenace. Logika a racionalita se rozpouští v teatralitě hry. V pozadí hry převažuje násilí a krutost. Všechny postavy však otevřeně hrají na pódiu, protože kdyby nehrály, zemřely by. A pro diváka se úsilí postav mění v děsivé a zábavné scény, připomínky existence jich samotných. „Mladý režisér Augtumas Danielius Harner dokázal precizně ovládnout režijní styl mladého Oskarase Koršunovase (vedoucí 3. ročníku herectví a režie v LMTA), estetiku „tichého kina“, kterou použil jeho učitel v jeho raných hrách na základě práce autorů ruského hnutí OBERIU (Daniil Kharms, Aleksandr Vvedensky). Impulzivní rytmus akce, rafinované akcenty, dynamická mizanscéna, podivné chování, pantomima, klauniáda, rovnováha předmětů, vtipné grimasy, groteskní mimika, šikmé černé bundy. Zdá se, že režisér Harner a jeho herci to všechno viděli už předtím a velmi dobře porozuměli.“ - Divadelní kritik Jurijus Lozoraitis, Literatūrairmenas (umělecký časopis ""Literatura a umění"")"

"""Corset"" is a post-dramatic piece of collaborative creation that talks about life in a society that conditions and damages everyone who moves away from the canon, oppressing their way of being and expressing themselves. We can summarize the piece in a personal revival. An explosion from the introspective inside to the outside world. The greater the repression, the greater the explosion. The work is composed of sequences inspired by real and personal experiences, avoiding the psychological field. Trying to present here a plastic piece in which we create images to generate different sensations and visions in each person of the audience. Through the senses. It is not intended to tell a story; We seek to express a great truth that surrounds us, hoping that this is the “beginning of the end”, a celebration. The end of an era that gives birth, which consolidates a new one that does not know about unattainable horizons."

"Prince Leonce from the kingdom of Popo and princess Lena from the kingdom of Pipi are devoted to each other by a decision of their houses. They are trying unsuccessfully to escape and find their own luck. The Council, however, is a closed circle. When arriving back at the point from which they started they find the information from which they believed to have fled - Prince Leonce finds the right words for their disappointment: ""Ah, Lena, it seems to me that this was an escape to paradise."" Paradise is in this case interpreted in quotes - precisely when it hits them how unfortunate they actually are. Freedom and escape to freedom are the ones who are the main driving element of this work. Leonce inspired by Valerio who is free both in its ideas and real life, finds a much-needed spark that encourages him to run away from home. Büchner, who grew up on the ideas of the French Revolution, committed to the basic idea of ​​revolution Fratelli, Egalite, Liberte, and therefore it is not surprising his premise to write about a free man. Leonce and Lena fell in love with mask their identities, in their false ""me."" The peak of absurdity lies in the paradox that Leonce and Lena at the same time get what they want and they did not want - they were married to the one they wanted, but they could not get married to the own they did not want. The question is whether they are free or not? The main driving action torque was the desire from Leonce and Lena to escape the fate imposed upon them. They question the terms of love and freedom, marital fulfillment or self-realization of identity. In this case, the free young people who seem to choose their own path. In contrast to the mature Hamlet finally realizing that his destiny imposed by birth, Leonce and Lena are completely trapped in existential role that is imposed - other people's projections of their identity."

"""Corset"" is a post-dramatic piece of collaborative creation that talks about life in a society that conditions and damages everyone who moves away from the canon, oppressing their way of being and expressing themselves. We can summarize the piece in a personal revival. An explosion from the introspective inside to the outside world. The greater the repression, the greater the explosion. The work is composed of sequences inspired by real and personal experiences, avoiding the psychological field. Trying to present here a plastic piece in which we create images to generate different sensations and visions in each person of the audience. Through the senses. It is not intended to tell a story; We seek to express a great truth that surrounds us, hoping that this is the “beginning of the end”, a celebration. The end of an era that gives birth, which consolidates a new one that does not know about unattainable horizons."

"Now the world above burns incandescent And stars have fled into the solitude of ignorance. So in these midnight rooms, Beneath the chaos of the world, Amongst the dying thud of passion’s heartbeat And the rot of chemical excess, Our fires, Which once danced amongst the life of the world Now gutter in the dark Alone.’ – GABRIEL FLOYD (student at RCS / cast member) Based on William Shakespeare’s ‘A Midsummer Night’s Dream’, HERMIA’S DREAM attempts put the themes of the play into a contemporary setting. Using intense movement and a thudding heartbeat of bass pulsating throughout, the words of Shakespeare and the well-known story are thrown into a new light. The piece tackles immediate issues affecting young people in the society around us. including mental health, youth climate action, misogyny, and drug use. It also deals with themes of displacement, the climate crisis, dreams and the ignorance of youth. Using the lovers’ scenes and other Shakespeare speeches as a skeleton, as well as other pieces of poetry chosen by the group (including original poetry from cast member Gabriel Floyd), the cast conceptualized the piece and devised movement to fit their dynamic and contemporary style."