Tylos erdvės / Spaces of Silence


  Jolanta Sereikaitė                     Zen Spirit in a Poetical Performance


Extract  translation from “Literature & Art”- Vilnius, Lithuania Oct. 21, 2005


On September 23rd there was a theatrical performance of Lidija Šimkutė's book ”Spaces of Silence” in the Gothic Hall at the Vilnius Art Academy. The power of the word is progressively declining in our visual community, but such sensitive movements, words and imagery connections become a bridge among selective readers and viewers.

Theatre director and actor Gediminas Sederevičius produced the performance e and played  Japanese flute. . .He used Lidija’s reading with dance movement and transformed the performance into a sacral event. His created persona at the end of the spectacle embodies a shaman – wanderer who lets sand fall out of his hands on white sheets of scattered paper - symbolizing our temporary state. He lets reeds which he carries on his back fall to the ground reflecting Lidija’s distinctive voice. This is taken up by complimentary Japanese flute and percussion sounds which blend in with dance movements and the use of nature elements. Lidija’s poetry harbours primordial images of the world, those mythical beings in tune with our inner, individual experience. All this was interpreted in the director’s own way.

The postmodernism of the performance was lyrical and didn’t steer away from the main source of its material – poetry.


The Vilnius Art Academy Gothic Hall complimented the “wind and bones” of Lidija’s: mythical poetry space, for what is ancient and that which has a history often transforms into her poetical core. In the pale yellow and white hall Goda Laurinavičiutė moved aesthetically with sensitivity and her movements united Lidija and Gediminas’ presence. In the silence, dance and music pulse a fourth person emerged playing percussion – Vytautas Varanka. He complimented the poet’s monotone, deep voice. On occasions his playing emerged from the silence as an independent musical line.


The unity of poetry, music and dance was strengthened by Slava Karmalita’s vision in the use of ticking clocks, scattered paper and reeds.



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