PREMIERE
16+ years
55 min.
Dance Theatre
Idea: Sanja Tropp Frühwald, Gytis Ivanauskas
Choreography & Direction: Sanja Tropp Frühwald
Direction assistence: Gytis Ivanauskas
Performance: Agne Ramanuskaite, Brigita Urbietyte, Ieva Simukauskiene, Evaldas Taujanskis, Paulius Tamole, Naglis Bierancas
Music: Tomas Petraitis (Queen, Depeche Mode, Dead Kennedys, Tuxedomoon, The Knife)
Singing coach: Indra Akelaityte
Costume design: Juozas Statkevicius
Costume design assistence: Karina Leontjeva
Set design: Sanja Tropp Frühwald, Gytis Ivanauskas
Scenography production: Modestas Kulikauskas
Technical direction: Andrius Matusevicius
Graphic design: Dovile Dzervute
Camera & promo video editing: Lithuanian Information Dance Center
PR & marketing: Clinic 212
Coproduction: VRUM i Gytis Ivanauskas Theatre
Photo: Dovile Dzervute, Dmitrij Matvejev
The play uses chapters from "Ferdydurke" by Witold Gombrowitz and texts created by the ensemble.
The project was realized in 2009 inside the premises of the Printing arts house and UAB Alyvu,Vilnius, Lithuania, Liberdance studio, Zagreb, Croatia and is supported by the Choreoroom 2009 Programme.
The Project was supported by the Ministry of Culture of Republic Croatia and Ministry of Culture of Republic Lithuania.
First Performance: Vilnius, Arena Theatre, on 11 December 2009.
Acknowledgements: Vaiva Užaite, Natalija Jakovleva, Adele Overlingaite, Till Frühwald, Mirna Žagar, Sanja Raca, Rajko Pavlić, Jurgita Balsyte and Mulen Ružas staff
“Premiere” is a contemporary performance art creation that tries to take remains and traces of a particular action as a frame for a theatre act, as a starting point for researching the theatre as a medium. We approach to the issue of theatre action from the point of observing what is left from a certain experience, what does body remember from the act that finished before this performance started and both visible and invisible signs left by something lost. We are listening to the echoes of movements, memories and are looking at its performative traces. Those are confirmed only through inconsistent moments between realization and dissolution and we can not name them or finger-point them, because they “leak”.
In these moments of loss we are offered an understanding of many realities where our picture of the world makes only one of them.
Action is placed in a setting that marks positive discrimination of performers memoires, but is offering a potential exit for a new creation from what is not destroyed, taken or used up. “Premiere” talks about corruption and taintedness, but as well about its own counterpoint: continuity, repetitiveness, new chances.