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.