Realaus meno bendrija. Oskaro Koršunovo teatro pradžia
The real art community. The beginnings of Oskaras Koršunovas’ theater

Summary/Abstract: The article analyses the first productions of Oskaras Koršunovas, put on stage in the years 1991–1994 and based on the texts of Russian authors Daniil Kharms and Alexander Vvedensky. Recalling plays and the audience’s reactions back then, the author of the article emphasizes the freshness of Koršunovas’ productions in the context of Lithuanian theater at that time, distinguishes the trends in direction that influenced Koršunovas most, and associates these trends with the political, social and cultural situation in the country.With the help of modern theater art methods, the article’s author differentiates the style and aesthetics of Koršunovas’ productions, having elements of both avant-garde creations of the beginning of the 20th century and of the late 20th century post-modern and post-dramatic theater. Addressing the director’s methods of expression and his innovations in acting and stenography, the article aims to link these with examples of Russian theater of the 1920s and 1930s as well as with works of Lithuanian artists in the 1990s. Changes in the perception of grotesque, satire, farce, as well as of direction and stage dramaturgy in the 20th century and on Lithuanian stage are analysed.Koršunovas’ productions appeared to be difficult to describe or retell, requiring a generalization of historical and cultural context for interpretation. Contrary to current productions by Jonas Vaitkus, Eimuntas Nekrošius, and Rimas Tuminas, Koršunovas’ “OBERIU“ trilogy demonstrated a great divergence from classical theater and closer resembled the post-dramatic theater model that questioned strategies of traditional scenic mimesis. On the other hand, by distancing themselves from specific reality, Koršunovas’ productions even more suggested the sensation of this reality – the quintessence of an illogical, chaotic, unknowable and incomprehensible world capable of presenting itself only through tragic-satirical and tragic-grotesque signs.

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