Maurice Maeterlinck "Pelléas and Mélisande",
Harold Pinter "Caretaker",
Teki Dėrvishi "Late Coming Bones",
Rainis "Blow Wind!",
Olga Muhina "Tanja, Tanja"

Maurice Maeterlinck "Pelléas and Mélisande", THEATRUM Tallin, Estonija
This production examines once again the positions of our traditional psychological theatre. The mistery of love and death.
2 parts, 2 h 20 min
Director Lembits Petersons,
Designed by Lilja Blumenfelde
Actors: Anneli Tuulik, Marius Peterson, Leino Rei, Mart Aas, Lembit Peterson, Ülle Kaljuste, Andri Luup.

Author Maurice Polydore Marie Bernard Maeterlinck (1862 - 1949)turned to literature at a young age. In 1889 he published his first collection of poems and a play "La PrincessMaleine". This already demonstrated his interest in themes of love, death and sacrifice, treated in stylised and poetic language, which came to characterise the symbolist movement in theatre. First performed in1893, Pelleas and Melisande inaugurated the symbolist Theätre de I'Oeuvre and became recognised as the masterpiece of symbolist drama. Through this and his other works, including L'Intruse, Les Aveugles and L'Oiseau bleu ,Maeterlinck influenced a generation of great theatrical figures: Stanislavsky, Meyerhold, Artaud, Gordon Craig. In 1911 Maeterlinck was awarded the Nobel Prize for Literature for his work as a playwright, poet and essayist.

Studio THEATRUM was founded 8 December 1994 by the theatre students and professors - Lembit Peterson, Juhan Viiding - of the Estonian Institute of Humanities. "In the small THEATRUM seems to protest aginst the prevailing spirit of the time. A upstream to the general fashion in Estonia, to the mainstream culture and - especially - to the urge to sell." (Mihkel Mutt, Päevaleht 12 March 1998). Principal productions: "Mirage of love"(1995) a selection of Anton Chekhov's short stories in the Old Town Music House is performed by EIH theatre department students, "Adam's Play" (1995) a 12th-century half-liturgical drama, performed in the remains of St. Catherine's Church. "Blessing of a Cracked Mind"(1995) by H. Raudsepp, "Little Tragedies" (1997) by A. S. Pushkin, "Long Steps" (1997) by A. H. Tammsaare - K. Kaasik-Aaslav, "Little comedies" (1998) by Anton Chekhov. "Antigone"(1998) by Jean Anouilh, "The Force of Habit" by Thomas Bernhard (co-production with Eesti Draamateater), "Pelléas and Mélisande"(1999) by Maurice Maeterlinck. Lembit Peterson has been honoured by the annual state culture award for the productions "Little comedies", "Antigone", "The Force of Habit" and "Pelléas and Mélisande". THEATRUM is one of the co-organisers of the annual TRIALOGOS festival. It is a valiant restoration of theory and literature in live performance.

"Pelléas and Mélisande" is typical production of THEATRUM - the sign of a researcher process which has is developed the quality of artistic production. Maeterlinck's idea of the diminishing of an actor in the poetic theatre to the level of a marionette, has found its own interpretation in the original creativity of Lembit Peterson's production. In the performance it is amazing how spaciously he shows a thought in this almost still face, how do flow the calming words flow, how understanding can be ashieved in a glance, close here and far away at the same time. The static exterior and the scheme of limited movement, the clear and elegant gesture, free from properties (a sword, a ring and everything that is used with the help of imagination) gives freedom to recognise various spiritual states. 19 short episodes that follow each other with extreme exactness create a pulsing rhythm of life. It is hereby impossible to describe how human desires are been mediated into poetry.

Pinter's breakthrough came with " The Caretaker" in 1960, where the audience could indentify with the generalized symbolism of struggle between a pretentious but decrepit old tramp and and two brothers, each of whom stakes a claim to possession of a room piled with junk: a home of one's own, the competition for material possessions .Rejecting all "didactic or moralistic theatre " as "sentimental and unconvincing", Pinter presented deliberately ambiguos images of almost anonymous people victimized by nameless forces or threatened by apparently motiveless games of dominance and subservience. This play is about the man who does not know what is true and does not live according to principle "Do as you please". Old man Davis is a "very difficult case"!

Director Yuri Butusov (1961) graduated from the Academy of drama St.- Petersburg (1996) studied in the master -class of G.Tovstonogov. Has directed in St.-Petersburg "Theatre on Liteyny" : "Godo" by S.Becket, "Caligula" by A.Camus, "Voyzeck" by G.Buchner. "Contrary to the view that the philosophical lines of these plays are inorganic for the actors, I have always found them humanly alive and thrilling". (J.Butusovs) In 1999 he received Award of Stanislawsky and was awarded with the "Golden Mask" Award in Russia (1998), in the St.- Petersburg festival "Golden Sofit" (1997). His production "Godo" was The Best performance at the festival "Goden Mask" in Russia (1999).

Performance. This production of "The Caretaker" is an allegory in the genre of tragic farce. The director has apparently "de-modernized" the play since he does not try to penetrate the conceptual diversity of its text, but rather to develope the actors' dramatic performances. With their psychological and highly professional performance, the actors connect the shreds of the dialogue. The ritualized conversations of the characters form a seemingly thin layer of reality, which makes one think of the The essence of Being . "The theme of the total solitude is solved by the director as a sketch of common day reality…" Vladimir Polushko Have the ideas of the absurd from the 60-ties turned into present-day reality?

Teki Dėrvishi "Late Coming Bones", Theater of Nationalities Albanian Drama Skopje
The name means memorized history, genesis, gene.
65 min
Director Vlladimir Millčin
Stage Designer Krste S. Xhidrov
Costume designer Bllagoj Micevski
Actors Refet Abazi, Bajrush Mjaku, Mejdi Alidemi,Visar Vishka, Teuta Ajdini, Flora Kadriu,Ajeta Rexhepi,Visar Rexhepi, Petrit Neziri, Luran Ahmeti, Sabedin Selmani, Ylber Murtezi

Ismail Kadare, a living classic of the Albanian literature, whose works have been translated into 40 languages, has been often nominated for the Nobel Prize. Teki Dervishi, a dramatist, believes that a Cosovo Albanian author cannot remain outside politics. The authority of Teki Dervishi, which is respected even by politicians, is based on the uncompromising integrity of his personality. " we are not an oddity, we are governed by rule of law", he says about the fate of the Albanians, and is positive that Islamization is the cause of all Albanian troubles. The theme of human and national identity has been realized in this production by means of superb acting and audio-visual atmosphere.

Director Vladimir Milcin (1947), a theatre director and professor of acting at the Faculty of Drama Arts, University St. Cyril and Methodius in Skopje. Graduated from the Academy for Theatre, Film, Radio and TV in Belgrade, 1970. In 1970 he established the Theatre at Saint Nikita the Naked, an alternative theatre group which opened with a ritual theatre performance in a monastery in the mountains near Skopje. In 1980 he established the Theatre Workshop at the Faculty of Philosophy. Between 1970 and today Vladimir Milcin has directed more than 60 productions in a number of theatres in former Yugoslavia in Macedonian, Albanian, Turkish, Hungarian and the Serbo-Croatian languages. A couple of his productions were followed by negative reactions by communists in `70s and early `80s and by nationalists later on. In June 1991, in the Yugoslav Drama Theatre in Belgrade, extreme Serbian nationalists, priests and members of Voislav Sheshelj`s Party interrupted Milcin`s production of "Saint Sava", a play written by Serbian playwriter Sinisa Kovacevic. His experience with Albanian theatres includes National Theatre - Tirana where he directed Buchner`s "Danton`s Death" (1996). In 1998 Milcin was awarded as Best Director in Macedonia for "Late Coming Bones" (1998). In 1999 Milcin directed "Crazy Ibrahim" by T. Oflazoglu with theTurkish Drama Company/Theatre of Nationalities (Best Production at the Festival of Theatres in Macedonia) and "Le Roi Ubu" by A. Jarry for the Ohrid Summer Festival. His productions toured Italy, Czechoslovakia, Bulgaria, France, Russia.

Performance. The text is based on a motif from the novel "Pallace of Dreams" by Ismail Kadare. The theme of human and national identity has been realized in this production by means of superb acting and audio-visual atmosphere. In its core the play is a dramatic conflict of an individual and the system that is in a panic trying to keep itself alive by oppressing its subjects. Through out the rest of the play Mark Alemi the main character in the play becomes Abdullah, then Gjorg Kupruluoglu ( a mutant Turkish Albanian name) and in the end he returns to his own name but this time he can pronounce it himself. "Late Comming Bones" is an encoded narrative about the power of cultural roots, most recognizable among small, socially endangered nation.

Rainis "Blow Wind!" The Art Theatre, Riga
"No poetic clouds. Impulse, will, action. No quiet grinding or calm, serene singing of folk-songs." Guna Zeltiņa
3 h
Directed by Olģerts Kroders
Stage designer Aigars Ozoliņš
Performers Juris Žagars, Gundega Ozolīte, Indra Briķe, Vita Vārpiņa, Lilita Ozoliņa ori Velta Straume, Harijs Spanovskis, Dina Kuple, Akvelīna Līvmane, Artūrs Skrastiņš, Ligita Skujiņa, Juris Straume, Pēteris Šiliņš.

Rainis (1865-1929) is one of the most outstanding European playwrights of the first half of the 20th century - if we judge by the intensity of philosophical thought and uniqueness of style. Rainis' multilayered plays encompass Indo-European mythology, the cultures of Ancient Egypt and the Bible, modern philosophy, Latvian folklore, thus broadening his thought to the scale of the whole of mankind. Rainis deals with archetypal conflicts, but at the same time his plays are deeply national. One of the central themes is the man of the future, who would harmoniously unite the rational and the spiritual. The path leading to this ideal - through love, self-sacrifice and suffering - is the core of many Rainis' plays. The basis of the play "Blow, Wind" is an old marriage rite, and its title is borrowed from a song, full of bravado, sung by young men in pubs. Two reckless boatman of the Daugava river arrive at a farmstead, looking for brides. In spite of tradition, the wishes of this small community and fate, Uldis chooses the orphan Baiba as his bride. But Baiba cannot accept happiness, and tramples on the feelings, longings and hopes of others. She wants to keep the ideal of love, but that is possible only in death. This play belongs to the classic heritage of Latvian literature; it is one of the most frequently staged Latvian plays and has also made in to a movie.

Oļģerts Kroders (1921) During his fifty-year long career he has created productions that have turned into brilliant legends and have influenced the aesthetic and ethical views of several generations: "Maria Stuart" (1976), "Crime and Punishment" (1977), (1994), "Bride without a Dowry" (1982), "Hamlet" (1984). "Sea-Gull" (1987), "Pier Gynt" (1997). "Juns Gabriel Borkman" (1999). The artistic style of the director unites ideological skepticism of maturity and youthful brilliance of form.

Performance. Captivating and witty performance, modern interpretation of the national mentality. "…self-evident truths of this classical play become offensively topical… Kroders says so many unpleasant, indecent thing concerning the concepts "nation, national mentality", that after this performance one is left with the wish to lead a better and more ordered life. The emphasis on sensuality and sex as crucial driving forces in life is delightful." Critic Normunds Naumanis. Rainis' poetry has expanded into prose. The texts on virtue and bashfulness spoken by people of this age sound ironic. The director is more skeptical than the author, he does not believe in the possibility of changes in man or woman under the influence of love - man is unable to break free of himself, even when revolting against tradition and social determinism. "For O. Kroders "Blow, Wind" is not an anthem, uniting all Latvians, but truly a drunkards' song." Critic Lilija Dzene.

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Olga Muhina "Tanja, Tanja", Creative association "Ceturtais prožektors" /The Fourth Floodlight/ at the independent theater "Skatuve"
1818 People are walking, drinking, talking nonsense, but, in fact, hearts are breaking here.
Six sad and two funny love stories with poisoning
Duration of the performance 2 hours
Directed by Zane Kreicberga
Stage design Dzintars Krūmiņš Author: Olga Muhina
Actors Evija Elste, Zane Burnicka, Anita Sproģe, Egons Dombrovskis, Andris Makovskis, Dzintars Krūmiņš, Vigo Roga

A dramatist of the young Russian generation. Rather than by a story line, her plays are dominated by atmosphere, and purposeful action is replaced by "lyrical waves", poeticized by everyday speech. Muhina does not talk about life, does not deplore life, but presents a lifestyle, a chaotically lyrical one, like in the play "Tanja, Tanja", which reveals relationships within the boarders of a amongst in a summer house outside Moscow of the 80-ties. The play allows one to trace an allusion to Chekhov; the characters of the play recognize the names of his heroes, such as Ivanov, uncle Vanja. "This play is like poetry, where a nostalgia for the past has merged with the harshness of the existence in the 90-ties." (M.Zieda)

Director Zane Kreicberga (1971). Actress in the dramatic and mime theater. Productions: "The Room" after J.P Sartre (1997), "Good Person from Szechwan" by B.Brecht (1998), several children's productions, "The World of Joker Buster" by B.Reuter( 1998), "Pake" by B.M.Ringle (1998), which harmoniously blends the adult and child's point of view and time experience, poeticism, kind-hearted humor, poignancy and the aesthetics of postcards, children's games and fairy tales all with a tinge of irony. The director is most interested in the theater of the actor's expression.

Performance. Feelings and passions in the relationships of six lonely people. They meet in a summer house in the outskirts of Moscow and the only thing they wish for is: to be loved. And no one understands why uncle Vanja has put poison in everyone's milk. A polygon of love in abstract space and time, a slight stylization of the 80-ties, Alla Pugachova's voice. The performance is like fragments of a slashed movie about "some individuals searching for happiness", fluctuating from nostalgic, even depressively-hysterical moods to ironic self-reflection.