With Victor, or Children in Power, director Gintaras Varnas aims to continue a long-running cycle of surrealist theatre (Federico García Lorca's If Five Years Had Passed by, The Audience, Sombras, Guillaume Apollinaire's The Breasts of Teiresias, etc.). The main inspiration for the direction was the social criticism reflected in the work. According to the director, it could be like a kind of chamber variation of Aldous Huxley's "Brave New World".

The director speaks out against the primitivisation and modernisation in theatre and raises the question of whether a small person has the right to destroy the prevailing stereotypical order of society with his play. He argues that it is a witty satirical parable from the 1930s about the family and the false and hypocritical, cowardly and bourgeois world of "welfare" created by parents, which is happily subverted by rebellious little anarchists, nihilists, and bully children, and that it is therefore necessary to believe that today, in the 21st century, the world of the "welfare" is not the same as the world of the children.

Roger Vitrac (1899-1952) was a French surrealist writer, playwright and poet. Born in Pinzac, he moved to Paris in 1910. From 1922 to 1928 he was involved in Surrealist activities, publishing a Dada manifesto, publishing the magazine Aventure and contributing to the first editions of La Révolution Surréaliste.

After splitting from the group with Antonin Artaud, they co-founded in 1926 the Alfred Jarry theatre, where he wrote some of his most important Surrealist plays. Victor, or the Children in Power was the second work of Vitrac and Artaud. It premiered in Paris at the Comédie des Champs-Elysées on 24 December 1928, Christmas Eve.

With this play, Artaud and Vitrac dreamed of a virtual reality theatre that would resist the banal tradition of linear, narrative Western theatre. The play presents a phantasmagorical celebration of the ninth birthday of Victor, the two-year-old son of Polis and Emili Pomel. Throughout the three acts, provocative scenes alternated between each other, confirming Artaud's manifesto: "The audience, when they come to our theatre, will feel that they are taking part in a real action, where not only the mind is at work, but also the senses and the body. From now on, they will go to the theatre as they would to a surgeon or a dentist, in the same mood; of course, they will not die, but the theatre is a serious business, and they will not come out of it in one piece ... They need to know that we can make them cry."

The surrealist play Victor, or Children in Power is a satire close to the theatre of the absurd, ridiculing the conformity of the bourgeoisie, the clichés of language that mask secret hatred and cruelty. The work ironically demolishes the prevailing stereotypical view of marriage, religion, and a seeming order that defies logic and is directed against the morality of the bourgeois middle class, the institution of the family, or the society at large.