The performance will take place with a music recording.

What makes a young man choose the path of a priest? Can a priest be a poet? What motivates a church servant to give up the priesthood? These and many other social, religious and philosophical questions were brought to the fore in 1933. Vincos Mykolaitis-Putin's intellectual psychological novel "The Shadow of the Altars". Today, we would hardly find a compatriot who has not read or heard about this book. Nevertheless, this work experienced only a few transitions from the literary form to the stage - its author persistently protected the novel from any attempts to screen, stage, or even translate it into other languages. Refusals were accompanied by the writer's categorical argument: "it is so easy to deviate into banality". Therefore, the first stage versions of the novel "Shadows of the Altars" appeared only after 1992, after the author's rights had expired.

In Klaipėda, in 2014, into the depths of this deep, complex and difficult to control work. choreographer Aurelijus Liškauskas, director Ramūnas Kaubrys and artist Iveta Ciparytė took part. The libretto for the dance performance was created by writer, actress and director Birutė Mar. According to her, she wanted to single out those lines of the novel that could be most meaningfully conveyed by dance, capable of exposing the contradictions of the human inner world - to talk about it in the universal language of the body and heart. "The themes of finding one's vocation and getting to know human love appeared to be the closest. This is the path on which each of us discovers God and ourselves," says B. Mar. "There were many questions: why, how, is it possible to convey such a complex work without words, with dance alone, is it not too big a responsibility...", the performance's choreographer A. Liškauskas shared his fears. - However, when I began staging "Shadows of Altars", I thought not only about ideas, but also about rational things. I think this performance has the potential to interest both the older and the younger generation, schoolchildren. Yes, "Altorių šešely" is an exam both before the audience and before oneself." According to A. Liškauskas, the music in the dance performance is contrasting - from Antanas Šabaniauskas to works by Zbigniew Preisner, Ólafur Arnalds, Greg Haines, and other contemporary composers.

The performance combines elements of classical ballet, sports, neoclassical dances, and tango. A little space is left for improvisation - the atmosphere of death in the seminary, in post-war Kaunas, allows the dancers' feelings to dictate a unique form. Director R. Kaubrys is convinced that time has not drowned the relevance of the novel: "I can't be surprised that after all these years, the lack of tolerance in society is still so strong!" And the soldier of Christ, who wants to break free from the labyrinths of duality, must be able to choose and expect tolerance from all of us." He tends to describe the dance performance, as well as the entire novel, with two words: "labyrinths of duality". The artist I. Ciparytė, designer of scenography and costumes, decided to use more props than are typical for dance performances. The scene is full of church paraphernalia (sutanas, kneelers, altars, crosses) and stylized costumes reflecting the era of the novel's creation.