“What is modern dramaturgy? This is not necessarily a play written now. Dramaturgy becomes modern when provoking new theatrical language. She needs a new form. Modern theater cannot exist without another actor. Our theater forms a new type of actor. Already, the construction of "to be here" presented a completely different actor model, "says O. Koršunov.
One of the goals of establishing an independent theater is the ability to constantly create. The director was not satisfied with the tradition of a newly born performance in other theaters. This is how any connection between the performance, the creators and the viewer disappears. The premiere becomes the date of death, but of death. The performance can only live when it is constantly being created.
For the last few years, the activation of laboratory search is a moment of maturity. Theater, like a man, has the stages of his life. When the Oberer productions were born, OKT was a young, theater that was turning upside down. Later, the theater passed the rebellion period. It is time for the artists to look back at themselves and understand who they are and what they do.
Such a point of change was influenced by the repertoire. The OKT Theater is no longer as active as it was just located, when the repertoire filled everything possible. At this stage, the speeds are significantly smaller. It's natural. OKT is in a completely different phase. An intimate laboratory space appeared, also known as the OKT studio.
"The amount of spectators is no longer important to us - the quality is important," O. Koršunov describes the laboratory period.
O. Koršunov's performances such as William Shakespeare Hamlet ", Maxim Gorky's" bottom "and Anton Chekhov's Seagull, as well as" Miranda "according to W. Shakespeare, Samuel Beckett's Last" Last Crepe tape "with Lithuanian film legend actor Juozas Budraitis, Sarah Kane" Rounded ", Bertold Brecht's" Wedding "," Eglė Serpent Queen "according to Elfriede Jeliek and Lithuanian mythology. For some of the performances, the study in the studio was only the original springboard, some of which are still shown here, very close to the viewer.
Seagull is a kind of summing up the OKT theater experiences and quest. The premiere of this piece was not born artificially by stretching it to the date of the 15-year-old-it happened very organically. As the creators rehearsed, they again looked at all their searches and saw what remained after them. And the actor and the viewer remained. These are two aspects that have completely crystallized in Seagull.
