In 1931, he graduated from the Acting School of the State Theater in Kaunas (pupil of K. Glinskis). 1931–32 Actor of the Šiauliai Department of the State Theater. In the 1940s, Ch. Dullin at the theater studio in Paris, acted in French films. In 1937–40, he collaborated in the magazine Naujoji Romuva. In 1938–40, he headed the Acting Studio of the Chamber of Labor in Kaunas, on the basis of which the Panevėžys Drama Theater was founded in 1940 (1941–44 the Panevėžys City Theatre). Until 1980 (with a break from 1954-59) he was the artistic director and chief director of this theater (in 1995 the theater was named after Juoz Miltinis). In 1940, he founded and managed (until 1980) an acting studio that operated near the theater. 1954 dismissed from the theater (criticized for the so-called formalist direction, reprimanded for neglecting the school of K. Stanislavski). Until 1959, while working at a Lithuanian film studio as a dubbing director, he secretly directed performances at the Panevėžys Drama Theater. 1959 officially returned to this theater. J. Miltinis trained many actors of the Panevėžys Drama Theater.
Performances of the 1950s are characterized by an aspiration to emphasize the essence of psychological characters, mutual relationships, and the atmosphere of the performance; more important performances: B. Jonson's Sukčiaus Testament / Volpone (played Volpone), K. Binkios Atžalyn (played Keraitis; both 1941), P. Vaičiūnas Resurrection (1942), S. Kymantaitė-Čiurlionienė's Money (1943), L. Pirandello's Henry IV (1944, played Henrik IV), A. Vienuolis's Twilight (1945), N. Gogol's Auditor (1946, 1978), Molière's Georges Danden (1947, 1965) and The Presumed Sick (1950, played Argan).
Since the 1960s, he has been creating a philosophical, intellectual theater of humanistic ideas, which analyzes the individual's conflict with fate, society, death, opens up the complex, full of contradictions and tragedy, the inner world of man, the secrets of his subconscious, emphasizes the tension and dynamics of thought, the rhythm of action, the aesthetic form of the performance, sentimental accents are abandoned. The most significant performances: H. Ibsen's Hedda Gabler (1957), A. Miller's Death of a Salesman (1958, the first performance in the USSR based on this play; both created under the name of V. Bledis), A. Chekhov's Ivanov (1960), W. Shakespeare's Macbeth ( 1961). He created performances based on Western European classics (P.-A. de Beaumarchais The Barber of Seville 1957, V. Blėdis' name, E. Labiche's Straw Hat 1959), contemporary foreign (W. Borchert's Lauke, za durė 1966, F. Dürrenmatt's Physicists 1967 , Frankas V 1969) and Lithuanian dramaturgy (J. Gruša's The Secret of Adam Brunzas 1966 and Terrible Intoxication 1967).
