The Mother (Vassa Zheleznova)

Today’s interest in Gorky’s work lies in those voluminous decisions that can be found in the conflicts he created between materiality and spirituality, between sociability and individuality. This is presented notably in his play The Mother, which we may see as a very Lithuanian story, but at the same time it is fully recognisable in every society, as a situation where one’s own flesh and blood might try to harm each other for a legacy. Here, the spotlight falls on the person of Vassa Zheleznova. First of all, she is a mother, who for 30 years saved up some money for her children, but now it is clear that the children are damaged and misguided. Unfortunately, while she was building up their future, Vassa didn’t think of looking after the present. A family as a unit is much more sensitive than society. No matter what that family looks like … I am much more interested in theatre when we are talking about a conflict between humans as individuals, rather than between different social strata, ideologies or sports teams. In this case, we are talking about a conflict between members of one’s own flesh and blood.

Kirill Glushajev
 
Reviews
 
As an apprentice of Rimas Tuminas, Kirill Glushajev does not forget that the trademark of the State Small Theatre of Vilnius is a little huddled group of people overcome by melancholy. Only this time, the group resembles a bowl of threats, full of self-defensiveness and aggression. It forms quickly, inducing a lot of noise and bother, and finally, in exploding, it always spits out the weakest. In general, it is in the nature of these performances to have a very expressive montage of scenes and dialogues, and even a manner of acting. This all gives the impression of being a show that is chained and ‘put in frames’, from which only these outbursts of aggression can liberate it. It suits this play by Gorky. His minimally expurgated text becomes effective and active.
Menų faktūra
 
The bright future of The Mother (Vassa Zheleznova) should be guaranteed by the amazing Eglė Gabrėnaitė’s acting, Darius Gumauskas’ and Gintarė Latvėnaitė’s wonderful performances, and the notably subtle and organic part created by Leonardas Pobedonoscevas. Working with actors is the strongest professional skill of Kirill Glushajev.
Lietuvos rytas
 
Kirill Glushajev was born on 27 November 1984, and graduated as a theatre director (under Rimas Tuminas) from the Lithuanian Theatre and Music Academy in 2008. He spent the year 2004 to 2005 studying at Dartington College of Arts in Great Britain. Since 2005 he has been working as an actor in productions by Rimas Tuminas and the choreographer Anželika Cholina, and directing his own productions.
 
Productions directed by Kirill Glushajev:
  • 2011 The Mother (Vassa Zheleznova) by Maxim Gorky, State Small Theatre of Vilnius
  • 2010 Panties by Pavel Pryazhko, Silence! theatre debut festival
  • 2010 Pornography by Simon Stephens, Silence! theatre debut festival
  • 2009 Pornography by Simon Stephens, a reading, New Drama Action
  • 2008 Dreams by Ivan Vyrypayev, Kaunas State Drama Theatre
  • 2008 Bootlace, or Loved, Love, will Love … by Aleksey Slapovsky, State Small Theatre of Vilnius

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