Waitting for Godot

            The time of the play is equal to its space. More than three hours of action make the waiting feel quite real. No one hurries in Tuminas’ production, the waiting itself does not seem depressing, and it even has a ray of hope. There is no doubt that the personages will not be around to see Godot coming, they will find other occupations, and will stay together for ever. It is obvious that they will manage to find plenty of little joys, and will transform them into the theatre of everyday life which will help them survive. This is for the simple reason that this solution lies at the heart of the credo of the State Small Theatre of Vilnius, which is headed by Rimas Tuminas. This credo is realised in the production by two wonderful actors, Andrius Žebrauskas and Arvydas Dapšys, as Estragon and Vladimir.

7 meno dienos

The fluidity of bodies and movements, as well as the expressions of character, betray the existence of desperation, but the actors progressively and insensibly deprive this desperation of any significance. In this way, the acting, which also manages to avoid sentimentality, this antibody of the absurd, is very close to the reflections of Becket himself, who once wrote in a letter to Marcel Proust that life is a habit, and nothing more. The director Rimas Tuminas adds a hint of lyricism to these reflections, which appears here even more moderate than in his other productions.

Lietuvos rytas

If we could find some argument to justify this public demonstration of rehearsals of the production put on by Rimas Tuminas, we could only do so by referring to the acting of Arvydas Dapšys and Andrius Žebrauskas, as Vladimir and Estragon. In the first moments of the performance, the previous roles played by these actors still linger in the memory, and we might even consider the whole performance as a variation of their previous ones. But within a short space of time, the actors manage to capture their personages, and come so close to their essences that the distance between the actors and their characters completely disappears. The actors create an impression of the progression of real life on the stage. They manage to do so by the use of their own movements, by their capacity to capture and react to moments when the comedy turns to tragedy, or when the fusion of singular episodes into a common course of action is required. They also imitate impeccably the manners of their characters, and create a feeling of the physical passage of time.

Literatūra ir menas

The ‘non absurd’ intonation of the play and the performance of the absurd emerged very easily and naturally. The creators of the production simply managed to use creatively the advantages of the State Small Theatre of Vilnius, which are the warm and intimate atmosphere of the theatre, and the charm of its brilliant actors. You could even say that this play by Becket was deprived of the aspect of the absurd and metaphysics, only to reveal better these advantages of the Small Theatre, which are, incidentally, not so insignificant.

Kultūros barai

This time, the spectators do not have to decode any sense: what is important is only what happens here and now, at this actual moment in time, what we are able to capture and perceive with our own senses. For this reason, the director attaches great importance to efforts to make sure that spectators feel deeply what is happening on the stage and become a part of it. In this way, the most effective moments appear in episodes which are similar to dreams, and where the sense of reality disappears.