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20 Petras Bielskis Apie dabartį ir istorinę sąmonę Teaching about an individual within history and its historical consciousness is the most important reference for contemporary cultural valuator. Individual has to develop from history and be responsible for the nation’s historical interpretation. The perception of folk theatre is within Lithuanians blood. Forbidden nature idolatry, deprivation of press, the abolished state; but we have saved various forms of folk performances. It lies in our historical consciousness. Woe to those who did not experience the forbidden fruit and did not inherit with the mother’s milk. The negation of Lithuanian People’s Theatre is the consequence of spiritual disability or the complete atrophy of historical consciousness. The main cultural conflict tangled up when the theatricologist Irena Aleksaitė published brutal article about the works of the Lithuanian theatre history patriarch’s Vytautas Maknys works, and unreasonably argued that ”a key theatre historian’s error is the isolation or the identification of Folk theatre” 16 . First, Folk Theater is neither structure nor organization. As a folk song or folk architecture, or cross working, it is the consequence of the manifestation of people’s creativity. Neither folk singers, or carpenter had any organizational structures, but nobody doubt that the individual people or groups of people were folk masters or folk singers who preserved and developed the spirit of the nation. Acting is also an integral part of folk art. Theatricologist may have ones own view, but cannot impose it to the entire nation. After the publication of the mentioned I. Aleksaitė’s article all information about Lithuanian folk theater as ethnic cultural object was cleared off from the encyclopedic publications. A natural question occurs: what can condition such important issues of national culture and whether such things are legal. 16 Aleksaitė I. Lithuanian theatre history today. Some methodological problems. Art criticism 4. 2003.
RES HUMANITARIAE VIII ISSN 1822-7708 21 Eligijus Daugnora – Lietuvių literatūros ir tautosakos instituto Tekstologijos skyriaus jaunesnysis mokslo darbuotojas. Moksliniai interesai: tekstologija, lietuvių dramaturgija. Adresas: Antakalnio g. 6, LT-10308 Vilnius. Tel. (8 ~ 5) 244 8774. El. paštas: e.daugnora@gmail.com. Eligijus Daugnora – Junior Research Fellow, Institute of Lithuanian Literature and Folklore, Department of Textual Criticism. Research interests: textual criticism, Lithuanian drama. Address: Antakalnio g. 6, LT-10308 Vilnius. Phone: (+370 ~ 5) 244 8774. E-mail: e.daugnora@gmail.com. Eligijus Daugnora Lietuvių literatūros ir tautosakos institutas „VILKOLAKIO“ DRAMATURGIJA IR LIAUDIES VAIDINIMO TRADICIJA Anotacija Straipsnyje analizuojami lietuvių satyros teatro „Vilkolakis“ dramaturgijos ir liaudies vaidinimo ryšiai. „Vilkolakio“ dramaturgija, turėjusi įtakos visai lietuvių komedijos raidai, iki šiol išsamiau neaptarta. Satyros teatras sėkmingai derino commedia dell’arte, lietuvių papročių ir tautosakos bei liaudies vaidinimo elementus. Taip buvo sukurta nauja, aktuali, socialiai aktyvi, bet liaudies vaidinimo savitumą išlaikiusi komedija. PAGRINDINIAI ŽODŽIAI: satyros teatras, komedija, commedia dell’arte, liaudies vaidinimas. Abstract The aims of article is to discuss links between Lithuanian theatre of satire ”Vilkolakis“ and folks play. Dramaturgy of ”Vilkolakis“ was not wider discussed, though it have influence with development of all Lithuanian comedy. In it was successfully mixed commedia dell’arte, Lithuanian customs, folklore and folks plays elements. Thus was generated new, socially active comedy. KEY WORDS: theater of satire, commedy, commedia dell’arte, folks play.
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