Dramaturg Studio. Vaiva Grainytė: an intuitive radar

Writer Vaiva Grainytė. Picture of Darius Jurevičius

With the writer VAIVA GRAINYTE we talk in the cafe "Taste and Smell" in 2018. July.

Let's start with "Good Day!" The most bizarre is social, as uncomfortable, with the theme: shop, wares, the daily routine of cashier and a high-quality opera. How did the idea come about?

It all started with the fact that we are with Lina and Rugile (Lina Lapelytė – composer, Rugilė Barzdžiukaitė – director and set designer, – ed. Past.) We are familiar with adolescence, a good friend. Lina had heard about the collaboration of young composers with writers that they were together creating operas, suggested – perhaps we should do our opera once, I say – okay. Opera is exactly that genre where music, text, scene comes together. We went to the camp organized by "Operomania" in Kražiai, where we had duties – to come up with an idea, a short sketch. The subject of this cashier has fallen randomly out of the blue. It seems to me that I have already told you this.

On the LRT radio show, your friend saw a cashier who was reportedly imprisoned in the workplace and could not get rid of her.

Yes, that picture immediately collected imagination and perhaps some of the first three cashier choirs were knocking down. Together we started to develop that idea without the expectation that the work would have such a future.

How did sun & sea & # 39; come from? Are these works related?

Because "Good Days!" A successful piece of work, we were surrounded by pressure from all sides, i.e. y. different types of invitations, to create a new job. But we refused them because we did not want to forgive. It seems to me that many developers enjoy a successful situation and produce new jobs that do not come from domestic demand, from cultivation, but from the need to use the wave that brings them. Our next job appeared after five years, it is a fairly long span of time. In fact, during this time there was not much opportunity to work together quietly, because we had a lot with "Good day!". Then we decided to submit an application to the International Artists & # 39; Residence in Schloss Solitude.

Do you work on the sun and the sea?

Yes there. We had the idea of ​​the beach, it all started with the image we always had: people just lie on the beach, you look from the top and they sing. Then we came up with a strategy to request a house, to leave together, to physically postpone other work and to develop a new work.

Are there no good conditions for working on a new subject while traveling together?

Probably everything is possible, come out, but it would be very unnatural, abandoned and defective.

"Sun and sea" – it also needs a special space. Probably difficult to show?

Yes, it is complicated. We had to make a drastic decision and show six "Solar and Sea" appearances in a single day (during the "Sirens" & 17 & # 39; Festival), because we only had the gallery space day received. At the beginning of the year we lived in Dresden and developed the German version for four or three months. We have also taken a long time to find the right space.

German version with Germans?

Aha, under contract with the Staatstheater of Dresden. It was as if I was going to work: fixed working hours, sitting and rehearsing.

How did this work work?

It seemed that it would be easy, because there is already a libretto, a score, it is only necessary to translate the text (the slibrew was translated into German by Claudia Sinnig). Tomas (concertmaster and keyboard player Thomas Mahn) was arranged to adjust the translated text musically to perform all technical works.

It seemed like you were done choosing actors and just rehearsed. Nothing like this – it turned out that everything has to be rewritten, because the German language is completely different, the sound of words and the order of others are different. You can not take the sentence and put it on the note like a dress: you have to cut everything and look at it, Lina had a lot of problems …

Here the technical things come with music. We have collected very different people, singers from different contexts. Because we worked in a state theater, we were asked to take part of the actor of the theater ensemble, as if it were a requirement. Only one has succeeded. It took a very long time before people came into contact with each other, to understand our working method, the style of the work, until we became one team, a sustainable ecosystem or even close friends. There may have been conflicts but misunderstandings. When you are in a large infrastructure – assistant, translator, assistant, assistant … – Communication becomes very difficult. There have been many shameful situations, but something strange has happened … A lot of wonderful experiences.

The premiere has just happened?

At the end of March, the work will remain in the theater repertoire. The German factory has the following factory system: the amount of money is allocated, the work is made and then it is raised a certain number of times, of which twenty-four, is removed and new. Only in Lithuania can I view the stairs of Oskar Koršunov in 1995.

The first time you encountered a new system?

Yes. When we were working on the beach opera in Lithuania, we were producers of ourselves, we received financing through Rugilė and David Korba VĮ, rehearsals took place in Rugilė, we did not make all our schedules & # 39; s self-logistics easy, but also a lot freedom, opportunities for spontaneity and allogic. And in Germany everything is very organized, strict, bureaucratic.

Do you remember Beijing? Chinese language Was this the beginning of your career?

In the creative sense? No, I used to always mean poetry, I wrote about theater. But coincidence wanted the first book that appeared to be "Beijing Blogs". I always imagined that I would start with poetry, but … weird.

Teberashi poetry

I write, yes.

When did you study, or did you plan to write dramaturgy? How do you find yourself in dramaturgy? Is this an informed choice, has something happened?

I do not know if I am a playwright. Ie. a less acceptable deadline for me writer, writer. Writing for the theater has been realized in a natural way. Started with "Good Day!" When we thought about an opera. Although I found in a recent drawer a fantastic fantasy story written by a very strange student, the radio and perhaps the puppet theater, probably influenced by the time studied in Jesuit theater theatrics and surrealism: all allegorical figures work – anger, honesty, table lamp language …

You have also written a radio piece and won the contest.

A radio piece is different from the dramaturgy of the stage theater, because if you write, think of your ears, pick up all the archives of the intonations, sounds and language ways from memory.

Imagine what kind of director you would like to see in your work that was filmed or built?

Well, you know, no. I now want to concentrate on solo work. At the moment I do not have a dream director – the vision of desire.

Did you like the opera before making librages?

I would not say It comes from our willingness to work together.

Let's go back to the many things. How does culture work – does it have a strategy in abundance?

My maybe is such a strategy that I do not see all the performances, or do not hide all exhibits, because it seems to me that I would deplete my nervous system so much – I just got a chance to go. I think the cultural ether is overcrowded, and if people create less, it would only be better – a certain ethereal ecology.

When it comes to "sun and sea" as a "good day!", The beach remains a topic of consumption. Just in the context of the beach we are talking about the use of land resources, not about daily groceries. What even in these works together is that we do not perpetuate or demonstrate consumption, because we recognize that we are also consumers to enjoy it – that is exactly what it is. If you try to dramatize, moralize or teach it, it is … It seems to me that, by speaking humor and play, I find a balance between laughter and tragedy, I have done a lot.

Anonymous writes "anti … capitalist" or any "anti-" opera …

But it is not "anti". She simply claims to enjoy the fun.

How do you choose artists? Are important personalities or types?

In the case of "Good day!" There are already pieces of text made, typewriters for cashiers. We were very searching for specific people and it was important not to meet visually, verbally, but with human energy. Let's say the opera is performed by Mrs Vida (Vida Valuckienė), who proclaims that every day is a gift, an ecstatic optimist character.

Vida is actually like that. When she sings and the audience laughs, Mrs. Vida is amazed: "Why are they laughing so much, I really wanted to say that every day is a gift!" In the case of "Sun and Sea" we did everything from the other side, there was no text, no libretto. The following has happened force majeure, so the situation arose that we first had to choose people … the advertisement was spread everywhere. Everyone goes – amateurs and professionals. Some people and their voice characteristics, physics gave sparkling characters – they became prototypes.

It was not difficult to show people the body, they did not bother?

We discussed the situation beforehand. In Germany, the sauna culture is very common, while everyone is in the bath, the freedom of the bodies is much more pronounced. And in Lithuania … Svetlana Bagdonaitė, for example, who sings about the sunscreen, participated with her partner in the opera. They are really a few, and we wanted the touch to be natural, undisturbed and stress free.

And in Germany the sunshade of Basanov was performed by a former East German jazz star Pascal von Wroblewsky, when we were looking for couples, we organized an older selection of men. There were different reasons for the men and in the flat panel situation we tested five partners. Artificially shaped half sleeves have no stress: they lie down immediately, massage each other, apply a cream and feel 100 years old.

Interesting about writing. Do you write every day? Is writing like a job?

Completely different. Usually everything determines, the conditions and obligations are met. Make an appointment and enter the rhythm. Now I am working on finishing a manuscript of poetry. I made old texts. I feel ready to release them, because it seems to me that this is an unresolved, unfinished business. But writing requires at least discipline and will. Sometimes it is very difficult to find a balance between closing and socializing. If you just close, creativity and productivity go down; and if you go too far with publicity – too bad, energy disappears.

Thin edge

Yes, thin, fragile.

Opera "The Sun and the Sea". Photo of Gabrielė Shigezdė
Scene from the opera "The Sun and the Sea". A. Field photo
Contemporary opera "The sun and the sea". Judith Engel photo

Do you have an appointment when you're writing?

I have a difficult one. I love getting up early and my head works best in the morning. There are certain hours that, in my opinion, are less productive … Some fluctuating biorhythms. In short, it is certainly not nightly writing, as it was before.

Are you interested in the environment when you write? Do you have to put some stuff around you?

In contrast to. I am now attached to my desk. When I get stuck, I go to cafes, libraries. Of course, if you go to a different cultural environment – a country, a continent – your senses may become more intense. I feel more at ease in the whole environment, and of course I want to talk about it, tell me. But I do not think it is necessary to go to China or to spread Mongolia, so that you can write. So many things happen within and in daily life. I do not know, my microprocessors, the details of life are the most interesting, such situations happen – it is in no way to disorganize yourself.

Do you miss the trip at a given moment? Do you need to travel?

I think that I … Two things do not interact with me, but can change team periodically. On the one hand I am quite seated, sometimes I take a nap and I am married, and the other one is a waga dog, unhappy, greedy, curious. It seems to me that I may have already cared for the beginning of the traveler, and now I am just looking for snoring and routine, stationary home and thinking, how to set up a bookshelf, what sort of zucchini I would like in the evening long.

Traveling, visiting or staying in a home, of course, gives me a lot, but I felt a bit tired, overwhelmed. When you arrive at a new location, it takes a while before you get in, then you meet people – it also takes time, you have to invest in energy for friendship, and when you start to knit more friendship, there will be an opening, Look, you have to go to another place, say goodbye to what is expensive. It already started to hurt or even press … I do not know.

If the shelves are next to you, what will be achieved by hand?

Which books? The shelves are continuous, go through the entire wall, all books are equally accessible.

When I write something myself, I like to read very different books at the same time, just like … being DJs and putting on a set of brains or exercising imagination. Reading … a philosophical book, together with a cheap magazine, then a religious study, a refresher book, an article about bacteria and again … that and that … Another language or syntax provides a lot of creative stimulation.

Was it possible to count natural sciences in such a phase of the residency?

When I put the libretto sun and sea & # 39; wrote. I read a lot of scientific or scientific literature and was interested in ecological issues. Only I wanted to transfer all information through me and translate it into a household language, very simple songs. You can tell about climate change or ecological disturbance caused by the snowstorms that have grown in the winter. There is such a personage, a woman who sings: "I went to the source and I found squirrel in December."

I still wanted to ask for the movie. Do you have your favorite film director?

I have, but maybe … I have no relevance, but I love to get old, tried things out.

What about classics?

Varies. When asking for a last name or for someone to mention, I am always locked up.

That is the problem, unless you have recently viewed something.

I again reviewed Ingmar Bergman & # 39; s "Person" and Wim Wenders in Texas, Paris. AFTER very banal but golden classics …

In the literature it seems to me desperate to follow the flow. I will catch someone … a classic. It would be interesting to follow the flow, but I think that might not be the moment.

Yes, I will also go to the library and there will be gaps.

Did you know where you went to poetry?

This is the next stage and the question is not something that belongs to me. It was only important to me that I took place for those texts that are already emotionally awake and put them in sections, to find a particular dramaturgy, a logic of order. I do not know if it will not be released in the near future, it will be as it will be, but it seems to me that I had to arrange it.

When you read your older texts, what kind of impression? Do they stand?

Varies. Some seem inaccurate to me and I can get into it … Some shivers, others seem less … Not in the context. I do not know.

And what works? Intuition?

Probably. A little intuitive radar. Inner hearing This does not necessarily have to be reliable because it is a subjective indicator.

Granted, I still wonder if I miss China. I always scream how awakened from the dream – why does something else remember that China? So far away. And I left … maybe no trauma, but that book was very popular, I had to give a lot of interviews, drive behind libraries, schools. At that time it was a sad thing for me to use a kind of labeled sticker – very cool, courageous girls (The whispering intonation is ironic) traveling alone in Asia …

I felt a bit like an entertainer because I asked: yes, speak Chinese … what do you pay? And I wanted to tell you more about how China managed to adapt or remember in a second and to tell everyone the most horrible or terrible, but how the book was written. It seems to me that there are now many more interesting travelers traveling in much more radical ways.

I do not number this genre, but maybe there is more advice … But what about a blog?

Yes, I write. It is interesting that in my diary I do not think how the sentence speaks, about aesthetic expression – write yourself, but telling what, for example, doing on this day, there is a certain element of fiction … May I write: I am today got up and went to the market to buy cherries, but … Do not forget to start by describing the cherry seller, and not just the documentation, but the creativity begins.

No wonder you only describe it?

Not that it is not interesting, but it will come naturally. Maybe I talk more about the genre of the blog – it can not be purely documentary, because when you tell reality again, it is still a secondary raw material, a product that has been converted into language.

I do not think of the & # 39; Beijing-blogs & # 39; that they travel about literature.

Even after the success of that book – perhaps it is paradoxical – I did the opposite, although there was a good wave, for example to attack and publish a new book. But I had a reverse reaction to popularity and attention – I have been working for Kamanė for two years now (kamane.lt), the chief editor and sculptor to other texts, was mentally interested in breaks.

And then the affairs of the opera, traveling and homes came down. After the success of the Chinese book everyone asked: where is it now? Which trips do you write? Many tourists started – and after America, Europe, only briefly I smoke feisbuke your impressions. Well, all: we will wait for descriptions of blogs, scenes from the scenes. But I just thought: you do not really come because I do not want to justify those expectations or just want to play the same mosquito.

Does it bother you?

That I am not alone … Yes, maybe I am a kind of traveler, an observer, but not only that. I do not want to be impressed by any classifications.

I also look at my questions, you do not want to ask them now.

You can only ask that I answer …

Opera "Good Days!" Photo by Kęstutis Serulevicius
Photo of Kęstutis Seruliavicius, contemporary opera "Good Days!"
Photo of Kęstutis Seruliavicius, contemporary opera "Good Days!"

The traditional question is: what are the plans now? Do you travel with the sun and the sea?

Since she was selected for the Venice Biennale, in the Lithuanian pavilion, there are many other non-astrological issues and creeps.

We will spend about six months in Venice. Everything looks simple, but not bad, because you have to prepare an English version and you can not expect that our Lithuanian singers can always live there. This means that each player must have three additional dubbing pieces to communicate with each other. Performances and working with people is a living thing, a constant process, it is not an exhibition or installation that has been installed and installed. You probably have to find local singers and put them to work. Parallel readings will be held and vinyl must be released … Many organizational and logistical things.

Do you do everything or do you have an upgrade?

The project is directed by Lucia Pietroiusti, curator from London, from the Serpentine Gallery, as well as Rasa Antanavičiūtė from the Nida Art Colony. Very strong team. Yes, there is a producer and a manager, but the principle of our work is to tackle things together, and that is all. It's here for Venice …

I do not want to lose weight because everything is in an intensive process … With Arturs Bumsteins, an audio artist who works in the context of contemporary art, I am now working on this topical issue and I live on the main day of the summer. I also met "Dolls" in a drama theater. In November Neville Tranter, known in the puppet theater world, will build the puppeteer, "King & # 39; s Fat". When I studied theater, my early bachelor's theater was a modernist theater, I wrote from Alfredo Jarry's articles – a symbolic homage to the past … And I still have solo writing plans.

The puppet theater for adults is not well developed.

Yes, and it always attracted me, and I do not know much about the puppet theater. I only enjoyed lectures when I studied at the academy and I was on my way to Bulgaria under the Erasmus exchange, where I chose the puppet theater course. Maybe it's a curiosity that I get the chance to put my nose in this medium.

And what about the film script you would like to write?

You know, at this moment the head does not change in that direction. Probably the logic of the film script is different … Maybe now I am more interested in working with words and seeing such things. O kine … the action is going on, there is an important milimetric calculation of the dialogues, the eyes of the camera do the main task … You want to create the image yourself in words. Now only this phase.

Do you listen to the radio?

Yes, I listen very much to the radio.

(It is possible to get a waitress in the recording: "Cash or card?" We did not know that after a week "Taste and smell" will be closed. There are no tables on the street of Trakų now.)

How do you like the routine of tourists?

In the beginning it was very exciting. But then it becomes a routine and loses a sense of observation. The light artist Augis (Eugenijus Sabaliauskas) travels a lot with the OKT. When I was traveling, I was looking for a free minute to visit the museum or to walk through the city, Augis was tired of being persevered.

I think I understand now. Often, if you are in the context of a certain festival, you ask: have you seen or seen it … Sometimes it happens that you have seen something, but often there is no physical time left. Come on, there is space installation, it requires a good day, then rehearsals and, of course, always technical curiosities. It happens, the whole time just goes away when negotiating with technical staff.

"Good afternoon!" Is a security man playing the piano?

Kęstutis Pavalkis. A few times, when Kęstutis could not, Dima drove Golovanov. Almost half of the cashiers have dubbing, because when we went to France for perhaps three weeks, the singer could not apologize for the task, so we had to look for a service.

Have you been to China?

That we were It is very interesting because "Good days!" I wrote a libretto in Beijing. I would send Lin and Rugilei, we coordinated everything in Skapu. There was a "Good Day!" – Premiere in the Center for Contemporary Art, everyone praised, happy – brave, great girls … And everything. Stood two years of silence. When we later won the big worldwide competition (ITI & # 39; s Music Theater NOW), his prize was a performance in Shanghai. It is a very symbolic fact that Chinese-born characters have already come to China in physical form.

Have the Chinese understood?

Parallel cautious Pokemon his phones and laughed. Now it seems to me that they are coming much closer to the European theater. Fly to China today – drive to Vievis. The situation changed enormously when the cultural attaché came to China.

I used to talk about Mindaugas Nastaravičius. I thought he might want to ask you something. So M. Nastaravičius asks: o when is poetry? Between, after, through the drama? And what about poetry in general?

Poetry likes me that it has its own schedule & # 39; s and is not dependent on conditions, obligations. I do not want to sound inspirational in a rational or romantic way, but poems more than, for example, dramaturgy, appear in isolation – it is more unconscious discharge, the poem – as a mental comet. And for whom it is probably in the first place for itself, and when another resonates with experiences or expressions that are reflected there, dialogue, emotional overlays takes place.

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