{"id":2153,"date":"2026-01-19T09:57:40","date_gmt":"2026-01-19T07:57:40","guid":{"rendered":"https:\/\/www.arthistorystudies.lt\/?page_id=2153"},"modified":"2026-01-19T09:59:05","modified_gmt":"2026-01-19T07:59:05","slug":"vilniaus-senasis-teatras-choreografiniu-eksperimentu-erdve","status":"publish","type":"page","link":"https:\/\/www.arthistorystudies.lt\/en\/archyvas\/turinys-t-17\/vilniaus-senasis-teatras-choreografiniu-eksperimentu-erdve\/","title":{"rendered":"Vilnius Old Theatre \u2013 a Space for Choreographic Experiments (Summary)"},"content":{"rendered":"

Helmutas \u0160abasevi\u010dius (PDF)<\/strong><\/a>
\nhttps:\/\/doi.org\/10.53631\/MIS\/2025.17.7<\/a><\/p>\n

The Lithuanian State Academic Opera and Ballet Theatre, which moved to the Vilnius Old Theatre in 1948, fostered a traditional ballet repertoire shaped by the work of the oldest generation of choreographers \u2013 Bronius Kelbauskas (1904\u22121975) and Vytautas Grivickas (1925\u22121990), which was based on the aesthetics of ballet of the mid-20th century, the connections between classical dance and \u201eballet-drama\u201c, and the scenography and costumes illustrating the time and place of action. In the 1960s and 1970s, changes began to emerge in the approach to the themes, musical, choreographic and visual forms of ballet performance \u2013 this was the first stage of renewal and experimentation in Lithuanian ballet, where the most important explorations of new means of directorial, choreographic and scenographic expression were made in the ballet Rigonda (choreographed by Hel\u0113na Tangijeva-Birzniece from Latvia), Spartacus (choreographer Vytautas Grivickas), J\u016brat\u0117 and Kastytis (choreographer Bronius Kelbauskas), The Fading Cross (choreographer Konstantin Boyarsky from Russia), Shore of Hope (choreographer \u010ceslovas \u017debrauskas), Passions and The Nutcracker (choreographer Elegijus Bukaitis).<\/p>\n

If the work of other choreographers did not develop in the direction of innovation for various reasons, Bukaitis had the opportunity to develop the concept of contemporary ballet that he had formed during this period later on, when the Lithuanian State Academic Opera and Ballet Theatre moved to the new palace in Antanas Vienuolis Street \u2013 the theatre\u2019s stage and equipment were incomparably more conducive to the realisation of more ambitious ideas. Bukaitis also staged his last major works on this stage, which in one way or another related to the ballet heritage of the Old Theatre: as if in opposition to Vytautas Grivickas\u2019 Egl\u0117 the Queen of Grass Snakes (1960), in 1976 he created his own version of the ballet (with the artist Rimtautas Gibavi\u010dius, who created the scenery and the costumes for the first time for this ballet), and in 1986, Bukaitis returned once again to The Passions and Reka\u0161ius\u2019 music, creating Aura, this time with the artist Marija Jukni\u016bte (assisted by Irena Zabarauskait\u0117), with whom he had begun to develop the concept of this performance fifteen years earlier.<\/p>\n

Keywords:<\/strong> ballet, choreography, experiment, set design, Elegijus Bukaitis<\/p>","protected":false},"excerpt":{"rendered":"

Helmutas \u0160abasevi\u010dius (PDF) https:\/\/doi.org\/10.53631\/MIS\/2025.17.7 The Lithuanian State Academic Opera and Ballet Theatre, which moved to the Vilnius Old Theatre in 1948, fostered a traditional ballet repertoire shaped by the work of the oldest generation of choreographers \u2013 Bronius Kelbauskas (1904\u22121975) and Vytautas Grivickas (1925\u22121990), which was based on the aesthetics of ballet of the mid-20th[…]<\/a><\/p>\n","protected":false},"author":1,"featured_media":0,"parent":2110,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"footnotes":""},"class_list":["post-2153","page","type-page","status-publish","hentry"],"_links":{"self":[{"href":"https:\/\/www.arthistorystudies.lt\/en\/wp-json\/wp\/v2\/pages\/2153","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.arthistorystudies.lt\/en\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/www.arthistorystudies.lt\/en\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/www.arthistorystudies.lt\/en\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/www.arthistorystudies.lt\/en\/wp-json\/wp\/v2\/comments?post=2153"}],"version-history":[{"count":1,"href":"https:\/\/www.arthistorystudies.lt\/en\/wp-json\/wp\/v2\/pages\/2153\/revisions"}],"predecessor-version":[{"id":2155,"href":"https:\/\/www.arthistorystudies.lt\/en\/wp-json\/wp\/v2\/pages\/2153\/revisions\/2155"}],"up":[{"embeddable":true,"href":"https:\/\/www.arthistorystudies.lt\/en\/wp-json\/wp\/v2\/pages\/2110"}],"wp:attachment":[{"href":"https:\/\/www.arthistorystudies.lt\/en\/wp-json\/wp\/v2\/media?parent=2153"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}