„And Ever Will Be Too Late“

idea based on a novel by A. Camus „The Fall“ („La Chute“)

Author of stage version and performer: Ramūnas Abukevičius.
Scenography consultant: Nadežda Gultiajeva.
Direction assistant: J. Irena Maciulevičienė.
Duration of spetacle: 57 - 75min.
Publicly performed since October, 2004.

Address: Latako St. 1 -1, Vilnius.
Spectacle takes place every Thursday at 19 o’clock.                                                                                                                               
There are 13 seats.

Inquire in advance. Tel. Nr.: 8 699 65912.

             An experimental spectacle-monodrama “And Ever Will Be Too Late” perfomance idea based on a A. Camus novel “The Fall” (stage version by R. Abukevicius) was created in 2004.

                Albert Camus (1913-1960) was a French novelist, philosopher, existentialist, and a Nobel Prize Laureate. While considering the question of the purport of life, he referred to the ideas of the absurd and rebellion. Camus emphasized a freedom to choose and people’s solidarity which is based on an existential matter, and the isolation of a man. He defended such values as truth, moderation and justice. In his last works Camus sketched the outlines of a liberal humanism. Therefore, his contribution to the literary world is immeasurable.

            In his scathingly self-critical novel “The Fall” (1956), where Camus turned his moral searchlight on a character very like himself, the penitent lawyer Jean-Baptiste Clamence confesses his moral crimes to a stranger in an Amsterdam bar. The character reveals hypocrisy, however, at the same time he attacks a modern man and considers the human dilemma.

                For the spectacle „And Ever Will Be Too Late“ a small space of a room and a small number of spectators (13) have been chosen, because it was sought to affect spectators by personating into a character, to involve them into the process of the spectacle, to cause spectators’ confrontation with themselves. At the same time an actor (R. Abukevicius) being only a few meters from the spectators is forced to behave in a different way than is common in the traditional stage. Any falsity in this situation does harm. Every action performed by the actor is genuine, coming from inner emotions.

            Critics commented favourably on this spectacle. Reportings about it were created by all national major daily newspapers, weekly magazines of culture and national television channel’s editorial office of culture.

            „<...> You even become to doubt whether it is a spectacle of one actor or you literally see a man who is telling your own life story. Eventually, you are stunned. After the spectacle, you are overwhelmed with a wish to talk not with actor Ramunas, but with the character he plays.<...>“ (R. Pakalkiene, „Aktorius vaidina trylikai ziurovu“ („Actor performs for thirteen spectators“), „Lietuvos zinios“, 2004 10 30)

            „<...> The spectacle lasting 57 minutes is a character’s monologue, painful confession and attempt to understand the truthless world. The actor has not only to convince the spectators that everything is the reality, but also to make them think as he does. We are so close to the actor, that we even can touch him, therefore, it is impossible to lie or to simulate distress, displeasure, disappointment or rage here, in this small space. <…> It seems, that actor has accurately contemplated every moment of the spectacle. <…> „Ramuno Atelier“ has one more unique feature. The actor meets there thirteen spectators himself. As a real host he talks with them, shows his exotic flat. <…> After the spectacle, Ramunas again talks with us, invites to stay and discuss. It is uncommon, unusual, however, pleasant and ineresting.<…>“ (I. Aleksaite, „Ramuno atelje. Ramuno Abukeviciaus monospektaklis „Krytis“ („Ramuno Atelier. Ramunas Abukevicius’ monodrama „The Fall“), „7 meno dienos“ Nr. 1 (643), 2005 01 07)

            „<…> Interior of a not repaired flat is ideal for a story of a man who refused career and comfort for the sake of justice. After the spectacle spectators have a rare chance to talk with the pleasant actor, who was a sarcastic fellow during the spectacle <…>“ („Vaidinimas vyksta griuvesiuose“ („Performance takes place in a state of ruin“), „Lietuvos rytas“, 2005 02 01)

            „<…> Joint atmosphere is created between the character and spectators, and joint depuration takes place.<…>“ (M. Kniezaite, „R. Abukeviciaus monosektakliu reklama – is lupu i lupas“, (R. Abukevicius’ monodramas advertisement – from mouth to  mouth“), „Respublika“, 2004 12 03)

The most important task of the project – how to affect a spectator in contemporary theatre, is particularly actual. The theatre is losing contact with spectators who should be more involved in the actor’s story and even become the co-authors of a play. The aim of this project is to search for possibilities of concentrating spectators on drama, depuration of acting’s suggestibility and validity of theatrical metaphors. Consequently, prerequisites for spectators’ confrontation with themselves, leading to internal purification, would be created. This can be reached by depurating the mastery of acting, broadening the opportunities of acting and finding a creative method of acting expression. In order to reach new quality of acting we have to find new instrumentalities of acting expression. It can be reached by using theatre’s system of M. Chekhov, methodology of R. Steiner, also by experimenting and improvising during the process. It is possible to get a positive result only avoiding falsity in acting and trying to experience the life of a character by anticipating him/her to the true-life truth.

            „I seek to open the acting space which would enable an actor to remain the equally worth creator and to experience the joy of creation together with spectators.“ (R. Abukevicius)

 

2005 - Alternatyve theatrical process "You Couldn,t Remember Your Love" idea of perfomance based on play M. Duras "La Musica Second". 2007 - theatre creating perfomance based on a play of A. Strindberg "Dance of Death".