The Search for National Identity in the Art of the Interwar Period
A new and modern interpretation of Lithuanian history and folk art in the scenography of the State Theatre in the 1930’s
Lithuanian artists, who were working during the first half of the 20th century, tried to seek out their own unique means of creativity with the help of the studies of Lithuanian folk art. What they were striving to discover were not the exterior, decorative regularities, but rather the fundamental, structural patterns, which could be revealed through the use of forms and expressive colours that were characteristic of authentic folk sculptures and carvings. Theatre artists applied such discoveries primarily to the productions of Lithuanian dramas and musical pieces.
Adomas Varnas
Adomas Varnas (1879–1979) was one of the artists who applied details of Lithuanian folk architecture and art to sets and costumes. A. Varnas studied in Saint Petersburg, also at the Academy of Fine Arts in Krakow, Geneva School of Art, where he also got acquainted with the specifics of scenography. A. Varnas was an avid participant of regional studies, drawing and photographing crosses, wayside shrines and roofed poles.
One of the most prominent productions of the first half of the 20th century that shaped Lithuanian identity was “Šarūnas“ by Vincas Krėvė. Sets and costumes are a significant part of this work of art – they were created by Adomas Galdikas (1893–1969).
Adomas Galdikas
A. Galdikas was a graduate of the Stieglitz Central Technical Drawing School, participant in the activities of the group of artists “Ars”, constantly looking for new, substantial connections with the forms of folk art. During a world exhibition in Paris the sets for “Šarūnas“ were bestowed a golden medal. His sets and costumes feature stylized, generalized shapes, modest use of ornamental details.
Stasys Ušinskas
Some brave interpretations of the forms of folk art were offered by Stasys Ušinskas, who created sets for Balys Dvarionas’ ballet “The Matchmaking” (1933), Balys Sruoga’s “Giant’s Shade” (it was presented at the State Theatre, Kaunas, Lithuania in 1934 by Andrius Oleka Žilinskas and the artists of the Young Theatre) and B. Sruoga’s drama “The Terrible Night” (1936).
Balys Sruoga "GIANT'S SHADE". A scenery sketch. Scene 7. Prison (1934) by Stasys UšinskasLithuanian Theatre, Music and Cinema Museum
Balys Sruoga "GIANT'S SHADE". A scenery sketch. Scene 7. Vilnius (1934) by Stasys UšinskasLithuanian Theatre, Music and Cinema Museum
Balys Sruoga "GIANT'S SHADE". A scenery sketch. Scene 3 (1934) by Stasys UšinskasLithuanian Theatre, Music and Cinema Museum
Balys Sruoga "THE TERRIBLE NIGHT". A scenery sketch. Scene 1 (1936) by Stasys UšinskasLithuanian Theatre, Music and Cinema Museum
Liudas Truikys
Liudas Truikys’ sets for Vytautas Alanta’s “Fire in Lithuania” (1934) have a few things in common with the compositional solutions introduced by A. Galdikas in “Šarūnas“, however, he presents entirely new ideas in his work for Antanas Račiūnas’ opera “The Three Charms” (1936) – here we see the beginning of the seeking for a synthesis between fine art and musical form.
The artist uses specific quotes from Lithuanian folk iconography (a motive from Pietà), and yet these elements are further improved with the help of the sequences of horizontal, vertical and diagonal lines that Truikys was so fond of using – they immediately draw parallels between the visuals and the dynamic musical forms. Similar objectives can be witnessed in the visual solution for Mikas Petrauskas and Jonas Dambrauskas’ opera “Eglė” (1939).
Antanas Račiūnas "THE THREE CHARMS". A scenery model. Funeral scene (1936) by Liudas TruikysLithuanian Theatre, Music and Cinema Museum
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