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19:30
24.
05

FRAGMENT

Klaipėda Drama Theatre
Grand Hall
Duration 1.40 (without intermission)

Premiere 2023

Based on the third act motifs of A. Chekhov’s “Three sisters”
Idea, composition, production Dmitry Krymov
Set designer Irina Komissarova
Light designer Eugenijus Sabaliauskas
Sound director Edvinas Vasiljevas
Artistic staging of video projections Artūras Lepiochinas
Translator Gintaras Grajauskas
Set designer’s assistant Anna Titova-Tubash
Producer Inna Krymova
Assistant directors: Alius Veverskis, Marius Pažereckas, Artūras Lepiochinas

Cast:
Samanta Pinaitytė, Darius Meškauskas, Regina Šaltenytė, Toma Gailiutė, Sigutė Gaudušytė, Digna Kulionytė, Jonas Baranauskas, Mikalojus Urbonas, Jonas Viršilas, Artūras Lepiochinas, Karolis Maiskis

Stage workers:
Antanas Razgauskis, Zigmas Tarlovas, Darius Matevičius, Linas Bagdonas, Rokas Tomaševičius, Dovydas Tertelis, Paulius Aleknavičius, Rytis Veverskis, Simonas Alfredas Gylys, Marius Pažereckas

“Our play is called ‘Fragment‘. This fragment is from A. Chekhov’s play ‘Three Sisters’ – beginning of the third act – the night fire. In the center, as if under the magnifying glass, Olga, the eldest of the three sisters. In this dramatic piece of work: axon, fear, foreboding and struggle. The struggle is hopeless and perhaps not very successful – like all attempts by A. Chekhov’s heroes, including Olga – to defeat fate, which does not allow them to save the cherry orchard, become a writer, or go to Moscow. They are doomed to fail. All that remains are the attraction to each other, suffering and loneliness. A. Chekhov is generally not concerned with the result but with the attempt itself, and that is what makes his characters so close and dear to us.
Regarding the question that may arise as to why I didn’t stage the wonderful play ‘Three Sisters’, I have the following remark: I once pointed out that when standing in front of a famous painting, I am interested in taking a good look at its parts, maybe even more than at the whole picture, so that, there, as if in a drop of water, I would discover the artist’s portrait and individuality. It’s a kind of game. Theatrical game. And since in my opinion A. Chekhov is not sluggish and apathetic, but very energetic, bright, and even fierce, the fire scene is the best for my game. Just relax and watch. And maybe you will sympathize with and fall in love with these very recognizable people who can’t properly protect themselves, their love, and their home.” Dmitry Krymov

ABOUT THE DIRECTOR

Dmitry Krymov was born in 1954, in Moscow. His father Anatolij Efros was a famous Russian director, and his mother Natalia Krymova was a well-known theatre critic and historian. Dmitry was given his mother’s surname because in his time his father suffered a lot for having a Jewish surname. In 1976 he graduated from the Scenography Department of the Moscow Art Theatre (MCHAT) and started working as a set designer at the Malaya Bronnaya theatre. In collaboration with his father, Dmitry staged William Shakespeare’s Othello, A Month in the Country by I. Turgenev, A.Arbuzov‘s Recollection, and many more. In 1985 he switched to the Taganka Theatre, where he continued to create set designs for plays. After the death of his parents in the 1990s, D. Krymov left the theatre and dedicated himself to painting. His paintings were exhibited in many countries and were bought into private and museum collections. In 2004 D. Krymov joined the Moscow School of Dramatic Art where he established his own experimental Labarotary with a group of students. Together they released “Donkey Hot” (2005), “Demon, A View from Above” (2006), Death of a Giraffe (2009), and several other plays that became widely acclaimed as a new breath in theatre art. These performances are an outstanding visionary and multidisciplinary fusion of poetry, music, art, and performance. In 2007 Krymov’s Lab was awarded the Golden Triga for best national exhibit at the Prague Quadrennial.
In 2016 Krymov was invited to lead a master class at Yale University. With drama department students he staged a play “The Square Root of Three Sisters”, based on Chekhov’s novel.
In 2014 Krymov signed a collective letter of Russian workers of culture that condemned the annexation of Crimea by Russia. In 2018 he was forced to leave the Moscow School of Dramatic Art due to pressure from his authorities. In Winter 2022 Krymov went to Philadelphia to work on his version of The Cherry Orchard, scheduled to premiere in February at the Wilma Theater. On February 24, he condemned the 2022 Russian invasion of Ukraine and refused to return to Russia. In September 2022, all of Krymov’s plays were cancelled in Moscow theaters by order of the city’s Department of Culture.
D. Krymov lives in New York. In October 2022, he opened his new theatre studio “Krymov Lab NYC”.

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