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18:00
 - 
22:00
2026.
05.
20

KANT. A ROOM WHERE NO ONE THINKS

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The State Small Theatre of Vilnius

At the Klaipėda Drama Theatre Grand Hall
4:00 (with 2 intermissions)

Premiere 2025

Author and Playwright Marius Ivaškevičius
Director Oskaras Koršunovas
Set Designer Gintaras Makarevičius
Costume Designer Sandra Straukaitė
Light Designer Eugenijus Sabaliauskas
Composer Antanas Jasenka
Choreographer Vesta Grabštaitė
Video Artist Rimas Sakalauskas
Content Advisor Vincentas Klipčius
Assistant Director Andrius Merkevičius

Cast: Kirilas Glušajevas, Ramūnas Cicėnas, Indrė Patkauskaitė, Mantas Vaitiekūnas, Daumantas Ciunis, Leonardas Pobedonoscevas, Jokūbas Bareikis, Greta Bendžė, Gintarė Latvėnaitė, Vytautas Rumšas (jaun. / Jr.), Ilona Kvietkutė

Performance 14+

The performance includes several scenes with loud noises and lightning effects that may be frightening to some viewers

Performance in Lithuanian with English surtitles

For the first time at the State Small Theatre of Vilnius, the internationally acclaimed Lithuanian director Oskaras Koršunovas presents a production based on a play by the renowned playwright Marius Ivaškevičius.

The play is dedicated to the milieu in which the famous Prussian philosopher Immanuel Kant lived; a man as remarkable for his thought as for his way of life. In his most famous work, “Critique of Pure Reason”, the philosopher set himself the almost impossible task of exploring the limits of reason and establish solid foundations for metaphysics, which at that time was considered both necessary and inevitable. By exploring the possibilities of the mind through the mind itself, the philosopher produced one of the most impressive works in the history of human thought. Unlike Kant’s complex and intricate thought, the play presents the Kantian world in an engaging and witty manner, and even continuing the philosopher’s own project of “exploring” the dramatic form by dramatic means.

The play is set in 1784 in Königsberg. It is November in Prussia. There is a growing sense that society is about to undergo significant social change. The Great French Revolution is quietly approaching. The philosopher sits down for lunch, following his usual ritual of eating longer lunches in the company of men and, most importantly, avoiding any discussion of work.

At the table, the men start talking about this and that, about everyday life at home and the state of the times in general. Illness is another frequent topic of conversation: Kant and his servant Martin both suffer from digestive troubles. But it soon becomes clear that these are not simple ailments, but something has happened to nature itself. The men’s conversation is interrupted by the doorbell and the unexpected appearance of a visitor, who introduces herself as the niece of Kant’s old friend Joseph Green. Coming from foggy Scotland, she asks the philosopher to sign his opus for her. Reluctantly, the men let the lady in, and although she has little knowledge of the local language, she soon becomes involved in a philosophical debate, setting aside the usual conventions of the lunch table. Kant agrees to reveal the secret of man, examining, together with Phobi, the aspects of human existence and attempting to draw a line between man and beast. After a while, Phobi disappears, creating a mystery that further stimulates the debate about human nature and its transience.

According to biographical accounts, Kant ate only one meal a day, usually in the company of friends, and these gatherings often lasted for several hours. Despite poor health throughout his life, Kant had a good sense of humour, excelled at billiards, and was known for his modesty, simplicity, strict discipline, and limited sleep. He never married and never left his hometown, although he loved to read travel accounts and retell them to his friends. Kant’s punctuality was well-known: the inhabitants of Königsberg could check the accuracy of their watches when they saw him out for a stroll.

By elevating reason and reflecting on the idea that things as they are “in themselves” remain ultimately unknowable to human beings, Kant turned all experience of the world into a mere result of human reasoning. Thus the world reveals itself only to the extent that human beings are able to comprehend it. Kant wanted man to develop his mind and thus free himself from the prejudices that keep him from being truly free.

Immanuel Kant, who had Lithuanian roots, is today regarded as one of the most influential philosophers, and his “Critique of Pure Reason“ remains a seminal work in the development of philosophy. Building upon Kant’s fundamental ideas, many other well-known thinkers emerged, among them such major philosophers as Arthur Schopenhauer and Martin Heidegger, whose intellectual influence continues to resonate in the modern world.

About The Director

“The performance “Kant” encompasses everything essential in our new theatrical reality over the course of 35 years in the context of a free, newly emerging Lithuanian theatre. Both my Theatre and the State Small Theatre were established at the same time and in the same place: we rehearsed on the same stage, we were changing in the same dressing room in the then Academic Theatre, and although our theatres developed in parallel, there were junctures; Tuminas’ actors also played in my productions. However, a full juncture took place now, after I was invited to stage this play by Ivaškevičius at the Small Theatre. He also played a crucial role in the development of both theatres. In 2004, his play “Madagascar” was turned into a performance here, and a couple of years earlier, he staged “Malyš” at the OKT [Oskaras Koršunovas Theatre]. The role of Nekrošius is also very important here, as it was he who suggested introducing a female character to the play “Kantas”, which is how Phobi, one of the essential symbols of the work, appeared. Thus, a symbiosis of three fundamental theatres emerges. The play features the last group of students mentored by Tuminas, inheriting all his ethics and aesthetics. Therefore, when staging the play, I felt the voice of Eimuntas [Nekrošius], and I could not help but feel Rimas [Tuminas], even though I have at times previously created works that ironically engaged in polemic with his theatre; this time, I wanted to be consistent. By the way, there is a strong sense of Lithuanian identity in “Kant”. After all, Kant is very close to us not only geographically, but also mentally; it is no coincidence that he plays billiards in the play with two Lithuanians, Heilsberg and Vlomer (laughs). The land in which we live, and in which Kant lived, is as if condemned, as if separated from the cultural density of the West, and we are burdened by the understanding that we live where nothing happens. But here Kant refutes this idea: without leaving Königsberg, he lays the foundations for Western philosophy. And just as Kant contemplates reason through reason, so we can contemplate theatre through theatre, reminding ourselves that we have created world-class theatre – directorial, metaphorical, and dramaturgical – and it is to this that this performance appeals.”

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