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THE REUNIFICATION OF THE TWO KOREAS

18:00
2025.
05.
16
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Attention! The event will take place at the Kaunas National Drama Theatre.

The National Kaunas Drama Theatre

The National Kaunas Drama Theatre (The Main Stage)
3:40 (with intermission)

Premiere 2024

Author Joël Pommerat
Translated from French Akvilė Melkūnaitė
Director Artūras Areima
Set designer Oles Makukhin
Costume designer Valdemara Jasulaitytė
Light designer Julius Kuršys
Composer Mantvydas Leonas Pranulis
Video artist Kristijonas Dirsė
Assistant director Asta Mačiulytė
Translator of the play Akvilė Melkūnaitė

Cast: Andrius Alešiūnas, Arnas Ašmonas, Eugenija Bendoriūtė, Mantas Bendžius, Deividas Breivė, Tomas Erbrėderis, Martyna Gedvilaitė, Vilija Grigaitytė, Motiejus Ivanauskas, Gytis Laskovas, Liubomiras Laucevičius, Kamilė Lebedytė, Vaidas Maršalka, Pijus Narijauskas, Miglė Navasaitytė, Inesa Paliulytė, Goda Petkutė, Monika Poderytė, Dainius Svobonas, Sigitas Šidlauskas, Ugnė Žirgulė, Ridas Žirgulis

Performance 16+

This performance contains smoking and smoke

Performance in Lithuanian with English surtitles

Joël Pommerat (b. 1963) is a self-taught French artist who has become one of the most critically and publicly acclaimed contemporary theatre artists. His work as a playwright and director has earned him numerous prestigious theatre awards, such as the Grand Prix de la Theatre of the French Academy, the Molière Prize, and others. He writes adaptations of fairy tales, film scripts, short films, and operas. His work explores the complexity of human nature, constantly updating form and narrative.

In his play “The Reunification of the Two Koreas”, he explores the feeling of love, combining the curiosity of a scientist with the passion of an artist. This playful game is taken up by director Artūras Areima, who has returned to the National Kaunas Drama Theatre after a long break. The performance features seventeen fragmented stories in which love/lovelessness unfolds in various colours and manifestations. Sometimes it is comic, sometimes melodramatic, banal, ironic, absurd, surreal, or as complicated as the relationship between two hostile states. On the field of love, battles are fought, destinies are shattered, the most delicate nuances of feelings are stirred, and everybody is striving for the impossible – the perfect fulfilment of love. But perfection is hardly possible, because lovelessness, indifference, loss, and disappointment are just different stages of the same emotion. This collage of moments and random dialogues wittily satirises the clichés of relationships taken from literature, cinema and television. “I feel like I’m in a series”, says one character. “I feel like I haven’t had to suffer”, says another. “There is a terrible misunderstanding between us”, says a third. All of them find themselves at an impasse as they seek the impossible – the unification of two different worlds.

ABOUT THE DIRECTOR

Director Artūras Areima is one of the most interesting theatre creators of the young generation in Lithuania. Together with OKT / Vilnius City Theatre, he created “Julius Caesar”. Areima staged “The Robbers” (based on F. Shiller), A. Chekhov’s “The Cherry Orchard”, “Together” based on S. Zhadan’s novel “Chapayev and Pustota”, at the National Kaunas Drama Theatre. The performances created at AAT | Artūras Areima Theatre, including F. Richter’s “Under Ice”, “Richard II: Post factum”, “Loser”, “Medea’s Room”, Kai Hensel’s “Klamm’s War”, “Antichrist”, and others. The works of the director constantly provoke discussions among critics and audiences. A. Areima has repeatedly received the highest praise from professional stage art critics in Lithuania and at foreign festivals.

From his very first works, A. Areima has defined his antagonistic, intellectual rebellion and deliberate destruction-based relationship with the local theatre tradition. His conscious resistance to lyricism, ideological and aesthetic moderation, and the desire to take actors and spectators out of their comfort zones that eventually became Areima’s artistic position and perhaps the most important driver of his creative explorations. Whether he is staging classics, plays by new-age authors, embarking on creative laboratory work, or engaging in collective writing practices.

The synthesis of different approaches is explored at all levels of stage expression: from acting to audiovisual and spatial solutions. It is difficult (if not impossible) to mistake Areima’s performance for the work of any other artist. His artistic position balances between the classical theatre, the epic theatre tradition and the new phenomena of contemporary performing arts (physical theatre, contemporary dance-related expressions, performative practices). Areima’s theatrical language seems to be searching for an individual approach to each of his works, taking into account the transformations of aesthetic and social reality. His creative existence so far has been a never-ending search.

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