Abstract
The young actors of Liepāja theatre who graduated from Klaipeda University can serve as an excellent sample of successful interaction between cultures, traditions, and schools. Having acquired acting skills both in traditions of Lithuanian theatre and in the paradigm of so-called ‘fantastic realism’ by Evgeny Vakhtangov developed in the Boris Shchukin Theatre Institute, proposed by their pedagogues Vytautas and Velta Anužis, they can perform as actors of psychological theatre as well as postdramatic theatre performers. Evidence of this is the international success of their work in Konstantin Bogomolov’s post-dramatic chronotopic experiments “Stavanger (Pulp People)” and “My Blaster is Discharged”, and Sergey Zemlyansky’s non-verbal searches for psychological plasticity in Rainis’s tragedy “Indulis and Ārija”, and Nikolay Gogol’s comedy “The Wedding”.
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