ARTŪRAS AREIMA

Theater director Artūras Areima is one of the most interesting of the younger generation of theater artists in Lithuania. Along with OKT / Vilnius City Theater he created “Julius Caesar”, in Kaunas National Drama Theater presented "The robbers", "The Cherry Orchard", "Together”. In AAT | Artūro Areimos theater born performances "Under ice", "Richard II: Post factum", "Loser", "Medea's room", “Klamm’s war”, “Antichrist”, "Klamm's war: the beginning", "Boiling temperature 5425", "The Blind", "Hamletmachine", and other director's works constantly provokes critics and audience discussion. A. Areima - not once reached the professional performing arts evaluators highest rating. In 2013 for new stage expression forms searches, director got the highest Lithuanian award for innovative and original theater solutions: Borisas Dauguvietis earring, in 2013, 2014 and 2015 he was nominated for the Lithuania highest theatrical award : Golden Stage Cross in stage director category, in 2014 was evaluated by Ministry of Culture for Young Artist Award, in 2015 Lithuania highest theatrical award : Golden Stage Cross his staging "Mechanical Heart" was recognized as the best performance of the year for children and young people, and with Lithuanian Cultural Council support, last summer at the world's largest arts festival in Edinburgh Fringe by presenting hi performance “Under ice”, British theater jury assessed A. Areima by a special “Summerhall” arts center award ("Jawbone" award for one of the most memorable moments of the festival) and was AAT was invited for co-production with “Summerhall" in Edinburgh. On 2018 summer with the performance "Under Ice" , AAT theater troupe participated in Avignon OFF festival (in La Manufacture Contemporain program). With the newest work "Hamletmachine", on 2018 November , troupe participated in two theater festivals "Dipfe" and "ST-BOMB" in South Korea.

In 2008, while studying theater directing at the Lithuanian Music and Theater Academy, director Artūras Areima began his theatrical career in the professional field by his first projects, which defined his antagonistic, intellectual rebellion and deliberate destruction. This particular resistance to lyricism, ideological and aesthetic moderation, the desire to put the actor and the audience out of their comfort zone eventually became a kind of Artūras Areima artistic position and perhaps the most important inspiration of creative research process. Director prefers wide and universal points of view related to dramaturgy in his plays - he has worked with classical, contemporary plays, set up workshops and collective writing practices.

The synthesis of these various approaches is the base of expression levels ranging from acting, to the audio-visual, spatial solutions. Artūras Areima’s performances is a unique expression in the theater directing field that might be difficult (if not impossible) to mistake with work of other directors. During the period of twenty years of Lithuania’s independence only few dramatic theater directors have succeeded to be outstanding in the field of Lithuanian theater. Artūras Areima’s artistic position balances between classical theater, epic theater and modern times performing traditions (with physical theater, contemporary dance related resolution, performative practices). Director is constantly looking for individual access to each of his work, taking into account the aesthetic and social transformations of reality. His creative existence so far might be generalized as ‘never-ending research of itself’.


"So how could we use art work to bring it closer to the viewer? AAT is looking for a more universal foundation, relies on the long-standing problem of everyday life, the concept of potentially catastrophic everyday life - the opposite of the experiences of the routine and monotonous sense associated with it." A "technical barrier", such as a temporary loss of Internet connection, is small but a "catastrophe" that disrupts the somewhat unheard of flow of everyday life.

The image, routine and monotony of everyday life is just a forgotten self-deception technique that helps to create an illusion of security. Here is recognized the laziness, which the writer Thomas Pynchon described as "our background radiation, our easy-to-listen radio station", which helps to avoid painful despair and serious moral decisions, and the boredom that can be interpreted as semi-conscious protection from being aware of being temporary.
If we take a deeper look at the concept of everyday life, we would realize that it has become a powerful tool of politics and capitalism today, which is well used by the individuals concerned. The industry can only manipulate it so much in the consciousness of most people because of the already known permanent boredom - by helping the consciousness to forget, listening to it as a "radio station", it acts as a layer of passivity that separates us from consciousness. Consciousness in this case stays in the margins, the "crowd" of people's perception, which encourages today's society to turn away from the current momentum. " A. Areima

The corporeal individual. An enemy of its own, forced to create a fiction - humanity.

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