Events

The fantasy play “Žemaitėjė.”
What is the best way to grasp the portrait of an ethnocultural region? Perhaps historical and documentary material, or myths and folk wisdom, or maybe archives of internet forums and the campaign slogans of political parties? The creative team behind the play “Žemaitėjė” conducted an artistic-historical study encompassing all of this so that we might better understand what Samogitia means to the modern Lithuanian.
Why not some other region? History shows that Samogitia was, in the past, the most autonomous region, holding the status of a duchy. Scholars study and compare the unique Samogitian heritage with that of other regions; poets write in the Samogitian dialect, and the Year of Dialects encourages us to explore the treasures of the Samogitian vernacular that enrich the Lithuanian language, yet even today there are people who believe that Samogitia should repeat history, secede, and become an independent state… Of course, before that, the Samogitians would have to agree on which of the four versions of the region’s flag is the most authentic.
While conducting their artistic research, the creators of the performance encountered Samogitian folk art masters and folklore enthusiasts who find it hard to understand why a modern child no longer wants to play the birbynė. The creators of “Žemaitėjės” suggest that in order to preserve, cherish, and pass on something to future generations, we must first understand where the value of those traditions lies. To ensure that ethnographic songs and dances do not remain merely a one-time, exotic performance at the Song Festival, but become an integral part of everyday life and national identity, we must find a new way to talk about our past.
“We feel that our generation’s attitude toward traditions and ethnography differs greatly from that of our parents’ and grandparents’ generations. We question whether everything needs to be preserved and cherished; we want to adapt traditional elements to the modern world in some way. There is much more to the Samogitian heritage than just the kastinys and the unique language, but how much of it do we actually know? Should we be satisfied with only the portrait of a Samogitian presented to us by ‘Dviračio žinios’?” asks the play’s co-author, Ieva Pakštytė.
The dramatic foundation of this fantasy play is reinforced by the research and publications of Lithuanian historians and ethnographers on the history and traditions of Samogitia; their analyses significantly expand our understanding of what Samogitia is. However, this historical information will take on mystical and mythical forms on the theater stage, filtered through the personal experiences of a young person. For the creators of this fragmented, mosaic-like play, it is important to explore their own relationship with the place where they live—Samogitia.
“My mother and grandmother are true Samogitians and speak the Samogitian dialect, but I myself grew up on the border—in Šiauliai—and Samogitian traditions aren’t as deeply rooted in my daily life. Meanwhile, Ieva grew up in Jonava but has lived in Samogitia for a long time. It is interesting and important for us to analyze how we could strengthen our connections with Samogitia,” reflects the play’s co-author Rugilė Latvėnaitė.
The performance welcomes not only Samogitians, but also people from Aukštaitija, Suvalkija, Dzūkija, and Mažlietuviai—there will be relevant questions and unexpected discoveries for everyone.

Director: Darius Rabašauskas
Actors: Ieva Pakštytė and Rugilė Latvėnaitė
Set Designer: Rūta Venskutė
Lighting Designer: Julius Kuršis
Composer: Gytis Šimelionis