#twarkowski

The work of contemporary visual artist Fabien Lédé is vivid and memorable. His artistic installations and sets for theatre performances shine with bright neon lights, unfold alongside green vegetation, tell stories through videos broadcast on wide diagonal screens, or are embodied in the details of architectural objects. Speaking about himself, Lédé says that the art objects he creates are like living forms that can act independently or even change their appearance.

What was the beginning of your journey as a set designer and visual artist?

I became interested in visual art at the age of five. I used to draw snail shells and try to sell them to the neighbours. I remember I sold one of them, but probably only because they were people I knew. But I realised that this is what I want to do - to create beautiful and not always useful objects that nobody but me wants to see or have. Meanwhile, my career as a scenographer started much later, when I moved from France to Poland. 

What is the most interesting thing for you in these two areas?

Everything, absolutely everything is possible. Even ideas that I may never be able to realise are exciting to me. Creating art for its own sake, trying to do everything on my own, pushing my limits by inventing new methods, or even the inevitability of making mistakes - that's what gives me the most satisfaction.

How much space and opportunity do you have to realise your ideas in the field of stage design? Because in theatre you are in a way also dependent on the director and the concept of the play.

I have enough space and opportunities to work on my personal creations, but of course, in stage design, your work depends on the theme, the book or the film on which the play is based. It can also depend on another artist's work and the overall theme if you are exhibiting your set design.

How would you describe your creative style and the aesthetics you create?

A few years ago, I would have said that I make pure, slightly naive art based on stylised folklore, natural colour or emotional imagery. Nowadays I create disruptive architectural objects for a natural and changing space. I feel that I am becoming more and more like a gardener for endangered landscapes, a collector of plants or stones that are no longer in their natural habitat.

Are innovative methods important to you? How do you combine traditional forms of artistic expression with handmade art and the latest technologies in your work?

I'm not looking for ways to apply innovation in art, but I am curious and I like to observe, to look at lots of images, videos, and to be interested in everyday events. I like new forms and ways of making art in new ways. This allows me to progress in my personal creativity. I create everything with my own hands, handmade is important to me, so it could probably be described as traditional expression. But at the same time I feel the need to eliminate the material from my work, to become lighter, to lose the weight of physical art... and all this is in order to slowly move towards the virtual with the help of the latest technologies. 

What is the place of sound and video in your work?

Properly selected and coordinated lights are one of the key elements in the realisation of my creative ideas. If, say, the lighting is bad, the installation will immediately lose about fifty percent of its strength as a work of art. That's why I always try to direct the light directly onto the set itself. This principle helps to ensure that the light will do its job of highlighting the objects, their shapes and details. I also think that direct lighting is most suitable for theatrical scenery. It becomes closer to the everyday environment. 

Video is different. I like media and I like to use it in my installations. That way they become multi-layered and multi-dimensional. But I have to admit, though, that using different media in your set design can be limiting for you as an artist. Of course, video can be presented in many different ways, from transparent screens, to incorporating it into other objects, to placing it in space… I did something similar when designing the set for Łukasz Twarkowski's performance "Lokis", where we gave the screen a secondary function of a lightbox, but the screen itself still did not lose its true purpose of showing video… However, video allows me to highlight certain details or accents that are not always visible to the viewer's eye in the scenography.

What was the experience of creating the sets for the plays "Lokis" by Ł. Twarkowski at the Lithuanian National Drama Theatre and "Es war einmal... das Leben", which was staged not so long ago at the Hannover Theatre in Germany?

It's like a long journey through darkness. The two performances complement and extend each other. They are like a never-ending night in which every human being returns to his or her own primitiveness, when our inner beastliness begins to control us. As I worked on these performances, my set became darker and darker, closer to the underground, hidden, waiting for a new day that might never come. So it's quite a challenge every time to create a set that can just disappear into a dark space or become an organic part of nature.

I can reveal that "Lokis" and "Es war einmal... das Leben" are a kind of hint to the upcoming production "Respublika" by Twarkowski, which will be staged in Lithuania later. The action will take place in an open space and the scenography will be integrated into the natural environment. In the end, it will all develop into a rave party. 

Creating mystical and highly impactful spaces. How important is it for you to provoke an emotional and perhaps even physical reaction in the viewer? Could you call your scenography an alternative reality?

Although I create scenography and installations, I feel like a performance artist. I compare my works to living forms that can act, move, change colours or change their nature. I think that art installations or the same scenography should be the viewer's companion to an alternative world, something that exists but is very deeply hidden or completely camouflaged under a thick layer of the evils that the world throws at us on a daily basis... My task is therefore to help the viewer to become part of this "luxurious" world of imagination. 

What is your opinion on image manipulation? Do you use it?

The creation of each image is in itself a manipulation. However, I don't want to create lies or deceive the viewer. I am in favour of the viewer discovering hidden things for himself, to understand my works as objects with no meaning. 

What do you see as the future and transformation of visual art? What would you like to see, or perhaps imagine?

It is hard to imagine. The development of creative media gives us the opportunity to create and show imagery. I see the future as a big, messy patchwork of different images and a mix, reminiscent of remixes of 90s music hits. 

As far as my work is concerned, I see its future in very concrete terms. I plan to stop creating objects and images of non-existent forms and to focus on elements that exist in reality. One of my dreams is to establish a palm plantation in Burgundy. The rapid climate change shows that the world will not be the same again. I want to turn an unexotic place into a tropical… Replace wine production with coconut water production.

Photo: F. Lédé archive

Imagine you are invited to take part in a project. You are given a basic income and you have to retreat to the countryside where you and the other participants in the project have to build a community that operates outside the socio-economic structures of society. Actor and director Gediminas Rimeika had a similar experience while preparing for the upcoming premiere of Lukasz Twarkowski's "Respublika". In between intensive rehearsals, we talked to Gediminas about the casting process, the behind-the-scenes of the work and what it means to him to be part of the community of the latest production.

What are the processes taking place in "Respublika" as we speak?

Rehearsals are still going on. But I feel that the next stage is coming right now. You start to think about how the audience will see and accept what we have been working on for a long period of time. So what is happening and what is about to happen is a really exciting moment.

As the rehearsals of the play come to an end and the premiere is approaching, do you as an actor have expectations for yourself and others?

These are more assumptions than expectations, especially when it comes to the future reactions of the audience. You expect maybe one thing, but it happens differently. I think that "Respublika" is an extraordinary theatre phenomenon in Lithuania. I would call it an experience or an experience. In terms of time, it will be long enough and the audience will have the opportunity to get involved in the action. The box model of the classical theatre stage will be replaced by an interactive form.

How did you decide to audition for "Respublika"?

I always try to work with as many different directors as possible, and to get in with directors I don't know. That way I grow as an actor, and it's also very interesting to learn something new from the people I work with. As far as the selection for Republic is concerned, I had no preconceptions at the time. I didn't associate it at all with Twarkowski's previous production, "Lokis".

Tell us about the selection process? How was it different?

The selection process was similar to the one for "Lokis", although I was not involved in the latter. In the first stage, I met the director and the playwright for an interview. The next stage of the casting process was working with the camera. I was left alone in front of the camera to shoot a video. The actors were given complete freedom in terms of timing and acting. Of course, there were some rules, such as the preferred length of the video was ten minutes, but it was possible to shoot longer. Working with a camera is in itself an interesting experience in the theatre.

How did you feel in front of the camera?

I was alone in front of the camera. I turned on the camera, pressed the REC button. I didn't know what to say or do, but in my pocket I found the dice that I was carrying at the time. At that time, I used dice rolls to solve almost all questions of choice. I took them out and started rolling. For the first time, I said what number came up, but I didn't show it to the camera. The second time I said the number and then showed the dice and so on. I played with those dice and the camera. Being in front of the camera took an unexpected turn for me.

Later on, you and the actors spent a lot of time in nature, where you lived as a closed community.

For a couple of weeks, we all stayed in a space near the Grybų Manor. Our aim was to artificially create a community. I was familiar with the place from the past, as I had been part of the "Braile Satellite" festival once before. It was interesting to spend time with different people than then.

From what we had there, we created a personal environment, living together in caravans. Although we didn't have specific rehearsals, we took part in movement classes taught by choreographer Pawel Sakowich. We also learnt how to work with a camera and how to operate a DJ console. As far as DJing is concerned, I would like to add that we could not have had a better teacher than Karol Rakowski. He produces and edits the videos in the performance and is a great DJ under the nickname Spectribe. He was the first teacher who not only showed us how to work the console, but also introduced us to a wider spectrum of electronic music.

You recently opened the "Yaga Gathering" festival as a performer. Should your musical experience in this performance be your strong point?

I have gained more musical experience in the years we have been preparing for "Respublika". "Yaga Gathering" was the first big performance and experience of playing on the main stage during the opening of the festival. It was quite a challenge, but a really fun one. It's nice that everything came at the same time - the performance and the invitation to play at the festival. I wouldn't be tempted to single myself out from the rest of the cast, even though I have tried it more. All the actors are excellent and we have a great composer, Bogumil Misala.

How is working with director L. Twarkowski different?

There is no big age difference between me, the director and the others in the team. We share similar attitudes and interests. We have more in common. The creative process differs in that it is very much a visual experience. In other directors' productions, it's more about the psychology, about going deep into the role, whereas in "Respublika", the whole thing comes together. You have to be alert, you have to hear, you have to listen to what's going on and participate in it. But when you're involved in the production, you have the freedom to propose ideas. The work is based on the principle of suggestion. It doesn't oblige you to do it this way or that way.

Does the freedom to work together help you as an actor?

I am in favour of creating art collectively. Of course there has to be one person, in the case of a play, the director, who makes the final decisions.

In the case of "Lokis", there are no leading or minor roles. What about "Republika"?

The community is the essential element of the play. Its aim is equivalence, togetherness. However, there is no central or major role. Personally, I find this model of performance acceptable. Someone speaks more, dances more or plays more, but any action has to happen naturally. As much as the actor puts in, that's what will be seen in the performance. But the fact that there are no leading or supporting roles does not go unnoticed.

Speaking of community, do you feel that you are more of a team person or an individual creator in the theatre?

I start with myself, especially when it comes to creating characters from scratch. Of course, there is a team and you can't exclude yourself from the others. I am more of a group person. In the case of "Republika", I feel part of the team. It's different when you're working in plays where you have to go for individuality. Every generation is different.

How do you feel about experimental and traditional theatre breaking the mould, both as a director and as an actor?

I have a different approach. From a directorial point of view, you learn from such performances, you observe the approach to the theme, the choice of means of expression. Even as an actor, it's difficult to avoid analysing the performance from the director's point of view. From an actor's perspective, it's interesting to understand yourself as an actor on stage, to try out as many different media as possible, to learn how to manipulate them. I want to learn more and more, to gain experience and to use it.

L. Twarkowski works a lot with the camera and demands the same from the actors. Acting in front of film cameras and on the theatre stage are different experiences, which become a common means of expression for the actors in "Republika". How do you manage to work with the camera without forgetting that the audience will be there with you during the performance?

In a way, the camera is like a microscope. You have to be in front of the camera but also in contact with it, to act and not forget the spectator. For me personally, it becomes a microscope that brings the actor closer to the audience, thus giving them a greater impact to feel the change of emotions that happens during the performance. After all, for example, a greater experience is also created by seeing the actor's eyes on the screen.

The camera becomes a third eye for the viewer and for us, the actors. It is like a kind of character with whom we also interact and have a relationship. As the camera captures the life of the community, the performance becomes a mockumentary.

This time, the audience will be able to be in the same space with the actors and become part of the action. How does it feel to meet the audience face to face every time?

I like to feel the audience close to me. Without it, it is somehow very difficult. But there can be all kinds of situations during "Respublika". Suddenly there will be a fourth wall, and the performance will be composed of many different dimensions. I hope that all of them will be able to be shown and to stay, to live together with the viewer. The audience will be able to get involved in the action as much as they want. It would be even more fun for us if they get involved both by watching what is happening and, say, by dancing together.

How important and relevant is the theme of community, especially now that we are distanced from each other?

I think it's a very relevant topic. For example, there are people in the United States right now who are starting to lose faith in social media or in the government that they choose for themselves. There are many truths, but the reality is still one. That reality seems to be starting to collapse. I have a feeling that we are going seriously mad. Maybe the end of the world will not be an explosion, or maybe it has already started and we are slowly heading towards destruction.

We trust the community that is closest to you - family, loved ones - more than what is around us. In the same way, the example of the US is a huge development, people are coming together in groups, trusting who is around them more than who they would prefer to see as leaders themselves. Of course, we are not going to destroy capitalism by saying that here we have a community, but small changes are happening.

You are not only acting in L. Twarkowski's plays, but also in other directors' plays, but you are also a director yourself. Which relationship is more in you - actor or director?

I think that both directing and acting are complementary professions. In my creative life, I wouldn't tend to separate the two. I would like to complement each other as much as possible. I wouldn't even exclude other professions or fields within theatre or cinema. I don't shy away from hearing, knowing and learning as many things as possible. For example, when I was studying directing, I acted more as an actor in other people's productions. When I graduated later in acting, I realised that I wanted to go back to directing and experiment.

What is most important to you as a creator?

Trust. But in all aspects: in yourself, in others, in what you do. The fact is that there is another side of the coin. There are times when you doubt yourself. The most important thing is to move yourself to work both with yourself, your personality, and with others, listening to them.

What's in store for you right after "Respublika"? Do you have specific plans?

I will have two new productions. The next one is a movement performance in which I will play a role together with Ula Liagaite. It will be created by debutant director Aneta Bublytė, who used to create visuals and video for other productions. The next work will be my own play about a time machine, "Amazing Adventures", directed by myself at the MMLAB. The premiere should take place after the new year.

Photo: Marija Mireckaitė

Interview with actor Vainius Sodeika:

(in Lithuanian)

https://issuu.com/swomagazine/docs/swostreet_26/56