{"id":5495,"date":"2022-11-07T15:04:19","date_gmt":"2022-11-07T13:04:19","guid":{"rendered":"https:\/\/blog.lnb.lt\/lituanistika\/?p=5495"},"modified":"2022-12-09T15:12:20","modified_gmt":"2022-12-09T13:12:20","slug":"two-exhibitions-dedicated-to-lithuanian-emigre-dissidents","status":"publish","type":"post","link":"https:\/\/blog.lnb.lt\/lituanistika\/2022\/11\/07\/two-exhibitions-dedicated-to-lithuanian-emigre-dissidents\/","title":{"rendered":"Two Exhibitions Dedicated to Lithuanian \u00c9migr\u00e9 Dissidents<\/strong>"},"content":{"rendered":"\n

The exhibition \u201cThe Sign of Tomas Venclova\u201d, exhibited at the National Library of Lithuania from September 13 to November 6, invited to take a fresh look at Tomas Venclova<\/strong> (b. 1937), a well-known poet, translator, literary researcher, professor, dissident and public figure.<\/p>\n\n\n\n

The exhibition opened up different stages of Venclova\u2019s life, spheres of activity, hobbies, friendships, and works. Looking back to the very origins of poet\u2019s rich and meaningful life, the exhibition presented poems and a manuscript written by Venclova in his childhood, photographs testifying to his close relationship with the world of books from his early days, and his first books.<\/p>\n\n\n

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The exhibition was well attended by the students. Photo:  Vygaudas Juozaitis \/ National Library of Lithuania<\/figcaption><\/figure>\n<\/div>\n\n\n

The exhibition included Venclova\u2019s collection of poems Kalbos \u017eenklas<\/em> [The Sign of Language, 1972] published fifty years ago, which was the poet\u2019s remarkable public debut and left a deep imprint on Lithuanian poetry of that time. This book also inspired the title of the exhibition. Other books of Venclova\u2019s poetry and their translations into various languages were also on display.<\/p>\n\n\n\n\n\n\n\n

The exhibition presented Venclova as one of the first propagators of semiotic ideas in Lithuania, who discovered in semiotics the possibility to protect free thought from the dull Soviet ideology. The exhibits also reminded us that after his arrival in the USA, Venclova, as a representative of the Lithuanian Helsinki Group, communicated with Lithuanian diaspora figures and other Soviet dissidents, participated in meetings, spoke out about human rights violations, strengthened existing and created new links with democratic movements in the West.<\/p>\n\n\n\n

The exhibition also offered a glimpse of Venclova\u2019s passion for travel as a freedom seeker and citizen of the world. His travels have ranged from Ethiopia, India and China to Australia and Ecuador.<\/p>\n\n\n\n

The poet and the National Library of Lithuania have a long-standing friendship, which began at the dawn of Lithuania\u2019s independence. From the early 1990s, Venclova systematically began sending his published works to the Library.<\/p>\n\n\n\n

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The Jura\u0161as\u2019s exhibition ran from September 6 to October 30. Photo: Vygaudas Juozaitis \/ National Library of Lithuania<\/figcaption><\/figure>\n<\/div>\n\n\n

The life and work of the theatre director, laureate of the Lithuanian National Prize for Culture and Arts and dissident Jonas Jura\u0161as<\/strong> was presented in detail at the exhibition \u201cJonas Jura\u0161as. The Price of Being\u201d. The exhibition presented over fifty Jura\u0161as\u2019s plays staged during the Soviet era in Lithuania and Russia, on the stages of the Western world (USA, Canada, Germany, Belgium and Japan), and in Lithuania after the restoration of independence revealing the personality of the creator and the importance of his works.<\/p>\n\n\n\n

The exhibition has already been exhibited at the National Kaunas Drama Theatre, where Jura\u0161as has received the great recognition and experienced love of the Lithuanian people, and faced tragic moments.<\/p>\n\n\n\n

Jura\u0161as\u2019s work in Vilnius theatres has a special place. However, the performance \u201cBarbora Radvilait\u0117\u201d is the most famous of all. This April marked the fiftieth anniversary of its legendary performance, which determined the director\u2019s further life. On September 9, 1972, the premiere of the tattered and censored \u201cBarbara Radvilait\u0117\u201d took place without the presence of the director, without mentioning his name. Today, this play is not only a symbol of Jura\u0161as\u2019s refusal to collaborate with the Soviet censorship, his resistance to the system, and his struggle for a free Lithuania; it is also a work that has been acknowledged by the country\u2019s theatre critics as the most outstanding Lithuanian performance of the 20th century.<\/p>\n\n\n\n

The exhibition was prepared by curator Liucija Armonait\u0117<\/strong>, exhibition architects Ona V\u0117li\u016bt\u0117<\/strong>, Saulius Valius<\/strong>, artists Ona V\u0117li\u016bt\u0117<\/strong> and J\u016brat\u0117 \u0160at\u016bn\u0117<\/strong>.<\/p>\n","protected":false},"excerpt":{"rendered":"

The exhibition \u201cThe Sign of Tomas Venclova\u201d, exhibited at the National Library of Lithuania from September 13 to November 6, invited to take a fresh look at Tomas Venclova (b. 1937), a well-known poet, translator, literary researcher, professor, dissident and public figure. The exhibition opened up different stages of Venclova\u2019s life, spheres of activity, hobbies, … Toliau skaityti „Two Exhibitions Dedicated to Lithuanian \u00c9migr\u00e9 Dissidents<\/strong>„<\/span><\/a><\/p>\n","protected":false},"author":6,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"inline_featured_image":false,"footnotes":""},"categories":[1647],"tags":[2363],"class_list":["post-5495","post","type-post","status-publish","format-standard","hentry","category-exhibitions","tag-tomas-venclova-en"],"_links":{"self":[{"href":"https:\/\/blog.lnb.lt\/lituanistika\/wp-json\/wp\/v2\/posts\/5495","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/blog.lnb.lt\/lituanistika\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/blog.lnb.lt\/lituanistika\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/blog.lnb.lt\/lituanistika\/wp-json\/wp\/v2\/users\/6"}],"replies":[{"embeddable":true,"href":"https:\/\/blog.lnb.lt\/lituanistika\/wp-json\/wp\/v2\/comments?post=5495"}],"version-history":[{"count":0,"href":"https:\/\/blog.lnb.lt\/lituanistika\/wp-json\/wp\/v2\/posts\/5495\/revisions"}],"wp:attachment":[{"href":"https:\/\/blog.lnb.lt\/lituanistika\/wp-json\/wp\/v2\/media?parent=5495"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/blog.lnb.lt\/lituanistika\/wp-json\/wp\/v2\/categories?post=5495"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/blog.lnb.lt\/lituanistika\/wp-json\/wp\/v2\/tags?post=5495"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}