In recent years an increasing number of performances on the Baltic theatre stage attempt to escape the dominant understanding of “performing history” as a repetition or reinforcement of the monumental representations of the historical past or as a (re)production of “mythistory” (Joseph Mali). Lithuanian creators of performances about history increasingly choose hybrid approaches of representation, merging memorialization and critique, imagination and fact, documents and speculative inventions as forms of engagement with the past. This playful re-imagination of the historical past serves as a creative laboratory, where audience ability to recognize and/or resist historical manipulations as well as to embrace plural and polyphonic nature of memory are tested. In some cases, however, Lithuanian theatre creators are interested in “truthful” or “authentic” representations of personal memories, rather than a performative investigation ofmechanisms of production of the “reality effect” in historiography and their impact on audience perception. This article examines the ways in which historical events are represented on the contemporary Lithuanian theatre stage and, at the same time, addresses the larger issues around the implications of particular theatricalstagings of the past on the current understanding of the subject of history.
The New Keynesian Synthesis
