Plato: Dialogues

The production uses works translated from Ancient Greek: Plato’s *Symposium* and *Apology of Socrates* (translated by Merkelis Račkauskas), *Republic* (translated by Jonas Dumčius), and *Gorgias* (translated by Tatjana Aleknienė), as well as excerpts from Xenophon’s *Memorabilia* (translated by Vanda Kazanskienė) and Aristophanes’ *Frogs* (translated by Antanas Dambrauskas).

This production by young director Motiejus Ivanauskas is based on the thoughts and discussions of his teacher Socrates, as recorded by Plato. Motiejus Ivanauskas, who recently graduated in acting from the Lithuanian Academy of Music and Theatre, says: “Many things suggest that in life, the ‘golden mean’ is often important. In other words, balance between two opposing poles. This applies to psychology and politics, as well as to the structure of the new production. What draws attention in the ‘Dialogues’ is that Socrates’ teachings seem clearly to urge us to pursue ‘eternal values and virtues’—the cultivation of wisdom, moderation and willpower—yet at the same time we sense the ‘free’ atmosphere of Ancient Greece and Socrates’ ironic attitude towards himself, his conversation partners and the reflections he himself proposes. This immediately makes us well-disposed towards him, because Socrates does not consider himself all-knowing; he simply brings certain problems to the surface, where they become clear to everyone.”

Socrates—the central character in the “Dialogues,” played by Vytautas Anužis—would bluntly tell his contemporaries what he thought of them and their actions. He would support his reasoning with firm arguments, often leaving his conversation partners frustrated when they realised they could no longer argue back. However, Motiejus Ivanauskas says he has no desire to create a preachy work or use Socrates’ wisdom as a benchmark for truth (something Socrates himself would probably disagree with, having said more than once, “I know that I know nothing”). A more affecting approach, he feels, is to let the episodes simply “float” among the audience, leaving room to laugh, disagree, or perhaps agree.

The form of the “Dialogues” is particularly well suited to the theatre. As is well known, when speaking with people, Socrates would ask precise questions that led his conversation partner to see clearly that they were contradicting themselves and to admit that they were wrong. The somewhat archaic manner of these dialogues may sound exotic, but it offers an opportunity to notice—and then bring out—the comic side of Socrates’ conversations.

The production is supported by: The production is part of the Ministry of Culture of the Republic of Lithuania’s Culture Pass programme.