The performance “I love you so much” is like a manifesto of a child conveyed through the lips of a grown- ups. The performance is full of symbols and daily life paradoxes. Here what is private becomes public, what is feminine becomes masculine, and maturity becomes childish innocence. Childhood revives in mature characters: one minute you can see a woman with a cigarette in her mouth holding a childish bag and starting crying like a child, who did not get his promised candy. Best friends mess with each other then suddenly holds each other crying like little girls who do not understand what happened before. Santa Claus who was in the centre of children playing the circle around him surprisingly becomes the object of desire for dozen of women. The primal question raised in the performance is whether so called “childhood” is a prerogative of a child and how much we can find it in ourselves, in our behavior…
The synthesis of different artistic means is found in the performance as well it is submitted in a very controversial context: actors and dancers being grown-ups portray the behavior of a child which is combined with the elements of the behavior of grown-ups. Child and childhood is viewed through the eyes of a grown- ups. The structure of a performance is like a flash of childish moods, emotional sallies that can be watched through the keyhole.
The scenography is the wall of a Soviet style stairwell or canteen which can be redecorated and can look like a modern office. Strict and delicate costumes are chosen grey to make all characters look like “grey mass” so that every story can be perfectly understood and stressed.
The length of the performance is a little more than an hour. The soundtrack of the performance is used from the original music of Giedrius Puskunigis, Giacomo Puccini, Marcello Minerbi, Ennio Morricone & Dulce Pontes, Frederic Chopin, Boris Kovač & Ladaaba Orchest.
“The performers organically unified chorographical elements with drama acting. The performance was full of original plastic solutions, loads of ideas and emotions. Pattern of the performance is very dynamic and constantly changing, and this pleasantly stimulates the hearing, the seeing and emotions of a spectator with contrasts of sound, plastic and theme. More than in previous works of G.Ivanauskas you can notice that the author was searching for a universal theatre language, harmony between different means of expression.”
Margarita Pilkaitė, www.kamane.lt
“The visual shape of the performance is like obscure reminiscence of childhood in the frame of half colored walls in green and linoleum floor imitating wood. This frame is the structure of eight niches that are covered in jalousies. All eight characters of the performance are dressed in grey stylish suits and sometimes alone, sometimes together demonstrate their artistic capacity as if the spectators would be school’s jury or just strangers and you should not always pay attention to them.
<…> Love is declared to partners as well as spectators by very famous theatre and dance artists mostly often called as „young“ generation. Their individuality gives liveliness to the plastic form of the performance; some of the actors even express themselves as directors and choreographers.
Helmutas Šabasevičius, www.balsas.lt