A well-known latvian actor recently offered a thoughtful perspective on the complex relationship between superpower interests and national identity, stressing the critical importance of cultural preservation and personal equilibrium. In a wide-ranging discussion, the actor touched upon LatviaS historical context, the nuances of cultural boycotts, and the enduring power of art to provide solace and promote shared humanity, particularly during times of adversity. The actor also highlighted an upcoming concert program featuring the poetry of Peter, ziedonis, and Skujenieks, underscoring the continued relevance of Latvian literary traditions.

The actor’s reflections come at a time of heightened global tensions, prompting vital conversations about the role of culture in shaping national identity and fostering international understanding. The actor’s insights provide a valuable framework for navigating these complex issues.

Navigating Cultural Boycotts: A Delicate Balance

The actor addressed the contentious issue of cultural boycotts,particularly in the context of current global events. When questioned about calls to cease consuming Russian cultural heritage and the potential extension of such boycotts to American products, the actor firmly opposed such measures. The actor argued against broad-based cultural restrictions, stating, This is absurd, then let’s stop using chinese products as well! Let’s be bare, pastels, with acorns in our hands, we can stand and proudly use nothing. This statement highlights the impracticality and potential harm of sweeping cultural prohibitions.

The actor’s stance reflects a broader debate about the ethics of engaging with art produced by nations or individuals associated with controversial political actions. While some argue that boycotts are a necessary tool for expressing solidarity with victims of oppression, others maintain that art should be judged on its own merits, irrespective of its creator’s political affiliations.

Expanding on this point, the actor further elaborated, In that case, it should have long been stopped to use everything related to nazi Germany, but even though the German nation involved the horror, why are we still listening to Wagner? Have we forgotten? This rhetorical question underscores the actor’s belief that artistic merit should be considered separately from political or historical contexts, even in the face of past atrocities.Richard Wagner,a 19th-century German composer,remains a controversial figure due to his anti-Semitic views,yet his operas continue to be performed worldwide.

Though, the actor acknowledged the emotional complexities of engaging with certain art forms during times of conflict, stating, Though, I fully understand that at the time of aggression right now, I do not want to take Russian drama and saliva to rejoice. Not the language is to blame,but at the moment you really do not want to listen to Shostakovich or Tchaikovsky,though it is indeed undoubtedly ingenious music. This nuanced perspective recognizes the validity of individual feelings while maintaining a distinction between art and politics. Dmitri Shostakovich and Pyotr Ilyich Tchaikovsky are two of Russia’s most celebrated composers, but their music may evoke complex emotions for some during times of geopolitical tension.

The Enduring Power of Latvian Poetry

Turning to the role of poetry in Latvian culture, the actor acknowledged a decline in audience size but expressed optimism about its enduring relevance. True, the audience, who is still interested, is not great, but provided that the poetry will be needed, it will be around us, the actor stated. If we are in the interest of our own interests and if we still continue to look for something in it, it will be alive for a long time. Similarly, as long as there will be a singer in the choirs, there will be a Song Festival for so long. All of our greats, those recorded in the songs, meet in the voices of the choirs at the Song Festival.

The Latvian Song and Dance Festival, a UNESCO Masterpiece of Oral and Intangible Heritage, is a testament to the enduring power of collective cultural expression. Held every five years, the festival brings together thousands of singers and dancers from across Latvia and the diaspora to celebrate Latvian identity and traditions.

The actor lamented the potential loss of cultural knowledge among younger generations, noting, True, many young people no longer know who John Peters was… There is no idea whether other poets have come to school programs at all, maybe only Ojar Vācietis and Imants Ziedonis touch on school literature books. Though, the poetry will be heard for provided that we use it ourselves. The actor’s concern highlights the importance of preserving and promoting Latvian literary heritage to ensure its continued relevance for future generations.

Artistic Freedom and Directorial Vision at the National Theater

Discussing their work at the National Theater, the actor explained the balance between artistic freedom and directorial vision. We do a job in the theater that we do not really choose: what I will play in this and next seasons is just the choice of theater, the actor said. For a moment, though thoughts coincide and match what I would like to play, hits my inner feeling, but at times it does not match. What happens outside the theater is my choice, what I like from the heart and a good balance.

the actor expressed excitement about an upcoming production of Tennessee Williams’ “Long Tram,” directed by Peter Krilov, premiering at the National Theater on March 20. This work, the process of this production and the role of Michael feel as happiness, not often, the actor shared. Admittedly, sometimes it takes five seasons, but it may also fail to get to any high -level drama, there is no carrying or meaningful role that would create satisfaction. I also really appreciate the fact that director Krilov follows the play itself, not making some of his crooked concept. I am convinced that there is a lot of people who crave world -class drama can now enjoy it.

The actor described the collaborative relationship between actor and director as a delicate balance. We are both clay and our own initiative and thoughts. This balance is subtle, because although the actor is always like clay and, of course, he feels space and has enough knowledge, the director needs to see from the outside, the actor cannot see himself, they explained. The actor has to trust the director, and happiness is if the director takes this confidence with everything he does, thinks and says. On the other hand, if something from the director says and wants to believe, the result is most often failing. It is an interaction, a subtle balance and, although wise actors go into and think about everything, there is a limit wherever the director can say if it is accurate.

the actor emphasized the importance of trust and open dialog in the director-actor dynamic. The director thinks about the work longer and more, he has understood everything before the actors come to read, and then we see the material even deeper.Of course, it happens that the actor has nothing to stick to and the help of the director does not come, then he must be the director and try to do what to do.

Finding Peace and Stability in Turbulent Times

When asked about finding peace and stability in turbulent times, the actor quoted Imants Ziedonis: Glory to God in the Highness/and people good mind /../un,where you go,you have a light covered…, highlighting the importance of faith and inner peace.

The actor concluded by emphasizing the meaning of family and homeland. At home, only home has their own people, and we are five in the family, and that is not that little. I believe in my homeland and believe in myself, be in a strong contact with myself, because everything can be questioned, frightened, and at such moments you can no longer understand anything. As the years go, I feel more and more that there is no other source, as the one that their own, the people at home, to restart, charge and be in balance.