Oskaras Koršunovas theatre (now OKT/Vilnius City Theatre) emerged in 1999. Since the very beginning it has made a decision to remain independent. The newly created entity took a risk not to be dependent on any subsidies, not to have permanent stage or accommodation. Such a step was made just because of a single reason: it was meant to cut all the connections with reality of the theatre of that time and to create a new one.

The theatre took the risk even further: by declaring that the new times have come and that these times must be reflected in a contemporary theatre, it started to produce the newest dramaturgy that was absent at the Lithuanian stage of those days. OKT began to seek for its’ own ways of communication with the audience, besides this it come to implementation of the new style management. Regardless of bitter reaction and controversial opinions the brave step deserved respect and appreciation. It may be affirmed that the artistic project of the young director has eventually gained a name of the most accepted and most “spectaculous” theatre.

OKT/ Vilnius City theatre is one of Lithuanian directorial theatre that mainly protected modern drama, modern staging of classics, and other conception of scenic metaphor and scenic action at the threshold of centuries. The theatre maintained its avant-guard positions for a long time, attracted young talents, and was very productive and toured in many famous world festivals. The main ambition of OKT/ Vilnius City theatre is the search for modern theatre language that would correspond with the rhythm of present life; that would analyze the myth of a modern man and would provoke the audience for the possibility of other action or life.

It’s important that by remaining independent theatre has appealed to the purposeful strategy of artistic program. OKT/ Vilnius City theatre hasn’t become just a producer of isolated projects. It has created a forceful repertoire that includes both the modern dramaturgy and the classics. The main credo of repertoire may be expressed by the following words: to stage classics as if it was modern dramaturgy and modern dramaturgy – as if it was classics. That’s why separate performances organically come one from another: Fireface by Mayenburg is somehow related to Shakespeare’s Romeo and Juliet and Shakespeare’s A Midsummer Night’s Dream – to Crave by Kane. These performances don’t discord with Ravenhill’s Shopping and Fucking or Oedipus Rex by Sophocles, The Master and Margarita by the novel of M. Bulgakov, a good example of a collision of modern interdisciplinary arts and ancient Lithuanian folk traditions in Closed Party, W. Shakespeare’s Hamlet or one of Anton Chekhov’s masterpieces – Uncle Vanya.

Today the theatre is confident that in order to remain creative and up-to-date it is not possible to contain itself in local space. The further course of OKT is not only to go beyond the stage and the building, but also to exceed the limits of traditional concepts of theatre. The theatre, therefore, will keep on trying to create its own architectural vision in spectators’ minds.

OKT/Vilnius City Theatre is the initiator and organizer of the Vilnius’ International Theatre Festival SIRENOS and Druskininkai Theatre Festival, as well as the participant of the local and international cultural projects.

Address: Ašmenos g. 8, LT-01135, Vilnius