Spanish<\/em>: *Yerma*), explores the theme of reproduction. The play centers on the tension between societal expectations, the pressure to have children, and an individual\u2019s freedom to shape their own life. The play highlights different facets of motherhood and the contradictions inherent in it\u2014the helplessness of being unable to have children and the exhaustion and fear of losing oneself after having them. <\/p>\nDirector A. Areima adapted the play *Yerma*, written in 1934 by the Spanish poet and playwright F. G. Lorca, by transposing its vocabulary, moral dilemmas, and themes into a contemporary context.<\/p>\n
The play tells the story of a young woman tormented by social stigma\u2014a childless marriage. Yerma is obsessed with the idea of having a child in order to meet what she believes to be society\u2019s expected standard. It speaks of the body, which begins to dictate more than the mind; of love that cannot be contained within the confines of a couple; of motherhood as desire, as God, as an illness, as a protest. \u201cYerma\u201d speaks to the desire to find meaning when all other mechanisms that give life meaning have ceased to function. <\/p>\n
The creative team raises issues that are particularly relevant today. How is human reproduction connected to identity, one\u2019s role in society, and the fullness of life? What do couples who are unable to have children or who have experienced a miscarriage go through? Where does the social pressure to have a child come from? <\/p>\n
This is a story about what happens when a woman no longer wants to be \u201cstrong,\u201d \u201crighteous,\u201d or \u201cfunctional,\u201d but longs to be alive. \u201cJerma\u201d is essentially not about children, but about desire. <\/p>\n
On stage\u2014a woman\u2019s downfall, and yet her beauty: laughter, desire, anger, prayer. The play offers no solace or solutions; it leaves the audience face to face with questions for which there are no easy answers. It is the tragedy of the modern person who searches for meaning when God is silent, love fades, and the body still craves a miracle. <\/p>\n
\/\/\/<\/p>\n
Federico Garc\u00eda Lorca (1898\u20131936) was a Spanish poet, playwright, and prose writer.<\/em> Although he is considered one of the greatest innovators of poetic and dramatic form in the 20th century, he himself never consciously sought that status. The poet always strove to stand on the side of the oppressed and the marginalized. He died under mysterious circumstances during the Spanish Civil War. He called himself a proponent of social theater; his plays highlight not only the problem of inescapable fate characteristic of Greek tragedy, but also the questionable prospects for the progress of European civilization. His plays are marked by constant anxiety, spiritual tension, the anticipation of impending danger, the fear of a violent death, and its fatal inevitability. \u201cYerma\u201d is one of the parts of a trilogy (\u201cBlood Wedding,\u201d \u201cYerma,\u201d \u201cThe House of Bernarda Alba\u201d). In 1992, it was staged at the Kaunas National Drama Theater and the Juozas Miltinis Drama Theater. <\/em><\/p>\nArt\u016bras Areima is one of the most intriguing mid-career Lithuanian theater creators. Since 2017, he has been a nominee for the \u201cNew Realities of Theater\u201d award from the European Theater Union. He has repeatedly received the highest accolades from professional theater critics: in 2013, he was awarded the Boris Dauguvietis Earring for his exploration of new forms of theatrical expression, and on multiple occasions (in 2013, 2014, and 2015) for the Golden Stage Cross in the director category. In 2014, he founded a theater bearing his name; productions created under its banner have toured some of the most renowned theater festivals in Europe and Asia. <\/em><\/p>\n\/\/\/<\/p>\n
JERMA<\/p>\n
I’m afraid of being reduced to just a body that you sometimes remember. I want a body that creates another body. I want something to grow inside me\u2014not just thoughts and fears. <\/em><\/p>\n\/\/\/<\/p>\n
A co-production of the Vilnius Old Theater and the public institution \u201cArt\u016bras Areima\u2019s Theater\u201d<\/em><\/strong><\/p>\nThe project is funded by the Lithuanian Council for Culture<\/em><\/strong><\/p>\n[\/et_pb_text][\/et_pb_column][et_pb_column type=”1_2″ _builder_version=”4.16″ custom_padding=”|||” global_colors_info=”{}” custom_padding__hover=”|||”][et_pb_image src=”https:\/\/nvkc.lt\/wp-content\/uploads\/2026\/10\/Jerma-1200×1200-1.jpg” title_text=”Jerma 1200×1200″ _builder_version=”4.27.8″ _module_preset=”default” global_colors_info=”{}”][\/et_pb_image][\/et_pb_column][\/et_pb_row][\/et_pb_section]<\/p>\n","protected":false},"excerpt":{"rendered":"
The play “Yerma” pbased on Federico Garc\u00eda Lorca December 22 at 6:30 p.m. at the Naujoji Vilnia Cultural Center Tickets: https:\/\/kakava.lt\/renginys\/pagal-federico-garcia-lorca-jerma-rez-arturas-areima\/11841\/27215 Facebook event: https:\/\/www.facebook.com\/events\/1758302132084867 Creative Team: Director, set designer, and adapter: Art\u016bras Areima Costume Designer \u2013 Valdemara Jasulaityt\u0117 Movement Consultant \u2013 Sigita Jura\u0161kait\u0117 Lighting Designer \u2013 Julius Kur\u0161ys Composer \u2013 \u03c0 (Monika Poderyt\u0117) Assistant Director […]<\/p>\n","protected":false},"author":5,"featured_media":1103285,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_et_pb_use_builder":"on","_et_pb_old_content":"","_et_gb_content_width":"","footnotes":""},"categories":[109],"tags":[],"class_list":["post-1103284","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-festivals"],"_links":{"self":[{"href":"https:\/\/nvkc.lt\/en\/wp-json\/wp\/v2\/posts\/1103284","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/nvkc.lt\/en\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/nvkc.lt\/en\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/nvkc.lt\/en\/wp-json\/wp\/v2\/users\/5"}],"replies":[{"embeddable":true,"href":"https:\/\/nvkc.lt\/en\/wp-json\/wp\/v2\/comments?post=1103284"}],"version-history":[{"count":2,"href":"https:\/\/nvkc.lt\/en\/wp-json\/wp\/v2\/posts\/1103284\/revisions"}],"predecessor-version":[{"id":1103287,"href":"https:\/\/nvkc.lt\/en\/wp-json\/wp\/v2\/posts\/1103284\/revisions\/1103287"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/nvkc.lt\/en\/wp-json\/wp\/v2\/media\/1103285"}],"wp:attachment":[{"href":"https:\/\/nvkc.lt\/en\/wp-json\/wp\/v2\/media?parent=1103284"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/nvkc.lt\/en\/wp-json\/wp\/v2\/categories?post=1103284"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/nvkc.lt\/en\/wp-json\/wp\/v2\/tags?post=1103284"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}