BEST SUPPORTING ACTOR MALE
‘for everything what has happened and is happening in my life I can be thankful just to Shri Mataji Nirmala Devi, founder of Sahaja Yoga, for pure energy, pure knowledge, peace and balance… ‘
In these days we all are fascinating by arts, more than ever they play a huge role in our lives. But many a times we are disappointed by the conveyors of art, so often they tend to be selfish, superficial and materialistic, very much ego-oriented, despite the great roles the artists play or display. Seeing Petras being natural, his genuine (= sahaj!) joy and emotion are totally “out” but in the same time, when it was all about “him” / his talent .. he did rememb and mention, first and foremost the name of his spiritual mother and teacher: Shri Mataji. Very touching for all of us that feel the same regarding all our successes in life, that by practising of Sahaja Yoga Meditation we can experience and understand these ‘successes’ at another level. Hope you’ll enjoy this news and that you’re open to learn about talented actor that is not from Hollywood. 🙂
SHORT VIDEO from the Award Ceremony
And in an email, Petras adds:
“there was great opportunity to thanks Mother (Shri Mataji) and to say loud and proud Her name- the greatest mantra of all mantras..it was a live broadcasting so there was about 300 000 people who heard this 🙂 ..
thank You Mother for everything….
sincere smiles Petras Lisauskas”
More about our new friend Petra:
Petras Lisauskas was born in 1981, in Alytus. In 2000-2002 he studied Architecture at Kaunas Technological University. Since 2003 he studies contemporary dance at Lithuanian Academy of Music and Theatre (head teacher Aira Naginevi?i?t?).
Participated in seminars and workshops of: Elizabeth Lyseng (Norway), Jonathan Burrows ir Adrian Heathfield (UK), Tatyana Gordejeva (Russia), Michael Diekamp (Germany), Andrea Buckley (UK), Laura Graham (Germany / Canada), Alexandr Pepelyayev (Russia), Hans-Joachim David (Germany /Frace), Maria Saivosalmi and Andrius Katinas (Lithuania / Finland), Germaine Acogny (France/ Senegal), Paulius budraitis (Lithuania/USA).
2005 Crossroad (together with Tautvilas Gurevi?ius), Arts Printing House
2006 Fragments of their story. Choreographer Tautvilas Gurevi?ius
2006 Giacomo Puccini. Madam Butterfly. Director Anthony Minghella, Choreographer Carolyn Choa (UK), Lithuanian National Opera and Ballet Theatre
2005 Imprints. Choreographer Vytis Jankauskas, Vytis Jankauskas Dance Company
2005 Solitude for Two by Sigitas Parulskis. Director Oskaras Korsunovas, Choreographer Vesta Grabštait?, Oskaras Koršunovas Theatre
2004 The Fire of a Blue Bird. Choreographer Andrius Pulkauninkas
2003 Ignis Et Fides by Bronius Kutavi?ius. Director Jonas Vaitkus, Choreographer Aira Naginevi?i?t?, Lithuanian National Opera and Ballet Theatre
2006 Frank in Woman from the Past by Roland Schimmelpfennig. Directors Agnius Jankevi?ius and Sakalas Uždavinys, Arts Printing House
2004 Guardian in Maria Stewart by Friedrich Schiller. Director Jonas Vaitkus, Lithuanian National Drama Theatre
2004 Bug in V?j?ne The Bride of The Devil by Kristina Gudonyt?. Director Kristina Gudonyt?, Lithuanian National Drama Theatre
“The beginning of the composition was intriguing. A body dancing within white sheets as if in placenta, looking for the way out to freedom, the freedom that it “tests” repeatedly by putting the leg out until the desired freedom is achieved. Then, the body rises up slowly from the ground trying to orientate itself, stands on both feet and looks at the world from a higher point of view. Following a short but powerful dance insert, video image depicting the dancer himself is projected on his half-naked body. The image is soon reduced comically and transferred on to the ground. Ingenious lighting and music selection of the performance are really worth mentioning. Although these elements most often remain of secondary importance in performances by students, they played an extremely important role in the project by T.Gurevi?ius and P.Lisauskas.
P.Lisauskas is a very interesting personality as a dancer. His rough plasticity can still be improved, but his artistry is much more interesting, attractive and memorable. We have already seen him as such in the premiere of the dance performance Footprints by Vytis Jankauskas, where he enacted (although he didn’t have to dance much) fate, destiny, “reality.” The character in The Crossroad lacked certain basis: the dancer followed his every move and, thus, seemed to be tense. Nevertheless, he sparkled with creativity.”
Vita Moz?rait?. The Young Speak About Their Inner Experiences and The Thoughts on Them. // www.dance.lt. – 2005 10 31.
“In the Pocket Hall of Arts Printing House Lisauskas performed The Crossroad that he created together with Tautvilas Gurevi?ius. Here one can see the crossing of choreographic form, which demands ultimate physical and emotional output, and complex structures of visual lighting and projections. Performer, which owns strong and memorable plastic, conveyed at most the impulses of abstract music and dance. After pulling away form white cloth cocoon he created shapes that echoed half figure half abstract forms of video-projections that streaming from above.”
Helmutas Šabasevi?ius. Between eclectic and improvisational element. // Kult?ros barai. – 2006, Nr. 6.