Young Directors on the “Burės” Platform: This Reflects Theaters’ Openness to Broader Contact

In 2026, the Lithuanian National Drama Theater (LNDT) will launch “Burės,” a platform consisting of three distinct sessions where theater artists will be able to introduce themselves, discuss the themes of their work, and find like-minded individuals or producers, as well as showcase works already in development. The need for such a networking platform became apparent at an event organized by the Lithuanian Theater Center, where young creators expressed a lack of places where they could establish contacts with representatives from various stages. In their view, major institutions often work with a narrow circle of artists, while others remain unnoticed, uninvited, and unsure of how to initiate collaboration.

The LNDT has taken it upon itself to fill this gap by bringing together directors and producers from various state and independent theaters to listen to artists seeking new creative opportunities. “Burės” will take place at the Lithuanian National Drama Theater on June 3–4, 2026; applications from artists are being accepted until 28 February. Application forms can be found on the website www.teatras.lt

In this article, young directors – Uršulė Bartoševičiūtė, who has already gained experience in Lithuania and abroad and won awards, and directing students Jurgita Rudėnaitė and Simonas Kukys, who are just beginning their creative journeys (from Klaipėda), and Paulius Juška and Gabrielė Tumaitė (from Vilnius) – talked about what opportunities are currently available for them to join state theaters and whether platforms like “Burės” are necessary.

The organizers of “Burės” point out that this platform is not intended solely for young artists, as there are no age restrictions for participants.

Finding Creative Partners Is Not Easy

Jurgita Rudėnaitė, who is studying directing at the Klaipėda’s Faculty of the Lithuanian Academy of Music and Theater, admits that it is harder for artists who have completed their theater studies in the port city to break into the theater scenes in the capital or Kaunas: “We rarely run into each other in the hallways, so someone studying in Klaipėda cannot afford to leave anything to chance, so constant proactivity is essential. Invite theater directors to audition viewings, and when they attend a performance, keep proving time and again that high-quality theater studies take place in Klaipėda as well, consistently and confidently state where you are from, what you do, and what level of quality you strive for. It is also true that there are not many directors who graduated from Klaipėda’s Faculty of the Lithuanian Academy of Music and Theater (LMTA) who get the opportunity to direct at state theaters.

Although we are a small community, it is very fragmented. We are looking for ways to break down these barriers: we initiated a project ourselves that brings together creators from the LMTA and the VDA, and we attended the “Dramokratija” festival, but that is still not enough. We go to bars, make connections, and look for ways to become part of the stage, because networking is essential if you want to become a professional director.”

Simonas Kukys agrees: “Yes, it is hard to find partners, and that seems somewhat paradoxical. Of course, I can only speak from my own perspective, but during my studies I got the impression that the search for collaborators usually takes place outside the academy, as if there were no need to consciously build creative relationships before that. This is strange, considering that producers, set designers, composers, and playwrights also study with the clear intention of someday working as part of a team in the theater. Yet I often do not sense any concerted effort on the part of the academy to build bridges between young artists.”

Theaters Are Trapped Within Aesthetic and Ideological Confines

Uršulė Bartoševičiūtė, a director of the younger generation with much more experience and a nominee for a Golden Stage Cross last year for the LNDT production “The Anatomy of Suicide”, shares a similar view. “State-run or large theaters, both in Lithuania and abroad, sometimes confine themselves to aesthetic and ideological frameworks and their repertoires feature the same playwrights and directors repeatedly. On the one hand, this is perfectly normal as the theater establishes a consistent artistic direction and remains loyal to its audience. On the other hand, it is important to understand that by avoiding potential mistakes made by young artists or those new to a particular theater, they also miss out on potential discoveries, new forms, challenges for their audiences, and ideas that change the way people think.

Pitching sessions establish clear game rules: both sides come prepared, with clear expectations, and there is a free exchange of ideas and people. This is especially important for artists just starting their careers, but no less significant for those who have not yet established connections with specific theaters,” Uršulė Bartoševičiūtė is convinced.

Opening Up to Broader Engagement with Artists

“I am very pleased with the new “Burės” platform at the LNDT. First and foremost, it demonstrates the openness of the Lithuanian National Drama Theater and other theaters, as well as the need for more transparent, clearer, and broader engagement with artists. Artists’ “entry” into theaters often takes place on a very individual basis and not always according to clear rules: sometimes specific dramatic material is expected, sometimes just an introductory conversation, and sometimes contact is established by chance. Such meetings are often uncomfortable for both sides as the expectations are vague, there is an attempt to hedge against the ever-present possibility of artistic failure, and sometimes the director is already prepared to present specific material that, ideologically, conceptually, does not fit the plans for that particular season. Then the play, though important and good, gets left hanging,” says director Uršulė Bartoševičiūtė.

Jurgita Rudėnaitė, a directing student from Klaipėda, believes there is a need for a platform where people can talk about what really matters, rather than conforming to the constraints of competitions or “correct” topics. According to her, such a space inevitably transforms Lithuanian stage culture, shifting it from competition to collaboration, from superficial encounters to genuine connections.

“I am very pleased with this step taken by the Lithuanian National Drama Theater because, in my opinion, this is the only way the creative process can remain alive, when it truly is a process: when there is an opportunity to share ideas, seek out like-minded people, and build connections. This is a charming and, at the same time, significant gesture by the LNDT, one that has the potential to influence the broader cultural context,” says Simonas Kukys, a directing student from Klaipėda.

The Skills Were Tested at the National Theater

Paulius Juška and Gabrielė Tumaitė, students at the Lithuanian Academy of Music and Theater in Vilnius, recently had the opportunity to test themselves on the stage of the National Drama Theater as they were invited to direct readings at the “Versmė” contemporary dramaturgy festival organized by the Lithuanian National Drama Theater.

Both are delighted with this new experience and the chance to work with true theater professionals. They say it allowed them to get a close-up look at the rhythm, procedures, and system of professional theater, and they are pleased that all team members got involved in the process and contributed ideas.

“One of the most valuable parts of this experience for me, as a directing student, was the work with the actors: the chance to test my skills not with students, but with professionals,” says Paulius Juška.

It is likely that after “Burės,” once all the submissions have been reviewed, the organizers of the “Versmė” drama festival will discover new directors, set designers, or composers whom they will invite to contribute to the creation of the readings.

Both LMTA directing students, Paulius Juška and Gabrielė Tumaitė, plan to fill out the applications for the “Burės” platform as well.

“In recent years, I have come to realize just how important a creative team is. A director gains a great deal when he or she can bring together people who feel like equal artists and work as a unified force toward a single goal. Producers play a special role in this structure – they are like the invisible glue that holds the team together, allowing the entire team to focus on the creative process. I think there is still a shortage of such platforms for young artists, although their numbers are gradually growing. That is why initiatives like “Burės” are becoming particularly important,” says Paulius Juška.

Gabrielė Tumaitė believes that opportunities for young artists are increasing, but there is a lack of communication: “Festivals dedicated to young artists are emerging, along with scholarships that encourage emerging creators, and platforms like “Burės” are also a wonderful and much-needed new initiative. So far, there is definitely a lack of communication and collaboration between emerging artists, the academies that train them, and the organizations offering these initiatives. I would really like to participate in the “Burės” platform – I plan to fill out the form and try to get into the sessions.”

Application form for artists wishing to present themselves individually: https://forms.gle/awcmbb6wRBrTVKKx5

Application form for those wishing to present creative ideas: https://forms.gle/DKusF7UqGEFPTNdc6

Application form for those wishing to present 10–15-minute sketches or excerpts of their works: https://forms.gle/QUP7HPCw9TDBTHR59

Participant forms may be submitted until 28 February, 2026. The LNDT will develop the event program based on the list of participants who submitted forms and their creative ideas. Since the event has limited time, the LNDT reserves the right not to invite all individuals and creative teams who have submitted applications. Applicants will receive a response regarding their participation in the sessions by 3 March 2026.

Organizations or individual producers wishing to attend the participants’ presentations may contact us at ziedune.dubnikovaite@teatras.lt