"I was once watching some children playing in the playground, and it suddenly dawned on me that they were acting out the perfect play. When I am thinking about my work, I often remember my childhood games. The very essence of creativity is concealed in the playground. When playing, children gain their own freedom - a freedom which they are not normally entitled to, because they are still dependent on the alien world of grown-ups. In the playground, children create their identity and also - I believe - their fate. The rest of their lives is a repetition of the same themes, the same games. As they live their lives, they will keep finding what they found in the playground, and they will keep losing what they never found in their games.
(by Oskaras Korsunovas)
All the action takes place in a children's playground: lots of ladders, a swing, a slide, a roundabout and a sandpit - "a poisoned chalice". This is what Sophocles imagined - Thebes with its altars and paintings of the gods standing in front of the royal palace. Not only are the evil elders playing there, but also Oedipus and his rival Creon, here infantile. But Queen Jocasta and Teiresias don't want to be left out of the game either. They improve upon it, filling the playground with smoke so that they can catch each other like blind geese. And then there's the music, Akradij Gotesman provides an absolutely ravishing accompaniment on drums, gongs and triangle.
(by C. Bernd Sucher, Süddeutsche Zeitung)
Kornunovas succeeds in creating images with the simplest of means. At the end, Oedipus falls from a swing, which moves with ever greater insensity: a hurricane of truth throws him out of orbit.
(by Gunther Hennecke, Kölnische Rundschau)