Lino lėlės — is not only a direct and authentic dialogue with the audience. It is a kind of ceremonial, a theatrical ritual where a special value is given to the nobility of inner scenic narration, humanistic ideals, ethics, the simplicity of sophistication, whereas a strong intuition upon the birth of a play is more important than rational decisions. The immanent original dramaturgy of the theatre refers to the Lithuanian folklore and mythology, albeit not drawing back from current realities. On the contrary, the poetic worldview, format, scene composition, stage atmosphere, and the poetics of thought display the layer and development of social media with the problematic existence of a man in the 21st century, with all of his tensions and uncertainty. At the same time, the plays radiate clear optimism and each story has its vertical axis of (divine) being. It is a romantic theatre of hope, reminding us that the world is not perfect, sometimes cruel, but there is always a dose of innocent naivety, beauty and good in it. It is the right of each of us to see and choose.
The theatre's founder Linas Zubė, a puppeteer and a universal, wide-ranging talent with high professional mastery, is an Associate Professor in the Directing Department of the Faculty of Arts at Klaipeda University. His name as that of a key and leading actor comes in associating the legendary Puppet Theatre of Klaipeda University “KU-KŪ” (1992) and today’s well-known Klaipėda Puppet Theatre.
When asked what her ideal puppeteer is, a stage director, playwright and art designer Jūratė Januškevičiūtė answered: “Linas Zubė. He disappears in a puppet. It is a puppet that cries, speaks and has feelings, not him. He is a devoted puppeteer, representing a synthesis of childishness and wisdom, acrobatics and philosophy, tragedy and comedy”.
The colourful creative biography is Linas Zubė includes a number of versatile characters in plays staged by various directors, directing and art designing works, scripts for various events and projects, work at the university where Zubė is teaching stage movement, theatrical fencing and basic elements of theatrical art. In addition, Linas Zubė is a flight instructor at glider pilots’ school in the Klaipeda Soaring Club. This can probably explain the inner-freedom of his puppet performances, his philosophical thinking (and seeing things), harmony between puppet structures and man, and plastic symbiosis.
