2026 08 04
On the 4th and 5th of September, the Jonas Basanavičius Birthplace Museum of the National Museum of Lithuania (NML) in Ožkabaliai will host the 22nd Sūduva Amateur Theatre Festival “Atžalynas”. Over more than two decades, the festival has evolved from a regional barn theatre celebration into one of Lithuania’s foremost gatherings of amateur theatre, bringing together companies each year from across the country’s regions as well as Lithuanian communities abroad.
A Tradition Nurtured for Twenty-Two Years
The festival’s history began in 1997, when the barn theatre celebration “Ąžuolynas” (“Oak Grove”) was first held in Ožkabaliai. Several years later, the event was revived under a new name – “Atžalynas” (“New Growth”) – and since 2008 it has been organised by the Jonas Basanavičius Birthplace Museum. Over the years, the festival has expanded beyond the borders of the Sūduva region, becoming an important meeting place for amateur theatre companies and earning a loyal audience.
According to Rūta Vasiliauskienė, Director of the Jonas Basanavičius Birthplace Museum, “Atžalynas” has, over the years, grown into a major celebration of theatre that fosters Lithuanian dramaturgy, regional distinctiveness, and a strong sense of community.
“Each year we see not only growing audiences but also an increasing number of theatre companies wishing to participate in the festival. Owing to this rising interest, some performances now take place not only in the museum’s authentic barn theatre but also in the museum courtyard and oak grove. Since 2024, the festival has expanded into a two-day event, with the first day dedicated to children’s theatre companies,” says Rūta Vasiliauskienė.
This year’s programme offers audiences the opportunity to experience a wide variety of amateur theatre productions, ranging from Lithuanian classics and contemporary drama to original stage interpretations. Theatre companies from Vilkaviškis, Marijampolė, Matuizos, Jurbarkas, Liudvinavas, Sejny, and other localities will take part. While comedy will dominate the programme, audiences can also look forward to moving stories exploring humanity, community, and historical memory.
A Festival Audiences and Performers Return to Again and Again
For Gluosnė, the amateur theatre of the Vilkaviškis Cultural Centre, the “Atžalynas” festival is special not only because of its long-standing tradition but also because of its personal connection to the festival’s origins. Theatre director Daiva Kasulaitienė recalls that the festival was originally established as “Ąžuolynas”, organised in Ožkabaliai by the Vilkaviškis Cultural Centre.
“Later, we entrusted the festival to the Jonas Basanavičius Birthplace Museum, and we are truly delighted that we did so. This celebration of theatre has found exceptionally caring and dedicated custodians,” says Daiva Kasulaitienė.
According to Kasulaitienė, Gluosnė has participated in the festival eight times, and every gathering in Ožkabaliai is both welcoming and meaningful. This year, the company will present Dovilė Čepauskaitė’s play “Pupos” (“Beans”), recipient of Lithuania’s prestigious Golden Stage Cross award. In Kasulaitienė’s view, it is a deeply affecting work in which many audience members recognise their own family stories, joys, and hardships.
“When actors truly give their best on stage, no member of the audience leaves the performance untouched. Many see their own homes, families, struggles, and joys reflected in the play. In 2025, Gluosnė’s production received a diploma at “Atspindžiai”, the Lithuanian Adult Theatre Showcase and Festival, so we hope it will also move audiences at Atžalynas. Such awards are not bestowed lightly, and we hope we will be able to touch the hearts of the Atžalynas audience as well,” she says.
According to the theatre director, the festival’s greatest value lies not only in the opportunity to present one’s work but also in meeting like-minded colleagues.
“It is a wonderful opportunity to present ourselves and to discover the work of others. But what matters most is the warm and welcoming atmosphere, the joyful gathering of fellow theatre-makers, and the incredibly hospitable hosts. It is always a place you want to return to. We hope that “Atžalynas” will continue to flourish and bring us together for many years to come,” wishes Daiva Kasulaitienė.
This year, the festival organisers have chosen to place the spotlight entirely on amateur theatre. According to Rūta Vasiliauskienė, the artistic standard of amateur companies continues to rise, making them the true protagonists of the celebration.
“Between performances, visitors will also be able to explore the museum’s exhibitions, meet craftspeople and local community representatives, sample delicacies offered by local vendors, and enjoy live music during the longer intermissions,” says the organiser.
The festival takes place in the authentic barn theatre at the Jonas Basanavičius Birthplace Museum, where seating capacity is limited. Visitors wishing to secure a place inside the barn are therefore encouraged to arrive early. Weather permitting, some performances will be staged in the museum courtyard or among the surrounding oak grove. For more information, click here.
This year’s festival is supported by UAB Art Glacio, “Gabija” Beauty Salon, Karalkrėslio kepyklėlė (Karalkrėslis Bakery), and Elena Zorubienė. Media partners: the Vilkaviškis district newspaper “Santaka”, the newspapers “Suvalkijos kraštas”, “Suvalkietis”, and “Draugas”.
Facts Only
* The 22nd Sūduva Amateur Theatre Festival “Atžalynas” will take place on September 4th and 5th.
* The event is hosted at the Jonas Basanavičius Birthplace Museum in Ožkabaliai.
* The festival has history dating back to 1997 with the "Ąžuolynas" celebration.
* Since 2008, the festival has been organized by the Jonas Basanavičius Birthplace Museum.
* Rūta Vasiliauskienė states that "Atžalynas" fosters Lithuanian dramaturgy, regional distinctiveness, and community.
* The festival has expanded to include performances in the museum courtyard and oak grove.
* Since 2024, the festival has expanded into a two-day event, with the first day dedicated to children’s theatre companies.
* Participants include theatre companies from Vilkaviškis, Marijampolė, Matuizos, Jurbarkas, Liudvinavas, and Sejny.
* The program will feature Lithuanian classics, contemporary drama, and original stage interpretations.
* Gluosnė’s company will present Dovilė Čepauskaitė’s play “Pupos” in 2026.
* The festival is supported by UAB Art Glacio, “Gabija” Beauty Salon, Karalkrėslio kepyklėlė, and Elena Zorubienė.
Executive Summary
Full Take
The narrative demonstrates a powerful pattern of institutional legacy being leveraged to reinforce communal identity and artistic value. The transition from the "Ąžuolynas" barn theatre event to the "Atžalynas" festival, anchored by the Jonas Basanavičius Birthplace Museum, functions as a successful mechanism for establishing legitimacy and continuity across generations. This established history acts as a foundation upon which current expansions—such as incorporating outdoor spaces and diversifying programming to include children’s theater—are built.
The focus on amateur theatre as the true protagonist suggests an underlying tension between high-level institutional curation (the museum hosting) and grassroots creative vitality (the participation of regional groups). The testimony from Daiva Kasulaitienė highlights that the value is found not just in the performances themselves, but in the relational aspect: the "warm and welcoming atmosphere" and the connection among theatre-makers. This points to a pattern where public events succeed when they foster genuine social cohesion rather than simply displaying artifacts.
The specific mention of the play “Pupos” and the desire for this work to resonate with the festival audience illustrates an appeal to shared human experience—family stories, joy, and hardship—suggesting that artistic merit is inseparable from communal resonance. The system benefits when it frames artistic evolution as a continuous, cherished tradition rather than a series of isolated events. The implication is that maintaining this structure successfully channels community energy into cultural celebration while simultaneously raising the standards for amateur artistic output.
Bridge Questions: What are the unspoken expectations placed on participating amateur groups regarding representation versus spectacle? How does reliance on established institutional memory affect the capacity for introducing radically new artistic forms into the festival framework? Does emphasizing community cohesion inherently limit the scope for challenging or dissenting artistic viewpoints?
