![]() Over the years, it’s traveled to four U.S. This is despite-or, more likely, because-I’ve never actually seen it. It occupies a niche in my mind reserved for vague resentments, envy, loathing, and obsession. I think about Sun & Sea (Marina) at least once a week. What a relief that the Great Barrier Reef Viewers look down at the performers, as if observing strange specimens in a vitrine, from a mezzanine, a position of moral superiority. The light-flooded performance space blanches the tableau into a comically exaggerated postcard picture: the swimsuits are overwhelmingly pastel, the beach towels milky white. In the opera, swimsuit-clad vacationers lounge and writhe on towels and in beach chairs. ![]() ![]() Directed by Rugilė Barzdžiukaitė, written by Vaiva Grainytė, and composed by Lina Lapelytė, Sun & Sea (Marina) won that year’s Golden Lion, the Biennale’s top prize, and has since traveled the world, with presentations in Europe, North America, and parts of the Middle East. At the 2019 Venice Biennale, the opera Sun & Sea (Marina) turned the Lithuanian Pavilion into a bright, hot artificial beach. ![]()
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