The actress’s older brother, writer and translator Jānis Žīgurs, worked as a narrator on Latvian Radio at the beginning of World War II, later becoming the editor-in-chief of children’s programs. As the war intensified, Jānis Žīgurs and his sisters Hilda and Erna and other well-known cultural workers evacuated to Astrakhan. The world of theater was not quite foreign to Hilda Žīgure, because before the war she had already mastered the basics of acting in Latvian drama courses (1936-1938). In 1942, while fleeing to Ivanovo, under the auspices of the LSSR Art Ensemble, Žīguri, together with the poet Mirdza Ķempi and other representatives of the Latvian intelligentsia, formed a puppet ensemble, which already in 1944 gained the status of an official theater and the opportunity to return to Latvia. Jānis Žīgurs became the director of the newly established theater, Mirdza Ķempe became the artistic director, while Hilda Žīgure became one of the leading actresses. She spent all her creative life in the theater, from its founding in 1986 to a well-deserved break.
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Aldis Linė, a historian of puppet theater, says about Hilda Žīguri: Of course, the same is true of Hilda Žīguri and her gallery of diverse stage images – Buratino (A. Tolstoy’s “Golden Key”, 1953), Black Mother (Rainis “Golden Horse”, 1955), Sprīdītis, Paija ( A. Brigadere’s “Sprīdītis”, 1957, 1961, “Maija un Paija”, 1964. These are only a few roles – the actress’s performance is many times bigger, but Hilda Žīgure is an example of a temperamental actress, and the concept of acting in a puppet theater is much broader than in the dramatic one. s in “Schweiz” (1974), “Sweep Front” (1975), and in bringing to the stage the satirical sign of his time, Hugo Diego (“Signs of the Thread”, “Works of the Thread”, 1977). “
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