Maske i kostimi – srce festivala
između plemića i neplemića, a ovi potponji (popolani) bili su poznati po tome što su nosili šarenije, zabavnije maske. Dakle, klasična i najzastupljenija maska je bauta, dizajnirana da potpuno sakrije identitet, čak i omogućavajući konzumaciju hrane bez skidanja maske. U 18. veku se pričalo da su mnogi politički pregovori i tajne romanse vođeni upravo iza bauta – jer niko nije znao ko se krije ispod maske. BAUTA Venetian nobles traditionally donned a bauta – a costume consisting of a white mask (volto), a black three-cornered hat (tricorno), a hood worn under the hat (zendale) and a wide, long cloak (tabarro). There were subtle differences between nobles and laymen, but the common folk (popolani) were known for wearing masks that were more colourful and fun. The classic and most common mask is thus the bauta, designed to hide the identity completely and even enabling food and drink to be consumed without removing the mask. It was commonly believed in the 18 th century that many political negotiations and secret romances were conducted “behind the bauta” — as no one knew who was hiding behind the mask. Doktor za kugu Ova maska sa dugim kljunom potiče iz vremena kada su ih nosili lekari koji su se borili protiv kuge. U kljun su stavljali biljke i mirise kako bi se zaštitili od loših mirisa. Danas je to najdramatičniji simbol Venecijanskog karnevala, jer podseća na tešku istoriju grada i njegovu borbu protiv epidemija i smrti. PLAGUE DOCTOR MASK This mask, featuring a long beak, dates back to the period when doctors used them during plague outbreaks. Herbs and dried flowers would be added to the beaks to protect the doctor against airborne disease. It has today become the most dramatic symbol of the Venice Carnival, serving as a reminder of the city’s dramatic history and its struggle against epidemics and death. Moreta Poznata i kao muta, ovo je crna ovalna maska koju nose žene. Pokriva celo lice, a držala se na mestu držanjem u zubima dugmeta pričvršćenog na poleđini
young Venetian women are today se- lected and, dressed in elaborate Re- naissance costumes, parade from the Church of San Pietro di Castello to St. Mark’s Square, where the most beauti- ful among them is declared the Maria del Carnevale. It represents the restor- ing of a tradition that celebrates histori- cal Venetian pride. Volo dell’Angelo – Flight of the Angel (8 th February) The carnival’s most dramatic scene is the Flight of the Angel. Held on Saint Mark‘s Square, it sees a figure dressed as an angel descend by rope from the top of St Mark’s Campanile (bell tow- er) to the square. Throughout the cen- turies, this ritual, which original- ly involved an acrobat on a tightrope, symbolised good fortune and blessings descending on the city. It is today of- ten entrusted to the winner of the Fes- ta delle Marie or some celebrity, and continues to enchant the entire square. Legend has it that one 18 th century per- formance was so believable that the au- dience thought an angel had actually descended among them — and this mo- ment remains remembered in local lore as “the day heaven touched Venice.“ Volo dell’Aquila – Flight of the Ea- gle (15 th February) The Flight of the Eagle adds another dimension to the spectacle. Introduced in 2012, it takes place at the conclusion of the carnival and has a similar form to the Flight of the Angel, while this time the figure descending represents a celeb- rity from the world of sport, art or pub- lic life. This moment is often filled with surprises and additional joy, as it brings modern heroes to Venice in an old-fash- ioned way. La Maschera più Bella – the Most Beautiful Mask (17 th February) Every day of the carnival sees St. Mark’s Square host a mask parade and a mini-competition in which participants from all over the world showcase their most extravagant costumes and masks. This is the moment when art meets the creativity of tourists, locals and profes- sional costume designers — and the fi- nale is held during the last weekend of the carnival.
Maska nije samo modni dodatak. Ona je simbol slobode, anonimnosti i društvenog izjednačavanja. U istoriji Venecije nošenje maske omogućavalo je ljudima svih klasa da se kreću kroz grad bez isticanja statusa, a često i da učestvuju u igrama i ritualima bez društvenih posledica. Tradicija nošenja maski potiče iz 13. veka. Mlečani su se maskirali kad god su smatra- li da je potrebno. To im je omogućavalo da pobegnu od krutih pravila klasne hijerarhi- je. Sve klase su mogle da se mešaju, muš- karci su mogli biti žene, a žene muškarci. Pred kraj Republike pak pravo nošenja ma- ski u svakodnevnom životu bilo je ograniče- no. Maske su se takođe koristile u ceremo- nijama, poput velikih ritualnih banketa koje je dužd svake godine nudio mletačkim do- stojanstvenicima.
MASKS & COSTUMES – THE HEART OF THE FESTIVAL
The mask isn’t merely a fashion accesso- ry — it symbolises freedom, anonymity and social equality. In the history of Venice, mask wearing enabled people of all social class- es to move through the city without mark- ing their status, often also allowing them to participate in games and rituals without so- cial consequences. The local tradition of wearing masks dates back to the 13 th centu- ry. Venetians disguised themselves when- ever it was deemed necessary. This allowed them to avoid adhering to rigid class hierar- chy rules. All classes could mix, while men could be women and women could be men. However, the right to wear masks in every- day life was limited in the later period of the sovereign Republic of Venice. Masks were also used during ceremonies and formal events, such as the ritual grand banquets that the Doge put on each year for Venetian dignitaries. Bauta Venecijanski plemići i plemkinje nosili su kostim nazvan bauta, koji se sastojao od bele maske (volto), trorogog šešira (trikorno), kapuljače koja se nosila ispod šešira (zendale) i tabara, širokog ogrtača. Postojale su suptilne razlike
Ove godine Karneval će trajati do sredine februara / This year’s Venice Carnival runs until mid-February
Festivals » Festivali | 41
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