Modne priče iz prestonice / Fashion stories from the capital city
Beograd, Narodno po- zorište. Ispred glav- nog ulaza tiskaju se lju- di, nestrpljivi da uđu na premijeru predstave Na-
The National Theatre in Belgrade. People place themselves in front of the main entrance, eager to en- ter for the premiere of the play “National Drama”. On the first floor above, costume designers, tailors, cob- blers and craft shop maestros fly around. They check every stitch, every insert, making sure that every pie- ce of material clings nicely... We approach a lady who is around 50 years old. She is holding a needle in her hand, doing needlework to fix a costume. She seems to be pulling pure gold through the tiniest of holes in a very solid fabric, so everything curls up in a zig-zag,
rodna drama . Na spratu iznad lete kostimografi, krojači, obuća- ri, modistkinje. Proveravaju sva- ki štep, svaki umetak, da se uve- re da svaki komad materijala lepo prianja... Prilazimo gospođi, ima oko 50 godina, drži iglu u ruci, popravlja vez na kostimu. Čini se, provlači čisto zlato kroz najsitni- je rupice strašno čvrste tkanine, pa sve uvija u cikcak, koji liči na krasnopis. Šušte suknje, a pažnju odvlače i nestvarni detalji na ru- kavima, korsetima, manžetnama... Scena podseća na najlepši mod- ni događaj. Kasnije smo saznali od Kata- rine Grčić Nikolić, kostimografki- nje ove kuće, da moda na pozo- rišni i scenski kostim utiče samo delimično. Ona na sceni ima dru- gačiji put nego u svakodnevnom životu. – Pozorište mora da pra- ti trendove, ali na sebi svojstven način. Ne hvatamo se određenog trenda, ali kroz tkanine i krojeve ipak se oseti uticaj vremena. Vi- soka moda često ima snažan uti- caj, zapravo ona je mnogo sličnija scenskom kostimu nego savre- menom načinu odevanja. Teško je reći u koje kostime je uloženo najviše vremena, mate- rijala i ručnog rada, ali to su pre svega kostimi pravljeni za klasič- ne balete: Labudovo jezero , Uspa- vana lepotica , Krcko Oraščić , Don Kihot , Bajadera , Kopelija ... I ve- like opere, poput Boris Goduno- va , Aide , Don Karlosa , Travijate , Pepeljuge ... Ali ne treba izostavi- ti značajne drame u kojima je ko- stim obrađen do najsitnijeg deta- lja i likovna obrada sprovedena do perfekcije: Henri VI , Figaro- va ženidba i razvod , Vesele žene vindzorske , Laža i paralaža ...
Ovo je svet brokata, pliša, svile, tila… Brokat je omiljen među kostimografima jer je i na sceni raskošan, pliš ima toplotu i fenomenalno upija svetlost, dok su tarlatani, snažni tilovi, idealni za pačke. Pred vama su kostimi iz različitih predstava, opera i baleta i svaki je rukom sašiven This is the world of brocade, velvet, silk, tulle... Brocade is a favourite among costume designers, because it appears lavish on stage, plus it has heat and absorbs light phenomenally well, while tarlatan and powerful tulle are ideal for ballet dresses. In front of you are costumes from various plays, operas and ballets, and all of them were hand sewn.
which resembles calligraphy. Skirts rustle and the attenti- on is distracted by unreal deta- ils on sleeves, corsets, collars... The stage is reminiscent of the most beautiful fashion event. We later learned from Ka- tarina Grčić Nikolić, the the- atre’s costume designer, that fashion only partially influen- ces theatre and stage costu- mes. It takes a different rou- te to the stage than it does in everyday life. - Theatre must follow trends, but in a way that is true to itself. We do not cling to specific trends, but through fa- brics and patterns the impact of time is still felt. High fashi- on often has a strong impact, it is in fact much more simi- lar to stage costumes than the modern way of dressing. It’s tough to say which co- stumes had the most time, ma- terials and manual work in- vested in them, but those are primarily costumes made for classical ballets: Swan Lake, Sleeping Beauty, The Nutcrac- ker, Don Quixote, La Bayadère, Coppélia and so on.; and gre-
Za jednu dramsku predstavu nekada se napravi više od 50
More than 50 costumes are sometimes made for a single dramatic performance, with around 100 made for a ballet and up to 200 for an opera kostima, za baletsku oko 100, a za opersku i do 200
at operas, such as Boris Godunov, Aida, Don Carlos, La Traviata, Cinderella etc. But we should not neglect the significant dramas for which costumes were tailo- red to the minutest detail, with the visual processing carried out to perfection: Henry VI, The Marriage and Divorce of Figaro, The Merry Wives of Windsor, Laža i paralaža and so on. -In Operas it is important to evoke a character and his qualities using historical data or inspiration
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