Kostim iz opere Aida . Ovo je primer da kostimografi u Narodnom pozorištu često prave nove materijale. Do tela uvek ide obično platno, da bi umetniku bilo prijatnije. Ovde je preko platna zalepljen brokat, ima puno fišbajna i štepova A costume from the opera Aida. This is an example of how the National Theatre’s costume designers often make new materials. Ordinary canvas is always placed next to the body in order for the artist to be comfortable. In this particular case brocade is glued over the canvas, while there a lot of fishbones and stitches
In the Rococo style. A sumptuous costume from the opera Adriana Lecouvreur. U rokoko stilu. Raskošan kostim iz opere „Adrijana Lekuvrer“. Ispod brokata krije metalni umetak
sku, modisteraj i atelje za likovnu obradu materijala i kostima. Da- nas u ženskoj krojačnici radi 10 članova, u muškoj osam, u obu- ćarskoj šest, u modisteraju dva i tu je i jedan asistent za obradu kostima. – Najzahtevnija faza pravlje- nja kostima je naći prave oblike i krojeve, potom ide dorada ma- terijala, oslikavanje i spajanje li- kovnih ideja s funkcionalnošću. Najteže je kad želimo da je ne- što atraktivno, a istovremeno da ispuni osnovni uslov da u tome može da se trči, skače, igra. Tokom 148 godina rada Na- rodnog pozorišta u Beogradu na- pravljeno je više od 10.000 po- zorišnih, operskih i baletskih kostima. Neki žive decenijama, dok se drugi prepravljaju za nove predstave. Na pojedine je zub vremena ostavio trag ili su pro- pali zbog raznih događanja i se- ljenja. Ima i kostima koji su zavr- šili svoj put kao pozajmica ili kao poklon drugim pozorištima Srbi- je. A ima ih onih koji se čuvaju u muzejima poput Muzeja Narod- nog pozorišta i Muzeja pozorišne umetnosti.
- The most demanding phase of costume ma- king is finding the right forms and patterns, which is followed by the finishing of materials, decorative pa- inting and merging artistic ideas with functionality. The toughest part is when we want something to be attractive while at the same time meeting the basic requirements of being able to cope with running, jum- ping and dancing. During the 148 years of the work of the National Theatre in Belgrade, more than 10,000 theatre, ope- ra and ballet costumes have been made. Some have li- fespans that last for decades, while others are rewor- ked for each new play. The passage of time has left its mark in individual cases, while others have worn out due to various events and relocation. There are also costumes that ended their time as loans or gifts to ot- her theatres in Serbia. And there are also those that are kept in museums, such as the Museum of the Nati- onal Theatre and the Museum of Theatrical Arts.
A metal insert is hidden under brocade
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