Stage Costumes Research Articles

Drama Costumes and Character Shaping: Visual Narrative from Desk Design to Stage Costume

Outstanding theatrical costume is not only the crystallization of the designer's efforts, but also plays a vital role in the process of characterization. It not only reveals the identity of the character, but also adds color to the actor's performance and makes the character image more layered and beautiful. From the desktop design to the production and presentation of stage costumes is a two-dimensional to three-dimensional transformation process, this process not only involves how the designer through the conception, design and production of clothing to interpret the role of the era in which the background of the regional environment, personality traits, inner feelings, future destiny, etc.; also involves the costume and other departments is how to communicate and collaborate with the audience to present a vivid stage Performance. Throughout the process, the costume design department has to go through the process of conceptualizing the character image, drawing the costume rendering, communicating and negotiating with other departments, and then determining the style, color and fabric of the costume, and then starting the production and finally presenting it to the audience on the stage, so as to complete the shaping of the character's image and the role of its visual narrative.

Preservation of the Traditional Ukrainian Clothing and Its Popularization in the Activities of Folklore and Ethnographic Groups of the Kharkiv Region at the Turn of the 20th – 21st Centuries

It is extremely important for Ukrainians to be aware of their national identity and internal unity in modern conditions. The revival of Ukrainian traditional culture, including interest in traditional Ukrainian clothing, is a sign of this process. Ukrainian vyshyvanka has become an important marker for Ukrainians both in Ukraine and also abroad. Slobidska Ukraine, Kharkivshchyna in particular, is not an exception. Ukrainian traditions are being revived here. A powerful ethnological school, founded by the academician Mykola Sumtsov, has existed in Kharkiv from the late nineteenth century until the early 1930s. The scientific activities of Vira Biletska are of a great importance in the study of Ukrainian traditional clothing of Slobozhanshchyna. Unfortunately, this scientific school has been destroyed by the pro-Stalinist totalitarian regime in the 1930s and the heritage of the scientists has been put in a so-called special storage department. The studies of the traditional culture of Slobozhanshchyna are resumed only after Ukraine has gained independence. The creative activity of folklore and ethnographic groups in the Kharkiv region is of a great importance in promoting the traditional culture of Sloboda Ukraine, including Ukrainian folk clothing, in the late twentieth and early twenty-first centuries. Muravskyi Shliakh (Kharkiv) and Verbychenka (Nova Vodolaha) take a prominent place among these groups, considered as an example in terms of performance skills and the authenticity of the reproduction of Slobozhanshchyna folklore and research activities as well as in the terms of the accuracy of stage costumes. These facts are also facilitated by the organization and regular holding of the Krokoveie Kolo traditional folk culture festival for children and youth by the Union of Folklorists and Ethnologists of Kharkiv. The interest in folk traditions of the Kharkiv region at the turn of the twentieth and twenty-first centuries has influenced the emergence of craftswomen, both reproducing traditional Ukrainian women’s, men’s and children’s clothing, but also educating new generations of craftswomen. The activities of the Ukrainian traditional culture masters contribute to the formation of the Ukrainian national identity in the Kharkiv region. A wider circle of Kharkiv residents is becoming aware of the historical origins of Ukrainians in Slobozhanshchyna owing to the fruitful long-term creative activity of these groups involving youth and children.

Russian ballet on the pages of the magazine “Zhar-ptitsa” (1921–1926)

INTRODUCTION. Monthly literary and artistic illustrated magazine “Zhar-ptitsa”, published from 1921 to 1925. in Berlin, in 1926 – in Paris, is a successor to the traditions of such magazines of the early twentieth century as “World of Art”, “Golden Fleece”, and is of scientific value as an additional source of information on the study of the theatrical life of the Russian Abroad. The purpose of the study is to conduct a detailed analysis of the magazine’s articles related to the creative activities of representatives of Russian ballet in exile.MATERIALS AND METHODS. The basis is taken from digitized versions of the magazine, posted in the public domain on the website “Presidential Library named after B.N. Yeltsin”. All 14 “Zhar-ptitsa” magazines were analyzed. Both articles related to the activities of representatives of Russian ballet in emigration, as well as various types of illustrations: photographs, drawings, reproductions, etc., were studied in detail.RESULTS AND DISCUSSION. It was revealed that in many issues of the magazine there are no articles devoted to Russian ballet, but there are photographs of ballet dancers in stage costumes and images, drawings related to ballet art, reproductions of sketches for ballet performances, which are also of scientific value in the reconstruction of ballet scenography, the study of this period of history. Four issues of the magazine “Zhar-ptitsa”, no. 1, no. 2, no. 10, no. 11, contain articles dedicated to the art of ballet: the work of M.M. Fokina, A.M. Pavlova, E.P. Eduardova, as well as B.G. Romanov and his choreographic group “Russian Romantic Ballet”.CONCLUSION. Despite the abundance of scientific articles devoted to the periodicals of the first wave of Russian emigration, information related to the history of Russian ballet remains poorly studied. The co nducted research introduces into scientific circulation materials dedicated to Russian ballet, and placed on the pages of the periodical of Russian emigration – “Zhar-ptitsa”. It seems promising to further study the journals of Russian emigration for the analysis of articles related to the history of Russian ballet.

뮤지컬 엘리자벳의 의상에 나타난 자기반영성 분석 -무대의상의 디자인 요소를 중심으로-

뮤지컬 엘리자벳의 의상에 나타난 자기반영성 분석 -무대의상의 디자인 요소를 중심으로-

Семиотическое прочтение сценического костюма

The aim of the study is to identify cause-and-effect relations in semiotic interpretation of stage costume. The article explores the history of stage costume development, briefly presents its periodization with characteristic features of each stage, and socio-cultural forms of encoding. The scientific novelty of the research lies in focusing on the issue of costume semantics as an important component of the expressive system of modern music and theater productions. The research establishes that stage (theatrical) costume has its own developmental regularities and periodization caused by many factors. It is found that in the 20th and 21st centuries, there is an increasing interaction of two main trends: 1) stage costume is characterized by a high degree of codification and symbolism, with significant transformations in the specific content of symbols; 2) a variety of techniques are observed in achieving various aspects of “authenticity” in relation to theatrical action as a whole and theatrical costumes in particular.

THE RUSSIAN STYLE OF THE MASTERS OF THE ABRAMTSEVSKY CIRCLE: FROM THE THEATRICAL STAGE TO THE SUBJECT-SPATIAL ENVIRONMENT

This article is devoted to the issues of the inextricable connection between the development of the Russian style in the interiors of the late XIX-early XX century with innovative finds in the theatrical and decorative activities of the masters of the Abramtsevo circle. The creative universalism of the Vasnetsov brothers, Korovin, Golovin and Vrubel marked a new stage in its development, which was called the “neo-Russian style” due to the appeal to a wide range of primary sources of borrowings to create author’s interpretations of the subject-spatial environment. The behind-the-easel activities of a new generation of bright individuals resulted in a variety of artistic works in different types of art. Theatrical decorations and furniture, menus and stage costumes, interior items and jewelry, vases and tiles, stoves and fireplaces, panels and sculptures, textiles and lighting fixtures, sketches and monumental cycles of their authorship have remained reference works in the history of Russian artistic culture. For them, the stage became a place for the realization of a total synthesis of arts, an integrated approach and testing of creative solutions that extended to residential and public interiors. In turn, the audience perceived theatrical productions of operas by N. A. Rimsky-Korsakov, M. P. Mussorgsky, M. I. Glinka as a showcase and advertisement of the Russian style, which led to the expansion of the typology of furniture, the repertoire of architectural and decorative motifs, formative approaches and finishing options. The subject of the author’s consideration was the transformations initiated by the above-mentioned masters in order to spiritualize the surrounding reality, which equally enriched both scenic spaces and interior practice in the era of symbolism and modernity.

Features of translation: A. Grin’s féerie “Scarlet Sails” in the Tatar language (based on the theatrical interpretation of the work)

Based on the theatrical interpretation of the work (the play of the same name by the G. Kariev Tatar Youth Theater), this article discusses the features of translation into the Tatar language of the story-féerie by A. Grin “Scarlet Sails”. The study reveals the specifics of the modern interpretation of the main storylines and the images – the characters from Grin’s work, presents the quotes with the original authorial translation (M. Khabutdinova), describes various techniques and means of theatrical art that make it possible to succinctly and expressively present the modern insights into the work that has celebrated its centennial anniversary. The article analyzes in detail the individual episodes of the play that have conceptual significance and the iconic mise en scene that receive a multi-aspect literary interpretation (in part due to the original translation of the text and its stage embodiment). The article characterizes all the components of the theatrical performance (its composition, choreography, musical accompaniment and the set design (scenery, stage costumes, props and furniture). Much attention is paid to the evaluation of the performers of both the main and supporting roles in the play, the nuances of the image interpretations by the actors of both casts (in particular, the images of Assol performed by Laysan Bolshova and Albina Nogmanova). The article focuses on the symbolic imagery in the production, thanks to which the traditional universal values, characteristic of A. Grin’s fairy tale, are organically embodied through the metaphor of the modern performance. The article rates the performance highly due to the efforts of the whole team of authors and actors who created a bright original play that is relevant for the modern youth audience.

The Living Inheritance and Moving Progress of Contemporary Cantonese Opera from the Perspective of Communication

Between July 3 and July 28, 2023, Television Broadcasts Limited released the Hong Kong drama Unchained Medley, which used a small village in the countryside and Cantonese Opera as the backdrop for the drama. It tells a tragic and touching story of human-ghost love between pop musician Ivan Zhang and the female ghost Wan Lau Fong (Cantonese transliteration is used). Artistic elements in Unchained Medley - Cantonese Opera is an ancient form of traditional Chinese theater, a local performing art that employs Cantonese as the language of performance, singing, acting, reciting and traditional folk music, along with distinctive stage costumes and abstract forms. When reviewing Chinese and English papers published between 2019 and 2023, research on the analysis of Cantonese opera primarily focused on the transformation of performance forms and the creation of Cantonese opera repertoire content. However, there needs to be more in living inheritance with Cantonese Opera. This paper utilizes James W. Careys The Ritual View of Communication as a theoretical framework. The article mainly adopts methods such as literature review, case studies, and comparative analysis to elucidate the significance and complex dilemmas surrounding the vibrant communications of Cantonese opera in the post-COVID world. It then consolidates and summarizes research experiences related to the protection and universal transmission of Cantonese opera in every aspect, laying the foundation for the in-depth development of Cantonese opera research.

KADARIYAH AND LAKON SAN PEK ENG TAY IN KETOPRAK

This article is a brief biographical study of one of Yogyakarta's ketoprak artists, Kadariyah. She played the play Sam Pek Eng Tai in the Ketoprak Mataram Mardi Wandowo group (1932-1948). A Chinese play performed in Javanese by the Ketoprak group. This research uses the historical method, which is the search for historical sources including heuristics of both written and oral history sources, source criticism and reconstruction as the historiography stage. Written sources in the form of newspapers or magazines are also used to view historical events. Historical construction or historiography here is based on historical actors as a result of direct interviews with Kadariyah. This research resulted in the finding that stage costumes are not Mesiran, but Chinese costumes. The world of ketoprak is different from the world of opera or toneel drama that presents the play Sam Pek Eng Tai, if the benchmark is the use of language, namely Javanese. Stories are sourced from Chinese chronicles or popular storybooks. Specific studies on Kadariyah with the San Pek Eng Tai play have not been conducted by other researchers.

Development of an onstage costume design project of Udmurt national costume based on the books on national clothing

Introduction. The article discusses the problem of developing ethnic onstage costumes for folk bands. The steps of the development of the design project of the Udmurt onstage ethnic costume for the in the studio of the artists are based on the materials found in the books on folk clothing. It also considers the involvement of the students from the Institute of Arts and Design of the Udmurt State University. Materials and Methods. The study is based on modern research on the Udmurt national costume, summarized in the works of specialists studying the national costumes of the Finno-Ugric peoples, primarily M. K. Zavyalova and S. Kh. Lebedeva. The article employs general research methods such as system analysis, comparison, semantic analysis, as well as an integrative method. Results and Discussion. The Udmurt national female costume is characterized by such features as sacredness and symbolism. Women’s clothing is streaked with symbols. From ancient times, the Udmurts endowed clothes with magical properties reflected in the ornament. The study of the history of the national costume as an integral part of the life of an ethnic group is a very important cultural task. The research by of S. Kh. Lebedeva and M. K. Zavyalova considered the main source of ideas for the creation of design projects for the onstage costumes, made by the artist, the author of the article, for the Udmurt folk band “Њardon” and the Cultural and Tourist Center “Tol Babai Estate”. The students of the Institute of Arts and Design of the Udmurt State University took an active part in this process. Conclusions. At present, the Udmurt national costume has practically disappeared from the everyday life of this ethnic group. Under such conditions, the importance of research by ethnographers, the specialists in costumes, art critics, and historians is increasing. An important contribution to the preservation of national culture is made by folk art bands. A variety of stage costumes is achieved by the work of a costume designer.

Ginkgo biloba Metaphor On Gala Party Performance Costume Design

The Ginkgo biloba plant is the only living species in the division of Ginkgophyta. It is also known as the maidenhair tree. The uniqueness of Ginkgo biloba lies in its fan-shaped leaves. The color and shape of Ginkgo biloba have been adapted into a performance costume for the prestigious Met Gala Party. This article discusses the design of the stage costume using Ginkgo biloba as a source of metaphor in fashion with adaptation techniques. The method used involves designing fashion products, starting from creating a concept, and mood board, making several alternative designs, and product prototypes. The resulting product is a Ginkgo biloba metaphor visualized in the form of fashion silhouettes, colors, accessories, and decorative details in the form of knife pleats. Respondent’s response to the metaphor through the adaptation technique of the Ginkgo biloba leaf shape is that almost all respondents can capture it well in the form of accessories, knife pleats, and silhouettes. However, the metaphor through the adaptation technique of the pattern arrangement, less than half of the respondents can capture it. In terms of color, almost all respondents can capture the color metaphor in the monochromatic scheme of the basic yellow color as the source of color ideas from Ginkgo biloba.

Analysis of design strategies for stage costume patterns

Patterns play an important role in theatre costumes, and when watching a stage performance, people can distinguish the patterns of the costumes to understand the roles involved and the information related to the roles. In the process of designing costume patterns, the designers not only take into account traditional elements, but also use modern design methods to add more modern elements. With this in mind, this paper focuses on strategies for designing theatre costume patterns, which can provide useful references for the design of theatre costume patterns in the present day.

Svitlana Povshyk: Artist, Designer, Teacher

The main objective of the study is to analyze Svitlana Povshyk’s main artistic and professional achievements, reveal the specifics of her creative and pedagogical methods. The article outlines the artist’s individual creative style; the means of artistic expression, technical-technological, stylistic features, plot-thematic focus of her graphic works are analyzed. The designer's project activities include the stage costumes development, design and manufacture of clothing for employees of public catering and household services. Based on Svitlana Povshyk's long-term experience and results of pedagogical work at the Department of Design and Theory of Art of Vasyl Stefanyk PreCarpathian National University, the specifics of her pedagogical methods have been revealed, pedagogical methods that influence the formation of the competence of to-be fashion designers have been identified. Methodology. The following research methods are used in the article: biographical, descriptive, interview method, artistic analysis. Results/findings and conclusions. Svitlana Povshyk’s graphics demonstrates consummate mastery of composition, original textural solutions, the use of various artistic techniques, metaphoricalness, experimentation, emotionality of images. Svitlana Povshyk turns to the authentic Ukrainian theme, successfully interpreting it, giving it a modern sound, which can be traced both in graphic letters and in design projects. The specifics of Svitlana Povshyk’s pedagogical method is based on the principles of consistency and sequence of solving project tasks, conceptual methods, understanding of the traditions of national and world culture, it is characterized by innovation, thorough methodical studies in special disciplines, constant improvement of educational programs, partnership cooperation between teacher and student. Significance for the industry, science, country. S. Povshyk’s creative method was formed under the influence of the Lviv art school and it is characterized by a synthesis of artistic, project and pedagogical activities. When creating sketches of stage costumes on the basis of national principles, the designer gives special importance to the study of the features of the folk costume, she considers it as a phenomenon of the spiritual and material culture of the people. Thanks to the high professional level and the use of innovative teaching methods, Svitlana Povshyk contributes not only to the development and growth of the artistic quality of design education in Ivano-Frankivsk region, but also to the formation of the creative personality of the to-be fashion designer.

Quotation of Stage Images of Hard Rock and Heavy Metal Musicians of the 1970-90s in Clothing Design of the 21st Century

Research aim. The article is devoted to the review of modern clothing design projects in the context of quoting the stage images of hard rock and heavy metal musicians of the 1970s-1990s. Research methods. The source analysis method was used to find out the level of scientific development of the problem. Collecting factual material method was used to search for visual information. To describe and process the visual information of stage images of musicians and shows of leading designers’ collections, the Art history methods, aesthetic and structural-compositional analysis, as well as the comparative method, were used. The theoretical generalization method was used to formulate the conclusions. Visual material is taken from printed publications and the Internet. Scientific novelty is in identifying the main stylistic features of the stage costume of performers of the hard rock and heavy metal musical genres in the 70s and 90s of the 20th century, as well as in comparing and finding quotes of stage images of musicians in modern catwalk clothing collections. Conclusions. The development of the stage costume design of hard rock and heavy metal genres with its wide influence on street fashion, as well as “official fashion”, was due to a significant spread of media technologies popularization at the end of the 20th century. Stage images of artists were imitated and introduced into an everyday wardrobe, firstly, by their fans; secondly, its distribution was facilitated by high-profile advertising companies promoting bands and performers; thirdly, it spread through the fashion industry and the work of talented designers who sensed the mood of society and were able to predict the commercial success of the new aesthetic. In the 21st century well-known brands and designers actively quote performers’ stage costumes. Ways of quoting are very diverse: from completely copying images or borrowing a separate assortment, copying forms and details of clothes to the imitation of cut, decoration, and trimming. The most popular quoting is the use of band mascots or logos to print and design materials, various patches, and stickers. Borrowing a characteristic combination of the assortment in creating a general image has recently become the most popular. From the general trends of today, we come to the conclusion that experiments with the form itself and its material components are significantly inferior to experiments with the emotional filling of images, which are successfully provided by quoting the stage costume with its hyperbolized spectacularity and expressiveness.

Research Methods of Theatrical Costume: Ukrainian Experience

The purpose of the article includes the theoretical context of theatrical costume research. After all, correctly selected and systematically organised methods provide a scientific basis, and therefore success in discourse. Classical methods of art history that arose in the 19th century were chosen in order to realise the outlined goal. Those methods to nowadays have not lost their relevance, namely, formal-stylistic, iconographic, and iconological since we were interested in the possibility of their application for the study of stage costume. The methods used in the article were primarily aimed to identify a common algorithm in the study of a separate narrow subject of research. By applying the historical-comparative and typological approaches to the above-mentioned methods, their universal possibilities were revealed, and thus the undiscovered potential in the process of performing the analysis of theatrical costume. The novelty of the article is evidenced by the theoretical elaboration of the content of each of the three specified methods, supported by historical facts-examples from the history of the costumes of performances staged in different years in Ukraine. The conclusions of the study are based on the step-by-step application of the three specified methods of classical art history for the analysis of theatrical costumes and the performance. The formal analysis gives a comprehensive description of the costume in its components, colour, silhouette, and architecture. Iconography opens up opportunities for classification as an elementary arrangement of concepts, motifs, and themes. Iconology allows to extend the classification scale to typological and take the next step through synchronic or diachronic contextuality.
 Key words: theatrical costume, art history, formal-stylistic method, iconography, iconology.

동양 전통극에 나타난 드랙(Drag)의 표현 특성 연구 : 경극(京劇)과 가부키(歌舞伎)를 중심으로

The purpose of this study is to consider the expression characteristics of drag appearing in the Oriental traditional drama and analyze the Oriental expression characteristics of femininity represented using costumes and makeup, by comparatively researching drag appearing on Oriental and Occidental stages. To this end, the study first summarizes the meaning of drag and draws its expression characteristics from its original definition. Secondly, it examines performances of Peking opera and kabuki, and the expression characteristics of drag exhibited through stage costumes and makeup, both of which are visual measures that effectively express them. Thirdly, it comparatively analyzes differences in perspective on the expression characteristics of drag appearing on Oriental and Occidental stages, and sexual expressions which are the basis of the former. Study methods, include a literature review accompanied by a case study. The findings are as follows: firstly, drag was defined as females’ costumes worn by males for performances that sensually express the typical features of females to dramatic effect, by exaggeratedly imitating them. Secondly, Pecking opera expresses drag using symbols of customarily typified females, while Kabuki expresses typified feminine behaviors as erotic figures based on the wearing method and the exposure of body parts. Thirdly, Occidental drag dramatically exaggerates and explicitly expresses sensual females by directly imitating females’ bodies and using ornaments. It is thus possible to verify that the characteristics of Oriental drag indirectly and implicitly express femaleness based on stereotypical features and show relatively coded sexual expressions, as compared to Occidental drag, which directly imitates and explicitly expresses females.

17th Century Costuming Features of Korčula’s Moreška

A tangible aspect that points to a historic past of the Korčula moreška is the skirted costume, which is unlike any other outfit worn on the island or elsewhere in Croatia. Recently, mid-seventeenth century archival costume illustrations of noble court ballets in Turin as well as costume designs of royal French productions in Paris were shared online, providing illustration of dance costuming in the theater. Popular Venetian public theater productions started in 1637 – studied by theater, stage costume, and dance researchers – reveal the importance of Roman features in costuming to denote nobility, strength, and leadership in theatrical spectacles. This Roman costume feature brings credence to the first known written description of a “Roman-Oriental” costume from the report of a moreška performance during the Saxon King’s visit to Korčula in 1838. Both the 17th century courtly spectacles and the Venetian public theater with many king-led combat dances thus extend our knowledge about costuming – sufficiently to warrant further research into the seventeenth century roots of Korčula moreška costuming.

Stage costume - as an educational tool of scenography in the conditions of the creative industry

Annotation.The article discusses the art history, cultural studies, pedagogical directions of aspects of the methods of teaching stage costume based on the Kazakhstan Concept for the Development of Creative Industries 2021-2025. The aim of the study is to modernize the tools for training scenographers in universities in Kazakhstan based on the study of international experience in the creative industry. The scientific significance of the study is the theoretical and methodological substantiation of the educational aspects of the stage costume as a tool for scenography.The practical significance of the study is the introduction of interdisciplinary aspects of stage costume into the methodology of teaching special disciplines of the master’s program.The methodology of the research is based on art criticism, cultural studies, pedagogical aspects, considering the stage costume in the framework of scientific, review-theoretical, design-artistic and scenographic analysis. Research tools - educational aspects in teaching educational programs Scenography in universities, interdisciplinarity, performing and visual arts, visual means of expression, design (light, sound, media), theater, cinema, television, circus, design, architecture.The results of the study are the theoretical substantiation of scientific and pedagogical tools and the structuring of the components of the educational aspects of training set designers in the context of the creative industry. On the basis of the theoretical and methodological study, conclusions were drawn and the practical significance of the results of the work was determined – the modernization of the educational aspects of the training of set designers is possible when the principles, functions, factors and conceptual approaches that are the basis of the Concept for the Development of Creative Industries 2021-2025 are introduced into the educational process.

Characterization of textile fibers by means of EGA-MS and Py-GC/MS

Textile fibers have represented an important resource for mankind throughout all human history. In fact, ancient cultures employed them not just to produce clothes, but also for expressing their habits and traditions. Based on the chemical composition, textile fibers are classified as natural, artificial, and synthetic. The analysis of textile fibers can be very challenging, so it is crucial to find new analytical tools capable of identifying them and studying their behavior in the environment. The collected information can be transferred in many different fields, such as the industrial sector, forensic science, environmental science, and heritage science. In the present study, the capability of Pyrolysis coupled to Gas Chromatography and Mass Spectrometry (Py-GC/MS), and Evolved Gas Analysis coupled to Mass Spectrometry (EGA-MS) to discriminate textile fibers was tested. The first part of the study was addressed to the analysis of pure samples to build a detailed database by highlighting the main differences in the chromatographic profiles. Then, three textile blends of known composition were investigated, and the results compared with those acquired by Attenuated Total Reflectance-Fourier Transform Infrared spectroscopy (ATR-FTIR). Eventually, the information obtained from the reference materials was exploited for the study of textile samples collected from the stage costumes of the lyrical opera ‘I Puritani’ directed by Franco Zeffirelli in 1961. The EGA-MS and Py-GC/MS results, integrated with those obtained by optical microscopy, allowed us to deepen the characterization of the historical samples.

ТРАНСФОРМАЦІЇ УКРАЇНСЬКОГО НАЦІОНАЛЬНОГО ВБРАННЯ В КОСТЮМІ ДРАМАТИЧНОГО ТЕАТРУ ХХ СТОЛІТТЯ

As an object of scientific discourse, the costume has a wide thematic focus. Its different types (historical, traditional, theatrical) had always been correlated in their development. This article aims to generalize the ways and methods of transformation of the Ukrainian national clothes in theatrical patterns of domestic performances of various historical periods of the 20th century. It was important for us to clarify stylistics and typology of stage apparel related to the use of national forms or particular motives. Methods that we used in the article allow to conduct historical comparative analysis partially using the reconstruction method. Within the scope of formal stylistic method, the category of motive was developed. Within the scope of iconography, an analysis of metaphor in theatrical costume was conducted. At the same time, we separately used the semiotic method to study meanings of clothes of modernism and postmodernism periods. Because meaning of the stage costume of the avant-garde time, created using the coded systems of conventional theatre, formed a new artistic spirituality. The novelty of the indicated problem is conditioned on generalizing context of the posed problem in its historical endurance and cultural typologies. Conclusions of the article are based on the hierarchical system of considered examples that demonstrate different meanings of the costume in performances of main periods of the Ukrainian theatre history: classic character of the image and professionalism of the creation in the Coryphaeus Theatre; blossom of artistic innovations in the costume of avant-garde performances; decline of the image as positive in the totalitarian period of 1930–1950s; revival in 1960–1980s and eventually polystylistics of costumes in the performances of Ukrainian Independence period.