Our vernissage

Theatrical View or Pictures at an Exhibition

The Cultural Centre "Mir" has hosted an exhibition of works by graduates of the Scenography Faculty of GITIS (Russian Institute of Theater Arts) where sketches and costumes for performances designed in different techniques and manners are presented. At the opening, the exposition became a creative space in which the artists designed one of the costumes in front of the audience and the guests became co-authors of the art object, having tried themselves as a costume designer.

A theatrical costume is an integral part of the stage image of the actor, the external signs and characteristics of the portrayed character, a means of artistic impact on the viewer. A theatrical costume is not limited to clothes, it is a complex set - make-up, hairstyle, footwear, accessories - that the artist should design harmonious, appropriate and comfortable for the actor. The authors of the works presented at the exhibition told us about the uniqueness of their profession.

All of you are graduates of GITIS. In your opinion, how did your studies at the Institute affect the development of your personality?

Katya Gordeeva: The ability to work in a team and to find a cool environment. The most important for me these are my friends. We observe each other's paths, help with advice, participate in various exhibitions together, visit interesting events.

Polina Khanevskaya: I developed the ability to clearly defend my point of view, accurately formulate my vision of the work and characters and present my idea to both the master and the directors.

Lyubov Yakovenko: Studying in the Institute helped me to realize that I have chosen a right path.

Lidiya Latsis: Ingenuity. When in a short time, with limited resources, you can create something beautiful.

A costume designer painstakingly works on creating the image of a hero. Please, tell us about the creative process, what does it consist of?

Katya: The process includes understanding all versions, first of all, the director's version. It is necessary to understand and think through all the ideas in order to understand how the costume will complement the performance of the actors and help them to reveal the characters' nature on the stage.

Polina: This is, first of all, work on the text, analysis of the script together with the director. It is important to take into account the characters' nature and appearance. One also needs to track the development of the plot that affects the change of characters inside and out.

Lyubov: The process starts with a meeting with the director, a discussion of the main idea of the play and, of course, a reading of the play. Making sketches is a ritual, synthesizing the impression of the read, knowledge of the declared era and, of course, the history of the work itself. Before you start drawing, it is very important to get enough knowledge and visual impressions.

Lidiya: The process of creativity includes the process of understanding the ideas that the author of the script puts into his character. Why did the writer create him this way? How did he imagine his character to be? What characteristic features distinguish the hero from all others? By answering these questions, we will get closer to understanding how a hero can look on the stage.

The image created by the costume designer should match the director's vision and at the same time be authentic to the character's nature. Is the task always clear from the outset, or hard work is most often needed for its implementation, or maybe uncertainty or doubt?

Polina: When starting work on a performance, first of all I am interested in what kind of characters the director imagines, afterwards, we discuss the general visual solution of the performance, its style and concept with the stage designer. This is very important, since the costumes should be in harmony with the scenery. Working on costumes, I rely on my emotions and feelings. At first, a very blurry and inaccessible image appears in my head, I can't catch it right away, I don't understand exactly what I want to get as a result, I can rush about for a long time, beat around the bush, as if probing and living the proposed story and only when a clearer understanding appears, I start working on it. Inspired by interesting textures, I design costumes that would complement the image as accurately as possible and, of course, help to convey the characters' nature.

Lyubov: When working with a director, you always need to be incredibly sensitive, somewhere to make concessions and somewhere, on the contrary, to insist on your own ... Everything is very individual.

It is noteworthy that your profession requires you to constantly be in the thick of things - to visit theaters, museums and concerts. Do you manage to find time for self-development? Upgrade your skills, to read...

Katya: The brain and soul themselves constantly ask to do something - I have received two additional educations, have tried different areas of activity, often go to classical music concerts, watch various theatrical performances.

Lidiya: If an artist does not improve his skills, does not try new techniques and formats, he is not just at a stop, he is left behind in cultural life. Among the flow of affairs, one should certainly find time for various studies, agree to new projects, read and keep abreast of events in the art world.

What can be as a source of inspiration for you?

Katya: Anything - a walk, a randomly seen texture of a wall, a beautiful frame in a film, a lace shadow on the ceiling, a beautifully served dish in a cafe, a textured character walking towards you. It is important not only to make it beautiful, but to lay the idea, to show the character's nature...

Polina: Interesting people, music, art in all its manifestations, well, and ... How without inner spiritual impulses and experiences? The state of being in love, for example, is very inspiring to creativity.

Lyubov: I follow the works of famous designers and artists, I am often touched by the life of a simple person...

Lidiya: Music, the atmosphere of a beautiful place, the work of other artists and more often just a random thought that has found its expression in a visual image.

A stage costume designer should be able to draw, sew and distinguish styles in clothes, properties of fabrics, be interested in modern fashion... Will you continue this list?

Lyubov: First of all, a costume designer should be communicative, be able to negotiate, convince and defend his idea, to be always ready for force majeure and work seven days a week.

Lidiya: To be able to work with people, to understand the director and the team. To know the history by heart, to navigate perfectly in various fields and periods. He should be inquisitive, resourceful and open to everything new - after all, sometimes it is an extraordinary approach that helps people to distinguish your work from hundreds of others.

What will the citizens of Dubna and guests of our science city see at your exhibition?

Guests of our exhibition will see sketches and costumes for many different plays. And not just illustrations, but meaningful works, our vision of how certain characters look. The decoration of the hall will plunge you into the atmosphere of the theater and (who knows?) maybe inspire you to design your own costume! The exhibition will be open until 13 November. Welcome to the Cultural Centre "Mir".

Eleonora Yamaleeva,
photo by Igor LAPENKO