The purpose of this study is to analyze Bakst's stage costume illustrations for Ballets Russes. The Russian Ballets has renown in the West since the early 20th century. Diaghilev first made his name as the organizer of art exhibitions in Russia and Western Europe. Diaghilev risked presenting only ba...
The purpose of this study is to analyze Bakst's stage costume illustrations for Ballets Russes. The Russian Ballets has renown in the West since the early 20th century. Diaghilev first made his name as the organizer of art exhibitions in Russia and Western Europe. Diaghilev risked presenting only ballets in 1909, that time Bakst designed $Sch{\acute{e}}h{\acute{e}}razade$, L'Oiseau de Feu and Le Carnival. $Sch{\acute{e}}h{\acute{e}}razade$ was something new which overwhelmed the French people by then. It was seen to be the achievement of Wagner's idea where all the elements; the music, the design, the choreography, and the dancing fused into a perfect whole. The entire production was a hitherto unseen harmony of colors, sounds and movements. For the 1911 season in Paris, Diaghilev planned to present six new ballets and Bakst designed four ballets. Bakst's design of the set and the costume greatly shocked the audience. His "Originality" shines on the fact that he introduced a palette of colors in theater for the first time in history. He used a magic of colors to suggest the secret meaning of what was happening on the stage. The results can be divided into three distinct characteristics. First, oriental designs such as $Cl{\acute{e}}op{\hat{a}}tre$, $Sch{\acute{e}}h{\acute{e}}razade$, L'Oiseau de Feu, La $P{\acute{e}}ri$ and Le Dieu Blue with Russian, Indian and Persian traditional design in headdress and accessories ars found. Second, Le Carnival and La Spectre de la Rose used romantic styles with oriental details. Third, Greek chiton and Himation are used in Narcisse, $H{\acute{e}}l{\grave{e}}ne$ de Sparte, $L'Apr{\grave{e}}s-Midi\;d^{\grave{\;}}un$ Faune and Daphnis et $Chlo{\acute{e}}$ inspirde with various colors and geometic patterns. Bakst's orient of lush colored costumes, head dress, cushions, rugs and hangings became the immediate fashion imitated by Parisian couture houses and interior decorators.
The purpose of this study is to analyze Bakst's stage costume illustrations for Ballets Russes. The Russian Ballets has renown in the West since the early 20th century. Diaghilev first made his name as the organizer of art exhibitions in Russia and Western Europe. Diaghilev risked presenting only ballets in 1909, that time Bakst designed $Sch{\acute{e}}h{\acute{e}}razade$, L'Oiseau de Feu and Le Carnival. $Sch{\acute{e}}h{\acute{e}}razade$ was something new which overwhelmed the French people by then. It was seen to be the achievement of Wagner's idea where all the elements; the music, the design, the choreography, and the dancing fused into a perfect whole. The entire production was a hitherto unseen harmony of colors, sounds and movements. For the 1911 season in Paris, Diaghilev planned to present six new ballets and Bakst designed four ballets. Bakst's design of the set and the costume greatly shocked the audience. His "Originality" shines on the fact that he introduced a palette of colors in theater for the first time in history. He used a magic of colors to suggest the secret meaning of what was happening on the stage. The results can be divided into three distinct characteristics. First, oriental designs such as $Cl{\acute{e}}op{\hat{a}}tre$, $Sch{\acute{e}}h{\acute{e}}razade$, L'Oiseau de Feu, La $P{\acute{e}}ri$ and Le Dieu Blue with Russian, Indian and Persian traditional design in headdress and accessories ars found. Second, Le Carnival and La Spectre de la Rose used romantic styles with oriental details. Third, Greek chiton and Himation are used in Narcisse, $H{\acute{e}}l{\grave{e}}ne$ de Sparte, $L'Apr{\grave{e}}s-Midi\;d^{\grave{\;}}un$ Faune and Daphnis et $Chlo{\acute{e}}$ inspirde with various colors and geometic patterns. Bakst's orient of lush colored costumes, head dress, cushions, rugs and hangings became the immediate fashion imitated by Parisian couture houses and interior decorators.
세계 예술의 결정적인 변화의 역할은 1909년 봄 파리의 Théâtre du Châtelet의 무대에서 공연된 디아길레프의 러시아 발레단, Ballets Russes에 의하여 이루어졌다. 러시아 발레의 100년 전통과 완벽한 기술을 소유한 무용수들, 창조적인 재능을 지닌 열정적인 예술가들의 노력으로 화려한 장식, 안무, 춤과 음악이 발레로 창조되었다1).
박스트에 대하여 Anatoli Lunnatscharski는 뭐라고 하였는가?
Anatoli Lunnatscharski는 “박스트는 극장 예술 부분에 중요한 무대와 의상 분야에 탁월한 러시아 예술가이며, 그의 예술은 가히 혁명적이라 할 수 있다.”4)고 하였다.
박스트는 그리스를 주제로 하여 어떤 작품들을 디자인 하였는가?
박스트는 화가였으나 그가 디자인한 Hippolytus 에서 그리스 의상을 무대에 올린 것이 무대 예술가로서의 첫 도전이었다. 그는 그리스를 주제로 나르시스(Narcisse), 다프니스와 클로에(Daphnis et Chloé), 목신의 오후(L'Après-Midi d`un Faune), 스파르타의 헬렌(Hélène de Sparte) 등을 디자인하였다.
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정흥숙 (1998). “Shakespeare 희곡, ‘Hamlet’을 위한 무대의상디자인 연구.” 한국복식학회지 36권.
최나영, 김문숙 (2001). “피카소의 무대 의상디자인에 관한 연구-Parade를 중심으로-.” 한국복식학회지 51권 4호.
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