Scenografai Lietuvių dailės draugijoje : tarp bendrijos ir autonomijos

LTTeatro dailininko kūrybinės veiklos specifiką sudaro darbas kolektyve. Dailininkų būrimasis į draugijas – vienas iš būdų patikrinti ir išugdyti kūrėjo gebėjimą veikti bendrijoje, išmokti išklausyti kito nuomonę, priimti kitų sprendimus bei kritiškai įvertinti savuosius. XX a. I p. Lietuvos vaizduojamojo meno atstovų būrimasis į bendrijas ir įsijungimas į teatro kolektyvinę kūrybą demonstruoja iki tol įprasto (savarankiško) šios dailės srities atstovų kūrybinio proceso ir veiklos pasikeitimą, kuris pripažįsta kolektyvinį protą, anonimiškumą, kuklumą. Ankstyvajame Lietuvos scenografijos formavimosi etape, neįsitvirtinus kolektyvinei kūrybai, scenografų dalyvavimas Lietuvių dailės draugijos parodose išryškino dailininkų kūrybines ambicijas, įsitikinimą, jog anoniminė kolektyvinė kūryba dar nėra įsisavinta, tačiau įsijungimas į draugijų veiklą dailininkams liko priimtinas dėl galimybės turėti apsisprendimo galimybes, pasirinkimo laisvę. Straipsnyje analizuojama kaip buvo realizuojamas Lietuvos scenografų kūrybinio proceso ir veiklos pasikeitimas. Tai norima išsiaiškinti ne tik norint susidaryti teisingą vaizdą apie Lietuvių dailės draugijos reikšmę, iniciatyvas, jos autoritetus, bet ir bandant suvokti tuo metu naują dailininko kūrybos sferą, jos susiformavimą. Straipsnio autorę domina draugijos veiklos etapas po Pirmojo pasaulinio karo, tai, kas susiję su 1920 m. pradėtu kurti profesionaliuoju teatru.Reikšminiai žodžiai: Scenografija; Lietuvos dailės draugija; Tarpkario kultūra; Kolktyvinė kūryba; Set design; Lithuanian Art Society; Culture of the Interwar period; Collective art creation.

ENThe article reviews the formation process of the set design as a collective sphere of art and what kind of role was played in this process by the Lithuanian Art Society and other organizations. A specific character of a theatre set designer's creative activities is formed by his work in a collective. Lithuanian artists started mastering the set design as a collective sphere of art in the 20s of the 20th century. The Lithuanian Art Society played a great role in this process. It was the Society that rallied the artists of different spheres, stimulated them to act together and developed the feeling of a team spirit. The members from the Society soon made sure that an individual creator would not defend his rights himself and solve important creative issues. It was evident that it was necessary to share one's ideas with others. Besides the Lithuanian Art Society in the process of rallying artists, among them set designers, the club Vilkolakis also performed an important function; its members discussed the matters of the set and costume design, and later some of them applied them in their work at the theatre. An interest in collective activities was supported by personal motives related to a material profit. In this respect, the program of the Lithuanian Art Society on a collective activity and that of the Lithuanian theatre under development at that time, had much in common. Both one and the other group were acceptable to the artists and tempted by the possibilities of a financial support: the theatre - commissions, the society - other, more diverse ways.Thus, the rallying of the representatives of the Lithuanian fine arts around the Lithuanian Art Society and the joining of the theatre collective work in the first half of the 20th century demonstrate a change in a habitual (individual) creative process of the representatives of this branch of art - a transition to anonymity and the recognition of a collective intellect. However, it gave rise to a topical issue - the failure of a creative concord, which led to the absence of a creative reciprocity, made an artist feel a stranger in a collective, and he would sometimes look for another medium to show his realized creative idea. Here again an important mission fell on the Lithuanian Art Society - its organized exhibitions for theatre set designers was the only possibility to demonstrate their original created works. Hence, the artists' first attempts to legalize a new field of creation, making use of the Lithuanian Art Society, revealed a complicated relationship between a set designer's individuality and a team spirit. When in the early period of the formation of the Lithuanian set design a collective work failed to answer the purpose (with the failure to reach a creative concord), the participation of set designers in the exhibitions staged by the Lithuanian Art Society disclosed an artist's confidence that an anonymous work was unacceptable. On the other hand, the participation of the artists in the activities of societies remained acceptable due to a possibility of self-determination and a freedom for alternatives. [From the publication]