Moterys teatre : teatro fotografija tarpukario Kaune

LTŠiame straipsnyje pateikiama ir analizuojama archyvinė medžiaga, kurios pagrindu atskleidžiamos fotografijos funkcijos Valstybės teatre Kaune. Analizuojami archyviniai šaltiniai, leidžiantys kalbėti apie teatro fotografijos reiškinį tarpukario teatro kultūroje ir glaudų jų ryšį. Archyvų fonduose saugoma empirinė medžiaga leidžia pažinti žymias teatro aktores, tirti, įvertinti ir svarstyti moterų profesinį, buitinį ir kultūrinį gyvenimą. Straipsnyje pristatomos Ona Rymaitė (1889–1950) ir Potencija Pinkauskaitė (1897–1984). Taip pat supažindinama su keliais svarbiais faktais ir archyviniais dokumentais iš aktorės, poetės, dramaturgės Elenos Žalinkevičaitės-Petrauskienės bei aktorės Antaninos Vainiūnaitės-Kubertavičienės fondų, esančių Lietuvos literatūros ir meno archyve (toliau – LLMA), liudijančiais svarbią moterų veiklą teatre. [Iš leidinio]Reikšminiai žodžiai: Fotografija; Teatras; Tarpukaris; Aktorės; Theatre; Photography; Interwar.

ENThis arcticle concentrates on exploring theatre culture of interwar Kaunas through photographic archive of images and theatre documents. The main focus is on State theatre of Kaunas, the only professional theatre institution of that time which had an impact on society’s cultural opinion. At that time commercial photography was used to promote theatre, the actors and their performance. They were viewed as the representatives of the whole theatre community. Photographic images of the staged roles in the studios, documentation of the produced plays and various other archival documents of the theatre are analyzed in the local and cultural context of commercial photography. Photographic archive of the theatre not only represents the institutions and the life of the theatre community, but also reveals the individuality of outstanding artists and their profesional and personal space. The main attention is focused on two actresses of interwar period: Ona Rymaitė and Potencija Pinkauskaitė. They both represent different theatre personalities through their work. Their photographic archive gives us an insight into the characters they created during their working period and show how photography represents different portrayals of their work. The archives of actresses Elena Žalinkevičaitė-Petrauskienė and Antanina Vainiūnaitė-Petrauskienė also open up the importance of a woman, an educated actress of the interwar theatre, prompting to do research and consider their roles in the local context of Lithuanian art history. [From the publication]