Liudo Truikio teatro kostiumas: tautinė versija

LTStraipsnio objektas - scenografo Liudo Truikio teatro kostiumas. Šiuo tyrimu, remiantis semantine analize, siekiama išsiaiškinti dailininko tautiškumo sampratą bei kostiumo vaidmens spektaklyje suvokimą. [Iš straipsnio, p. 74]Reikšminiai žodžiai: Liudas Truikys; Dailininkai; Scenografai.

ENThe subject-matter of research of this article is the theatre costume of the scenographer Liudas Truikys. When discussing specific sketches of costumes, the aim is to reveal the artist's national engagement and to show the role of an innovatively treated theatre costume. National spirituality unfolds in the sketches of costumes for Mikas Petrauskas' and Jonas Dambrauskas' opera Eglė (1939) implying that the idea of transformation so much explored by Vydūnas was very allied to Truikys. The artist visualised in his individual manner the phases of transformation process into the forms of costumes which contain sacral motifs along with ritualising and transforming the reality. The motifs of tree, sun and serpent dominating in the narration of Eglė seem to be transformed into divine sphere and tools for the animation of form. Truikys expressed his vision of national heroism in the costumes of Karnavi- dus' opera Gražina (1968). Here the heroic image created by Truikys is approximated to historical reality. The main character of this play, a person from high society, is conveyed by applying medieval heraldic signs and by marking clothes with aristocratic blazons. The symbol of aristocratic strength, national sacrifice and faithfulness turns into the motif of shied that repeats itself through the costumes of Gražina and rouses the feelings of nobleness and spiritual endurance.When creating theatre costumes Truikys avoidet functionality, description of characters and psychologising; therefore, next to a functional purpose, a cloth gains a figurative one, too. Having expanded a usual function of an object by new trends, Liudas Truikys rethought over inherited tradition and disclosed its layers that are invisible at first sight. In this way he tore down well- established standards and in his own way formulated the mission of theatre by rendering it the status of a place for mental concentration. [From the publication p. 162-163]