Suprematic Techniques in Theater Sketches of Ukrainian Artists of the 1920s
DOI:
https://doi.org/10.32461/2226-0285.1.2022.262589Abstract
The purpose of the article is based on the need to study the sketches of theatrical costumes in the works of Ukrainian artists of the 1920s. The research is done from the point of view of suprematism stylistics applications one of the avant-garde trends. In that context, it is considered as required to track and compare examples of its appearance in different art projects of that time. This allows determining possible sources of suprematic inspirations appearance in Ukrainian theatrical artifacts. The art learning methods were complexly applied in order to solve the given goal. Those methods are related to the concept analysis of K. Malevytch about features of constructiveness, pointlessness, and dynamics in painting, and the possibility of their application in spatial art projects. This approach creates new possibilities for the understanding of the new metaphorical nature of the theatric character, his symbiosis with avant-garde performance fraction, its common anthropology. The formation of the scenic costume as a metaphor woven from pointlessness by lines and segments combination. This is how the new reality of the stage character in the sketch arose. Its interpretation in conjunction with new text and new casual life. The novelty of the research is based on the complex selection of art projects related to the spreading of the Suprematism ideas among which theatrical practices are important. The conclusions of the article form a semantic chain of phenomena related to the development of Suprematism ideas. Due to the school of the Suprematism followers formation, a community of followers of that trend emerged in Soviet art in the early 1920s. The ideas of Suprematism were broadcast and became known as a result of their activities. Parallel and very similar by the form discoveries occurred at the subconscious level in various fields of arts. Among them, there are sketches by artists from the Berezil Theater by Anatoly Petritsky, in which Suprematic techniques were used.
Key words: suprematism, suprematic reception of theatrical sketch, supergraphics, drawings in sketch, stencil drawing.
Downloads
Published
Issue
Section
License
This work is licensed under a Creative Commons Attribution 4.0 International License.
Authors who publish with this journal agree to the following terms:
- Authors retain copyright and grant the journal right of first publication with the work simultaneously licensed under a Creative Commons Attribution License that allows others to share the work with an acknowledgement of the work's authorship and initial publication in this journal.
- Authors are able to enter into separate, additional contractual arrangements for the non-exclusive distribution of the journal's published version of the work (e.g., post it to an institutional repository or publish it in a book), with an acknowledgement of its initial publication in this journal.
- Authors are permitted and encouraged to post their work online (e.g., in institutional repositories or on their website) prior to and during the submission process, as it can lead to productive exchanges, as well as earlier and greater citation of published work (See The Effect of Open Access).
