@

초록

The ballet Liturgy which transformed the stage into a sacred space where the audience and dancers could experience together was finally not realized due to financial difficulties caused by World War I and the difficulty of planning the performance. However N. Goncharova's stage and costume sketches remain as an aesthetically condensed crystallization of painting and stage art. The overall synthesis of the Liturgy stage and costume sketches was a transformation of the Byzantine and Russian icon, mosaic, and fresco styles into avant-garde colors and compositions in a broad sense, but the spatiotemporal application and method, ranging from 6th-century Byzantine cathedral mosaics, 13th-4th century medieval Gothic and early Renaissance icons, 16th-century Russian monastery cathedral frescoes, traditional Orthodox liturgical vestments, and his own contemporary works was a delicate task. She established iconostasis as the basis of stage design for the sacredness of Liturgy space, added the modern style of art nouveau to the ornamentation and monumentality of medieval religious iconography, and meticulously incorporated the themes of medieval liturgical drama, experimental spatial arrangements of saints, and the spatiality of Russian cathedrals. The costumes of the Magi and the Apostles which combined the flatness of the icon with three-dimensional plasticity were a synthesis of the decorativeness of Byzantine imperial costumes, the soft textures and colors of medieval Gothic and early Renaissance Italian painting styles including Cimabue, the bright and refined pastel tones of the murals of the Ferapontov Cathedral in Russia, and the characteristics of the triangular, trapezoidal Phelonion that puffed up over the shoulders.

키워드