Write me
Performance "Keys to magic"
Mikhail Chekhov Riga Russian Theater
2017
Author: Mikhail Durnenkov
Director: Marina Brusnikina
Costume designer: Julia Vetrova
We composed this performance based on the book "The Actor's Path" by Mikhail Chekhov, this work is one of my favorites, I read this book many times and when I was offered to work on this text, I was happy. With great enthusiasm, I created playful theatrical costumes, with incredible hyperbolic elements, with which the talented actors of the Riga Theater interact so deftly.
Then I flew to Riga and we carefully selected fabrics for sewing suits, since the suits are basically monochrome, I remember how long I spent searching for subtle tonal combinations, determining the tonal gradation of shades.
We also had complex costume elements, such as collars and kokoshniks with Russian-folk ornaments, skirts for the Can-Can dance, Spanish collars, headdresses, including a cylinder from which smoke came out (it was a man-locomotive).
We came up with all this and I associated the whole working process with how Mikhail Chekhov himself worked on the role and performance, in those distant and wonderful times for the theater.
2017
Author: Mikhail Durnenkov
Director: Marina Brusnikina
Costume designer: Julia Vetrova
We composed this performance based on the book "The Actor's Path" by Mikhail Chekhov, this work is one of my favorites, I read this book many times and when I was offered to work on this text, I was happy. With great enthusiasm, I created playful theatrical costumes, with incredible hyperbolic elements, with which the talented actors of the Riga Theater interact so deftly.
Then I flew to Riga and we carefully selected fabrics for sewing suits, since the suits are basically monochrome, I remember how long I spent searching for subtle tonal combinations, determining the tonal gradation of shades.
We also had complex costume elements, such as collars and kokoshniks with Russian-folk ornaments, skirts for the Can-Can dance, Spanish collars, headdresses, including a cylinder from which smoke came out (it was a man-locomotive).
We came up with all this and I associated the whole working process with how Mikhail Chekhov himself worked on the role and performance, in those distant and wonderful times for the theater.
