Arti musices, Vol. 50 No. 1-2, 2019.
Izvorni znanstveni članak
https://doi.org/10.21857/y7v64t0xny
Ballet Costumes from the Jelko Yuresha Donation to Museum of Arts and Crafts in Zagreb
Marko Filip Pavković
orcid.org/0000-0003-0265-1328
; Zagreb, Hrvatska
Sažetak
Two years ago, in 2017, the Museum of Arts and Crafts in Zagreb accepted a large donation from the ballet artist Jelko Yuresha (9 May 1937, Zagreb, Croatia) and included it into its collective holdings. This paper analyses the most significant part (by the artefact type) of this heterogeneous donation – ballet costumes. The costumes have never been professionally and scientifically examined, and now they are analysed in light of the ballets for which they were created and of their costume designers’ oeuvres. An important part of the paper is also the (re)valorisation of the significance and musealisation of the whole donation. The paper opens with an introduction in which information on the life and work of Jelko Yuresha and his wife and artistic partner Belinda Wright (18 January 1929, Southport, England – 1 April 2007, Zurich, Switzerland) is presented; this is followed by a section on the structure and significance of the donation, where, along with basic facts about the donation, a critical revalorisation of its musealisation in the Museum of Arts and Crafts and a brief review of the musealisation of theatrical art in Croatia is given. The part of the work that directly deals with the ballet costumes from the Yuresha donation is introduced by a section on the specificities of ballet and dance costumes, which also revalorises and revises some of the ingrained postulates on this type of theatrical costume. The introductory chapters on the donor’s life and the specificities of ballet and dance costumes are a pretext for the interpretation and valorisation of the costumes. Ballet costumes from the Jelko Yuresha donation are analysed in the largest, separate section, i.e. costumes from the following ballets are analysed: The Sleeping Beauty, The Nutcracker, Swan Lake, Giselle, Romeo and Juliet and Variations for Four. The costumes from the collection that have been chosen for analysis are those on which canons of ballet costume design can be pointed out well, but also those that represent deflection, novelties and certain specificities in the context of the ballets they were created for. Costumes are valorised and interpreted within the framework of the time when they were made, and the oeuvres of the costume designers who created them.
Ključne riječi
ballet; costume design; ballet costumes; Museum of Arts and Crafts; Jelko Yuresha; Željko Jureša; Belinda Wright; musealisation; Oliver Messel; Sir Anton Dolin
Hrčak ID:
234094
URI
Datum izdavanja:
6.12.2019.
Posjeta: 1.833 *