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Costume design, direction, and dramaturgy for a production of Mykola Dmitrovych Leontovych’s final, incomplete work, Na Rusalchyn Velykden (The Rusalka’s Rite).
Thesis committee and research support:
Olga Marknova Maslova, MFA (principal mentor, design and direction advisor, Ukrainian cultural and language consultant)
Dr. Valleri Robinson (dramaturgy advisor)
Dr. Julie Gunn (music advisor)
Dr. Donna Buchanan (musicology and research advisor)
Based on research started with Dr. Donna Buchanan as part of a musicology course, this piece grew to become a combination design, direction, musicology, and dramaturgy project. Over the course of the 22-23 academic year, I further developed my initial research on Leontovych, Ukrainian traditional design, and the specific cosmology of the Rusalka myth to create a “proof-of-concept” dramaturgy and design packet for a hypothetical fully-realized production. In the spring semester, I collaborated with Dr. Julie Gunn to realize a few, semi-staged scenes as part of Lyric @ Illinois’ graduate level Opera Scenes class.
I manufactured the crowns and shawl/wings, and created a lobby display triptych featuring a photoshoot and the completed costume designs, as well as information about the composer, the opera, and the design choices.
Costume design, direction, and dramaturgy for a production of Mykola Dmitrovych Leontovych’s final, incomplete work, Na Rusalchyn Velykden (The Rusalka’s Rite).
Thesis committee and research support:
Olga Marknova Maslova, MFA (principal mentor, design and direction advisor, Ukrainian cultural and language consultant)
Dr. Valleri Robinson (dramaturgy advisor)
Dr. Julie Gunn (music advisor)
Dr. Donna Buchanan (musicology and research advisor)
Based on research started with Dr. Donna Buchanan as part of a musicology course, this piece grew to become a combination design, direction, musicology, and dramaturgy project. Over the course of the 22-23 academic year, I further developed my initial research on Leontovych, Ukrainian traditional design, and the specific cosmology of the Rusalka myth to create a “proof-of-concept” dramaturgy and design packet for a hypothetical fully-realized production. In the spring semester, I collaborated with Dr. Julie Gunn to realize a few, semi-staged scenes as part of Lyric @ Illinois’ graduate level Opera Scenes class.
I manufactured the crowns and shawl/wings, and created a lobby display triptych featuring a photoshoot and the completed costume designs, as well as information about the composer, the opera, and the design choices.
Concept sketch, first exploration of the use of shawls as wings
Defense display
First Rusalka - watercolor, colored pencil, gouache, silver leaf.
Rusalka chorus - watercolor, colored pencil, gouache, silver leaf.
New Rusalka - watercolor, colored pencil, gouache, silver leaf.
Dyeing the shawls in expanded, sometimes corrupted versions of motifs drawn from pysanky, rushnyky, and other Ukrainian folk art forms.
One of the words most frequently applied to rusalki is “transparent.” Dyed motifs overlap and blend with similar motifs created with silk chiffon reverse applique.
The most consistent motifs used in the shawls were those evoking femininity (the rose), water (meanders, ripples, zigzags), and birds (crow feet), as well as elements suggesting the wearer’s path to Heaven, and those designed to entrap unclean spirits.
Planning sketch for shawls
Photoshoot—since the opera scene wasn’t going to have any real scenic elements, I did a small photoshoot with some friends to evoke the spirit I was aiming for with this project. Sisterhood, grief, danger, comfort.
Models: Vivian Krishnan, Taylor Pfenning.
Photography and makeup assistance: Nicolas Dudit Pardo