Naiskoori kostüümide väljatöötamine Rahvusooper Estonia etendusele "Linnukaupleja"

Lõputöö käigus töötati vastavalt kostüümikunstnik Kristi Leppiku moejoonisele välja naiskoori kostüümikomplekt Rahvusooper Estonia operetile „Linnukaupleja“. Töö jooksul lähtuti kunstniku soovidest ja kontseptsioonist, Rahvusooperis väljakujunenud töömeetoditest ning esinejate vajadustest, mis tulenevad teatritöö eripäradest. Autori ülesandeks oli lõigete konstrueerimine ja mulaaž, tehniliste lahenduste välja töötamine ning kostüümi valmistamine. Diplomitöö tulemusena õmbles autor ühe 18. sajandist inspireeritud panjeedest, alusseelikust, seelikust ja pihast koosneva kostüümikomplekti suuruses 38. Sarnaseid, erinevates värvitoonides komplekte õmmeldi Rahvusooperi kostüümiosakonnas 16 tk. Koos moodustavad kostüümid ühtse terviku ning sobiva tausta opereti süžeeliinidele. Valminud lekaalikomplekti kasutades on võimalik ka tulevikus valmistada sarnase stiliseeringuga kostüüme. Toodete tehnilise töötlemise juures oli oluline jälgida neile esitatud lavastuslike nõudmisi. Kostüümides peab olema mugav esineda, nad ei tohi piirata liikumist ning olema riietajate abil kiirelt ja vähese vaevaga selga pandavad. Ka pidid tehnilised lahendused arvestama lavastuse pikka, mitut hooaega hõlmavat etendusaega. Seega pidid kostüümid olema vähese vaevaga korrigeeritavad vastavalt kandja figuuri muutustele ning vajadusel lihtsalt parandatavad. Käesolev töö koosneb kuuest peatükist, millest igaühes tutvustatakse kostüümide loomise erinevaid aspekte. Vastavalt töö valmimise kronoloogilisele järjekorrale kirjeldatakse kostüümi kavandamise põhimõtteid ning silueti ajaloolist tausta, põhi-ja moekohaste lõigete valmistamist Müller & Sohni süsteemi kohaselt ning mulaažimeetodi abil, kostüümi osade tehnoloogilist töötlemist, lekaalide valmistamist, kangakulu arvestust ning valminud kostüümi tehnilisi andmeid. Kõik töös esinevad autori poolt koostatud joonised on teostatud kasutades Lectra Systemsi programme KaledoStyle, Modaris ja Diamino.

The aim of the final thesis was to develop patterns and produce costumes for the operetta “The Bird Seller” according to the costume designer’s wishes and established practices in the costume department of the Estonian National Opera. The author was tasked with drafting the patterns, creating technical solutions and preparing the costumes according to the sketches by costume designer Kristi Leppik. “The Bird Seller” is a comedic operetta set in the 18th century in the countryside around Heidelberg. The plot takes place on the estate of the reigning Prince in his court and a village close by. The main protagonists are Christel, the village postmistress, and Adam, her Tyrolean suitor. Their relationship gets tested by the intrigues of the court. They persevere through the customary plot twists and misunderstandings, before ending up together and happy. [4] The women’s chorus costumes for the second act are designed to show the ridiculousness and decadence of the court of the Prince. However, compared to the gentlemen’s costumes, the ladies of the court are rather subdued, wearing neutral colours with small accents of brighter tones. Theatrical costumes must adhere to several conditions - among which are the costume designer’s directions, the physiological needs of the performers, long performance runs and the fact that the performers are often dressed by dressers. The first of these conditions is vital to the choosing of materials, drafting of patterns and the general concept of the costume. Next, the physiological needs of the performer must already be taken into account in the drafting process and further delved into during the fitting period. Thirdly, long performance runs mean that costumes must be easily alterable and repaired without trouble. Lastly, the use of dressers in costuming is most apparent in designing the fastenings all of which must be easy to use and repair. This graduation thesis is composed of six chapters, each of them dealing with a different phase of costume development. The first chapter examines the principles of the design of the costume. First, the Estonian National Opera and the operetta are described. Next, special conditions pertaining to theatrical costume are outlined and the historic setting is considered. The chapter concludes with a technical description of the parts of the costume and the equipment used. The second chapter describes the base bodice pattern drafting according to the M.Müller & Sohn system and draping of the skirt patterns. The bodice pattern is then drafted according to the sketch by the costume designer. The third chapter covers the technical solutions used in the making of the costume. The solutions are described through a step-by-step sewing process and technical sectional drawings of the costume. The fourth chapter reviews the development of the master pattern, seam allowances and grading rules. The fifth chapter describes calculations in material efficiency and lay planning. Combined lay plans and lay plans for the whole costume are compared. The sixth chapter includes the technical cards of the different parts of costume and the measurements of the finished garments. Working on this thesis has been an immensely interesting and rewarding process. The radical differences between streetwear and theatrical costume did at first pose a bit of a hurdle in progressing but the experience gained has become invaluable. Staff from the National Opera’s costume department has been of great assistance throughout the whole process. Everyone was kind and helpful from the first day of the preceding internship all the way through to the thesis going to print. Both the designer and the thesis supervisor were satisfied with the final result. According to the performer wearing the costume prototype the design is comfortable and supports a successful performance.