Theatrical Disasterpieces

A collection of work from my Theatre Design degree, including maquettes, set and costume designs, along with images, text and other sources that inspire me.

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Permalink omgthatartifact: Shamanistic Object Evenki (Siberia) The British Museum
Permalink omgthatartifact: Spirit Protectors Nivkh or Nanai (Siberia) Musee du Quai Branly
Permalink omgthatartifact: Mask for a Horse Pazyryk Culture, 5th century BC The Hermitage Museum
Permalink omgthatartifact: Terminal Pazyryk Culture, 5th century BC The Hermitage Museum
Permalink omgthatartifact: Shaman’s Head Ornament Siberia The British Museum
Permalink omgthatartifact: Shaman’s Costume Nvikh The Peter the Great Museum of Anthropology and Ethnography
Permalink omgthatartifact: “Big” Shaman’s Headdress Nvikh The Peter the Great Museum of Anthropology and Ethnography “This headdress of a “big” Evenk shaman (avun) made of steel was part of a full ritual costume worn by a shaman for very important rites and rituals. The structure of this headdress reflects its symbolic meaning and contains an archaic image of the model of the Universe. The hoop embodies the concept of the closed space of the world of people and solid earth. Two crossing arcs symbolize the parts of the world and the seasons. The cosmic vertical that reflects the sacral center of the Universe is embodied in the horns of the mythical deer that stands for the sun in the mythical beliefs of the peoples of northern Asia. The deer was one of the main characters in the myth about the celestial hunt and embodied the archaic concepts of the day and night and the cosmic order. The horns also symbolized the sacred deer – the helper spirit of the shaman, his draft animal that he rode to travel to other worlds. Long cloth ribbons embody snakes and lizards, the shaman’s powerful helpers that accompany him in his “travels” to the lower world. They also symbolize the sacred birch – the totem tree of the shaman. It is also associated with the World Tree that symbolizes the Universe as a whole and Axis mundi – the cosmic axis connecting the spheres of the Universe. Such ritual headdresses were conditionally referred to as “crowns”.”
Permalink omgthatartifact: Shaman’s Costume Mongolia The National Museum of Mongolia “This is an elaborate shaman’s costume. The Caftan is of cotton with a woven geometrical pattern. The gown hanging over the chest has a nickel-plated brass mirror to ward off evil spirits. On the left arm is a dagger with a wooden handle with copper fittings as well as an iron blade. At the top of the shoulder blades, two tufts of owl feathers which, together with triangles of material hanging down from the underside of the sleeves, symbolize its ability to fly. The feathers of an eagle are also found at the top of his crown which consists of a cap of black wool and a red band across the front upon which a winged lion is mounted. It is made of chased copper and has, in addition to the wings, the claws of a bird. Skins of small animals, eagle feathers, and even bird claws highlight the connection between the shaman and the natural world. Above are round brass bells. The entire face is concealed by a black silk fringe. At the sides and the back of the cap are numerous snakes of material with coral eyes, as well as funnel-shaped iron rattles. The shaman’s drum which matches this costume has a round frame of two layers of birch wood, a handle of leather, wound with silk and cloth, and above it a wire which is stretched across carrying seven coins of Chinese-Manchurian-origin rattles and bells. The outside of the drum-skin is painted with the flaming sor on a small altar, cloud-symbols, garuda, dragon, tiger and lion, all indications of how strongly the so-called “yellow shamanism” was overlaid with Buddhist elements. The wooden drumstick has a fur-covered head and a metal stick with eight rattle–rings.”
Permalink omgthatartifact: Shaman’s Mask Nvikh The Peter The Great Museum of Anthropology and Ethnography This mask made of copper embodies the patron-spirit of a territory inhabited by an Evenk patrimonial group. Such images were an important element of cult structures in the shape of a conic tent erected in the center of the territory inhabited by a patrimonial group. The patron spirit was viewed by the Evenks as the main protector of the people who inhabited its territory. It provided for their well-being, promoted their economy, protected them from the evil spirits who caused diseases and death, and protected the children. Among the Evenk people who inhabited Transbaikalia, the cult of the patron spirit developed under the strong influence of the culture of Buryatia, Mongolia and Tibet where it was associated with the beliefs about patron-spirits of mountains. Cult conical structures made of stones (called oboo in Buryatia, ovoo in Mongolia and labtze in Tibet) were an embodiment of the sacred mountain protected by the patron-spirit. The cult of mountains originated from the earliest concepts of the universe embodied in the image of the World Mountain, whose top represented the celestial sphere, its foot – the world of people, and a cave or any other aperture was viewed as a pass to the lower world. Sacrifices to patron spirits were usually made once a year, in the summer, and only took place more often in the event of disasters. All people inhabiting the protected territory participated in the ritual that was performed by the most respected and knowledgeable elders. The ritual was followed by a feast, shooting competitions, fights and games. Collective sacrifices were important events in the life of the people inhabiting the protected territory, and were celebrated as solemn occasions. On territories populated by a shaman’s patrimonial group, the patron-spirit also served as the shaman’s ancestor spirit, which made it even more powerful.”
Permalink Joan of Arc, from the scene of her trial From Saint Joan, and a historical character.
Permalink Pierre Cauchon From Saint Joan, and also a historical figure.
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