Esta pesquisa analisa e documenta os figurinos criados para o cinema brasileiro na obra O Bandido da Luz Vermelha de Rogério Sganzerla, a qual tem como pano de fundo o Cinema Marginal. Focaliza o trabalho de figurino neste período, com o objetivo de contribuir para a memória coletiva nacional e enriquecer o material de investigação dos profissionais ligados à área. O estudo se faz a partir de um levantamento dos aspectos sócio-político-culturais do país nas décadas de 60 e 70, refletidos num cinema que aparece como uma reação à situação por que passava o país no período de 1964 1968, com a politização das manifestações artísticas face aos fechamentos ocasionados pela ditadura militar. A partir da análise do filme e entrevistas com profissionais participantes ou ligados à obra do autor, como o operador de câmera Carlos Ebert, o qual também atuou como fotógrafo no filme O Bandido da Luz Vermelha; a diretora e atriz Helena Ignez, ícone do Cinema Marginal e esposa de Rogério Sganzerla; e o diretor e produtor Julio Calasso Junior, inicia-se um entendimento do processo criativo utilizado nos filmes produzidos pelo cineasta, num relevante período da história do cinema nacional. Indaga como os trajes colaboram para a construção dos personagens numa obra cinematográfica e a importância do figurino na criação destes personagens, tanto para o diretor como para o próprio ator, e como a escolha dos elementos e materiais corretos compõe plasticamente esta figura e contribuiu na sua gestualidade. Verifica o mérito de uma direção de arte com referências ao Pop, em sua acepção mais verdadeira, a de popular; com uma linguagem de quadrinhos, onde apresenta alguns personagens que são verdadeiras caricaturas do povo brasileiro e, assim, avalia como os elementos visuais se tornam o suporte do discurso / This research verifies and documents costumes created for the Brazilian cinema into the work O Bandido da Luz Vermelha by Rogério Sganzerla, which has as its backdrop the Marginal Cinema. It focuses on the work developed for costumes in this period, aiming at contributing to the national memory and at the improvement of the research material of professionals connected to the area. The study was developed considering a deep investigation of social, political and cultural aspects of the country in the 60`s and 70`s, reflected in a movie that shows up as a reaction to the cultural situation the country was going through in the period between 1964 and 1968, with the politicization of artistic manifestations against the closures imposed by the military dictatorship. Based on the analysis of the film and interviews with some professionals close to the author, as the director of photography Carlos Ebert, who also worked as a photographer in the movie O Bandido da Luz Vermelha; the director and actress Helena Ignez, Cinema Marginal icon and Rogérios Sganzerla wife; and the director and producer Júlio Calasso Junior, it develops a new understanding of the creative process used in films produced by the film-maker Rogério Sganzerla, in this relevant period of the national cinema history. It questions how the costumes may contribute to the characters building in a cinematographic work, its significance for both the director and the actor, and how the chosen elements and right materials shape the image aesthetically and contributes to the artist´s gestures. It verifies the merit of an art direction, with references to Pop, in its most relevant meaning, which is to be ´popular`, with comic book language style, in which some characters who are true caricatures of the Brazilian people are featured, and assesses how well the visual elements become the support for the speech

Esta pesquisa analisa e documenta os figurinos criados para o cinema brasileiro na obra O Bandido da Luz Vermelha de Rogério Sganzerla, a qual tem como pano de fundo o Cinema Marginal. Focaliza o trabalho de figurino neste período, com o objetivo de contribuir para a memória coletiva nacional e enriquecer o material de investigação dos profissionais ligados à área. O estudo se faz a partir de um levantamento dos aspectos sócio-político-culturais do país nas décadas de 60 e 70, refletidos num cinema que aparece como uma reação à situação por que passava o país no período de 1964 1968, com a politização das manifestações artísticas face aos fechamentos ocasionados pela ditadura militar. A partir da análise do filme e entrevistas com profissionais participantes ou ligados à obra do autor, como o operador de câmera Carlos Ebert, o qual também atuou como fotógrafo no filme O Bandido da Luz Vermelha; a diretora e atriz Helena Ignez, ícone do Cinema Marginal e esposa de Rogério Sganzerla; e o diretor e produtor Julio Calasso Junior, inicia-se um entendimento do processo criativo utilizado nos filmes produzidos pelo cineasta, num relevante período da história do cinema nacional. Indaga como os trajes colaboram para a construção dos personagens numa obra cinematográfica e a importância do figurino na criação destes personagens, tanto para o diretor como para o próprio ator, e como a escolha dos elementos e materiais corretos compõe plasticamente esta figura e contribuiu na sua gestualidade. Verifica o mérito de uma direção de arte com referências ao Pop, em sua acepção mais verdadeira, a de popular; com uma linguagem de quadrinhos, onde apresenta alguns personagens que são verdadeiras caricaturas do povo brasileiro e, assim, avalia como os elementos visuais se tornam o suporte do discurso / This research verifies and documents costumes created for the Brazilian cinema into the work O Bandido da Luz Vermelha by Rogério Sganzerla, which has as its backdrop the Marginal Cinema. It focuses on the work developed for costumes in this period, aiming at contributing to the national memory and at the improvement of the research material of professionals connected to the area. The study was developed considering a deep investigation of social, political and cultural aspects of the country in the 60`s and 70`s, reflected in a movie that shows up as a reaction to the cultural situation the country was going through in the period between 1964 and 1968, with the politicization of artistic manifestations against the closures imposed by the military dictatorship. Based on the analysis of the film and interviews with some professionals close to the author, as the director of photography Carlos Ebert, who also worked as a photographer in the movie O Bandido da Luz Vermelha; the director and actress Helena Ignez, Cinema Marginal icon and Rogérios Sganzerla wife; and the director and producer Júlio Calasso Junior, it develops a new understanding of the creative process used in films produced by the film-maker Rogério Sganzerla, in this relevant period of the national cinema history. It questions how the costumes may contribute to the characters building in a cinematographic work, its significance for both the director and the actor, and how the chosen elements and right materials shape the image aesthetically and contributes to the artist´s gestures. It verifies the merit of an art direction, with references to Pop, in its most relevant meaning, which is to be ´popular`, with comic book language style, in which some characters who are true caricatures of the Brazilian people are featured, and assesses how well the visual elements become the support for the speech

<p>Позоришни редитељ Боривоје Ханауска незаобилазан је у проучавању делатности Српског народног позоришта у периоду после Другог светског рата. Ханауска је од 1945. до 1967. (са прекидом од 1948. до 1952) у Српском народном позоришту режирао тридесет представа. Овај рад приказуке редитељски рад<br />Боривоја Ханауске у СНП, једног од најзначајнијих редитеља СНП-а, и на најбољи<br />начин показује његовог значај и допринос развоју режије у српском послератном<br />позоришту. Методи истраживања били су историјски, театролошки, реконструкција и<br />анализа свих тридесет представа које је Ханауска режирао у СНП, као и синтеза<br />добијених резултата. Овај рад на основу доступне грађе обухвата сваки сегмент<br />његовог рада на представи. У раду му је био важан сваки детаљ представе, залагао да домаћи драмски текст буде што више присутан на сцени, да се са сцене чује домаћи текст, а посебно је водио рачуна о визуелном аспекту. Један је од зачетника новог приступа драмској режији. Из сваке његове представе, у мањој или већој мери, излазила је поетичност, коју је носио дубоко у себи. Рад је илустрован палкатима и фотографијама из представа, а доноси и попис свих представа које је режирао са пописом свих актера, бројем извођења у СНП и на гостовању, као и бројем гледалаца.</p> / <p>Pozorišni reditelj Borivoje Hanauska nezaobilazan je u proučavanju delatnosti Srpskog narodnog pozorišta u periodu posle Drugog svetskog rata. Hanauska je od 1945. do 1967. (sa prekidom od 1948. do 1952) u Srpskom narodnom pozorištu režirao trideset predstava. Ovaj rad prikazuke rediteljski rad<br />Borivoja Hanauske u SNP, jednog od najznačajnijih reditelja SNP-a, i na najbolji<br />način pokazuje njegovog značaj i doprinos razvoju režije u srpskom posleratnom<br />pozorištu. Metodi istraživanja bili su istorijski, teatrološki, rekonstrukcija i<br />analiza svih trideset predstava koje je Hanauska režirao u SNP, kao i sinteza<br />dobijenih rezultata. Ovaj rad na osnovu dostupne građe obuhvata svaki segment<br />njegovog rada na predstavi. U radu mu je bio važan svaki detalj predstave, zalagao da domaći dramski tekst bude što više prisutan na sceni, da se sa scene čuje domaći tekst, a posebno je vodio računa o vizuelnom aspektu. Jedan je od začetnika novog pristupa dramskoj režiji. Iz svake njegove predstave, u manjoj ili većoj meri, izlazila je poetičnost, koju je nosio duboko u sebi. Rad je ilustrovan palkatima i fotografijama iz predstava, a donosi i popis svih predstava koje je režirao sa popisom svih aktera, brojem izvođenja u SNP i na gostovanju, kao i brojem gledalaca.</p> / <p>The theatre director Borivoje Hanausca is an unavoidable figure in the study of the Serbian National Theatre (SNP) activities in the period after the Second World War. Hanausca directed thirty plays in the Serbian National Theatre from 1945-1967(with a break from 1948-1952). This study describes the work of the theatre director Borivoje Hanausca in the Serbian National Theatre being one of the most significant directors in it and in the best way presents his contribution to the development of directing in the Serbian post-war theatre. The research methods in this work are historical and<br />theatrical; reconstruction and analysis of all the thirty plays Hanausca directed in the Serbian National Theatre as well as the synthesis of the results that were obtained. This study includes each part of his work in his plays, on the basis of the material which was available. He considered every single detail of his plays important; he supported Serbian plays to be both present and heard from the stage as much as possible and he particularly took care of visual aspects. He is one of the<br />creators of the new approach to theatre play directing. Poetics he had deep within himself came out and was present, more or less, in his plays. This work is illustrated with posters and photographs from his plays and there is a list of all plays he directed and the names of all the people involved in the performances, the number of performances in the Serbian National Theatre and performed on tour, as well as the number of audiences.</p>

“Perpetual little girl” – Gender coding of the costume design-profession: A critical discourse analysis is a bachelor’s thesis in Performance Studies written by Yonna S. Thil in the spring of 2023 at Stockholm University. This study focuses on the gendering of the costume design-profession, as well as the gendering of theatre professions in general and attempts to answer the question “How does female gender coding affect the professional role of the costume designer?”. Fashion history and theatre history is used to map out the ways in which the costume designer is at a point of intersection between fashion, a highly feminized phenomenon, and theatre, a system which has excluded women from the practice for thousands of years. Statistics from Stockholm University of the Arts and interviews with both male and female costume designers working in theatre and film in Sweden tell the story of how the feminization of their profession affect the practice. The study includes comparisons with male coded professions in the theatre system, questions of the wage gap between male and female coded professions as well as discussions of the artistic genius and charismatic authority.