{"id":3037,"date":"2026-05-24T00:34:12","date_gmt":"2026-05-23T21:34:12","guid":{"rendered":"https:\/\/kostumologiya.ru\/en\/?p=3037"},"modified":"2026-05-24T00:34:12","modified_gmt":"2026-05-23T21:34:12","slug":"29ivkl126","status":"publish","type":"post","link":"https:\/\/kostumologiya.ru\/en\/29ivkl126.html","title":{"rendered":"Interpretation of the authentic Crimean Tatar costume in the stage performances of the Crimean Tatar Academic Music and Drama Theatre"},"content":{"rendered":"<p style=\"text-align: right;\"><strong>Kotlyarevskaya Natalia Vladimirovna<\/strong><br \/>\nCrimean University of Culture, Arts and Tourism, Simferopol, Russia<br \/>\nE-mail: kotlarevskaya@mail.ru<br \/>\nRSCI: <a href=\"https:\/\/elibrary.ru\/author_profile.asp?id=813934\">https:\/\/elibrary.ru\/author_profile.asp?id=813934<\/a><\/p>\n<p style=\"text-align: right;\"><strong>Alekseeva Elena Nikolaevna<\/strong><br \/>\nCrimean Engineering and Pedagogical University named after Fevzi Yakubov, Simferopol, Russia<br \/>\nE-mail: voitenka@yandex.ru<br \/>\nRSCI: <a href=\"https:\/\/elibrary.ru\/author_profile.asp?id=106411\">https:\/\/elibrary.ru\/author_profile.asp?id=106411<\/a><\/p>\n<p style=\"text-align: justify;\"><strong>Abstract.<\/strong> The article is devoted to a comprehensive study of the transformation of the traditional Crimean Tatar costume in the stage performances of the Crimean Tatar Academic Music and Drama Theatre. The aim of the work is to identify the distinctive features of the authentic Crimean Tatar costume as reflected in the theatre&#8217;s collections, to determine the significance of the author&#8217;s interpretation of national motifs in the artistic design of stage clothing, and to analyze the influence of the cultural codes of Crimean Tatar clothing on contemporary theatrical fashion. The study is based on a thorough analysis of the costumes created by the artists of the Crimean Tatar Academic Music and Drama Theatre for various productions. The researchers identify the key elements of traditional costumes, as well as the decorative details (embroidery, jewelry, and patterns) that serve as the starting point for creating stage images. Special attention is paid to how these authentic elements are transformed, adapted, and interpreted in the context of specific performances, enriching their artistic space and giving their characters depth and expressiveness.<\/p>\n<p style=\"text-align: justify;\">The authors of the article emphasize that theater productions become a platform for preserving and promoting national cultural heritage. The author&#8217;s interpretation of authentic costumes not only preserves their recognizable features but also adds new meanings that align with the goals of contemporary theater art. This is achieved through the use of various materials, cutting techniques, and decorative solutions, which, while preserving the spirit of national clothing, also emphasize the individuality of the characters and the dramatic specificity of the work. Thus, the stage costumes of the Crimean Tatar Academic Music and Drama Theatre are not just elements of artistic design, but also an important means of transmitting cultural values and preserving national identity in contemporary art.<\/p>\n<p style=\"text-align: justify;\"><strong>Keywords:<\/strong> Crimean Tatar costume; authenticity; cultural code; Crimean Tatar theater; theatrical art; stage image; and ornament symbolism<\/p>\n","protected":false},"excerpt":{"rendered":"<p>Kotlyarevskaya Natalia Vladimirovna Crimean University of Culture, Arts and Tourism, Simferopol, Russia E-mail: kotlarevskaya@mail.ru RSCI: https:\/\/elibrary.ru\/author_profile.asp?id=813934 Alekseeva Elena Nikolaevna Crimean Engineering and Pedagogical University named after Fevzi Yakubov, Simferopol, Russia E-mail: voitenka@yandex.ru RSCI: https:\/\/elibrary.ru\/author_profile.asp?id=106411 Abstract. The article is devoted to &hellip;<\/p>\n","protected":false},"author":4,"featured_media":0,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[51,5],"tags":[],"class_list":["post-3037","post","type-post","status-publish","format-standard","hentry","category-vol11-no1","category-article"],"_links":{"self":[{"href":"https:\/\/kostumologiya.ru\/en\/wp-json\/wp\/v2\/posts\/3037","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/kostumologiya.ru\/en\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/kostumologiya.ru\/en\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/kostumologiya.ru\/en\/wp-json\/wp\/v2\/users\/4"}],"replies":[{"embeddable":true,"href":"https:\/\/kostumologiya.ru\/en\/wp-json\/wp\/v2\/comments?post=3037"}],"version-history":[{"count":1,"href":"https:\/\/kostumologiya.ru\/en\/wp-json\/wp\/v2\/posts\/3037\/revisions"}],"predecessor-version":[{"id":3038,"href":"https:\/\/kostumologiya.ru\/en\/wp-json\/wp\/v2\/posts\/3037\/revisions\/3038"}],"wp:attachment":[{"href":"https:\/\/kostumologiya.ru\/en\/wp-json\/wp\/v2\/media?parent=3037"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/kostumologiya.ru\/en\/wp-json\/wp\/v2\/categories?post=3037"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/kostumologiya.ru\/en\/wp-json\/wp\/v2\/tags?post=3037"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}