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THE WORK OF THE COUPLE BRAILOWSKY

IN THE MIRROR OF SERBIAN CRITIQUES

(Summary)

Leonid (1867-1937) and Rimma (1877-1959) Brailowsky brought to Belgrade National theatre (together with other Russian emigrated stage and costume desig-ners) the spirit of the World of Art (Mir Iskusstva), making décor and costumes for

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Michel Parouty, Bons baisers du Kirov, Diapason, Paris, Jan. "#"*

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18 performances during the period of 1921-1924. Les romanesques by Edmond

Rostand, Le malade imaginaire by Molière, Shakespeare’s Richard III, Merchant of Venice and King Lear and two Serbian dramas, Offenbach’s Hoffmann’s Tales, Faust by Gounod, Smetana’s Bartered Bride, Bizet’s Carmen, Onegin and Queen of Spades by Tchaikovsky, Massenet’s Manon, The Tsar’s Bride by Rimsky-Korsakov, The Wedding of Milosh by Petar Konjovich, the Serbian opera composer, two ballets, Sheherazade and Nutcracker. The artists, husband and wife, were praised for their modernization of the Belgrade scene, for their vivid realization of sets and costumes, for their novelties, especially in Serbian historical dramas by Branislav

O? and and Shakespeare as well. In operas and ballets they were

also respected in some extent, but the pictorial, sometimes independent value of their scenic work, although inspired by music, arouse opposing questions among the musical critics, who could not accept their too bright colors which once conquered Paris in the scenic interpretation of Leon Bakst or Nikolai Roerich. To avoid resistance of Belgrade critics the couple decided to leave Yugoslav capital for Italy where they continued successfully their artistic career.