One of the most recent and significant works of J. Rimkutė is the costumes created for the Vilnius Old Theater play “The Convert. Count Potockis from Vilnius” (dir. Albertas Vidžiūnas, artistic director of the performance Jonas Vaitkus), which was inspired by the dramatic legend of the painter and writer Šolomas Zelmanavičius “Ger tzedek. Count Potocki from Vilnius”. J. Rimkute was challenged not only to convey a complex historical era, but also to subtly embody cultural symbols and character transformations.
The play will be shown in the Old Theater on October 30, 31.
– The theater costume you create is characterful, suggestive, elegant, important details, the totality of the image. How was your style as a theater artist formed? Who had the biggest influence?
– Those who know me as a costume designer working in fashion, television, cinema, theater recognize my drawing. Sometimes they say, this is a “Rimkutish” suit. There is a color code, materiality, textures, materials that I like. Silhouette is important to me in the theater. I don’t like excessive, unreasonable decoration, props on stage. I love design when you feel the creator’s touch, drawing, and subtle suggestiveness. I always aim to combine the costume with the scenery and the actor’s performance. I never seek to dominate. This is how I understand the work of a costume designer in the theater.
Who influenced me the most? Hotel Pro Forma and Robert Wilson with his specific style, aesthetic. It is always necessary to keep in mind that in Lithuania we must be versatile and able to adapt to various directors, materials, and spaces. Unfortunately, if I were a musician, I would have to play very different music. Because we are a small country and I have to be able to play classical, jazz and folklore. And that’s not bad. I like different tunes.
– How did you prepare for this “Convert. Count Potockis from Vilnius”, what effect did the historical context have on the costumes, the historical figures mentioned in Š. Zelmanavičius’s play?
– My work as a costume designer begins when, after reading a play, I get acquainted with a certain historical period. Although the play is a legend, in order to be able to improvise, you need to know the material well. It was a challenge for me because it takes place in the 18th century. in the middle of Lithuania, in the Jewish community. It was necessary to find out how the townspeople, Lithuanians and Jews of that time dressed, so I had to read a lot of literature. Although I have created many historical costumes, such a specific LDK period was new to me.
Dmitriy Matveyev’s photo/Performance “Convert. Count Potocki from Vilnius”
I like the theater because it always gives me new experiences and knowledge. The troupe is large, almost all the actors are involved, so it was necessary to find solutions to quickly transform the same actor into another character. This is one of the big challenges of this production. By cooperating with the scenographer and director, knowing the historical context and content of the play, you can already have your own vision and decide what you want to convey.
I gradually realized that the main differences are not in the costumes, but in our mind, belief, way of thinking. It is important for me to emphasize that although the appearance of the people in this play is not fundamentally different, the main differences lie in faith. After all, even in modern society, we dress similarly, but we have different beliefs.
– What tasks did you set for yourself in the performance “Convert. Count Potocki from Vilnius”? What was the starting point for creating the images of the characters?
– Let’s start with the fact that before starting work I always do a lot of visual research, reading and watching visual material to understand the context of the period. Each era has its own context and fashion. I think about what is appropriate for that period and how it relates to the times we live in. I am always very inspired by old photographs. I watch them not only for the costumes, but also for the atmosphere, the person’s appearance and the pose. Two books by costume historian Rūta Guzevičiūtė helped a lot: “Between East and West. 16th-19th centuries Circumstances and forms of formation of the LDK noble costume” and “Jewish costume wanderings in time and space”.
Dmitriy Matveyev’s photo/Performance “Convert. Count Potocki from Vilnius”
The fascinating thing about the old theater is that it always has a warehouse, so existing items can be adapted or adapted. For example, the characters beggars will always look tired, “worn out”, so it is appropriate and pleasant to use old things and recycle them. However, many costumes had to be remade. The physical capacity of the old theater required help from abroad, because it is a big job to create costumes for the whole troupe in a short time. For example, beards and headdresses were symbols of status during the period in which the play was set. Nowadays, we are returning to these characters, so the theater makeup department had a lot of work to create new beards and headgear.
Each genre dictates its own. Working with opera, operetta or drama requires a different approach. In this case, we are working with the legend of Count Potocki, like a fairy tale for adults, a story that has already been sifted by the creators, which allows for interpretation and coloring. I was very encouraged by the museum people who said: “We museum workers who work with precise things have very clear boundaries. You are a creator and an artist, you can cross those boundaries.” I remembered this phrase in this production and it allowed me to defy those boundaries.
– “A convert. Count Potockis from Vilnius” is already your 6th work with director Jonas Vaitkums. What is the importance of the tandem of the director and set designer?
– Let’s not forget that this tandem is also with scenographer Artūrs Šimonis. It’s a trio: the director, the scenographer and me. I like that the director talks to the set designer, and I am the third person contributing to the visual part. It’s a team effort and I like the unpredictability.
Dmitriy Matveyev’s photo/Performance “Convert. Count Potocki from Vilnius”
A particularly inspiring experience in this work is the encounter with the work of composer Rita Mačiliūnaitė and teamwork.
I am happy that I can work with one of the classics of Lithuanian theater direction. Our first joint work with Vaitkus was Shakespeare’s “The Merchant of Venice” in Kaunas, the set designer of the play was Jūratė Paulėkaitė. John allows himself to not know a lot until the end, which gives the theater a sense of wonder. The theater is a place of miracles and a lot is born in the last week before the premiere. And so be it.
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#Costume #designer #Rimkutė #modern #society #dress #similarly #beliefs #Culture
**Interview with Costume Designer J. Rimkutė on “The Convert. Count Potockis from Vilnius”**
**Editor**: Thank you for joining us, J. Rimkutė. Your recent work for the play “The Convert. Count Potockis from Vilnius” has garnered significant attention. Can you share how your style as a theater artist has evolved over the years?
**Rimkutė**: Thank you for having me! My style has been shaped by my experiences across various mediums—fashion, television, cinema, and theater. People often recognize my designs by what they call a “Rimkutish” suit. I have a distinct preference for color, materiality, and textures, and I focus on silhouette rather than excessive decoration. I aim to harmonize costumes with scenery and the actors’ performances, ensuring that the costumes support but don’t overshadow the storytelling.
**Editor**: Speaking of storytelling, what was your approach in preparing for this specific production, and how did the historical context influence your costume design?
**Rimkutė**: My journey begins with an in-depth study of the historical period depicted in the play. The 18th-century Lithuanian Jewish community presented unique challenges and required extensive reading about the fashion and lifestyle of that era. While I have designed many historical costumes, this specific period was new territory for me. It was essential to balance authenticity with imagination, as the play, though legendary, needed a clear visual narrative.
**Editor**: You mentioned working with a large cast. How did you manage the costume transformations for the actors?
**Rimkutė**: That was indeed a significant challenge! With almost the entire troupe involved, we needed streamlined solutions for transforming actors into different characters quickly. This required close collaboration with the scenographer and director, as well as a deep understanding of the historical context, to ensure we conveyed the right imagery and character essence effectively.
**Editor**: You’ve collaborated with director Jonas Vaitkus multiple times. How does this creative partnership influence your work?
**Rimkutė**: It’s indeed a special relationship. Working closely with Director Vaitkus and Scenographer Artūrs Šimonis creates a cohesive team that contributes to the visual aspect of the production. Our discussions shape the overall vision, making it a collaborative process filled with unpredictability and creative exploration.
**Editor**: In your research for this production, were there any particular resources or inspirations that were especially helpful?
**Rimkutė**: Definitely! I found inspiration in old photographs, as they not only show costumes but also capture the atmosphere and emotion of the period. Two books by costume historian Rūta Guzevičiūtė were particularly illuminating: they provided insights into the fashion history of the LDK nobility and Jewish communities, which were instrumental in informing my designs.
**Editor**: As “The Convert. Count Potockis from Vilnius” prepares to premiere, what do you hope audiences will take away from the visual experience?
**Rimkutė**: My ultimate goal is for the audience to feel the emotional weight and cultural significance behind each costume. I hope they see that while the visible aspects might not differ drastically, what really separates characters is their beliefs and inner worlds. The costumes are a gateway to understanding those deeper themes.
**Editor**: Thank you, J. Rimkutė. Your insights into costume design and its integral role in storytelling are fascinating, and we look forward to experiencing your work in the performance!
**Rimkutė**: Thank you! I can’t wait for everyone to see it.
**Rimkutė**: Yes, absolutely. My research included a lot of visual material, especially old photographs, which provided not just guidance on costume design but also insights into the atmosphere and emotional tone of the era. Two particular books by costume historian Rūta Guzevičiūtė were invaluable: “Between East and West: 16th-19th Centuries Circumstances and Forms of Formation of the LDK Noble Costume” and “Jewish Costume Wanderings in Time and Space.” These texts helped me understand the subtleties of clothing from that period, which informed my designs for the play.
**Editor**: It sounds like you have a deep appreciation for both historical accuracy and the artistic interpretation of costumes. How do you balance these aspects when creating costumes?
**Rimkutė**: Finding that balance is crucial. While historical fidelity is important, the essence of theater lies in storytelling and the ability to resonate with contemporary audiences. I always ask myself how the costumes can serve the narrative while respecting the period’s specifics. Sometimes, the true differences are not just in attire but in the beliefs and thoughts of the characters, which ultimately shape how they express themselves through clothing.
**Editor**: Can you tell us more about the challenges you faced with costume creation for this play, particularly considering the constraints of time and resources?
**Rimkutė**: Of course! One major challenge was the limited timeframe to outfit a large cast. While we had a collection of existing items that could be adapted, many characters required completely new costumes. Given the physical demands of the old theater environment, we had to look for assistance from abroad to expedite the process. Elements like beards and headwear were also symbols of social status during the time, which meant that a lot of effort went into creating these details accurately while ensuring the final designs were functional for the actors.
**Editor**: It sounds like collaboration is a major theme in your work. Could you elaborate on your interactions with the other creatives involved in this production?
**Rimkutė**: Absolutely! The collaboration between the director, set designer, and myself is key to realizing a cohesive vision. Our dynamic allows for spontaneous creativity, as we often engage in discussions about the visual narrative. Director Vaitkus has a unique approach, often leaving room for discovery even close to the premiere. This spontaneity can lead to some wonderful surprises in the final production, contributing to the enchanting atmosphere of the theater.
**Editor**: As you reflect on your experiences with “The Convert. Count Potockis from Vilnius,” what do you hope the audience takes away from this production?
**Rimkutė**: I hope the audience immerses themselves in the world we’ve created and appreciates the nuances that the costumes convey about each character and their beliefs. Ultimately, I wish for them to experience the magic of the theater—a space where stories come to life and where history can dialogue with the present in meaningful ways. I believe that through our creative efforts, we can inspire reflection on the intricacies of identity and the stories we tell through art.