Lice i maska: poslednja uloga tragetkinje Vele Nigrinove

Abstract

Slučaj Vele Nigrinove obeležio je javni život Beograda na razmeđi devetnaestog i dvadesetog veka. Slavna tragetkinja Narodnog pozorišta u Beogradu paradigmatski je označila jedno doba. Dekadencija, stilizacija, izražena osećajnost bile su bitan deo umetničkih strategija , ali i jedan od načina života gražanstva krajem devetnaestog veka.U takvoj intelektualnoj klimi manifestovala se moć slavne heroine, koja je artificirala svoju pojavu do te mere da je gliumica postala stilizovani estetski entitet. Između svog prirodnog i veštačkog lica, između ličnosti i pozorišne maske, Vela Nigrinova je smestila svoj subjekat. U skladu sa pokretom dekadencije koji je obeležio fin-de siècle u Evropi, Vela je performirala svoj identitet i pojavnost, i njeno sopstvo je postalo paradigma brisanja granica između realnosti i fikcije, stvarnog života i pozorišne iluzije, toliko izražene u epohi dekadencije krajem devetnestog i početkom dvadesetog veka.

The case of Vela Nigrinova maked Belgrade’s public life at the turn of the 19th and the 20th centuries. The famous tragedienne of the National Theater in Belgrade paradigmatically maked an era. Decadence, stylization and pronounced sensitivity were an important part of artistic strategies, but also the way of life of citizens at fin-de siècle. In such an intellectual environment the famous heroine manifested her power, and her appearence was artificialized to the extent that the actress her self became a stylized aesthetic entity. Vela Nigrinova was set somewhere between her natural and artificial face, between her personality and the theater mask. In line with the decadent movement that marked fin-de siècle in Europe, Vela performed her identity and appearance to the extent that herselfness became a paradigm of erasing the boundary between reality and fiction, between real life and theater illusion, that was so pronounced in the age of decadence at the end of the 19th century and the beginning of the 20th century.