Over the weekend Lina and I went to the Victoria and Albert Museum to see the Theatre & Performance collections. The collections record the history and practice of live performances in the UK. The largest of  their kind in the world, they encompass everything from theatre architecture and stage technology to film, photographs, posters, scripts, costumes and tickets.

We spent couple of hours wondering around, trying on few theatre costumes & playing with the stage lighting. V&A is one of the world’s greatest museums of art and design and this is one of their permanent exhibitions. If you happen to be in the city, definitely give it a visit.

The address: V&A Museum, Cromwell Road  London, Greater London SW7 2RL

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Nedēļas nogalē mēs ar Lieni aizgājām uz Victoria & Albert muzeju apskatīt Teātra & Performances kolekcijas. Šīs kolekcijas atspoguļo Lielbritānijas dzīvo performanču vēsturi un praksi. Šāda veida kolekcijas ir lielākās pasaulē, tās aptver visu performanču radīšanas procesu, sākot no teātra arhitektūras un skatuves tehnoloģijām līdz pat performanču filmu ierakstiem, fotogrāfijām, plakātiem, manuskriptiem, kostīmiem un biļetēm.

Muzejā mēs pavadījām pāris stundas, apbrīnojot kolekcijas eksponātus, uzmērot teātrim paredzētos kostīmus un spēlējoties ar miniatūru skatuves gaismošanas & skaņu tehnoloģijām. V&A ir atzīts par vienu no labākajiem mākslas un dizaina muzejiem pasaulē. Šīs kolekcijas ir viena no muzeja pastāvīgajām izstādēm, tā ka, ja gadās būt pilsētā, šeit noteikti ir vērts iegriezties. Turklāt, V&A ir bezmaksas ieeja. Win-win!

Lūk arī adrese: V&A Museum, Cromwell Road  London, Greater London SW7 2RL

Masks for The Oresteia, 1981. These masks were designed by Jocelyn Herbert for the Greek play The Oresteia by Aeschylus.
Masks for The Oresteia, 1981. These masks were designed by Jocelyn Herbert for the Greek play The Oresteia by Aeschylus.
Masks for The Oresteia, 1981. These masks were designed by Jocelyn Herbert for the Greek play The Oresteia by Aeschylus.
Masks for The Oresteia, 1981. These masks were designed by Jocelyn Herbert for the Greek play The Oresteia by Aeschylus.
Masks for The Oresteia, 1981. These masks were designed by Jocelyn Herbert for the Greek play The Oresteia by Aeschylus.
Masks for The Oresteia, 1981. These masks were designed by Jocelyn Herbert for the Greek play The Oresteia by Aeschylus.

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Breakfast Dress. Worn by Dame Edna Everage in 1996.
Breakfast Dress. Worn by Dame Edna Everage in 1996.
Breakfast Dress. Worn by Dame Edna Everage in 1996.

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Box from the Palace Theatre of Varieties, 1904.
Box from the Palace Theatre of Varieties, 1904.
Box from the Palace Theatre of Varieties, 1904.
Box from the Palace Theatre of Varieties, 1904.

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Costumes for The Lion King, 2010.
Costume for Scar in The Lion King, 2010.
Costume for Sarabi in The Lion King, 2010.
Costume for Sarabi in The Lion King, 2010.

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Kylie’s dressing room. This is an exact replica of Kylie Minogue’s dressing room for her 2007 Showgirl: Homecoming tour. The display features everything from her sheepskin seat cover to her good luck message from her sister Dannii written in lipstick on the mirror.
Kylie’s dressing room is a sanctuary where she spends up to two hours preparing for each concert, and where she can relax before and after the show. She recreates it at each venue, and much of what you see travels with her whenever she goes on tour.
Kylie’s dressing room. This is an exact replica of Kylie Minogue’s dressing room for her 2007 Showgirl: Homecoming tour.
Kylie’s dressing room. This is an exact replica of Kylie Minogue’s dressing room for her 2007 Showgirl: Homecoming tour.
Kylie’s dressing room. This is an exact replica of Kylie Minogue’s dressing room for her 2007 Showgirl: Homecoming tour.
Kylie’s dressing room. This is an exact replica of Kylie Minogue’s dressing room for her 2007 Showgirl: Homecoming tour.

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Liene’s trying out few outfits for theatre.
Costume for a Valkyrie Showgirl in The Producers, 2004.
Costume for a Valkyrie Showgirl in The Producers, 2004.
Headdress for Hamlet ballet, 1950. The design of the headdress – part skull, part jester’s hat – evokes the gravedigger and Yorick, the dead jester.
Headdress for Shakespeare’s Hamlet, 1970.

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