[Moscow, 1946]. 25 leaves. 31x21 cm. Typewritten. Leaves are gathered in paper folder with pencil title written on the front flap. Signed and with correction by the author. Unpublished manuscript.
This is a unique material on history of theatre costume design.
Vladislav Lukomsky (1882-1946) was a Russian historian and heraldist, Doctor of Historical Sciences. Since 1918, Lukomsky was entrusted with the management of the Tsarskoye Selo Historical Museum, and since January 30, 1920, with the Household History Museum at the Fountain House. He wrote and published a number of studies on heraldry, a number of reference books, several works on the history of coats of arms and pedigrees of individual noble families, and others. In July 1942, he completed his creative and scientific activities in St. Petersburg, which lasted forty years. Since that time, the last, brief, but very fruitful Moscow stage of his life has been counting. Knowledge of Lukomsky, his authority and name were so well known to specialists that very soon the Moscow State Institute of History and Archives opened the door to him, where he was credited as a professor in the department of auxiliary historical disciplines.
On January 7, 1943, he signed an agreement with the Moscow Art Theater (MHAT) to work as a consultant to the Stage Experimental Laboratory. At the same time, the question of creating albums of uniform from the beginning of the 18th century til the 1940s for the theater was decided. It was in this work that Lukomsky's rare responsibility for any information coming from him was revealed. So, when working on the production of “Woe from Wit”, Lukomsky was asked what the cadet should look like at the ball at Famusov. He replied: “I believe that at the evening Famusov could not have a cadet, even if it was older. If there were cadets, there should be teenagers and children in general. Children were summoned to dance "mornings", and in the evening only to the "Christmas tree", on New Year's Eve, etc. "
In his autobiography, Lukomsky in the section titled “Working as a consultant on historical and everyday issues related to the use of auxiliary historical disciplines”, along with consultations with a number of film shows, also mentions his collaboration with the MHAT. He provided substantial assistance to the Moscow Art Theater with advice and recommendations in the following productions: “Anna Karenina” (1936–1937), “Woe from Wit” (1938), “Last Days” (1941-1943). In addition, he sent to the theater a consultation on uniforms for students at Russian universities. According to some information, they were also given consultations on a number of productions of A.N. Ostrovsky. He worked with those performances that rightly entered the golden fund of national theatrical life.
In this folder gathered said recommendations to the theater.