Arta Textilă

Arta Textilă

Popular Theatre "Miorița" · 2023

Last summer, the team of the Popular Theatre "Miorița" faced an unexpected influx of requests for hand-painted backdrops. The linen canvases, prepared according to traditional recipes, required a drying time of at least seven days between layers. We decided to limit the number of monthly orders to a maximum of four, in order to preserve the quality of the natural pigments and not rush the stretching process on the frames. Each canvas was treated with linseed oil and chalk primer, and the colors – ochre, red earth, and charcoal – were applied in thin layers. The result: sixteen rural backdrops delivered in three months, each with distinct landscapes – hills, beech forests, and villages with wooden churches. The audience noted the brightness and depth of the backdrops, and the craftsmen were able to work without the pressure of tight deadlines. The main lesson was that a well-managed seasonal flow protects both the craft and the trust of the beneficiaries.

Stages of the traditional workshop

How a linen canvas was prepared for folk theatre

01

Selecting and preparing the canvas

Craftsmen selected heavy linen canvas, handwoven in the surrounding villages. They stretched it on solid oak frames, pulling it evenly to eliminate any wrinkles. The surface was treated with a primer made of crushed chalk and rabbit skin glue, applied in three thin layers, each left to dry for 24 hours.

02

Preparing natural pigments

Pigments were extracted from local resources: yellow ochre from hillside clay, red earth from clay valleys, crushed charcoal from beech wood for black, and blue came from indigo brought by merchants. Each pigment was ground in a stone mortar, then mixed with boiled linseed oil and a little natural turpentine.

03

Changing and layering colours

The painter began with the sky background, applying a thin layer of diluted blue. After drying, he added white clouds from chalk and light ochre. Next came the horizon with green hills, made from green earth mixed with yellow ochre. Each layer was left to dry for at least a day, to avoid cracking the film.

04

Detailing the rural landscape

With fine squirrel hair brushes, the craftsman added trees, village houses with thatched roofs, wattle fences, and winding roads. He used the 'a secco' technique – pigment applied over the dry layer, to obtain precise contours. Every detail was designed to withstand the light of the oil lamps during the performance.

05

Fixing and protecting the set

After finishing the painting, the canvas was left to dry completely for another week. Then a thin layer of beeswax dissolved in turpentine was applied, which protected the pigments from moisture and dust. The edges were reinforced with an extra strip of canvas, and the set was ready to be mounted on stage.

06

Mounting on stage and the performance

The canvas was fixed on a light wooden frame, then raised with the help of manual pulleys. In the light of oil lamps or candles, the landscape came to life, creating the illusion of an entire village on stage. The audience in Transylvanian villages thus experienced the magic of folk theatre, and the set remained a testament to the mastery of local painters.

Cookie settings

We use cookies for the stable functioning of the site, preserving basic choices and understanding useful pages. You can accept, reject or check the settings before continuing.