Vera Kostić

Vera Kostić (Belgrade, July 14, 1925 – Belgrade, February 27, 2011) was a Serbian ballerina and choreographer.

She was born in Belgrade into a bourgeois family with a strong appreciation for art, especially theatre. At the age of four, she began studying classical ballet with Jelena Poljakova, a prima ballerina, pedagogue, and choreographer of the Mariinsky Theatre, who had a significant influence on the development of ballet at the National Theatre in Belgrade. Her ten years of training with Poljakova were crucial for her development. By the age of fourteen, Kostić was performing solo classical and character roles in concerts and ballet productions. She graduated from the Music School and the Classical High School (Third Women’s). She enjoyed reading and observing people, paying attention to behaviours in various circumstances, which later influenced her portrayals of characters. Her musical education contributed to her understanding of rhythm, dynamics, and style in her choreographies. From an early age, she choreographed performances and concerts, creating her own imagined world.

At fifteen, Kostić became a member of the National Theatre Ballet. Her early performances included roles in Giselle (Giselle’s Friends), Afternoon of a Faun by M. Ristić (1943), Fantastic Symphony (1944), and Walpurgis Night by B. Knjazev. She quickly became a soloist and later a prima ballerina. Her repertoire included roles such as Maria in Zakharov’s Bakhchisarai Fountain, a soloist in Sylphides, Estelle in Carnival, the Girl in Dream of a Rose, Zobeida in Scheherazade, and the Gipsy Girl in Bolero. She also performed in operas, such as the Player in The Bartered Bride and the Polovtsian Girl in Prince Igor. Her partners included prominent dancers like Miloš Ristić, Dimitrije Parlić, and Milorad Mišković.

Kostić choreographed from an early age, creating works for performances and concerts. In 1959, she officially began her choreographic career, staging more than 35 ballets in Belgrade and other cities in the former Yugoslavia. Some of her works were premiered abroad, including Sicilianos’ The Bacchantes in Athens (1962) and the ballet parts of Tsar Saltan in Wiesbaden (1960). Many of her ballets featured original music and were world premieres. She also choreographed operas, television ballets, and smaller productions, including for the Small (Zemun) Stage of the National Theatre and the House of Trade Unions in Belgrade.

Kostić’s early ballet and opera choreographies incorporated themes and styles from a range of sources, including works such as Hovanščina, Simonida, and Aida. Her work often involved detailed preparation, and she encouraged creative input from her dancers while maintaining a clear direction. Her productions combined modern and traditional techniques, reflecting various eras and inspirations.

Throughout her career, Kostić explored new forms and expressions in ballet, often influenced by life, mythology, and artistic heritage. She choreographed for different mediums, including television and stage, contributing to the development of ballet in her time.

Source: Wikipedia