What is a suit in the theater. Theatrical suit

Each performance or representation played on the stage is designed to bring the viewer, including aesthetic pleasure from what they saw. Therefore, it is so important to use the acting characters in the appropriate theatrical costumes. Then it will easily feel the spirit of the era of the work, catch the character of heroes and just enjoy the beauty of the spectacle.

Theatrical costumes from antiquity until modern

The robes of actors undergo modified from the moment the appearance of the theater, as such, and up to today:

• Stage images tried to create even in deep antiquity, experimenting with infirred materials. In ancient China and Japan, you could watch hypocrites in specific clothes, especially on festive or ritual ideas. In India, in ancient times, street dancers for attracting attention also dressed in unusual bright sari. And with the advent of the art of painting by natural dyes, the sari became unnoticed, but patterned.
• It is "theatrical" you can call a suit that appeared in ancient Greece. Grotesque masks, makeup, and the special color of the character robes indicated the status or profession of the presentation hero.
• Then the European Theater began to develop in the era of feudalism, when presentations, so-called. "Mystery" gave stray artists - Gistriroids. The appearance of the characters was distinguished by elegacity and rich elements of decorations.
• For the Renaissance with her comedies, del Art is characterized by grotesque. With the help of clothing, hairstyles and wigs, headpapers, masks and makeup were created witty images, the inherent features for specific characters were emphasized, which were raised or admired the viewer (fringe feathers on hats, colorful pantalonons).
• In the next century, in each European and eastern state there were certain theaters, musical salons, operas, ballet, etc. The costumes became more diverse, often transmitting the spirit of the historic era, modern clothes, freeing from excessive stylization. Therefore, the scene could be seen as familiar to the viewer, and recreated historical costumes, naturalistic appearance and fantasy makeup.

Special attention deserves a Russian theater suit. The first creators are the crumbs. Bright shirts, booths with bubbles, pages on sharovar, - all these elements of the costume resembled peasant clothes, but in hypertrophy, satirically. There was a church theater, where the role performers were climbed into white clothes, like angels. In the school theaters, the characters had their own emblems. And with Tsar, Alexei Mikhailovich acted a professional theater. Therefore, the elements of the sovereign costume had signs of royal dignity, an embroidery was applied to order, manually sewed expensive stones and exquisite decorations.

Views

It is customary to allocate three main types of costume:

1. Personal. This type is a fine-plastic composition, which is the immediate part of the solid image of the artist. In a suit, the figure is often completely hidden. The actor himself leads him to move and voiced. So, for the Beijing opera, images of a sacred temple or dragon were characteristic.
2. Game. This is a means of transfiguring the appearance of the artist and an important element of his game. The transformation of characters in ritual and folklore acts in character was often the basis of the use of grotesque and parody, for example, when the young men were dressed in the maidens.
3. Like the clothing of the acting person. It is the main in modern performances, often exactly reminding traditional clothing of a specific era of action in the formulation. Based on such a costume, two above-mentioned views are created.

Features of tailoring

Sewing scenic outfits is a rather complicated and creative type of activity. It is necessary to correctly pick up materials, fittings, create embroidery and appliqué if necessary. Theatrical costume must meet the following requirements:

• Erach with an accuracy, considering the historical, ethnographic, national features of the work and heroes.
• Make the directing plan to express the essence of the character's character.
• Specify the actor's image in the eyes of the viewer.
• Sit down in the figure of your owner.
• The convenience of sucking socks (especially important for dancers participating in production).

Since the costume selects the theater costume for a specific role and a specific actor, it is necessary to sew it by standards. To do this, it is better to turn to professionals. "The factory of sewing" is a sewing production in Moscow and the Moscow region, here you can order a suit for a suit for the performance, operas and ballet. The best materials will be selected and modern sewing technologies are applied.

Theater is a synthetic type of art that allows us not only to hear, not only imagine, but also to see, see. The theater gives us the opportunity to witness psychological drama and participant in historical accomplishments and events. Theater, theatrical representation is created by the efforts of many artists, ranging from the director and actor and ending with the artist-director, for the performance is "pairing different arts, each of which is transformed in this idea and acquires new quality ..."

Theatrical costume is a composite stage of the actor, these are external signs and characteristics of the characteristic character that helps reincarnation of the actor; A tool of artistic impact on the viewer. For an actor, a suit is matter, a form, spiritualized role.

As an actor in the word and gesture, movement and tech, the voice is developing a new creature of the stage image, pushing away from the play specified in the play, and the artist, guided by the same plays data, embodies the image by means of his art.

Throughout the centuries-old history of theatrical art, decorative design passed an evolutionary transformation, caused not only to the improvement of stage equipment, but also by all the peripets of styles and modes of the corresponding times. It depended on the nature of the literary construction of the play, from the genre of drama, from the social composition of the viewer, on the level of scenic technology.

The periods of stable architectural structures of antiquity were replaced by the primitive of the Middle Ages, in turn, which were gone by the Royal Court theaters with the self-sufficient luxury of ideas. There were performances in Sukni, in complex design scenery, only in light decoration, without registration at all - on bare stage, on a platform, just on the pavement.

The role of a costume as a "moving" scenery has always been dominant. The point of view was changed on his "relationship" with the actor, time and history, finally, with his immediate "partner" - the decoration of the scene.

In the process of progressive development of the art of the modern theater, the innovation of the director, the transformation of the method of decoration The role of the art of a costume does not decline - on the contrary. As its younger and flexible fertilizers are growing - movie and television - the theater, it is undoubtedly, finds in search and flour new forms of spectacular techniques, it was those who defended and determined the position of the theater as an incredit value of an independent type of art. The costume, as the most rolling element of the theater decoration, is given in these search first.

High modern culture of theatrical art, a thin and deep director's work on the play and play, a talented game of actors require from the artist, drawing up a performance, especially thorough penetration into the playwright of the performance, close contact with the director. Modern design is not canonized by the rules. It is individually and specifically in each particular case. "The work of the director is inseparable from the artist's work. First, the director must find his own answers to the main decoration problems. The artist, in turn, should feel the task of setting and persistently look for expressive means ... "

Theatrical costume is first created by means of visual, that is, sketch.

For our time, a quick changeability of fashion cycles is characterized. The sign of the fashion development process is their seasonal replaceability: Spring - Summer and Autumn - Winter. In this regard, we are seeing a rapid change in fashion trends, the formation of new forms in clothing. The source of knowledge about changes in forms and structures is primarily a historic costume, which developed and was approved by centuries. Folk costume is an invaluable inalienable heritage of the culture of the people accumulated by centuries. Clothing that took place in its development is a long way, closely related to the history and aesthetic looks of the creators. The art of a modern suit can not develop in the separation from folk, national traditions. Without a deep study of traditions, the progressive development of any kind and genre of contemporary art is impossible.

Folk costume is not only a bright distinctive element of culture, but also the synthesis of various types of decorative creativity, up to the middle of the 20th century, the traditional elements of cut, ornament, the use of materials and decorations, characteristic of Russian clothes in the past.

The formation of the composition, cutting, singularities of the ornamentation of the Russian costume was influenced by the geographical environment and climatic conditions, economic structure and the level of development of productive forces. An important factors were the historical and social processes that contribute to the creation of special forms of clothing was significantly the role of local cultural traditions.

Shubach is considered the most ancient type of clothing. Already in the VI century. In the costume of our ancestors - Slavs - she held the leading place, and sometimes it was the only object of clothing. The female shirt was different from the male, essentially, only a length and richer finish.

The shirt, apparently, comes from the word "rub", which meant in the language of the ancestors a piece, fabric scribe, but at the same time served as the title of the whole complex. The peasant, the city dweller and the nobleman wore the same one by the block of shirt, the difference was only as a fabric.

The most common material to this day remains linen fabric. In ancient Russian language there were two terms: "Huste" - "canvas", "Tulstina" - non-flame fabric and "fee" - the elevated canvas for the designation of the main material. The spinning and weaving of the canvas Icestaries were engaged in women. They believed that only the good female hands who did not show the weapons can be entrusted to the manufacture of clothes, the first defender of a person. We owned this craft almost all women in rural, and at first and in urban families.

The most ancient shoes sewed from one long, frightened in half on the shoulders of the canvas. Wedge-shaped inserts obtained by cutting a rectangle diagonally sewn into the sides, expanding the hem. Then the gates are cut and, in the center of the chest. Thus, after graduation, there was not a single extra loskutka.

The order of the decoration of the shirt also developed in the pagan time and is strictly observed until now in a folk suit, in ancient Russia, the pearls, knots with semi-precious stones and colored glasses, expensive braids and cords served in the ancient Rus. Clothes of the main part of the population are traditionally decorated with manual embroidery or patterned cloth. Lands of the ornament, and at a later time, tapes, braids, appliques from purchased fabrics, color lace have sure to be forged, the edges of the sleeves, on the devices, on the gateway and along the cut on the chest. Such a kind of protective system in combination with the belt, which was necessarily rejected by any shirt, in the ancient beliefs defended vital parts of the body. At the same time, the ornaments located along the edges of the clothes were protected and open parts of the body from evil spirits.

Particularly decorated festive and ritual shirts wearable for certain days. So, on the first day of harvesting, the grass was supposed to go out in the "Minor" with a wide patterned strip on the Podol. On the festive day, the harvests climbed into the "face" shirt. Last week in front of the crown of the girl wearing a shirt with 1 very long sleeves, called the "Cleaning". In it, the bride was supposed to cry from fear of the coming family life in someone else's house. But the wedding shirt was considered the most beautiful rightfully. It was expanded by multicolor patterns, where the main place occupied the red color. A young wife wriggled her for a few more years on large holidays, and then carefully kept.

In Russian national costume, as in the costumes of other nationalities, for many centuries, there is an invisible rule: more attention is paid to women's clothing, since it is primarily designed to protect the health of the priority.

In the southern regions, the straight cut of the shoes was more complex, it was carried out with the help of so-called polishes - cut parts connecting the shelf and back along the shoulder line. Policy could be straight and oblique. Polyers of the rectangular shape joined the four canvas clusters 32-42 cm each. Bind polishes (in the form of a trapezium) were combined with a wide base with a sleeve, narrow - with a necklating. Both design solutions emphasized decoratively.

Sarafan (Persian Serapa, Turkic-Tatar "from head to head") - national costume of Russian women. It puts on top of a shirt with lush sleeves. If they are doing through the head, then a number of decorative buttons are spinning on the chest. Sarafan can also be unborn in front.

There are several different types of sundresses, on the formation of a cut of which and the decoration was influenced by the nature of the terrain.

His oldest look - Kosoklinnaya on the runts or wide straps. The front and rear panels of this sarafan were combined on the sides of additional wedges. The front straight cloth did not have a medium seam. In the Tver province, he was called "Kostostan", in the northern regions - Gorbun.

Another cut was at Sarafan in the northwestern provinces (Novgorod, Olonets, Pskov, etc.). He was more closed, and therefore he was called "Shushun" or "Ceremonic." Were wearing such sundresses of old supplies.

They sewed this sundress from the spacing of the panels, on the sides - beveled wedges. From the backs sewed long, often fake sleeves.

Kosociline sundress with a cross-section on buttons and loops.

It was distributed in the XIX century in all provinces of Central Russia. In Yaroslavl and Tver province, he was called "Ferry", in Moscow - "Sayan", Smolenskaya - "Sorokoklin". There were also such names - "Kumashnik", "BUSINESS". This supragan was sewed as follows: two front panels and one rear were straight, they were sewn a lot bevelled wedges, which expanded clothes. The incision of the front was decorated with kumach, pose, fringe, etc. Sometimes the front cut was sewn, and buttons and loops were left as a decoration. Sometimes young girls sewed such sundresses on the straps.

Straight, or round, supragan sewed from several straight pits (from 4 to 7), on top of the excess tissue were collected in a small assembly and closed with a narrow ribbon or baker. Narrow short straps on the back were sewn together, and in front - separately. Decorations in the form of decorative embroidery, braid, etc., made on the bottom and top of the sundress. In Moscow and Vladimir provinces, he was called the fur coat. Wearing such a sundress, both young and older women. The difference was only in color: young sewn suarfs from bright fabrics, the elderly used dark colors.

The sundress with the fitting bodice appeared at the end of the XIX - early XX century. And he was something like a semisal. The barrels stuck in oblique thread.

Wedding sundresses were particularly different. In the Ryazan province, for example, the bride, he was crowned in black sundress with a white headscarf on the head, which was usually worn under Tour. On the very first day of living together, the young appeared in his best sundress - most often he was different shades of red. In the Vologda and Kostroma provinces sewed blue-pink, raspberry sundresses from expensive fabrics. Decorated them with strain gold, pram, pearl.

The conditions of historical development, starting from the XII - XIII centuries. The most characteristic separation of the forms of the Russian costume on the North and South is determined. In the XIII - XV centuries. Northern regions (Vologda, Arkhangelsk, Great Ustyug, Novgorod, Vladimir, etc.), unlike southern, they were not broken by nomad raids. Artistic crafts developed here intensively, foreign trade flourished.

Starting from the XVIII century. The North turned out to be aside from the developing industrial centers and therefore retained the integrity of popular life and culture. That is why in the Russian costume of the North, national traits find their deep reflection and do not have ingenious influences.

Southern Russian costume (Ryazan, Tula, Tambov, Voronezh, Penza, Eagle, Kursk, Kaluga, etc.) is much more diverse in forms of clothing. Multiple resettlement of residents due to nomads raids, and then during the formation of the Moscow state, the influence of neighboring peoples (Ukrainians, Belarusians, the peoples of the Volga region) led to more frequent shifts of clothing forms and a variety of its species.

In South Russian Suit, instead of sundress, Poniov was more widely used - waist clothing made of woolen fabric, sometimes on a canvas lining. The fabric used for the deference is most often dark blue, black, red, with a checkered or striped (with a transverse location of the strips) pattern. The everyday life of the scratch was separated modestly: wool dominant patterned tape (belt) at the bottom. The festive areas are richly decorated with embroidery, patterned braid, inserts from kumacha, painshinamins, mushroom lace, sequins. A wide horizontal band of the hem was combined with past, vertical color inserts. The coloristic decision of the deference was especially bright and colorful due to their dark background.

Ponay, in essence, also the skirt, only the floors, as a rule, were not sewn. It was called melting, that is, swinging. I was kept dragging on the gastnik (belt, rope, cord, braid).

Made, as a rule, from the checkered domain wool, they were "kind", "hozhe", "dedicates" and "the latter". And even the deferences were shared on the bruises (monophonic blue) and red colors (red) with a pattern. Poniev most likely resembles our direct skirts.

Apron

The very decorative and richly decorated with a part of both the northern and southern female costume was an apron, or a curtain closing a female figure in front. The apron was usually made from canvas and ornamed embroidery, woven pattern, colored finishing inserts, silk pattern ribbons. The edge edge was decorated with teeth, white or colored lace, fringe of silk or woolen threads, rolling of different widths.

Digger

In the clothing of the Russian north of the ancient Russian costume, "Epanechki" and shredding, shuthes, stamped on the cotton, with sleeves are preserved. Distribution - breastplate women's sleeveless clothing from expensive factory fabrics. In these places, shinks sewed from the brocade. And it was carved in such a way that the fabric was in front of a large fold, and the shelf ahead had a trapezoidal form. Parching with a string strengthened (sinked) a coarse cold cloth, sometimes launched a newspaper, in order to keep the straight shape of the shelves, the folds were stood on the back. On non-strokes of straps - a narrow galoon or lace. Skinking only a broody, which challenged at the top or tied on a bow from wide tapes. This suggests that he used to be worn by Saratan.

The multi-dimensionalness of the costume, which had a different length of simultaneously worn hands, whining, apron, boodier, created horizontal silhouette membership, visually expanding the figure.

Hats

In Russian folk costume, vintage hats and a custom itself for a married woman hide their hair, for a girl - leave uncovered. This custom is due to the shape of a female head remove in the form of a closed hat, the girl - in the form of a hoop or bandage. Kokoshniki, Soroki, a variety of dressings and crowns are widespread.

Pearl, bead, amber, coral necklaces, pendants, beads, earrings were used from jewelry.

Fabric, color, ornament

The main fabrics used for the folk peasant clothes were domain canvas and simple linen wool, and from the middle of the XIX century. - Factory silk, satin, brocade with lush flower garlands and bouquets, Kumach, Sitz, Satin, Cashmere.

The main methods of ornamentation of domestic fabrics were patterned weaving, embroidery, bait. Striped and checkered patterns are diverse in shape and flavor. The technique of folk patterned weaving, as well as embroidery on the account of the threads caused straight, geometric contours, the lack of rounded outlines in the pattern. The most common elements of the ornament: rhombus, oblique crosses, octagonal stars, outlets, chips, bushes, stylized female figures, birds, horse, deer. Patterns, woven and embroidered, were performed with linen, hemp, silk and woolen threads, painted by vegetable dyes, giving muffled shades. Gamma Colors of Multicolor: White, Red, Blue, Black, Brown, Yellow, Green. Multi-color solved, most often, based on white, red and blue (or black) colors.

From the middle of the XIX century. Household fabrics are displaced by factoryery with printed floral, checkered, stripped patterns.

Folk traditions in modern clothes

Folk creativity remains real storehouse ideas for fashion designers and designers. In the 70s of the past century in the collections of clothing designers, the manifestations of the "National Spirit" were valued, but not in the ethnographic sense, but in the context of the "international style": Russian style, asian style, etc.

XXI century Printed new national traditions in modern design of clothing - aesthetics of postmodernism. When creating a clothing model, the "Quote" method is used. The "quote" can be detail of a national costume, decor element, enlarged or deformed ornamental motive, cut or color gamut. Combining different "quotes", mixing elements of costumes of different nations, the designer creates a new image, with a specific and recognizable creative source.

Teenage clothes are experiencing a certain influence of "adult" fashion, but it is not characterized by frequent changes and indigenous coups. It is more stable, which is associated with the peculiarities of the physique of the age groups of children. The main requirements that are presented to teenage clothing (simplicity of cut, the limiting feasibility of forms, sonicity and freshness of color solutions) are fully reflected in folk clothes, where beauty and functionality are inextricably connected.

Harmony color

The necessary condition for the beauty of clothing is the harmony of color in it, that is, consistency, harmony in combination of colors. To create a costume (this selection of fabrics, finishing materials) studied color harmony.

Color in clothing. The necessary condition for the beauty of clothing is the harmony of color in it, that is, consistency, harmony in combination of colors.

To create a color harmony of the costume, it is important not only to know how colors are combined, distinguish between the combined and incomprehensible colors, but also be able to compose the details of clothing in color and color proportions into a single integer.

The foundations of the color theory were laid by Newton, who first tried to systematize the world of colors, discovering the dependence between the refraction of light and the color. He believed that the white light, which was taken for him for homogeneous, decomposes after refraction in the prism on a variety of light waves. Newton has placed in a closed circle of color of his spectrum and added the missing purple, which is obtained when mixing red and purple colors and is added for a smooth transition from violet to red. If spectral colors (from red to purple) arrange in a sequence in a circle, then a chromatic circle is formed.

All color varieties are separated into two groups - chromatic and achromatic.

Achromatic colors are white, black and all grayscale - from white to black.

Chromatic colors are spectral and purple.

There are three groups of colors on a combination - related, animated-contrast and contrasting.

Related colors have in their composition at least one common (main) color. There are four groups of related colors - yellow-red, blue-green and green and yellow. Carefully selected related colors give great opportunities for solutions of the color composition. For example, green and green-blue are related colors, they are well combined in the composition with various sizes of color spots. A large number of stains of one color and a small amount of other is a good solution. When using related colors in the suit composition, one of them or both are usually muffled. Proper flower strength is achieved through the selection of related colors in such a way that they are not very bright. Yellow and yellow-green, green and green blue, blue and purple, purple and red, red and orange, etc. - related colors.

In the tone composition, the strong impact is achieved through the different light of the used paints - the introduction of light and dark tones in the contrast. Harmonious combinations of related colors are reactive, calm, soft, especially if the colors are weakly saturated and brought closer in lightness.

Recruit-contrasting colors. There are also groups of animals and contrasting colors - yellow-red and red-blue, red-blue and blue-green, blue-green and green and yellow, green and yellow and yellow-red. The harmony of animated-contrasting colors compared to related more active, emotional.

Contrast colors. It is yellow-red, blue-green, yellow-green and blue-red. The combination of harmonious contrasting colors is particularly active, since the colors twice balanced by their opposite qualities. However, not all contrasting colors are harmonious. For example, yellow-red and green-bluish - non-harmonic contrasting colors.

Achromatic colors are involved in the creation of the suit composition: white, black, blue. Black and white individually or in combination are perceived bright, as they are contrasted to the background. Both - black and white - look noble and winning. Speecually looks gray in combination with black and white. The black color has on chromatic, especially medium in lightness and highly saturated red and green colors, the strongest influence: these chromatic colors are brighten, the saturation increases them, they seek. White color, especially chromatic colors, report the compositions a kind of color: colors become air, pastel; White color gives an estimate of the costume.

The harmonious color solution of the costume depends not only on the combination of colors, but also on what quantity these colors are taken, what is the texture of the fabric. However, the recommended combinations of colors cannot be perceived as required.

Selection of fabric for suit.

For a scenic suit "Sudarushka" we chose crepe-coat for shirt - white satin, as the white color is well combined in any color compositions, and in the old Russian costume of the shirt has always been white.

A blue saturated color was chosen for the sundhan, for the main finishing works related colors: blue and light blue.

For more emotional perception of a suit in the finish, contrasting colors were added: red and green. A little black will give the saturation of the whole costume.

Selection and substantiation of material.

Crepe, crea satin. The collective name of all tissues with a granular nasal surface, acquired due to a cream yarn, weave threads, tissue tested.

COLOR-SATHIN: Satin Weave, the reinforcement is average, good draperiness, has air permeability, low hygroscopicity, heat-shielding properties. The average squeaming has resistance, as it has a strong sliding, high thread pushing in the seams. With the WTO, it is necessary to take into account the thermal mode, since the tissue is made of synthetic and artificial fibers, and also has a brilliant smooth surface on which stains remain after moistening.

It has a good colorful coloring of the fabric, has a pronounced shine, durable color.

Analysis of costumes.

After analyzing folk costumes, reviewed shoes, sundresses, respects. Croa shirt decided to leave an old, but for finishing use modern materials. Wide sundresses, have a volume form, and we would not like to emphasize the girl's figure, we chose a sundress with cutting barrels.

Select model

Shubacha: Kra shirt, long sleeve, lacy sewing finish.

Sarafan: Semi-Running Silhouette, Creek Barrels, Finishing - Application, Embroidered Tips, Satin Ribbon, Bay Beach.

Finishing of the product

Shuba: over the lines of the sleeve, nose, nose, the neck of the trim blue, lace sewing.

Sarafan: Middle line, line Niza - blue stripe from blue crea satin. Application is symmetrical from the middle line at the bottom of the skirt. Contrast finish with an embroidered bracket, a bindder, satin ribbon.

Design

Building the drawing of the base of the shoulder product with a single sleeve.

Modeling, preparation pattern to clarity

Sleeve: From point B2 along the line B2B5 postpone the measurements of the length of the shoulder + the length of the sleeve, from this point to build a straight angle. From the point G1 to carry out a parallel line to the intersection.

The neck: from point B2 postpone 2 cm, from point B4 - 6 cm., To connect them with an arc.

Patterns: Cut through the points of B1I g2 sleeve. Lines B1B6 line of the middle and fold sleeves. We get three details: back, shelf, sleeve.

Prum: from point B2 postpone 10 cm. (Shoulder width). Connect the resulting point of the smooth line with a point by T.

The neck: from point B2 postpone 3 cm, from point B4 - 10 cm. Connect the smooth line. Deepen the gate on the back for 2 cm.

Breasts from the line of the middle of the pattern postpone the measurement of the chest center. After the point to spend a vertical line from the shoulder line to the bottom line.

Patterns: Before - the middle part 1 Detail, barrel - 2 parts (Circuit in oblique); Back - middle part 1 Detail, barrel - 2 parts.

Niza extension: The average part of the transfer and backs are expanding along the line of the Niza from the waistline, the side parts are expanding on both sides.

Manufacturing technology

Shubah: connect the shoulder seams of the back and shelves, connect them with the sleeves, making an insert from the lace. Treat the bottom of the sleeves sent by the lace. Shot a basket for gum. Process the neck of the sentigible lace. Start through the side of the sides, treat the bottom of the suture to the apparatus with a closed slice. Insert the elastic flashes on the bottom of the nose.

Sarafan: Before: Connect the middle part by the barrels, along the line of the middle of the transfer, tuning the strip from the finishing fabric. Perform an applique from both sides with a finishing strip.

Back: connect the middle part with barrels.

Connect the details of the product, handle the armies and the neck of the red oblique baker. Treat the bottom of the strip of the finishing fabric. Shot along the neck of the finishing strips of finishing strips embroidered braid, a red satin ribbon.

Economic calculation

Material Price Number Cost

crepe - satin 90 rubles. 3m. 270 rub.

lacy sewing 24 rub. 4m. 56rub.

braid embroidered 8 rub. 5m. 40 rub.

satin ribbon 4rup. 8m. 32 rub.

dubin 50rub. 1m. 50cm. 75 rub.

threads (different colors) 10 rub. 6 coils 60 rub.

TOTAL: 533 rubles.

For the manufacture of suit we spent 533 rubles. From the table it is clear that the main costs were for the purchase of fabric. For appliqués, the flap remained during the sewing of other products.

"The suit is the second shell of the actor, it is something inseparable from his being, this is the visible subject of his stage image, which should merge so holistically with him to become a non-state ..." A. Ya. Tairov. Theater suit is a composite stage image of the actor, these are external signs and characteristics of the characteristic character that helps reincarnation of the actor; A tool of artistic impact on the viewer. For the actor, the costume is matter, a form spiritualized by the meaning of the role. As an actor in the word and gesture, movement and tech, the voice is developing a new creature of the stage image, pushing away from the play specified in the play, and the artist, guided by the same plays data, embodies the image by means of his art.

Tailoring of theatrical costumes Sewing of theatrical costumes is primarily the creation of a personal artistic image, usually such costumes have rich decorations, volume in form and details. Such a suit plays independently and creates an unusual atmosphere. Professional tailoring of theatrical and scenic costumes superimposes the style to fit the setting - cadry costumes, suits of squamus, historical costumes (XVII, XVIII, XIX centuries), circus costumes, female and men's dresses of different times, given exactly the situation for which it is intended Use suit. Stage clothing has always been and remains for the audience bright, interesting and unusual, which surprises with its luxury, chic and unusualness. But not for fashion designers and real masters. Clothing for the scene requires the fashion designer of permanent inspiration, which performs the role of the artist. The perfect fashion designer is an artist who is also a good psychologist and excellent seamstress. After all, only when contacting the actor or customer, you can create exactly the image that is necessary when sewn the theatrical stage costume. Sewing of theatrical costumes is made on professional sewing equipment, which is undoubtedly reflected in the quality of the costumes. There is a manual refinement of suites. The costumes are sewn through your individual patterns, so you will sit perfectly on your figure.

The feature of theatrical costumes theatrical costume should be sewn in size and not to cause an act of concern and inconvenience. A lot of work is carried out by a suit - a director who gives the general characteristics of the desired image, designers, cutters, seamstresses that embody the idea of \u200b\u200ba suit in life. Usually before sewing the costume is not one fitting. Approximately a couple of weeks before showing the performance on the stage, the actors rehearse in costumes. It is necessary so that they continue to get into the role, they felt it not only to the soul, but also the skin. The combination of tissues in the theater costume can be the most diverse. These are combinations of bosses and burlap, satin and knitwear, knitted parts. The choice of fabric is also resting in the essence of the performance, in its images. Theatrical costume should not overload the abundance of parts. After all, every ribbon, each button carries some information.