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• 2. Antique theater costume 5
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• 5. European theater costume from XVI in. until modern 13
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1. What is theater suit?

The theater is such a type of art that cannot exist without the public, so everything is calculated on the external effect. Theatrical suit (together with overhead mustache and beard, wigs, cosmetics, masks) is part of the theater grima. Grim (from Franz. "Grimer" - "Touch your face") is the art of the actor's appearance for this role and the means necessary for this.

The theater (and with him and grima) was born in the depths of the magic syncretic rite of antiquity. People saw in it a healing force, cleansing the body from various passions.

In all the peoples of the world since ancient times there are holidays related to the annual dying and revival cycles of nature. These holidays gave life to theater.

The ancient Greeks were very loved and read the young god of Dionysus. Supreme Divine - Zeus - they honored only once every four years (Olympic Games); Athena - once every two years; Apollo - once every two years; But Dionisa is three times a year. This is understandable: Dionysis was the god of winemaking in March, on the great Dionirsius, the people from all Greek policies went to Athens. During the week, there were transactions, political unions and simply having fun.

The holiday began with the importation of a wooden Dionysus in a boat on the wheels. This boat accompanied the chorus of Satirov-Omnoye. Therefore, the emergence of this deity has always been associated with changing clothes and carnival costumes.

The culmination of the holiday fell on the third day. On this day, Dionysus was sacrificed to the animals of the individuals of male sex, since he, born from the hip Zeus, was associated with a purely male start. The victims could be roosters, bulls, but most often goats. When such a "scapegoat" was killed, then sang a sad "goat song" - tragedy. Then the basket with intestines and phallus of the goat carried in the field for the fertilization of the Earth, gradually drinking wine dedicated to Dionysus. Returning home, carriers of a basket of someone scolded (for example, a local political figure). Entering the city, they saw the Komos goat at the house of this person. This action, this crowd and those funny songs. That she sang, called Comose ("walks"). From here there was a comedy. True, there are other versions of the theater.

As for the outfits of the participants of the holiday, it is known that these were animal skins (for greater similarities with goning satir). Later, thanks to the competition of poets on theatrical stage, tragic and comic songs became independent theatrical genres.

2. Antique theater costume

The official year of the birth of the ancient theater is considered to be 534 years before. E .. When to the great Dionirsios, for the first time put the Fespid tragedy.

By that time, theatrical costume was already very different from everyday. The artist, who at first only one, went on stage in a magnificent and bright dress. On his face there was a mask connected to a wig and equipped with a metal resonator of a voice located at the mouth. Masked had hole holes. The actor shoved in the kitty on a high platform. All this was designed for the remoteness of the viewer, because the Greek theater in the open air accommodated up to 17,000 people. Bright dress, a large mask, high shoes allowed to see the performer better. The resonator enhanced the sound (although the acoustics in the ancient theaters was such that the word that was said in a whisper in the center of the scene was transferred to the last rows).

There have been to seventy various types of masks. They were also needed because all the roles were then performed by men. The actor changed the mask in the course of action when he acted in the new role and when she showed the viewer to change his character's mood. The masks were transmitted a typical expression of joy, grief, rods, etc. They were made of wood or gypsum canvas, and then painted.

An important role was played with color symbols. The rulers had purple clothes: their wives are white; Exiles - black or blue; boys - red; ordinary women are yellow; Goethers are motley.

Costumes were accompanied by constant attributes so that the audience would be easier to recognize the character. The ruler had a scepter, a wanderer - staff, Dionysis - a flowering branch plush (Tirs), Apollo - onions and arrows, Zeus zipper, etc.

Thanks to long clothes and high shoes, tragic actors looked monumentally and moved smoothly. The comedians used short and more adjacent outfits. Pictures of Satirov and Silenov clung to the back of a horse tail, put on the animal mask (or horns), and these makes were exhausted. Such clothes allowed free to jump on stage. In Rome, they loved the light genres and tragedies preferred to comedy. They penetrated the pantomime on the scene. Circus numbers were very popular. The viewers were easier perceived Flyaki (from Greek. "Phlyax" - "joke") - parodies on tragedy and comedy; Mimes are small scenes on household topics; Atellians - fun improvisation.

The costume has become closer to domestic outfits. True, the color symbolism is still preserved. There were no masks in Mumba, and the audience could observe the facial expressions of the actors. Not only men played in these ideas, but women that strengthened the erotic moment and created reasons for public stripids.

The Greek-Roman theater costume continued to influence the stage costume of later times.

3. Theatrical costume of the European Middle Ages

In the Middle Ages, people did not forget the entertainment of antiquity, and almost every Christian holiday was accompanied by a judovsky idea of \u200b\u200bthe sign: the crown - the jester, the cap - the king.

In Europe, historiums roam (from Lat. "Histrio" - "Actor"), which in France are referred to as Jonglers, in England - Messenters. In Germany, the Shpilmann, and in Russia - the neighborhood. They are theater of one actor, because they know how to play, sing. walk along the rope, juggle. The costume of these people was convenient for acrobatics: Trickly, soft shoes, a short spontaneous tunic, near the historons traveled near the historons - "Broadcasting": inconsideration of Scholars, seminars, priests. There was no boundaries as such, and the languages \u200b\u200bdid not dissolve too far from a single basis, which made it possible to be understood everywhere. Wagant clothes did not differ from the domestic costume of a medieval person.

Waganta was played by funny views - COMU, in which the church was rid of the image of the Mother of Mother, which is why representatives of official religion chased artists.

However, the church also needed increasing the entertainment of their "presentations", so a liturgical drama arises directly inside the temple. Episodes from the Bible put the priests themselves in their uniform. But the more the moment of the game in these productions increased, the more "indecent" they became in the walls of the Church. Therefore, the view was transferred first to pale, and then to the square. A new genre appeared - Miracle ("Miracle"), representing wonderful events related to the Virgin Maria and Jesus. On the basis of Miraca, Mystery ("Mystery") appears - theatrical action distantly connected with the biblical plot.

Not only Virgin Mary, Jesus and Biblical Prophets, but also devils, devil and just citizens could be characters. Therefore, the costume has become more diverse. Christ, the apostles, the prophets performed in the vestments of church. Yes, and the role of these roles themselves could be priests or monks (this is not projected). The merchants, artisans and other heroes had citizens of their time. Fantastic characters were dressed in a complex costume with indispensable attributes of type of horns, tails and wolf or bread skins at the devil. Personalized diseases (plague, smallpox), sins (increment, flattery), virtues (truthfulness, hope) could have masks.

However, often no special costumes were done (as well as scenery). The inscriptions "Paradise", "hell", "God-Father", and so on. It was quite enough.

The light was the main category of medieval aesthetics, so the most important Divine characters were in white and brilliant clothes, and the devilish fraud - in black. Vera has been checked in a white dress. Hope - in green. Love - in red.

As in the ancient theater costume, the heroes had permanent attributes: the faith - a cross, in hope - anchor, in love - a heart or a rose, at the misfortune - a wallet, in the pleasure of the orange, at the flattery, the tail.

Over time, theatrical costume was becoming increasingly similar to ordinary household, and household more theatrical.

4 Theater costume at the countries of Southeast Asia

Syncretism of primitive culture (the absence of various types of cultural activities) was manifested in magic cities, where dancing, music, painting, theatrical ideas, etc. coexisted next to the depths of mythology, etc. e. Dancing and pantomime were part of the worship of the gods in ancient India. EPOS "Mahab-Harap" and "Ramayana", which appeared in the I thousand BC. er, the basis of the classical theater of India and those countries where Hinduism exists, since the data of the EPOS are the sacred books of this religion. In various forms (actually theater, puppet theater, the theater of shadows, ballet) productions of the episodes "Mahabharata" and "Ramayana" exist now. And now there are very bright, expensive costumes, masks or mask-like makeup. No decorations, everything happens on the Lona of the majestic nature.

In China, the theater also developed from dance and acrobatic elements, which were included in sacred rites. In the VII-X centuries, dancing on historical and heroic topics spread with the inclusion of small theater intermeds. For the first time, special theater costumes appeared.

In the XIII-XIV centuries, the Chinese theater reached his heyday in the form of Zsazyu. This mixed performance included music, singing, dance and acrobatics.

The scenery was absent, therefore the game of actors and their appearance was attached particular importance. All roles performed men. The most pathetic scenes were played in slow motion.

All movements were strictly canonized. The actors themselves talked about themselves as heroes, the time and place of action were determined.

In the next century, Zasszui did not die, but transformed into different forms. Still on stage a little requisite, and the one that is, is used polyfunctionally: the table is both the mountain, and the altar, and the observation deck; Black flags symbolize the wind, red - fire, etc. In the grima and suit used color symbolics: red - courage, white - meanness, yellow - emperor color.

Japan also developed several types of theatrical ideas that lived to the present day. Katemi Kpetvugu and his son Dzeami at the turn of the XIV and XV centuries created from scattered song and dance numbers theater but. They themselves were actors, director directors, authors and composers (and by the theoretics of the theater, but). Their creativity had to be at that time when the way of life of the Japanese was noticeably theatrical: the rulers became people of low origin, and, like all neophytes, they especially adhered to the ritual. The thrust for entertainment gave rise to mass tea ceremonies or holidays of love with flowering cherries (which in itself is absurd, because it is for the Japanese something very personal). Theater performances but became a mandatory component of ceremonies and techniques. Often, many hours (and even multi-day) views on historical and heroic themes began to change the course of real events (for example, the occurrence of the holiday). The rulers got off with the images of scenic heroes. And Segun (military dictator) Toythoma Hideyashi from a large fan of the theater but turned into his actor and in 1593 during the three-day presentation in honor of the birth of his son I bought in ten plays. He played himself.

The theater is also characteristic of which already mentioned: the lack of scenery, slowdiness of movements in important places of presentation, male actors. The scenes unfolded before the image of the pine on a gold background. The image of pine was brought to ancient agricultural magic symbols, and gold personified the sun and the goddess Amateras. In addition, such a background symbolized a merger with nature, especially since the actions could go beyond the scene and join the real setting of admission or holiday.

Acting costume until the XVII century. I did not differ from the domestic costume nobility (later it was carried out by engravings and samples of the XIV-XV centuries). There was a tradition - to give actors expensive dresses (especially she spread during the rulers-theater Toytoma Hidesii). As a result, the theater also became a museum of luxury robes. Now the oldest outfit, stored in the theater, - Sadman's suit XV century.

In 1615, the ruler of IEASA Totkugava issued a code, regulating the colors and quality of tissues. The ban on the expensive materials touched the theater but. The director began to look for a different figurative expression no longer at the expense of expensive outfits. The cloth of the costume turned into a symbolic book that could be fill in information. Now stylized canonovy theater costume but reveals the characteristic image. In it, everything is symbolic - from cutting to embroidery.

An important role is played by color. White means the nobility, the red belongs to the gods and beauties, the pale blue binds to the balance, brown means low origin.

In the theater, men play, therefore masks and fans are important. Size, painting, drawing, movement of a fan characterizes the character. Masks are simple, but very elegant. They are made from cypress, harvest and grind. The mask is put on a wig and fastened with strings. The slightest change in illumination or angle gives it a new expression. There are masks of different floors, ages, characters and even fantastic creatures.

5. Theater costume of Europe from the XVI century. until modern

In the era of the revival in Europe, the first permanent troupes, working on a professional basis begin to appear. They roam or nailed to one place. People love to laugh more than cry, so the actors put the lungs, comic productions, farces and parodies. Stray comedians continued medieval traditions and (as the entire culture of revival) appealed to the ancient heritage. Previously, such troupes arose in Italy. There, the theater ComMedia Dell appeared "Arte, that is, the" comedy masks ".

In Comedy Del Arth there was one scenery - the city street. The constant plot did not exist: the head of the troupe (capocomico) asked him, and the actors improvised, as in the ancient Atellians. Those tricks and replicas that caused the approval of the public were repeated and secured. The action split around the love of the young, which the old men interfered and helped the servant.

Mask played a crucial role in the comedy. A black mask could close the whole face or part of it. Sometimes it was a glued nose or stupid glasses. The main thing is to create a typical face, pointed before the cartoon.

Two demands were presented to the costume: convenience and comicness. Therefore, he reminded, on the one hand, clothes of medieval historicals, and on the other, it was complemented by characteristic funny items.

For example, Pantalon is a merchant-miser - always with his wallet. His clothes resembled the clothes of Venetian merchants: a jacket, tied by a dipper, short pants, stockings, mantle and a round cap. But once the artist went to the scene in wide red pants, this characteristic detail liked the audience. As a result, Pantalon and his pants were so merged, in the consciousness of people, that over time, the nominal name of the female linen of Pantalon was formed.

Doctor - Another Hero of Comedy del Arte - represented a parody of the scientist and went out in a black academic mantle with a lace collar and cuffs. In his hands, it was always paper scrolls on the head - wide "hat.

The captain - a military adventurer, wore Kiraça, sharovars, boots with huge spurs, short cloak and hat with feathers. His constant attribute was a wooden sword, which certainly stuck in the sheaths when needed.

The most numerous and diverse characters were servants (Dzanni), because they were the "engines of progress" in the love collision. Pulchinella had a huge hooked inlet nose; Harlequin has such a number of patches that over time they stylked into a chess cage, Piero has a white wide shirt with a milling mill and long pantalon; Brigella has a wide white blouse and the same pants.

This folk theater, thanks to their light plots, was much more popular than Shakespeare's theaters or Lope de Vega, which gave a greater preference not to entertainment, and the depth of the content. For works of Lope de Peg, for example, even the name "comedy raincoat and swords" appeared, because artists really played in them only in modern autosumat author.

In parallel with the stray troupes there were court theaters, the costumes of which were calculated with hundreds and differed at high costs. They were demonstrated separately from the possession.

In the XVII-XVIII centuries, a decline comes in the development of theatrical costume. The word is put forward for the fore, the dialogues absorb all the attention of the audience. A household suit, deprived of historicism, is used on the scene. This is an ordinary fashionable suit of the pore. True, in the play you will not see the rolled servant or poorly dressed up. The costume is enlarged. This is the consequence of the theatricalization of life. The theater is so deeply included in life, that the border "Theatrical - household" suit is erased. It should be noted that in the XVII - XVIII centuries theatrical costume often determines the fashion (which has already been mentioned in previous chapters). Artists dressed better and extravagant others. In the XVII century For Monsieur A la-fashion on stage, they satisfied special spectator places where they did not look so much a performance as they discussed artists and their costumes.

In the XVII - XVIII centuries, synthetic genres bloom: opera, ballet, circus (although they were known before). In these genres there are also dramatic effects, tricks, music, and singing, and bright memorable makeup. Synthetic genres pick up elements of household life. For example, the cancan's ball dance (Franz. Cancan) with a characteristic high leveling of the legs arose in about the 70s of the XVIII century. Gradually, it becomes an integral part of the operetta - a musical and dance comedy genre.

In the XIX century, interest in history in all directions of culture was revived. Thanks to archaeological and literary finds, it was possible to learn more about the outfits of antiquity, so in historical plays for the first time they make attempts to reproduce genuine costumes of the past.

The development of critical realism as a method of art and method of the worldview leads to the fact that the scene will no longer see the peasants in peignoirs and starchy servants. In the theater, such props appears, which before in a decent society did not mention loud. The search for new forms of expressiveness lead to naturalistic makeup. This is what V. A. Gilyarovsky writes in his essays about Moscow and Muscovites:

"In 1879, the boy in Penza at the theatrical Hairdressant Shishkov was a student, a small Mitya. It was the favorite of Penza Antreplener V. P. Dalmatova, who was unique to touch his hair and taught him makeup. Once V. P. Dalmatov in his benefit Put the "notes of the crazy" and ordered the Mita to prepare a bald wig. He brought a wet bubble to the play and began to spit on the whealing hairstyle of Dalmatov ... Artists fled to the actor's cry.

- You are a great artist, Vasily Panthevimonovich, but let me be an artist of your business! - Turning his head on a high V. P. Dalmatov, the boy was justified. - Just try!

V. P. Dalmatov finally agreed - and after a few minutes the bubble was spinning, in some places, and the eyes of B. P. Dalmatova shone from pleasure: a completely naked skull at his black eyes and expressive maker produced a strong impression.

At the turn of the XIX and XX centuries, the trend of modernism generates new forms of theatrical costume. The outfits are stylized, turning into symbols. Europeans discovered the theaters of the East, which was reflected in the stage costume.

In the first goals after the October Revolution, theatrical costume disappeared at all, he was replaced by "overalls", as the actors are "workers of theatrical labor".

Gradually everything went into the normal course, and the theater costume returned to the scene again. Moreover, in the XX century. Such a new sight appeared as the fashion theater. Shows of models turned into musical and dramatic shows. So household suit was finally openly "combined with marriage" with the theater.

List of used literature

2. Gelderod M. de. Theater: Sat: Per. With Fr. / Song. L. Andriev, p. 653-694

3. Comment. S. Shkunayev; Art. N. Alekseev. -M.: Art, 2003. -717 p.

4. De Filippo E. Theater: Pieces: Per. with IT. / Song. L. Vershinina, p. 759-775; Art. N. Alekseev. -M.: Art, 2007. -775 p.

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"Part of the scenery in the hands of the actors is his costume."
French encyclopedia.

"The costume 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 be so holistically merged with him to become a non-state ..."
A. Ya. Tairov.

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. The 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 there is a "pairing of different arts, each of which is transformed in this idea and becomes 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, thin and deep director's work on the play and play, the talented game of actors require from the artist in a suit, drawing up the performance, especially careful 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 tasks of setting and persistently look for expressive means ... ". Theatrical costume is first created by means of visual, that is, sketch.

The emergence of theatrical costume as such as its roots dates back to antiquity. From a long time there is a theater suit in the theater of the Ancient East. In China, India, as well as Japan, a classic theater suit is symbolic and conditional. The theater also has the value of the symbolism of jewelry, patterns on fabric and color.

The costumes in the theater are usually created for each presentation and for a specific actor, but there are also such theatrical suits that are unchanged and in general terms are the same for all the troupe.

The European Theater Costume first appeared in ancient Greece, where, as everyone knows, the theater was born as such and later developed and, undergoing many changes, turned into a modern one. The main in the Greek theater was a suit that repeats the casual clothes of the Greeks. Also, for theatrical presentation, large masks were needed with various fairs, so that the spectators from afar were visible to the emotions of actors and shoes on high stands - cats. Each suit in the Greek Theater was of particular color, for example, pointed to belonging to a certain kind of activity or position. Theatrical costume changed depending on the places of the play.

It is worth revealing the essence of the concept of "theater suit."

The following definition is provided in the Big Soviet Encyclopedia: "Suit in the theater (from Ital. Costume - custom) is one of the important components of the performance of the performance - clothing, footwear, hats, decorations, and other items that are used by the actor to characterize the stage image created by the actor they are based on the general director's plan; The necessary addition to the costume - make-up and hairstyle "The suit in the theater is a special area of \u200b\u200bartist's creativity, in which he can embody a huge number of images, pass the character of the character. Theatrical suit forms a viewer's presentation about the character's personality, helps to penetrate the spirit of that era, to understand the characteristics reflected in the appearance of the actor.

Theatrical costume By definition of Zakharzhevskaya R.V.- This is the "composite stage image of the actor, these are external features and characteristics of the characteristic character that helps reincarnation of the actor; Means of artistic impact on the viewer. "

Over time, three main types of theatrical costume are formed in the theater: personnel, gaming and clothing of the acting person. They existed from the very appearance of the theater, although they were not given clear definitions, these types of costumes were preserved and to today's modern theater.

"Personal suit This is an image-plastic composition, which is part of the image of an actor actor. The costume is an inseparable part of the character, drives and voiced by the actor. " Primitive examples of a character suit were an integral part of rites and rituals in many countries of the world. Sometimes a suit can completely hide the actor figure.

Gaming suit - This is a means of transfiguring the appearance of the actor and an important element of the role execution. In the ritual and folk representations, the game costume most often wore a grotesko-parody, for example, when it was necessary to emphasize, ridiculously, to paradise or indicate the absurdity of the situation. Men shifted in women, and on the contrary, people portrayed different animals. For the manufacture of such a costume, any materials that could emphasize the image of the character are suitable. We used various materials and objects of clothing: caps - Ushanki, Tulup, casing, various artificial decorations, beads, bubrels.

Suit like clothing of the acting person, It is the main thing in the performance, it is based on this costume that the costumes are characterized by the character and gaming. The theater always found a reflection of modern fashion. For example, in the practice of the theater often used suits such a clothing of that time, during which the performance was shown. The beginning of such a reception takes from the times of the ancient Greek theater and is present in the theater until today. The creation of this type of costume was carried out on the basis of the movement from the form of approximated to the appearance of clothing (in the Renaissance theater) to a larger similarity with historical, national costumes, achieving accuracy and authenticity. Later, in the theater of naturalism, the costume begins to fully comply with the character of the character, it transmits with the greatest accuracy his mental state, the external appearance passes the component of the image. The costume has always been and remains a special area of \u200b\u200bartists creativity, which work out and invent not only fantastic costumes, but even it would seem, of the most ordinary household clothes create truly works of art.

Theatrical suit is an important and integral part of any theatrical presentation. The theater is perhaps the most public type of art, and therefore, it is designed to more effectively. Usually leaving the hall, the viewers are characterized by the presentation: it was spectacular, excellent acting, wonderful scenery, excellent production. Of all this, we see that almost all aspects of theatrical representation affected by the work of the artist.

In the times of folklore representations and rites, the suits of costumes were Unnamed Masters, often the crumbs independently came up with their own way and embodied him into life with infirred, inexpensive and affordable means. The theater was not always public, he was formed in this direction long enough. There were few professional actors, and the presentations were carried out mainly by self-taught actors. Laws who defended their secured strata of society, to know and landowners, fought by tramps, including actors to stop shooting from working with low wages, it prevented the growth of professionals in the theater.

In the era of feudalism, the art of the theater is reflected in the representations of stray artists. The costume in their ideas looked just like the costume of their contemporaries from the poor layers of the population, but was decorated with bright ribbons and bubbers. At this time, there are ideas called mysteries, a characteristic feature of the productions was pomp, brightness, decorativeness, they were also not shared on acts and morality. The performances become a court spectacle, beautiful and fascinating. The scenery was present alone, which did not change throughout the presentation, in contrast to the modern theatrical presentation. The main requirement for theatrical costume in the Mystery was wealth, luxury, and it does not matter for the main or secondary roles, the costume was conditional, avoided the detail. The morality suit was more modest due to the editable content.

Like all kinds of art, the huge horse racing in the development of the theater occurred in the Renaissance era, at the same time undergoes significant changes and theatrical costume, which was strongly influenced by the fashion of the time, as well as scenography. The actors of the comedy ridiculed offenders, gave a witty, laughing and sometimes the evil characteristic of the heroes of representations. Later, in the second half of the 20th century, a suit in the theater has become a close aristocratic style in clothes, depending on the role it could be an awesome content. Theatrical costumes were already engaged in craftsmen who received education: tailors, artists, decorators, demand appeared for these professions.

The main genre of the classic theater in the XVII century was the tragedy, the actors were dressed in costumes, repeating household clothes of the court and servants, the tastes and interests of the aristocracy influenced the plays. Louis XIV in 1662 by his performance at the holiday in Versaille gave rise to a new type of costume for tragic heroes for a hundred years ahead, appearing in a stylized "Roman" costume created on the basis of a court costume with the addition of kids and a short skirt. Women's costumes were a reflection of modernity, however, more decorated and embroidered than in everyday life.

In all the writings on the history of the costume, the Moliere period is distinguished, and since the fashion has always been reflected in the theater, this period and for theatrical costume has become significant. A realistic trends began to manifest themselves in the theater costume, the Moliere in his productions was found by the actors in modern costumes of different layers of the population. An important achievement in the development of theatrical costume was a refusal of striking and pomp by the actor D. Harrik, he sought to bring the costume to the correspondence of the executable role, the disclosure of the character of the hero, helps to understand his essence.

For our work, the contribution of Voltaire in the history of theatrical costume is particularly interesting - the desire for historical, national and ethnographic accuracy. Refusal to candid wigs, massive precious jewelry, in which I was supported by actress Claron. In the process of reform, a stylized "Roman" costume, abandoning the traditional tunnel, has gone excessive magnificities, constraining movement.

In the XVIII century, the suit is finally changing, giving the costume with old traditions, becomes historically reliable and performed according to the sketches of artists, much attention is paid to makeup, hairstyle, but historical accuracy is achieved only in separate details. Only by the XIX century in connection with the development of directorial art, the costume seeks to tie with the idea of \u200b\u200bthe play, respect the spirit of the era in creating a performance. It is known that playwrights personally took part in the staging of the play and followed the compliance of the plot, they also took responsibility for sketches of scenery and costumes, attracting famous artists. Among the authors of the sketches of the costumes of E.Delkrua, P. Gavarini, P. Deerosh L. and K. Bulanzhen, A. Delrya, and others. During this period, with a special trepidation, they treated with accuracy and accuracy, although not all sought it.

In England, the historical accuracy of theatrical costume paid great attention to the actor U.C. Mackage, actress E. Vestri. Some directors in historical performances tried to accurately depict the place of action, recreate the costumes in exactly according to the time, a great attention was paid to the makeup and hairstyle. Naturally, such a targeted desire for authenticity, historical and accuracy could not be in a surge of denial. By the end of the XIX century, many prominent directors and artists seek to deny the routine of naturalism and struggle with realism in art, which leads to the return of the convention and stylization. It happened because it was believed that the theater should carry something new, fabulous, not real, and not repeat the commonness of human life.

Later, by the beginning of the twentieth century, theatrical costumes begin to engage in eminent and famous artists, bringing a reflection of their creativity in this type of art, forming the laws of the performance of a suit, working with discoverers. At the present stage of the development of theatrical art, artists seek not only to reflect the idea of \u200b\u200bthe plays, but also to make theatrical costumes by an independent work of art, put it, to give themselves to fantasy, to show their vision of creativity.

From the history of theatrical costume, we see how the artists were jealously treated this type, therefore the importance of the role of theatrical costume in art is not questioned. In our study, we paid special attention to the following artists engaged in creating sketches for theatrical ideas: L. Bakst, A. Benua, N. Rerich, A. Exter (see Appendix No. 1). Throughout the development of the theatrical costume, we see how famous artists and nameless masters worked on creating an artistic image, represented even from the usual costume of creatures of art, worked creatively, trying to tell the viewer about the uniqueness and importance of this character. The theater suit is a alloy of many arts, in its creation there are many masters of different orientations, one creates a sketch, the second decorates embroidery, the third is engaged in accessories and butaforia. There are certain stages of work on the creation of theatrical costume.

Before proceeding with the creation of theatrical costume, the artist must ask: what does he need to create, for whom and how? Answers to these questions imply an experienced artist knowledge about the atmosphere and the image of the performance, the availability of responsibility to the audience and excellent knowledge of the audience, as well as the knowledge of all techniques and techniques, with the help of which he can express everything. Despite the fact that the theater costume is an independent work of art, it, like everything in the performance, is subordinate to the general plot. The idea, the idea is located in the center of everything, dictates the content of each character, his social status, the moral side of his personality and, accordingly, its appearance, because all this is interrelated. In theatrical practice there are three stages of work on creating a suit: Working with literature, the accumulation of material on the general topic of the performance, work on the sketch and, finally, the performance of the sketch in the material, embodiment in the invoice. When solving a common costume of the performance, when choosing equipment in work on costume sketches, and even when choosing a material and accessories, the costume artist is guided by the main idea of \u200b\u200bthe performance. The idea expressed in the scenario subordinates everything: costumes, scenery, characteristics of heroes.

An important condition in the work of the artist in the costume is to achieve the unity of the idea of \u200b\u200bthe performance and its incarnation. An important in theatrical costume is to create a stage image. A scenic image in the theater costume consists of directorial design, dramaturgical basis, dynamics, rhythm. The dynamics of the image and the evolution of the character's character and everything that happens on the stage encourages the artist several times to change the appearance of the actor on the stage, and not only a suit, but also make-up and hairstyle. The costume should help to convey the viewer the slightest change in the image of the actor.

The costume is the most important part of the theatrical presentation, because it is closest to the actor. Do not forget that the costume is an external character of the character's character, an integral part of the stage image and creates a special atmosphere around the actors, important not only for the performance of the role, but also for the audience. Often there are features of the character remaining in the subtext of the plays, the audience will learn about them in a suit and its separate details. Sometimes a suit must be merged with the image created by the actor, but it also happens that he acts as a contradiction of the character. For example, at the very beginning of the performance, we see the actor depicting a good person, he behaves decently and highly highly, but his costume is alarming the viewer, and indeed, by the end of the play, he turns out to be a villain or a traitor. Also, working on sketches, do not forget about the individuality of the actor, the versatility and complexity of its nature.

Thus, the following characteristics are expressive means of theatrical costume:

The artistic scenic image consists of directorial design, dramaturgical foundation, dynamics, rhythm.

Is an independent work of art

Seeks to historical, national and ethnographic accuracy

Is an external character character expression;

It is designed to more effectively.