The name of ballet dancers and their costumes. Ballet scrapbook: ballet costume

A traditional ballerina costume is a special cut skirt - a bundle. Over time, when the development of the ballet passed from one era to another, the ideas about ballet outfits changed. Ballet skirts were recognized not only to emphasize the figure of the dancers, but also create her image, and relieve performance. Women's skirts had a wide variety of forms and peculiarly decorated. The pack is flat, horizontally planted on the waist of the dancer, thin skirts from Tulle. Which, as if climbing the wind gust, froze in different forms - "plates", "bells" and many others. Historically, changes in the ballet costume, naturally, went towards minimalization of forms. The packaged arose from the female suits below the knees, the empty skirts, called the "bell". And the "bell", in turn, is a shortened version of the romantic tunic - a long skirt to heaven. These gentle costumes belong to the world of ghosts, Willis, spirits in Sylphide, "Giselle", "Serenade", and from the beginning of the twentieth century, with the times of "Chopenians", a transparent tunic in ballet spaciousness is called "Shopinovka". In the "Covent Garden" still resting swans in the Swan Lake, it goes into silvery elongated packs, and they are difficult to call them, but they are very reminded that they are captured on the preserved engravings. Unlike white packs adopted in our tradition, as if on the stroit of the lake. Swan packs, like a headdress from feathers (on the ballet slang "headphones"), came up with the same Ponomarev, marked by the English press, on whose works it is possible to study the era of the late XIX century and whose suits of costumes to a large number of productions have been preserved in the St. Petersburg Theater Library. If at the time of Anna Pavlova packs were long and lush, then they became shorter and even shorter, and later - longer, but thinner. In this transformation it is not difficult to trace the ballet fashion of each era, which, in turn, reflected the "high fashion". The beginning of the century is modern, hedonistic and exquisite style, because of the packs are abundantly decorated with real feathers or precious stones. Pavlova costumes simulated fashion legislator Lion Bakst, he sewed her and casual clothes. Experience of the Russian-European avant-garde passed by our ballet (but not the theatrical) fashion - only in Dyagilevsky Antreprizism, there were examples of constructivism (people-skyscrapers in Picasso in the "parade"), Suprematism (monochrome of ritual clothes Natalia Goncharova in "Wedding" ), Fashion influence Chanel (in sports beach suites from Blue Express). And yet sometimes the art of the ballet costume reached the constructivist heights (the brightest example is the "bolt" of Tatiana Bruni, but the sad fate of the formulation was severely solved the fate of decoration).

The utilitarian simplified packs of early Soviet years looked quite ascetic - the air wavy line should not cause bourgeois associations. The 50--60-E - the years of the "New Wave" in European art coincided with the first foreign tours of our ordinary theaters and brought fashion to the universal mini: ballerinas appeared in narrow packs and dreams. In 70--80, the width increased them, but they somehow discouraged the cordlessness - as if the reflection of the years of deaf clutch, at the same time "stagnation" and "underground", official art. There are cases when the costumes "grow" ballet, and, on the contrary, the high-quality choreography will never bend concrete clothing. So, in the middle of the 20th century, swimsuits and trico - not just universal rehearsal clothing of dancers, but the branded scenic costume of the school Balanchine. Black Leotard has become synonymous with its "black" ballets ("agon", "four temperaments", "Symphony in three movements"); There were a Balanchine and unimaginable contours of flat packs under the gastronomic name "Plates", the second waters of the widespread hats in the "Far West Symphony". After the tour of the Balankian troupe New York City Ballet on the ballet began to look at other eyes in the USSR, even dressing the lesson became different: before that the women were engaged in Chitona from Marlley, and men affairs. More precisely, the first step in this direction was made to Moscow royal ballet and Paris opera in the late 1950s. By this time, the "Stone Flower" Jury Grigorovich in Leningrad: no traditional costumes - Simon Virusladze tightened the hostess of the copper mountain in a spotted overalls. Then there was a "legend of love", after which we had a long way to consolidate the fashion for a tight, like the second skin, ballet trico.

Meanwhile, the packs still occupy the queen in the state of the classic ballet. Until recently, there were constructive differences in their face in Moscow and St. Petersburg: at the level of forms of skirts, outlines, the number of volanses and laying. It is important that the bunches of the swans in St. Petersburg-Leningrad, the impact of the century differed from nonreid in the "Sleeping Beauty" or Shadow "Bayaderka".

But it changes, as time shows, not only the fashion, because the costumes of various cuts began to return to the performances. And the packs appealing to the imperial times in the form of discontinued buds in Corsaire, the last major premiere of the theater, they say the same about the theater as the whole country.

From the moment of its creation, until the middle of the XIX century, a ballet dance was performed in shoes on heels and long skirts. In such an outfit it was difficult to perform a number of elements, especially since the ballet was constantly improved and turned out to be new positions and movements. At this time, the pointes known to the whole ballet Mel are appear. Punts are a special type of shoe, which is fixed on foot using ribbons, and the sock is strengthened with a rigid block. The word pointe comes from the French "tip". French ballerinas could boast that they knew how to get on the tips of the fingers and perform complex elements. To facilitate such a dance and began to use pointes that fastened the leg and allowed the ballerina to preserve the equilibrium. However, in order to start studying on pointers, it was necessary to train for a long time. After all, this ballet shoes, as facilitates the work of a professional dancer, can harm an inexperienced performer.

In ballet schools, girls were trained in classic dance elements for several years before putting pointes. Dance skills and body flexibility contributed to the skill of the ballerina in motion on pointes. Despite the entire professionalism of the ballerina, before the performance on the pointe or occupation, it is necessary to warm up legs and shoes. If the ballerina disseminates this rule, its dance can end with a serious injury. In order to dance on pointes, you need to work significantly over the strengthening of the feet.

Modern pointes are made of satin matter, most often pointes are ordered to the master for a specific ballerina. It is necessary so that they securely secure the foot. In the sock of ballet shoes, a compacted material is stacked, and the tapes are intercepting the toe of the ankle. Ballet Model Collection Design

Dance on pointes is characterized by special grace and virtuosity of execution.

The story of a ballet pack. Photo - Thevintagenews.com.

Ballerina in the minds of any person seemed certainly in a pack.

This scenic costume has become an integral part of the classic ballet.

However, it was not always. The modern image of the ballerina before to form finally, has undergone a lot of changes and has passed a long way.

Many may be survived, but until the second half of the XIX century, the ballerina performed on the stage simply in elegant dresses that differed little from those in which the audience came.

It was a dress with a corset, slightly shorter than the usual, rather bulky. The ballerina performed necessarily on heels. The share of ballerinas facilitated a little new fashion for antiquity. By the way, the ballet began to use mythological plots, for example, Amur and Psyche.

The ladies began to wear air, translucent dresses with an overwhelmed waist. They even urine them, so that the fabric is better to fit the body. Under the dresses were put on triko, and on the feet - sandals.

But over time, the ballerin's technique has complicated and easily easily clothing for the scene. At first, the prima refused corsets, then rooted the skirts, and the dress itself began to make it easier as the second leather.

Who came up with pack

For the first time in a ballet pack in front of the audience, Maria Talon appeared on March 12, 1839. On this day, the premiere of "Silphides", in which the ballerina performed the main batch of fabulous fairies.

This role required the appropriate outfit. He came up with Filippo Taloni daughter.

According to one of the versions, the impact of the classical ballet clothing has become the unziping figure of Mary. To hide disadvantages, Taloni came up with such a dress, which gave the heroine to the heroine and grace.

Created a dress on the sketches of Ezhena Lami. Then the skirt was sewed from a fate. True, in those days a ballet package was not at all as short as now.

The next "transformation" of the package happened somewhat later. But even such a modest bale world at first perceived in the bayonets.

Especially not to taste, the package came ballerinas with not very beautiful legs. But the delight of viewers and art historians who admired the dancers, there was no limit. Not the last role was played in this pack. So this costume passed on, and then became a classic.

By the way, there is a legend about Mary Taloni. When she drove the border with Russia, the customs officers asked if she was carrying jewels. Then the ballerina lifted the skirt and showed her legs. Maria was the first who rose to pointe.

How the pack took root in Russia

Tsarist Russia was distinguished by conservatism and did not immediately adopted a novelty. This happened only after half a century. But it was in our country a pack again modified.

An innovator was the primary theater of Adeline Giuri in the early 1900s. The capricious individual did not like the long skirt in which she had to pose in front of photographers. The ballerina simply took the scissors and grabbed a decent piece of hem. Since then, it went fashion for short packs.

As still modified a pack

Although from the beginning of the 20th century, the ballet pack acquired that form and view that we know and have been experimenting with it always. In production, for example, Marius Petipa, Ballerina could change in costumes of different styles.

In some scenes, she appeared in the usual "civilian" dress, and for solo batches she put on a bundle to demonstrate all his skills and talent. Anna Pavlova performed in a long and wide skirt.

In the 30-40s, a ballet pack of the XIX century time returned to the scene. It was only called now differently - "Schopin". And all because Mikhail Fokin's dancers dandped in his "Chopenian". Other directories at the same time used a short and lush bundle.

And from the 60s, it turned simply into a flat circle. Than just neither decorate the pack: rhinestones, glass, feathers, precious stones.

What packages do

Ballet packs sew from light translucent fabric - fate. First, designers create a sketch. Of course, the features of the figure of each ballerina are taken into account, and therefore the sketch of the dress for each dancer is yours.

From the growth of the ballerina depends the width of the pack. On average, its radius is 48 cm.

One bundle takes more than 11 meters of fate. The manufacture of one pack takes about two weeks. With all the variety of models, there are strict rules of sewing.

For example, on packs never sewn neither lightning, no buttons that can break away during the performance. Also use only hooks, but in a strict sequence, or rather, in a checkerboard order. And sometimes, if the setting is particularly difficult, packs are sewn by hand on the dancer before going to the scene.

What are the buckets

The pack has a lot of titles. So, if you hear somewhere the words "Tyuby" or "Tutu", know: they indicate all the same pack. We will figure it out now, what are the varieties of packs.

The classic pack is a skirt in the form of pancake. By the way, soloists are directly involved in creating their costume. They can choose a pack of packs that can be parallel to the floor or with a slightly lowered skirt.

"Schopin", a long skirt, also sewing from a fate. Such a shape of the skirt is very good for the creation of mythical characters or non-living beings.

Plus, such an outfit that he hides insufficiently tightened his knees and other shortcomings, but attracts attention to the footsteps.

Another type of dress that does not come out of a ballet help, - Hiton. His skirt is one-layer, sew it more often from chiffon. In such a dress, the role of Juliet is performed.

Why do you need packs during rehearsals

For rehearsals of ballet layouts, the packs are sewn separately. It is easier to wear and remove them than those in which the ballerins go on stage.

So, all parts of the stage costume can be sewn among themselves, whereas for the rehearsal bodies do not need, but only use the skirt with panties. In addition, the rehearsal packs do not make so many layers.

A pack on the rehearsal is simply necessary. After all, the dancers should immediately see where the pack will interfere, where she can get out or a partner can hurt her. And the director will be able to form a dance pattern.

The package so firmly strengthened that it is used not only on the ballet scene. True, outside her pack serves for comic numbers of pop artists and even in a circus.

Evolution of ballet costume
From the funds of the Museum of the State Academic Bolshoi Theater

Ballet costume - ephemeral and at the same time having a considerable force of exposure to the use of the same ghostly and as powerful as the dance, the world of visual art is the result of the mutual influence of these two arts. Artists see in it forever a living source of creativity, their approach is changing to this source, and the time and changing dance itself affects it. So what caused a kind of artistically stylistic nature of a ballet costume, arising from his meaningful and complex structure? To answer this question and fully understand our thought, turn to the past, to the story, follow the dynamics of the change, the evolution of the costume, as well as those forms and methods that theatrical artists use, because without the past, do not understand the present and not to look into future.

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A big and sophisticated path was a dance costume. Not immediately, he opened his true and unique features to the world. In its primary form, he was closely connected with magical cults and religious rites, with lifestyle. For a long time he had stable forms, relatively little changed. Later he concluded all the signs of belonging to the team. Through the ornament, the color, the shape of the costume was indicated by the floor, age, estate, nationality.

Even at the beginning of the XVIII century you can not even talk about the current image of a ballet costume, as you can not talk about the addition of the school of classical dance. Only in XVIII A century dance gets a wider and developed dramatic emotional basis, which contributes to the development of ballet art. To the second half XVIII The century ballet stands out in an independent genre, the first attempts of the execution of dances before the public appear - usually during palace celebrations. The dance becomes already art and the creation of a suit for him becomes part of the overall work. Palace, the ceremonial ballet of that time is subject to tastes and modes of a gallant society. It is characterized by strictly installed pa, figures and elements. Following the court etiquette, diligently and embarrassing with legs, the dancers performed in long skirts, under whiche was made by carcassesSo that the skirts bloom to a wide bell. Heel shoes, heavy hats, wigs completed an uncomfortable suit, relatively long holding the development of the dance technique. In Russian visual art, a part of the works of this pore dedicated to dance remained. In most cases, they resemble robes as in the paintings of N. Lanya and A. Watto. Costumes always turn out to be richer and more interesting than their roles, i.e., involved directly in the dance. Because in the overwhelming majority, the artist created a suit, absolutely not knowing the plot of dance. The costume is not designed for a dancer, as, however, the dance itself is not designed. It can be traced according to them that the dance consisted mainly from the change of elegant poses and televitations. Only M. Komargo, while retaining the court-tajus shortened the skirt and dropped the heels, which gave the opportunity to introduce a new movement in the dance - Anthrash.

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However, costumes of wandering characters in the scene, despite the brilliant acting work, and do not go beyond their lush gravity, extravagant sophistication, theatrical dummy. In vain, we would like to look for the costumes of the costumes external similarity with a dancer. Artists did not seek this. Costumes turn out to be internally immobile, deaf to the image, as if move away from it. They, in essence, remain for us only way, resurrecting the morals and customs of the past era.

Ballet is gradually approved as a major independent phenomenon. Criticism XVIII the century proclaimed him equal to the row of related arts. In the second half XVIII in. The St. Petersburg and Moscow ballet is formed, after them, a fortress ballet appears in Russia. For landowners who lived in the wilderness, the theater was becoming a means of fun. Ballersters work with serf artists - Russian and foreign. Separate artistic individuals appear, which attract the attention of artists. So, the costumes of T. slimber - pomegranate. The artist tried to penetrate the inner world of the heroine and find, guess the features of her future dance. However, the costumes often slipped sketchiness, single-laying images of images. It was not always possible to express the artists to express and brightly show the characters of actors, sufficiently explore the visual capabilities of the ballet. And yet this period allows you to talk about a suit as a certain step in its development and interaction of fine art and dance.

In the first half XIX. in. The Russian Ballet Theater was preparing to become one of the best in the world. At this time, costumes were created for A. Istomine in the image of the flora, E. Kolosova in the image of Diana, F. Gulany-Sor in the image of Cinderella, E. Teleyshevoy, A. Glushkovsky, N. Golz. The reform of a ballet suit, produced by S. Didlo, as a result of which was introduced trico, which gave greater freedom to movements. Gradually, the Dido enriches the new expressive opportunities for women dance, new elements of the duet dance (adagio) are outlined and wide variety of jumps and flights begin. In the art of an outstanding dancer Pushkin Powder A. Istomine reflected the skills of classicism and the foresight of the rising romanticism. The costume of the destroyer - the goddess of flowers - the flora is marked by France unknown master. Making it, the artist, of course, wanted to look for a form, the development of the topic of a romantic costume. The semi-deplex package emphasizes the perfection of the forms, and its flowing folds and wreath on the head give a suit amazing decorative effect. However, the present awareness of creative individualitythis very peculiar thin, elusive, mysterious style in the ballet has come later, but the motive on which the idoliness costume is based is associated with this mental penetration of tomorrow.

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The new page in the history of the development of a ballet costume opens with the appearance of "Sylphides", which marks the beginning of the era of romanticism. The creators of romantic ballets were interested in spiritual life, they were attracted by the characters elevated, capable of fine and deeply feel. Romantic plots gave birth to new elements in the dance language. It was in this era that the ballerina got up to his fingers, or, as we now speak, to the pointe, to create an impression of ease, steaming over the ground from the viewer, flight jumping and high support are introduced, many movements that make dance are formed by air and easy. Strengthening the attention of ballersters to the romantic tonality of the image led to an increase in the skill of artists and expanding the means of expressiveness of the art of ballet costume. In white long packs, whose elegant appearance remained imprinted on engravings and painting is born by a thin, crystal image of a sylphide, personifying the elusive and fragile dream of the beauty of a girl who died from contact with a hostile world. Repeatedly returning on stage, this image is becoming an increasingly in-depth. But at the beginning of his stage life, a transparent suit, made by the artist, is distinguished by the desire to solve the topic, an acting image, in general the nature of the ballet.

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The initial development of a ballet costume is interesting, but unfortunately, a low-prospecting page entered the history of art. Yes, and the names of artists in most cases remained for us unknown, such became their unenviable fate.

Artists leave, with sad impossibility leads their time. They come to replace others, already masters professionals. We are deployed again a wide range of ideas and problems that occupied the minds of those who thought about the paths and fate of ballet art. Theatrical-decorative art is now standing out in a peculiar independent area. However, we will not get ahead, ahead of events, and try to understand what the artist-professional ballet can give?

The suit in the ballet is the second shell of the dancer, something inseparable from its being, a visible element of his theater image, which must be merged with it. The costume is the main means to enrich the expressiveness of the Mimici, gesture, and of course first of all movement, plastics of the artist, this means to make the entire figure of the artist more understandable and sounding according to the ballet image. Not every artist can be a scene, create costumes to the ballet spectrum and not every scene can work on any choreographic product. Here are close points of contact between the artist and the balletmaster, the artist and the dancer. The artist-scenograph by nature of his creativity should be prepared for the perception and analysis of the ballet performance better than an ordinary artist, it should contribute to the discovery of the performance and primarily the image of characters, which at perception sometimes elude due to the known convention of the art of choreography. The artist must predict. He must express his concept, and if it is artistic, it will find a response from the majority.

There are artists working on a ballet costume as painters, but there are sculptors. Some attracts color, decorative principle, others are interested in the volume of the image, naturalistic in the transfer of all hints of the costume. Such a division, of course, is quite conditionally, because the ballet is the synthesis of many arts. This synthesis is determined not only by the fact that the visual art is the component of the choreographic work. Although each of these arts has its own expressive means and opportunities, they are relative in this case with their common ideological and artistic tasks. Nevertheless, the qualities of the two arts are determined by their dialectical opposites. Ballet on one side, the most unconditional art, for this action, a real man's dance in the real scene atmosphere. The costume sketch is always originally an image, always showing it on the sheet plane, only after that it can get a second real life directly in a ballet performance. Therefore, a sketch of a costume, belonging to the artist, thinking picturesque or sculpturally, in the end must have the ability to impress its integrity, to be aesthetically perceived in this capacity, to be a prototype of a future performance, which should be brightly discovered, adequately reflecting in our psyche, causing the appropriate emotional reaction . However, the value of all kinds of joints between different arts, a ballet suit remains a specific branch of art and the task of which includes a special study of it as a work that has independent artistic value.

The costume sketch often goes beyond the usual scenography, is perceived not only as an illustration or detailed material, but also as a work of art oriented to emotional perception, to empathize with a way outside of its connection with a ballet performance. No wonder the theatrical and artistic museums of the world are assembled and stored them as unique exhibits. They become the property of art historians, because any suit, regardless of expressive and visual funds used by the artist, carries scientific information. Each detail, carefully worked out, designed to preserve the character and spirit of the performance and the whole era, acquires an important ethnographic and informative meaning. So, the ballet of the era of M. Taloni for us now, of course, legend. The time would seem to unwretfully erased the details, the details of her dance. However, on sketches of costumes, we are trying to restore this legend of the long-lasting years. Peering in the elements of the costume, the pattern of poses, the nature of the movement we are trying to comprehend seen, understand the events of a particular type of ballet pa, dance technique, trying to find an answer to the questions exciting us.

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One of the custodial keepers of theatrical, including ballet relics is the Museum of the Bolshoi Theater (Gabt). The main collections of him are taller about the stages of the formation and development of the Russian ballet from the end XIX. in. to the present day. The pages of the visual chronicles of the main events of the classical dance of the Moscow ballet school are connected with it.

Interesting collection of end costumes XIX early XX century representing samples of the scenography of the time. Here and the works of A. Benua, K. Korovina, V. Dyachkova, E. Ponomareva, K. Valtsa, A. Arapova, head.

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As you know, the beginning of the new century was marked by a new stage, a revolution, a decisive jump in his new quality, occurred in the development of the Russian ballet. Ballet - the art of moving images should be free from Academism, it must find his own stylist path - this is the idea that, then at the beginning of the century, wearing in the air and which artists began to sprinkle and propaganda. The costume, in essence, the new amazing artistic quality of the ballet performance immediately conquered a strong place in a number of expressive drugs by A. Gorsky and M. Fokina.

Already the first their ballet mace workshop showed how much the meaning of fine arts, how much carries with them to the performance along with musical, decoration. This will allow them in an immeasurably larger range, with greater depth to cover the idea of \u200b\u200bRussian ballet and submit a reason to M. Fokin for his own statement: "As far as it was richer, more diverse and more beautiful if the dormants in it woke up, they dissolved a closed circle of traditions, they would breathe with clean air of life, would come in touch with the art of all times and all the peoples and would be available to the influence of all the beauties, which only rose a dream man! "

In the compositional stroke of Parsley ballets, Pavilion Armada, Spring Sacred, "Fire-Bird", "Don Quixote", "Konk-Gorbok", "Corsair" and others. Feel choreographers, thinking with the help of complex combinations and visual images. Even a quick viewing of sketches of costumes of different artists allows you to see something in common and, above all, the free flight of imagination. With its heroes and artist, the balletmaster makes it possible to elude monotony from the painful kingdom.

The ballet for the artistic direction "The World of Art" has always been a momentum for creativity. The search for artists belonging to this group: A. Benua, L. Baksta, B. Anisfeld, A. Golovin, N. Roerich, etc. They differ in breadth and diverseness and are one of the most characteristic accepts of those years. The decoration of the ballet in Schistal, if neither paradoxically, "ballasting" graphics and painting. Sometimes we discover in the pictures of "Miriskuseniki" at all dedicated to the ballet, anticipating dance, those properties that seem only in live dance are imprinted. And the sketches of costumes are always more alive and movable than those that we have seen before. Artists will be in the suit of the actor, the improvisator, make a costume live and play "from the inside." For a minute of creativity for them on paper there are already on stage minutes of acting inspiration. The suit flies and dances in the scene space along with the artist, becomes one of the actors. He is experiencing the same feelings as the heroes. He does not just fix their condition, but himself is in this state.

Simultaneously with the comprehension of the creature of the image, its inner world, Miriskusniki was looking for an external drawing of the role. They always attached great importance to the intonation of the gesture and facial expressions, rightly considering that only the organic compound of physical action and the pattern of poses can be transferred to the image content. Still focus on the visual, plastic side of the costume became a bright distinctive feature of their scenography. That is why the sketches of the costumes of L. Baksta, A. Benua, S. Sudayikin, A. Golovin with their refined sophistication, "Rus Malochy" aesthetics of the outlines, the linearity of painting were so consonant with the Ballet itself of the stroke of the ages, striving for the rest of the movements and stylization pos. The line of "Miriskusnikov" is as lighting as the figure of dance. M. Fokin noted that the costume reform and dance reform are inseparable. The ballet teaches the artist to see plastic body, and the sketch of the costume in turn, opens up a huge expressive opportunity for his body for a dancer. And not only the music of lines, rhythms and patterns of costume is consonant with ballet, but the ballet itself is close to the aesthetic consciousness of artists of the "World Peace", which lives the greatest passion, often turning into natural sensuality.

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The overall line of the artistic orientation of Miriskusnikov does not prevent us from revealing the personal creative conquests of different artists. The Museum of the Bolshoi Theater is kept sketches of costumes of only one artist - a member, the group "World of Art" - A. Benua and K. Korovina, formally not included in the union, but formerly a consistent participant in the exhibitions of this direction. Meanwhile, they both deserve the most interested attention.

These are the masters are rare: serious, thin with a very peculiar individual vision of the world, a deepest plastic culture, a subtle understanding of the very essence of the poetics of a ballet image.

A. Benua is represented by the design of one parsley ballet, but by this ballet he entered a new bright page into the decoration art of the end XIX early XX century, since here he spoke not only as a decorator, but also by the author Libretto.

It was A. Benua who was obliged to the success of the "Russian ballet seasons" in Paris. Criticism wrote a lot about the plastic organization of costumes and scenery, about the amazing beauty of the visual solution of the performance. Peering now in the artist's sketches, remember the expressive and accurate statement of T. Drozd: "The brilliant errite and the fifteentifier, he in every work for the theater as it were created a new really unreal world, saturated with characters generated by an unrestrained fantasy and truly" harmonious "imagination."

Undoubtedly, Benoit's work in Parsushka was more aimed at achieving external expressiveness, entertainment in the transfer of ballet images - "crowds". The theme of the ballet, naturally, influenced the poetics of the visual design. In numerous sketches to Parsushka, we have an amazing world of author's libretto, with his heading bitterness and sweet pain. In each suit, a certain socio-moral type generated by the epoch is clearly evaporated. Here and the toy, but the dramatic world of the main characters - parsley, arapa, ballerina and the images of juicy, colorful folk ballasts: street dancers and magicians, flores and gypsies, muddy and master, kucker and cabers, hussars and merchants. Watching, fixing, collected together - in a holistic panorama as if minor random details of Benua will give the hands of its own authors' "timbre" of sound. They also showed his ability to transfer psychological states, the relations of the main actors and diverse nuances of the folk psyche. Through the entire performance, the artist conducted a specific emotional state, retained from one embodiment to another (1911 and 1921). The costume of the ballerina can be bribed with his immediacy, the charm of just awakening femininity, in a countless, in which the natural plasticity of T. Karsavina is indicated. In the costume of the parsley, an awkward lonely image of V. Nizhinsky is born, and Arape's costume, in contrast, immediately draws the look of a lazy and dull hero. It can be said that the sketches of the costumes of the main characters as if opposed to the crowd, the costumes of the crowd are folded into a chaotic, almost deprived of any logic, the composition of the dark on light. However, they live in complete unity, complementing and enriching each other. This becomes a visual model of the design of a ballet performance A. Benua

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K. Korovin, unlike Beno'a, formally departs from the aesthetics of "Miriskusnikov", he seeks to create his own world of ballet costume, with his principles, with its shaped elements, if you want, melody. Miriskusniki fascinated him by the desire for the creation of a synthetic ballet theater, the desire for the unity of dance and painting, the consciousness of the image, when the costume is based on expressiveness of the gesture plastic, wide use of pantomime. These features are in the works of the cow. However, color and flavor, bright colorful spots he will make the center of the composition of his ballet costumes. Painting cow is completely different, more magnificent, more diverse and pulsating, carrying an impressionistic beginning. This is a stormy artist, truly indomitable temperament, artist of bright passions and open emotionality, intermediate feelings, he does not seem to know. Costumes K. Korovina became a genuine museum decoration. The museum contains works by the artist to more than ten ballets, the most diverse style, uneven, asymmetrical on rhythm. In this natural, revolving course of the whole kaleidoscope of costumes, in the free neighborhood of sentiment, as in the diverseness of the visual solutions from the fervent colorful passions "Don Quixote", the shine of the eastern luxury of "Corsair" to romantic "Schubertines" and a fabulous "Scarlet flower" - poetics The ballet creativity of the artist, his mood and thought.

Basically, Korovin worked together with his design with V. Dyachkov. About him I. Grabar wrote: "Dyachkov was a master doubly. His drawings, distant from the approximity and the ramporian chase, already in themselves - great art, exciting and infant with the image of the characteristics, the sophistication of the lines and the coherence of bright colors. Heads of his characters are not just spots and common places, but real portraits of acting persons in which Grimer is easy and fun to work. Fairy tales of his costumes, bows, buckles, hats, shoes are felt not only with spots, but it is not advancing, there is nothing to accurately get the right style. "

Of this serious, mutually engraving cooperation of the two artists, the history of art almost did not know. It was a huge work on the conversion of a flat sketch on paper into a bulk suit. Their work is deeply peculiar on the organic combination of talents. Starting to work, they first sought to comprehend the inner world of the hero, finding in themselves those spiritual movements that the image lives. Therefore, they are recreated by them costumes of heroes to Raymond 1908, "Salamo" 1909, "Corsaire" 1911-1912, "Daughters of Guadula" 1902, "Fire-Bird" 1919, "Schubertian" 1913, "Don Quixhot" 1906 acquire greater power emotional impact.

Design of ballets: "Goldfish" 1903, "Konk-Gorbok" 1901, "Scarlet flower", "Nutcracker" 1914 can be combined into a kind of group. Unites them not a single plot and actors, but an internal fabulous children's theme. This topic subsequently will receive in the Soviet period in the work of other artists deep understanding and ethical scope.

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The ballet suit of the Soviet era, of course, deserves the most serious attention. This period can be safely called the most significant and fruitful in the entire history of theatrical and ornamental art. Ballet costume, accumulating the vast experience of comprehending dance images, of course, gave a momentum to his further continuation. Artists of the Soviet Theater develop traditions A. Benua, L. Baksta, A. Golovin, N. Roerich, etc.

V. Khodasevich, M. Basyshev, F. Fedorovsky, V. Dmitriev, M. Kurilko, P. Williams, V. Romadin, S. Virsaladze learned a lot from Miriskusenikov. So, they rely on the unity and the community of ballet and painting. Their creativity is impossible to consider isolated from the ballet mace concept. But on the other hand, an understanding of the image of a suit is impossible without supporting their own worldship. They have a happy ability to accurately "bind the suit to a specific space and time. The means for this is plastic and psychological drawing of the role. Knowledge of the party, close connection with it - one of the main sources and the motives of their creativity.

In a ballet suit, artists managed to solve some important dramaturgical moments. The work of their Soviet ballet was already addressed their work now. Considering the largest collection of costumes of Soviet artists belonging to the Museum Gabt, we silently recognize their superiority, their special status in the hierarchy of a scenographic culture.

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The world has become more difficult, new performances and images appeared later. To comprehend them and reflect in art in its entirety and versatility to massers of a ballet costume. They work at all different angles: a generalized monumental and chamber-psychological, lyrical and tragedy, historical and documentary and parable-metaphorical. It can be traced as these masters from the play to the play, from the sketch to the sketch not only the professional skill is growing, but also the addiction to their topics and produces its own style and manner of the pattern, the way to organize a ballet costume image.

Baranova Anastasia, student 5 "b" class

The history of the creation and features of the Russian ballet costume

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What is ballet?

Ballet ( fr.ballet, OT. italian.ballo. - Dance) - type of scenicart; The performance, the content of which is embodied in musical and choreographic images. At the heart of the classic ballet performance lies a specific plot,dramaturgical plan libretto, in XX century There was an immutable ballet, whose dramaturgy is based on the development of the laid in the music. The main types of dance in ballet areclassic dance and characteristic dance. An important role is playedpantomimeWith the help of which the actors transmit feelings of heroes, their "conversation" among themselves, the essence of what is happening. In modern ballet, other dance techniques are widely used, as well as elements of gymnastics, acrobatics, oriental martial arts, etc.

Ballet origin.

Dance classEdgar Degas,

At the beginning - as a dance scene combined or mood, an episode in a musical representation, opera. Borrowed outItaly, V. France flourished as a magnificent solemn sight -court ballet. The beginning of the ballet era in France and all over the world should be considered October 151581When a spectacle was held at the French court, which is considered to be the first ballet - the Queen's "Comedy Ballet" (or "Church"), supplied by the Italian violinist, the "Main Music Intendant"Baltazarini de Belfzhozo. The musical basis of the first ballet was the court dances, which were included in the old suite. In the second halfXVII century new theatrical genres appear, such ascomedy-ballet, opera-Ball, in which a significant place is given to ballet music, and attempts to be donedramatize. But the ballet only in the second half of the middle of the second halfXVIII century Thanks to the reforms implemented by the French balletmasterJean George Novverrom.

Russian ballet.

In Russia, the first ballet performance took place on February 8, 1673 at the court of Tsar Alexei Mikhailovich in the village of Village Preobrazhenskoye. The national peculiarity of the Russian ballet began to form at the beginning of the XIX century thanks to the activities of the French balletmaster Charles-Louis Didlo. A real coup in ballet music was produced by Peter Ilyich Tchaikovsky, who made continuous symphonic development, deep-shaped content, dramatic expressiveness. The music of his ballets "Swan Lake", "Sleeping Beauty", "Nutcracker" gained along with a symphonic opportunity to disclose the internal course of action, embody the characters in their interaction, development, struggle. The beginning of the 20th century was marked by innovative searches, the desire to overcome stereotypes, the conventions of the academic ballet of the XIX century ...

Ballet suit: What are the ballerina dancing?

The story of a ballet costume is quite logical. When slow menuets were dominated on the stage, the costumes were long, heavy, embellished precious stones, with many skirts and attributes. As the dance became more complicated, respectively, evolved and costume. At first, the corsets were removed, the skirts became all shorter and easier, and everything is frank decol.

Tutu.

For the first time in what is now called "package", the ballerina Maria Taloni, the first Sylphide and the ancestral, spinning the scene"Romantic Ballet" (Taloni is also known for the fact that it is the first of the ballerina in the world to be pointed, but about that later).

Unprecedented gazda skirt, woven, seemed from the air, tamed ballet costume. The first time of the dancer (especially with the ugly curves of the feet) even stormy protested against innovations, but then calmed down - this air cloud was very beautifully looked.

In general, as you understood, the ladder became the dance - there is easier and shorter the costume became. To our usual, the packs of packs came somewhere in the middle of the twentieth century.

Now we'll figure it out with names. Putures are different and change their appearance, depending on the ballet.

Tutu is a funny French word, which is just translated as a pack. This word is used in English to designate a ballet skirt.

Classic pack - a pancake-like round skirt. Ballerinas dancing such dance, as you probably guessed, in the most that there are classic ballets: Swan Lake, Pahita, Corsair, 2 and 3 Act Bayaders, Nutcracker, etc.

The standard bundle radius is 48 cm. But most often the size of the circle varies - depending on the growth of the ballerina, the party and the overall stylistry of the performance. Soloists, depending on its physical data, can independently choose the shape of the pack - decorating their legs: they are smooth, parallel to the floor, slightly lowered, with lush bottom or, on the contrary, completely flat.

Romantic tutu or "Schopin" - Long fate skirt. It is she who is responsible for the creation of "sustained" fantastic images - the ghost of the deceased Giselle, the beautiful spirit of the Salfide. And apotheosis of the romantic ballet "Sopenian" is not possible at all without these wonderful air skirts - they create the illusion of flight, air, freedom, absolute unreality of what is happening.

A long lush skirt, understandable, hides the legs of the ballerina. On the one hand, it distracts from possible flaws, and on the other - attractsall attention to the foot. But the romantic ballets are saturated with small appliances and ugly non-working stops without high lifting are somewhat knocked down with a romantic mood.

There is still such a thing astien or Tien. - This is the same bundle, ballet skirt.

Chiton - This is a single-layer skirt most often from chiffon. In Hiton, for example, the Juliet party is performed.

Putchings, Schopin, Ties, etc. there are asscenic and rehearsal.

If the costume, for example, is dressed, in which the ballerina goes on stage, is a single whole - that is, the stitched top (bodice) and the lower part (actually a bundle), then the rehearsal costume is only a skirt with "panties", which is put on A rehearsal swimsuit (Schopinka - without panties, just a skirt on the coquette).

Rehearsal packs consist of fewer layers.

You ask, why a pack of rehearsal? After all, it is quite possible to do with standard rehearsal clothing - a trico and swimsuit. But it is necessary to rehearse in the fact that the Ballerina will be released on the stage - it is possible to ensure that the skirt does not have a part of it, so that her partner does not cling to control the overall drawing of the dance.

Pointe

Punts (OT. fr.pointe. - edge; sometimes slices or helmets) -footwearwhich century gradually turning into a mandatory element of the classic ballet. Dance on pointes exclusively female.

This word has two close-friendly values.

1. Punts are called fingertips. Dance on pointe - indicates dancing, relying not completely on the entire foot, but only on pointes. This ballet dance system began to be used at the very beginning of the 19th century.

2. Punts are called special ballet slippers, in which the ballerina is dancing, leaning on the tips of the toes (on pointes). Used in the performance of female classicdance.

For the first time on the stage in pointe-slippers with a rigid cork gasket came out on July 3, 1830Maria Taloni. In the party flora in the ballet "Marshmallow and Flora" in Covent Garden , London. She was the very first to dance on the pointers fingers - in 1832 in ParisGrand Opera in ballet " Sylphide"In the formulation F.Talloni. . And the very first Russian ballerina - the performer on pointes is calledAvdota Istomine.

Male ballet costume.

The story of a male ballet costume began with costumes of such a complex design, which is now very difficult to imagine how in such dresses it was possible to just just go, not to mention to perform various complex tricks during dance. But over time, the ballet dancers won in the difficult struggle for liberation not only from complex and uncomfortable costumes, but also from a large amount of clothes in principle.

However, for this they had to go a long and difficult path. The first ballet dancers performed in masks and high wigs with lush whipped hair, on top of which headdress was put on. From the clothes on them there were skirts on the frame to the knee-long, long mantles, etc. Dancing men in high-heeled shoes. By the end of the XVIII century, the dance technique is complicated, and the costumes become lighter and elegant. And over the next centuries, costumes are becoming easier and frank, reaching such extremes as a bandage and even full nude. Today, classical ballet dancers usually perform in tight tricially and turtlenecks or with open torso, hitting the viewer to the grace of their movements and the perfection of the trained body.

Suits "Princes" in various performances can be considered a real work of art. Since the decoration uses a large number of brocade, velvet, gold and silver cords and braids, various jewelry and stones. Ballet costumes of the court (rings orcamoles), also abundantly decorated with a variety of trim. Suits are minor characters, although they do not have a bright finish, but they also look interesting, for example, the armor of the knights or the guardian of Sultan.

When, during the performance, put together - music, dance, light, scenery and costumes, then you feel this feeling of delight. Especially if you look at the classic productions - "Nutcracker", "Sleeping Beauty", "Karsara", "Swan Lake" and more. Stunning performances with performed by real masters of ballet.

Continuing to explore the Internet for compliance with the search word "ballet", stumbled upon his favorite resource Gay.Ru, the inhabitants of which are very, as it turned out, the ballet love. And much attention is paid to him.
That's what I found on the most interesting (and more than once discussed) the topic of a ballet costume.

Male ballet costume: from Camzole and Pantalon to full nude

In men in a ballet costume, it all started with such a bells, that today it is impossible to even imagine how in such orders it was possible not to dance, but simply move along the scene. But the dancers showed themselves with real fighters for the complete liberation of the body from rags. True, the path that they had to do to appear in front of the spectators almost naked, only the busting of the "Stamp" Fig, named the bandage, or generally naked, was long, thorny and scandalous.
Skirt on the carcass
What was the dancer of the birth times of ballet? The face of the artist hid the mask, the head decorated with a high wig with puff whose whipped hair, whose ends were dropped on his back. On top of the wig was put on another incredible headdress. Fabrics for costumes were heavy, dense, generously whipped. The dancer appeared on the stage in the skirt on the frame, reaching almost to the knee, and in the shoes in high heels. It was used in the male dress and the gowns from gold and silver brocade, reaching from behind to heaven. Well, just a Christmas tree, just not luminous with multi-colored light bulbs.
By the end of the 18th century, a ballet suit gradually begins to change, becoming easier and elegant. The reason is the complicated dance technique, requiring the liberation of the male body from heavy outfits. The costumes of innovations, as always, dictates the legislator mod - Paris. The leading performer is now wearing Greek Chiton and sandals whose belts are wrapped the ankle and the foundation of caviar of naked legs. The dancer of the demiccript genre performs in a short camsole, pantaluckers and long stockings, a characteristic role dancer - in a theatrical shirt with an open collar, jacket and pants. In the second half of the XVIII century, such an important attribute of the male outfit also appears, by the way, who lived to the day of today's, as a bodily color of Triko. This amazing invention is attributed to the costume of the Paris Opera Malo. But it is unlikely that this talented Monsieur assumed that his dense mating product in the twentieth century will turn into something elastic.
Albert without pants
Everything went through traditions and decenings, while the great reformer of the ballet theater and a passionate fan of the hot male body Sergey Dyagilev did not reveal his own entrepreneurs - Russian seasons of Dyagilev. This is where everything began - scandals, noise, hysteria and all sorts of stories related both to the Dyagilev himself and with his lovers. After all, if the ballerina reigned on the stage, and the dancer played the role of obedient cavalier - helped during rotation, so as not to fall, raised higher to show the balletomans, which is under the skirts, then the dancer makes a dancer to the balletomans.
A loud scandal associated with a special sexual orientation of Dyagilev, but only with a stage costume, broke out in 1911 on the play "Giselle", in which Vaclav Nizhinsky is the official lover of Dyagilev, - Dancing Count Alberta. On the dancer, everything that was required by the role was, the trico, a shirt, a short rush, only the pants, mandatory at the time for the dancer, did not find it. And therefore, the expressive thighs of the Nizhinsky appeared to the auditorium in their frank appetiteness, which was outraged by the Empress Maria Fedorovna present at the performance. The scandalous story ended with dismissal of Nizhinsky "For Helling and Disrespect" to the Imperial Scene. But the dance searches of the artist did not stop, he continued his struggle for the freedom of body in dance. In the same year, Nizhinsky appears in the ballet "Ghost Rosa" in a suit created by the Lvd Bakstom, tosing a figure like a glove. A little later in the "afternoon rest of the Faun" Dancer Nizhinsky appears on the stage in such a lot of tribone, which today looks modern and sexy. True, all these revelations occur already beyond the limits of their native, but underwent Russia.

This is a sweet word - bandage
In the fifties, the wizard of the dance, the waging body, especially the masculine, Maurice Bejar came up with a universal outfit for the dancer and dancer: a girl in black tight, young man in Triko and with naked torso. Then the fit of the young man is improving, and the young man remains only in one band. But in the Soviet Union, as you know, there was no sex. It was not on the ballet scene. Yes, of course, love existed, but clean - "Bakhchisarai Fountain", "Romeo and Juliet", but no frankness. It concerned the male costume. The dancer put on dense panties, on top of them three, and beyond the trico, and Waton's pants. Although you look at the most powerful telescope, do not see any charms. Nevertheless, they were found in the Soviet deception, shameless, who did not want to put up with a similar uniform. They say that on one of the performances in the Kirov (Mariinsky) theater, year in 1957, an outstanding dancer Vakhtang Chabukiani appeared on the stage in a very frank form: in white leggings, put on a naked body. Success exceeded all imaginable limits. Acute in the tongue, an outstanding ballet teacher Agrippina Vaganova at the sight of a dancer turned into a sitting in the bed and sodged: "And without eyepieces I see such a bouquet!"
In the footsteps of Chabukiani, another dancer Kirovsky went, while still not a ballet dissident and gay with a world name, but only the soloist of the theater Rudolf Nureyev. Two first acts "Don Quixote" he danced in a traditional costume allowed by the Soviet bosses - in Triko, on top of which short pants with bulbs were put on top. Before the third act, the scenes broke out a real scandal: the artist wanted to put on only a white tight trico over a special ballet bandage and no pants: "I don't need these abochurs," he said. Theatrical authorities tightened the intermission for an hour, lumbling Nureyev. When the curtain was finally opened, the audience experienced shock: it seemed to everyone that he forgot to put his pants.
Rudolf in general sought to maximize nude. In "Corsaire" he went out with a bare breast, and in the Don Quixote, an incredibly subtle trite created the illusion of naked skin. But in full power, the artist turned around the Soviet Motherland. So, in the "Sleeping Beauty", supplied by him for the national ballet of Canada, Nureyev appears to be covered in the floor-long raincoat. Then he turns his back to the hall and slowly slowly lowers the cloak while he does not pour out just below the buttocks.

Between the legs - the shoulder from the coat
Theatrical artist Alla Kozhenekova says:
- We did one ballet performance. During the costume of the costume, the soloist says to me that he does not like the costume. I can't understand what's the matter: everything sits well, it looks great in this costume ... And suddenly it comes to me - he does not like Gulfik, it seems that he is too small. On the other day I say to the dressmaker: "Please, please, shoulder from the coat and insert it into the bandage." She is: "Why? Why?" I am: "Listen, I know what I say, he will like it." On the next fitting, the dancer puts all the same suit and informs me: "You see, it has become much better." And after a second adds: "Only it seems to me that you put a female player, and it is small ... you need to insert a man." I barely stayed from laughter, but I did how he asked. Portnika sewed to the bandage the player from the sleeves Raglan male coat. The artist was in the seventh heaven from happiness.
Once inserted a snack leg, but now it is no longer in fashion - not the format, but the shoulder from the coat is what it is necessary.
Nureyev was a pioneer on nudity in Leningrad, and in Moscow with him I rolled Maris Liepa. Like Nureyev, he adored his body and as strongly exposed him. It was Liepa who was the first in the capital went to the stage in the bandage, put under the tribone.
Man or woman?
But the most interesting thing is that men in the twentieth century tried not only to expose the body as much as possible, but also cover. Some especially attracted women's ballet costumes. This shock caused in Russia the creation of a male ballet Valery Mikhailovsky, whose artists actually performed a female repertoire in the most real ladies' outfits.
- Valery, who had the idea of \u200b\u200bcreating such an unusual troupe? - I ask Mikhailovsky.
- The idea belongs to me.
- Nowadays, it is difficult to hit the audience something, but as yours, so to speak, women-men dances were perceived ten years ago, when the team appeared. Did you blame you in a homosexual clutch?
- Yes, it was not easy. All sorts of gossip cameras. Nevertheless, the audience is happy with pleasure. And no accusations in homosexuality were not. Although everyone is waited to think and see what he wants. We are not going to persuade anyone.
- Before your male ballet, something like this existed in the dance world?
- In New York, there is a troupe "Ballet Trocader de Monte Carlo", but what they do is completely different. They have a rude parody of the classic dance. We also parody ballet, but do it, owning the profession.
- Do you want to say that the technique of women's classical dance mastered perfectly?
- In general, we initially did not try to replace the woman in the ballet. A woman is so beautiful that it is not worth the encroachment. And no matter how elegant, sophisticated, plastic, neither a man still will never dance the woman dancing. Therefore, dancing female parties follows with humor. What we demonstrate.
But at first, of course, it was necessary to master the female technique.
- And what kind of shoes do your young men? Male or female?
- From forty-first to forty-third. And it was also a problem - there are no female ballet shoes of this size in nature, so we are placed on the order. By the way, each of the dancers has its own nameplate.
- How do you hide your men's advantages - muscles, chest hair and all sorts of other spicy details?
- We do not hide anything and are not trying to mislead the public; On the contrary, we emphasize that they are not women, but men.
- And yet, someone can deceive. Probably there were a lot of all sorts of funny episodes?
- Yes, grabbed. It was, it seems to be in Perm. The guys already applied, in the wigs, heated on stage before the start of the performance, and I stand behind the scenes and hear the conversation of two cleaners. One other says: "Listen, have you ever seen such hefty ballerinas?" What does that respond to: "No, never, and you hear, what bass they say?" - "Yes, what is surprised here, all smoked."
- And no one offered to your artists from the viewers-men and the heart?
- Not. True, somehow one viewer who paid big money for a ticket, came for the scenes and demanded that he was proved that they were not women, but men, looking from the auditorium, he did not disassemble.
- And how did you prove it?
- The guys were already smoothed, without packs, and he understood everything.
Removed everything
In fact, today, the audience is no longer surprised by anything: neither a man in a ballet pack, nor the most tight trite, neither even a bandage. If only naked body ... Today, increasingly and more often the naked body appears in the teams confessing the modern dance. This is a certain bait and seductive toy. The naked body can be sad, pathetic or joking. This joke a few years ago, american troupe "Dancing men Ted Schuena" played in Moscow. The scene went out with young people, modestly dressed in short female dresses resembling combinations. Dance did not have time to begin, as the auditorium came to ecstasy. The fact is that under the skirts of men did not wear anything. The public in a crazy desire to see the rich men's economy, which they unexpectedly opened, almost fled from their seats. The heads of the enthusiastic spectators turned out after dance pyruetics, and the eyes seemed to come out from the eyepieces of binoculars, which in one instant buried in the scene, where the dancers from the soul shattered in their mischievous dance. It was both ridiculous, and exciting, stronger than any steep striptease.
Our former compatriot is completely naked in one of the ballets, and now the international star Vladimir Malakhov. By the way, when Vladimir still lived in Moscow, he was severely beaten in the entrance of his own house (so it was on the head to impose seams) precisely because of unconventional sexual orientation. Now Malakhov is dancing around the world, including completely naked. He himself believes that nudity is not shocking, but the artistic image of the ballet in which he dances.

At the end of the twentieth century, the body won the body in the struggle for his freedom. And it is natural. After all, what is a ballet performance? This is the dance of bodies, awakening the bodies of the audience. And to watch such a performance best with the body, and not through the eyes. Here for this bodily awakening of the audience and need complete freedom to the dance body. So what lives freedom!
The article is taken from the information resource www.gay.ru.