Theatrical costume plays an important role in forming a positive image of the theater among its target audience.
Theatrical costume is a broad concept and includes everything that artificially changes a person’s appearance by sticking to his body - this is a whole complex of things: hairstyle, makeup, shoes, headdress and the dress itself. The semantic meaning of the costume as a bodily mask is confirmed by lexical meaning words “suit”: “the word is borrowed from the Italian “costume”, which means “usual”, “custom”, “habit”, and in plural- “morals” Kokuashvili N.B. Clothing as a cultural phenomenon // Signs of everyday life. - Rostov-on-D., 2001. - P. 38-44..
Theatrical costume always reflects the era in which the play takes place. To create a theatrical costume, decorative artists use various sources of information: frescoes, sculptures, paintings, written sources.
Theatrical costume is the only system that can artificially change a person’s appearance, emphasize or destroy the harmonious unity of the body, or certain parts of it, and create an artistic image. Let's assume this real situation: seeing a girl in a dress that gives her figure a shape that is close to ideal, we can exclaim, “What a beautiful girl! ", which will mean that this suit fulfilled its “aesthetic function”, it made a person beautiful. Numerous non-functional details, for example, pattern, fabric design, its color, texture, lace, gathers, decorative buttons, embroidery, appliques, patches flowers, etc., at first glance, are only decorative elements of the costume details, but upon careful analysis it turns out that they help shape the image, and figurative perfection is one of the powerful sources of beauty. In this case, one aesthetic aspect of a theatrical costume imperceptibly transforms into another. , which can be called artistic function suit, designed to create an individual image and style.
Without compiling a typology of theatrical costume, it is impossible to study its role in shaping the image of the theater. The variety of theatrical costume can be compared with the variety of life situations or human characters that are embodied through this costume on stage. The main way to understand its essence is typology, division into classes, groups, types, etc. in different planes.
There are no completed studies on this issue. Although it is worth noting that every author who begins to study theatrical costume and costume in general classifies it according to some criterion. Most of the literature on costume is historical and ethnographic studies, and therefore categorizes costume along geographical or temporal lines. In the literature devoted to the emergence of clothing elements, their development, and methods of image formation, the suit is usually divided in relation to the body, design and functions.
Each type of classification opens up new areas of research, revealing unexpected problems and new aspects of the costume.
We have already said that a theatrical costume should be understood as everything that artificially changes a person’s appearance by sticking to his body, this includes clothes, headdress, shoes, hairstyle, jewelry, accessories, makeup. The definition already contains the first and main classification - the subsystems of the suit are listed.
The main planes of the typology:
1. Anthropological
a) in relation to the body
The basis of the classification is the degree of proximity to the body, and as a result, the degree of influence on the body.
Let's list them from the closest to the farthest: body paint (tattoo, makeup, make-up), clothes, shoes, hats, jewelry, accessories (also have different effects: for example, glasses are closer than a handbag).
Many systems, such as clothing, also have differences within themselves (underwear and outerwear).
This basis must be taken into account when creating and consuming theatrical costumes, because the human body can only accept certain materials, textures, and substances. The entire history of costume production is developing in the direction of creating the most comfortable and health-safe materials and substances (makeup, makeup).
b) in relation to parts of the body (types of clothing, hats, shoes, etc.)
We have already met this classification in the definition and therefore it can be called determining when systematic approach to study the costume. Let's build a complete hierarchy of systems and subsystems of a theatrical costume.
Cloth. According to the method of fastening to the body, clothing is divided into waist (skirts, trousers, shorts, panties, etc.) and shoulder (shirts, dresses, sundresses, raincoats, coats, fur coats, jackets, T-shirts, sweaters, etc.) The configuration and plasticity of the body dictate the differences in the elements of the costume. Clothes are placed on three parts of the body - torso, arms and legs.
All clothing is also divided into three layers: underwear, underwear and outerwear.
Linen. Manufacturers divide lingerie into three types: everyday (practical, made of dense natural or mixed materials, smooth), festive (elegant, with all kinds of decorations, matching clothes for special occasions) intimate lingerie (open, transparent, with all kinds of decorations, overhead details (ruffles, bows, lace, beads), often with a hint of joke.
In the 12th century, elegant intimate home clothes appeared (usually for morning dressing): negligee, polonaise, peignoir, schmiz, which still exist today. IN Europe XIX Thanks to travel to the tropics, pajamas became famous.
Underwear. This is the most numerous section of clothing; listing all its types is difficult and impractical; this entire array is located between underwear and outerwear. However, you should pay attention to the following feature, which depends on the climate. In hot countries, underwear and underwear are often combined, forming quite open clothes, used every day in order to minimize the materials present on the body. While the clothes of the northerners are multi-layered, which increases the number of types of clothing.
Blazer section: blazer, jumper, jacket, vest, jacket, sweater, tuxedo, tailcoat, suit (two-piece, three-piece, with a skirt or trousers), shirt (blouse).
Leg clothing: trousers, shorts, socks, stockings, tights.
We highlight the dress (sundress) and skirt separately.
Outerwear. The variety of types of outerwear is not so great; the division is based, first of all, on seasons and, of course, design and material. Let us list the main types of outerwear: sheepskin coat, fur coat, coat, jacket, coat, raincoat.
Costume historians identify about seventeen types of coats.
You should also pay special attention to individual elements of clothing, which, as a rule, have a special symbolic power - collars, cuffs, ties (scarves, shawls), socks (stockings), belts (belts), gloves (mittens). These minor details can completely change the information load of the suit as a whole.
Shoes are divided into: sewn, cut and attached to the foot with various slings, and wicker.
By design, shoes are divided into sandals and clogs, shoes, boots and shoes.
Hats. The headdress has always been associated with the head, so it had a strong symbolic meaning. In works of art, the headdress could serve as a substitute for the head.
The whole variety of jewelry is divided into: clothes (brooches, cufflinks, buckles, clasps, pins), body jewelry (earrings, necklaces, chains, pendants, rings, bracelets) and hair jewelry (hairpins, tiaras, etc.).
According to the method of fastening, the world of jewelry consists of the following subsystems: neck (chains, pendants, necklaces, chokers, ribbons, pendants, beads, medallions); ear (earrings, clips, studs); bracelets (for arms and legs); finger (rings, signet rings); hair decorations (hairpins, hairpieces, wreaths, tiaras, temple rings, ribbons, etc.).
Hairstyle - the decoration of the head, in many ways symbolizes the structure of its internal content, the worldview of each person and the era as a whole.
Hair on the head, since it covers the upper part of the human body, symbolizes spiritual forces, higher powers, and embodies the spiritual state of a person. Body hair is associated with the influence of irrational, lower forces, biological instincts. Hair also signifies fertility. In Hindu symbolism they mean the “lines of force” of the Universe. Thick hair is the embodiment of life's impulse, being associated with the desire to succeed. Hair color is important. Dark hair has dark, earthly symbolism, while light (golden) hair is associated with the sun's rays, purity and goodness, and all positive mythological and fairy-tale heroes had blond hair (Snow White, Snow Maiden, Goldilocks). Copper-red hair indicates a demonic character and is associated with Venus. For centuries there has been an idea that a witch must be red-haired, and that such people are always lucky. Many witchcraft rituals are associated with hair, as human spiritual energy. When we lose our hair, we lose our strength, like the biblical Samson. The downside to hair loss is that it is a willing sacrifice. Anyone who rejects earthly life in order to take the path of absolute asceticism is obliged to cut their hair (monastic tonsure). People have paid great attention to hairstyle since ancient times. According to Diderot, a hairstyle makes a woman more attractive, and in a man it emphasizes his character traits.
Makeup. Through makeup, an actor can change his face, give it such an expressive form that will help the actor to most fully and comprehensively reveal the essence of the image and convey it to the viewer in the most visual form. But makeup is important not only as an external drawing of the character of the character portrayed by the actor. Even in the creative process of working on a role, makeup is a certain impetus and incentive for the actor to further reveal the image.
The initial forms of theatrical makeup arose on the basis of magical body painting and ritual masks, directly related to the magical and animist-religious ideas of primitive man.
2. Demographic
There is an obvious division into male and female costume elements, colors, textures, and materials.
Men's - restrained shades, usually dark, with a predominance of black, there are often strict contrasts, hard textures, dense, heavy, opaque fabrics, geometric and technical patterns and textures.
Women's - pastel shades, the whole pink palette, light, soft textures, easily draped, transparent, with sparkles, embroidery, guipure, floral, plant motifs, polka dots and soft lines in texture and patterns, pearls and mother-of-pearl - material for accessories and jewelry.
Theatrical costume may vary by gender or minor details(for example: the side of the fastener), or the entire shape in general. So, in the 17th century, men widely used chic lace, but now it is the prerogative of ladies, one of the symbols of femininity. Signs of femininity and masculinity, of course, changed among different peoples and in different eras, but were always present. The exception, perhaps, is the end of the 20th century, with its idea of unisex.
For a long time, there have been differences between children's and adult costumes. Within these groups there are gradations: small children, adolescents, youth, mature people, the elderly, old people. The costume contains special details for the older generation and special ones for the younger generation. Here are some examples: a bow or bib is always a symbol of childishness for us, a scarf tied on a woman’s head is usually associated with old age, a suit with obvious signs of eroticism can only be worn by young people. Such stereotypical symbols become firmly entrenched in culture.
As in the case of gender, a division into children's and adult designs, colors, textures and materials is accepted.
The concept of a children's costume as an independent group arose only in the second half of the 18th century in England. Until this time, children's clothing was only a smaller copy of adult clothing. This division is largely due to the dramatic complication of the costume, which made it too inconvenient for children.
The main environmental planes of a theatrical costume.
1. Historical (temporal) - eras, centuries, periods, years...
This classification, applied to costume, is the most common in historical science. With this approach, the history of things and phenomena is studied from the point of view of their belonging to a particular time. The most generally recognized large gradations: primitiveness, antiquity, the Middle Ages, Renaissance, XVII, XVIII, XIX, XX centuries. The development of costume in this case is considered as a linear process, the focus is on the features that distinguish one era from another. The researcher's attention is focused on stylistic features costume common to all architectural arts of each period.
Within each era, it is customary to distinguish smaller periods, their names are generally known.
2. Natural.
Spatial-geographical. Here the most striking division occurs into two poles - east-west. Of course, the differences go far beyond geography. Many works are devoted to the “East-West” problem, and all the problems discussed in them are reflected in one way or another in the costume. Further division occurs in a simple scheme: continents, countries, regions, cities, villages, city blocks.
Climatic. Due to the fact that one of the first functions of the suit was to protect the body from natural influences, the suit, first of all, began to differ in its adaptability to different climatic and natural conditions.
Of course, the planes intersect in reality, forming a wide range of natural conditions that require a special suit. A winter night in the southern forest and a summer day in the northern mountains, northern and southern sun, rain and wind in the steppe and in the forest, etc. largely determine the variety of costumes of the peoples inhabiting our planet.
With the development of human activity and industry, new suits are constantly appearing, specially adapted for exposure to extreme natural conditions, which allows people to make their way to the most inaccessible corners of the Earth and unexplored environments. Humanity has developed equipment for conquering mountain peaks, the depths of the sea, impassable tropical forests, deserts and the poles.
3. Ethnographic - ethnic groups, peoples, tribes (rites, customs). This is one of the common classifications of theatrical costume. The bulk of all literature on costume is ethnographic works containing detailed descriptions costumes of one kind or another ethnic communities and associated customs and rituals. Based on such studies, it is good to study such a phenomenon as national costume.
4. Separate rituals of certain ethnic communities.
Many works devoted to theatrical costume of a particular era are based on division by class. The clothing of various classes is initially determined by their inherent way of life; its fixed form works as a sign indicating a particular layer of society. The leader stood out among his fellow tribesmen, he was revered as special person. The cut and details of the costume indicate status in society, family traditions, etc. And in modern world this function of the suit exists (for example, in a business suit - the thinner the stripe, the higher the status of its owner). Mistakes here were always extremely undesirable and could cause offense. People were very sensitive to their position in society and always tried to somehow emphasize it in a suit. Often different classes have different ethical, aesthetic, etc. norms, which is also reflected in the suit. In a class society, external signs are simply necessary to establish the nature of relationships and communication.
During the transition from a subsistence economy to a market structure, with its division of labor and exchange of goods, each business had its own professionals, and, as a result, the same type of suit. Its form largely depended on the specifics of the activity and contained elements that united people of the same profession into a certain corporation, thereby emphasizing the commonality of occupations that left an imprint on their character, worldview, and attitude towards others. We even characterize groups of people by naming signs or elements of their clothing, for example: “people in white coats,” “people in uniform,” “white collar workers,” and everyone immediately understands who we are talking about.
The following professions have the most clearly defined and easily distinguishable costumes: military, medical professionals, workers transport companies, catering, etc.
Confession. This typology involves studying the costume of representatives of various religions, as well as their branches and heretical movements. Each religion establishes and determines certain forms of costume, special cut, silhouette, colors, accessories and details.
Depending on the degree of influence of religion on the life of society in a given period, these features in one way or another affect all forms and types of costume.
5. Aesthetic - hierarchy of styles, change of fashions, etc.
A fairly extensive body of literature devoted to theatrical costume is based on this very classification. The history of theatrical costume, as a rule, is based on consideration various styles costume and fashion that replaced each other throughout the existence of mankind. Researchers of modernity also actively use this hierarchy in their works, considering the palette of styles that are both present in our time and underlie the science of image. In this regard, it should be noted that the study of costume style is built in two directions: historical styles and modern ones. The concept of “modern” includes not only styles that arose in last decades of the current century, but all the variety of costume styles that our contemporaries have at their disposal, as well as the very attitude towards style as a tool. This is due to the fact that at the present stage of human development, the style of the current era can be defined as polyvariance, i.e. it cannot be defined unambiguously, it depends on many reasons and easily changes depending on the situation, mood, etc. Therefore, we will list the main historical styles that were formed in a particular era, and then the main styles in which one can express oneself modern man. Of course, many modern styles are based on certain historical styles.
We list the main historical styles:
Antique. The body was considered as a mirror, supposed to reflect the perfection of the world. The costume obeyed the laws of logic and harmony. The antique style is the image of a “Greek column”, striving upward towards light and perfection. The use of fabrics of a certain width in accordance with the dimensions of the loom, the clothes are not cut, but gathered in vertical folds, the outfit is designed in accordance with the structure of the human figure, the shoes are practically one sole.
Romanesque. It carried the heritage of antiquity, but with certain excesses. The simple, form-fitting dress (sewn in two parts) was trimmed with a wide border.
Gothic. It was at this time that cutting appeared, which became unusually complex and masterly. Clothes are tailored to fit your figure. The costume of that era is akin to Gothic architecture. Predominance of vertical lines and pointed details.
Renaissance. The desire for harmony, expressed in symmetry and absence of excesses. In everything there are only natural proportions. Contemporaries tried to create a rich and elegant costume that could highlight a person’s dignity. For the first time, a woman's dress is divided into a long skirt and a bodice. The clothes are distinguished by the use of expensive fabrics, complex ornaments, unusual sleeve designs, and a combination of two colors and materials.
Baroque. The emergence of new materials, the most popular are velvet and metal. The desire for luxury and eccentricity. Formality, stiffness of heavy outfits.
Roccoco. Dresses become more elegant, huge outfits are reduced to more human sizes. An abundance of folds and connections with the use of satin, the richest underwear. The predominance of pastel colors in the outfits and an abundance of accessories.
Empire style He followed in the footsteps of ancient fashion (this only applied to women's suits). Characteristic features: simplicity of lines, vertical folds, shift of the waistline under the chest, puff sleeves, deep neckline. A dark tailcoat appeared in the men's wardrobe, which was worn with a tie, a patterned vest and a top hat.
Dandy. At the beginning of the 19th century, a type of modestly but perfectly dressed gentleman was created - the dandy. The main feature is the external simplicity of the suit combined with its high cost and perfect cut. The increased role of the tie, which becomes the only eye-catching decoration on a snow-white shirt.
Romanticism. This style is most clearly manifested in a women's suit, the distinctive features of which are a fitted bodice, wide sleeves, many flounces, ruffles and bows, light color shades, which creates a feeling of airiness and tenderness.
Modern. Ego is characterized by a rejection of all old norms in the suit. Art Nouveau is distinguished by the S-shaped silhouette of a lady's suit, loose, see-through dresses, decorativeness and extravagance combined with fantastic images.
Today, some styles are developing in costume, others are born and dying, it is simply impossible to describe them all. But still, we can single out several of them that have character traits and sustainably existing in a modern suit. Let's look at each of them and at the same time explain what psychological characteristics we can get with a suit of a certain style.
Business style. Often fits the definition of “classic”, and also wears many elements of a sporty style. The main characteristics are businesslike, respectable, serious, self-confident, decent, trustworthy, strictly elegant, comfortable. This style distinguished by strict silhouettes, mostly dark or light, restrained, muted colors, plain materials (only non-contrast checks and stripes are allowed). The main role is played by a business suit in combination with a skillfully selected shirt (blouse), often white. It’s not for nothing that knowledge workers are called “white collar workers.” Special attention pays attention to the quality of materials and workmanship. Strict lines and muted blue-gray-brown colors are present in all accessories and other costume systems (hairstyle, makeup). Personifies and emphasizes rationality, logic, will, determination, restraint.
Style for every day - for work, business visits, official trips.
Romantic. Can be called the complete opposite business style, being the personification of emotionality, sensitivity, dreaminess, tenderness, sentimentality. Of course, it is most widespread among women. We can say that he is the personification of femininity, emphasizing all the advantages female figure. The lines of the silhouette are soft, smooth, an abundance of draperies, a variety of characteristic finishes (ruffles, bows, frills, frills, lace, molds, flounces, embroidery. The colors are delicate, soft, all shades of pink and blue. Drawings and textures - floral, plant, peas , delicate fantasy. Accessories, hairstyle and makeup are sophisticated, refined, graceful.
Style for dates, relaxation, evening, cafe, theater, etc.
Sports. Different sports have given the world different types of costumes - shorts, T-shirts, baseball caps, leggings. Another source of sports style was clothing for military operations (warm comfortable jackets, overalls, helmets, metal fittings, patch pockets, raglan sleeves). The silhouettes of this style are straight, trapezoidal, less often - semi-fitting and fitted.
A rich color palette, frequent contrasts in color and texture, an abundance of fittings, stripes, emblems, stitched overlays. The main characteristics of the style: convenience, functionality, looseness, dynamism.
Varieties of style - "safari", denim, marine.
A style for travel, holidays outside the city, at home, for active, dynamic people who value practicality and convenience in a suit above all.
Folklore. It is formed on the basis of folk costume. The main psychological characteristics are a clear connection with a certain people, traditionalism, folk wisdom, tranquility, associations with eternal values. The silhouettes are usually simple, with expressive details of folk costumes. Natural materials and colors, the most common pattern is geometric, which goes well with the structure of the fabric. The use of such finishes as embroidery, hemstitching, lace, weaving, appliqué, patchwork technique, fringe, beads, metal parts.
The style is applicable for recreation, theater and concert events, and for friendly communication with foreigners.
"Country". In many ways it is close to the folklore style, although the signs of one or another national costume are not clearly expressed in it. This style is more of a fantasy, a variation on the theme of rural life, in which the features of many folk costumes are sometimes discernible. In terms of its psychological impact, this style is similar to pastoral, radiating ease, pleasant relaxation, carelessness, dreaminess, simplicity, and a romantic idea of life and nature. Colors, designs and materials are natural: canvas, straw, cambric, flowers, pastel colors, cheerful floral designs, bright checks, mostly gray-brown tones.
6. Production.
First of all, we should highlight artificial and natural materials, which have different processing methods and consumer qualities.
In most cases, the material radically influences the overall direction and nature of shaping. Here the basis is the physical properties of the material, which predetermine the structural-spatial and plastic solution of the thing. The variety of shapes increases dramatically when combining different materials.
By technology.
The processing of the material also determines the shape. Constantly improving technologies make it possible to perform extraordinary miracles at the present stage. But there were times when the design and dimensions of a suit were determined by the width of the loom. In the history of mankind, for research purposes, three major periods can be distinguished: manual, machine and information production methods.
Given the materials and technologies, the location of the material in space (design) also determines the variety of shapes.
The above classifications intersect, forming a complex network. But they do not reveal the essence of objects - the deep principles of their creation, functioning and evaluation.
Each type of costume creation presupposes its own goals, its own understanding of the perfection and beauty of things, and is based on its own measure and system of principles. If the pole of practical utility is completely dominated by rational calculation and reliance on the objective laws of nature, then the opposite, artistic pole is dominated by the irrational principle - intuition, subjective associations, subconscious, conventional ideas, etc.
Each of these principles can play a different role, from dominance to complete submission. Depending on the location of the costume forms on this axis, six main types of object-based creativity are distinguished, and, accordingly, six types of costume formation.
1. Rational-utilitarian. Here the practical function of the suit as a useful thing is embodied to the maximum. With this approach, one goal is pursued - providing protection from external influences and ease of use. Here we include waders, helmets, soldiers' uniforms, etc.
2. Rational-aesthetic. Here, along with the previous function, a mood appears for the beauty of a thing, understood as a consequence of its comprehensive practical perfection. Here we can include work clothes, many types of casual clothes, etc.
3. Holistic. This type of creativity is aimed at creating a form that harmoniously combines extremes, giving things artistic and practical integrity. This type includes most types of costume, which simultaneously acts equally as a perfect thing and as a sign.
In the following types, the artistic principle in theatrical costume takes on a leading role.
4. Stylizing. In this type, the expressive form of the object often loses connection with its practical basis. In the fifth type, creative objects are no longer useful practically and materially, but spiritually. Beauty in decorative costume is no longer directly related to practical principles. Using the form famous styles things are given the characteristics of a prototype, an aura of associations associated with it. This type of suit mainly acts as a set of signs that forms the image of the owner. We also often use such clothes in everyday life, using different styles suit depending on the situation and fashion.
5. Decorative. The costume largely loses its practical meaning, and its form is subordinated to some artistic idea, for the implementation of which various visual arts. This includes primarily carnival and ritual costume.
6. Artistic. The latter type penetrates into the very core of the illusory world of figurative models of reality. Practical aspects appear only during the production of the work to ensure its existence. This type is a manifestation" high art", where beauty can give way to other aesthetic relationships. The costume acts as a work of art and performs all the functions inherent in art, especially when merging with the person who dressed it. This type includes stage costumes, collections of famous couturiers. They are concentrations of ideas and images , and their creators are called costume designers.
As the analysis showed, classifications of theatrical costume can be made on a variety of planes. The choice of plane of consideration depends on the objectives of the study each time.
Dancing, theater and various shows have become firmly established in the life of every person. The audience, while at the performance, evaluates not only the actors’ performance, but also their image. A stage costume helps to reveal it most widely.
Scope of use and main tasks
The costume can be made for both individual and group performances. You can see it in the following moments:
- Theater.
- Dance.
- Promotions and costume shows.
- Striptease show.
- Sport competitions. Gymnastics and figure skating.
The stage costume plays an important role and helps complement the image. It solves the following problems:
- With its help you can reveal your character as widely as possible.
- Changes the character's figure and appearance depending on the required situation.
- Helps create the necessary time, era, its style and place of action.
- Is an important part for expression inner world in a film or play.
- It can become a symbol of an entire era.
Let's take a closer look at the theatrical costume, without which not a single performance can be performed. Performances, as well as films, have firmly won their place in modern cultural life.
Theater outfit
A stage costume is not only clothes, but also makeup, shoes, accessories, and hairstyle. Only together they complement each other and reveal the image most fully. In productions, the costume conveys the internal state, helps to understand what the hero has just done or is about to do.
Even before the start of a performance or filming, the artist creates sketches. They are formed depending on the idea, the director's plan, the production style and the character of the character. Subsequently, the sketches will help the actor more clearly convey the smallest nuances of the hero: his gait, manner of dressing, facial expressions and even the position of his head.
An incorrectly selected stage costume does not fulfill its direct duty and also creates a lot of inconvenience. It tears, clings to the surrounding scenery, forces the actor to be distracted from the game and does not allow him to fully enter into the role.
Also, thanks to the costume, the viewer instantly determines the social status of the hero. He unmistakably recognizes a rich nobleman, a simple worker, a military man or a teacher.
Sewing stage costumes
In addition to theatrical art, clothing is very popular in dance performances. Due to its widespread use and demand, there has been enormous competition. After all, in order to win the audience, it is not enough to provide a simple dance, it is necessary to carry out a real show. That's why stage costumes, which create amazing and stunning images, play such a big role.
There are many various types dance, as well as its styles. Projects are created for them that help reveal their individual world and character.
- Modern dance. The costume is characterized by an urban style with the presence of subcultures. It is very similar to sportswear in that it requires freedom of movement, but can be modified by other musical trends.
- Ballroom dance. Beauty prevails here. Beautiful ball gown- this is a successful start for dancing couple. It should be elegant and graceful. The stage costume is decorated with rhinestones, fringe or feathers.
- When sewing such a suit, camp attire predominates. Bright fabrics are used, which help to imagine various tents and tents.
- Latin dance. A prerequisite for sewing such an outfit is a cut that allows you to give looseness to your movements. Incisions along the entire length of the leg are often used.
- This is a bright representative of Russian culture, which combines many types of fine arts. The folk stage costume for men is represented by a national shirt, trousers made of flax or dyed wool and a caftan. The female one consists of a shirt with embroidery on the chest and long sleeves, an apron, a bib and a sundress. Each part has its own version of the ornament. The headdress is represented by a closed cap, bandage or hoop. All this is complemented by a variety of kokoshniks, headbands and crowns.
Children's stage costumes
If a child is involved in dancing, then he needs clothes that are comfortable and do not restrict his movements. Using stage costumes, he feels special, important, and also tunes in to maximum work and discipline.
Girls need a special skirt or dress, special shoes, as well as tights or socks. It all depends on the type of dance the child is doing. Boys should have trousers, a belt and a shirt (for example, for ballroom dancing).
Unfortunately, such costumes are expensive and are made to order using materials with added decor. It will be easier to order a stage costume for a boy. There are no strict requirements for it, and it should only set off the girl’s dress.
“A costume is the actor’s second shell, it is something inseparable from his being, it is the visible face of his stage image, which must merge so holistically with him in order to become inseparable...” A. Ya. Tairov. A theatrical costume is a component of an actor’s stage image; these are external signs and characteristics of the portrayed character that help the actor’s transformation; a means of artistic influence on the viewer. For an actor, a costume is matter, a form, inspired by the meaning of the role. Just as an actor, in word and gesture, movement and timbre of voice, creates a new being of a stage image, starting from what is given in the play, so the artist, guided by the same data from the play, embodies the image through the means of his art.
Sewing theatrical costumes Sewing theatrical costumes is, first of all, the creation of a personal artistic image, usually such costumes have rich decorations, volume in shape and details. This costume plays independently and creates an unusual atmosphere. Professional tailoring of theatrical and stage costumes imposes great responsibility so that the style matches the setting - square dance costumes, buffoon costumes, historical costumes (XVII, XVIII, XIX centuries), circus costumes, women's and men's dresses from different times, taking into account exactly the environment for which it is intended use of a suit. Stage clothing has always been and remains bright, interesting and unusual for the audience, which surprises with its luxury, chic and unusualness. But not for fashion designers and real craftsmen. Clothes for the stage require constant inspiration from the fashion designer, who plays the role of an artist. The ideal fashion designer is an artist who is also good psychologist and an excellent seamstress. After all, only through contact with an actor or customer can you create exactly the image that is needed when sewing a theatrical stage costume. Theatrical costumes are sewn using professional sewing equipment, which undoubtedly affects the quality of the costumes. There is manual finishing of costume details. The suits are made according to your individual patterns, so they will fit perfectly on your figure.
Features of theatrical costumes A theatrical costume must be tailored to fit and not cause anxiety or inconvenience to the actor. Many people work on the costume - the director, who gives General characteristics the desired image, designers, cutters, seamstresses who bring the idea of a costume to life. Usually, before sewing a suit, more than one fitting is carried out. About a couple of weeks before the performance is shown on stage, the actors rehearse in costume. This is necessary so that they get more deeply into the role, feel it not only with their soul, but also with their skin. The combination of fabrics in a theatrical costume can be very diverse. These include combinations of calico and burlap, satin and knitwear, and knitted parts. The choice of fabric also depends on the essence of the performance, on its images. A theatrical costume should not be overloaded with an abundance of details. After all, every ribbon, every button carries some information.
Based on the book by R. V. Zakharzhevskaya “The History of Costume”
I'm ashamed to admit, but I am one of the types of directors and actors for whom the stage costume is not of great importance. I really don’t care what I wear on stage, and even the most accurate costume doesn’t help me get into the character’s image better, because the internal attunement to me is much more important. As a director, I never stick to a period or setting, preferring to think that it doesn't matter and that the story I want to tell could have happened anywhere, anytime. The reason for my indifference to the visual component is probably my complete ignorance of the fine arts and underdeveloped visual perception. But I myself understand how mistaken I am and how much my productions lose because of this.
So, what is stage costume and why is it important for both the actor and the production as a whole? A theatrical costume is a component of an actor’s stage image; these are external signs and characteristics of the portrayed character that help the actor’s transformation; a means of artistic influence on the viewer. It is wrong to think that a suit is limited to just clothes. This also includes makeup, hairstyle, shoes, accessories (umbrellas, scarves, scarves, briefcases, bags, hats, jewelry). Only in such a complex of things is the concept of costume complete.
For an actor, a costume is matter, a form, inspired by the meaning of the role. Claude Otan Lara, a famous French film director, in the article “The costume designer in cinema must dress the characters” writes: “Costume is one of the fundamental elements in filmmaking, not only from a historical point of view, but also from a psychological one... Much more to a greater extent than a landscape, clothing conveys a state of mind: through it, each of us reveals some part of his personality, his habits, his tastes, his views, his intentions... The costume says what this person just did, what he is going to do, and that is why a costume in a movie should first of all be a psychological indication...”
Even during the preparatory work on a play or film, the artist draws sketches of costumes, starting from the idea inherent in the dramaturgy, the director's plan, the stylistic decision of the future production and, of course, from the characteristics of the characters. The sketch suggests the manner of wearing the costume, the gait, provides for the necessary deformation of the figure, the position of the head, the movement of the hands and the manner of holding them, the sharpness of the silhouette drawing, the actor in the suit.
A bad costume can kill an actor; a good one is to “raise”, give the key to understanding the role, to revealing certain qualities of the character. If the costume is uncomfortable, if it falls off, tears, clings to the props and scenery, and hampers movement, then the actor (and with him the audience) will be constantly distracted by it, forgetting about the line of the role. At the same time, a good costume that reflects the character’s character will help you better get used to the role, feel the truth, and even create the required emotional condition.
Moreover, the viewer is also able to determine many characteristics of a character simply by his appearance. Let's just remember Charlie Chaplin with his famous tramp. “A bowler hat, a mustache and a cane speak of prosperity, but what sad disappointment we experience when our gaze glides over a baggy frock coat and “someone else’s” pants falling onto their boots! No, life was not good! So talentedly played out, constructed in contrast, parts of clothing created an unforgettable image in terms of persuasiveness and power of influence, which became a symbol of the “little man.”
A suit can express psychological characteristics hero, i.e. betray the properties of his character (kindness, stinginess, arrogance, modesty, daring, panache, coquetry, etc.) or state of mind and mood. A person's character is always reflected in his appearance. How a suit is worn, what details are added to it, what combinations it is put in - all these are features that reveal the character of the owner. And the actor must remember this. An elegant lady in a normal state of mind cannot show carelessness in a suit. A responsible officer cannot afford not to fasten all the buttons on his uniform. On the other hand, it is precisely such deviations from the norm that will reveal the hero’s special emotional state.
A costume can express social characteristics hero. By the costume, the viewer unmistakably recognizes the rich and the poor, the military and the intelligentsia, the nobles and the bourgeoisie.
In addition, a costume on stage can change the actor’s figure, not only according to his image and age, but also according to fashion. Deformation if we're talking about It is not about plastically changing the figure through thickness or overlays, it is carried out by changing the proportional relationships of the main lines of the figure and the special cut of the suit, moving the waist line, and various shapes of the bodice. Such changes can be a great help in creating distinctive roles and heroes living in a certain era.
Just having a good costume is not enough for an actor. They are working on the suit. It is “lived in”, “aged”, “worn out”. This is also a kind of psychological work with the costume, one of the real means of “reviving” and “spiritualizing” the costume. I'm not even talking about the fact that you just have to get used to the costume, because the sooner the actor finds a costume, the sooner he starts rehearsing in it, the better. Thus, the completion of the creation of the costume-image remains with the actor: how he will play it, how he will get used to it, how he will be able to wear it.
The costume, of course, reflects the time and place of action. This is especially important in everyday and realistic performances. If the costumes are period-accurate or beautifully styled, the audience will have more confidence in what is happening on stage. I'm not even talking about mistakes in costumes in movies, which particularly corrosive viewers then harp on for a long time and with pleasure (you can read examples).
The costume, like the scenery, depends on the style of the performance. “...There comes a moment when the director suddenly discovers that he has found a solution to the play, and from that moment on he will already have the key to every detail. The style found will tell you how the actors should walk, how they should sit, and whether they should speak in a romantic, upbeat or mundane manner. The same style will tell you whether the scenery should be simple or sophisticated, whether the furnishings should be authentic or cheerfully painted on the backdrop; Should the costumes be combined in sharp color contrasts or be of the same type?..” The stylistic features in the key of which the performance is decided are determined primarily by the extent of their necessity for identifying the genre of a dramatic work and revealing its essence. That is why, for example, the costumes in “Hamlet” by Lyubimov, Nyakrosius and Zeffirelli are so different from each other.
Sometimes a costume can become an independent symbol, when the viewer no longer perceives it simply as the hero’s clothes, but reads the director’s idea, the metaphor embedded in the costume. I have already talked about this, mentioning Charlie Chaplin, whose costume became a symbol of both the “little man” and Chaplin himself. The red dress of the heroine of the play “Kalkwerk”, which I am talking about, gives her some demonic features; she is perceived as a threat, a danger. Moreover, the very change from the usual gray dress to a bright red one indicates the unreality of what is happening, that this is just a dream created by the hero’s sick imagination.
I also wanted to write some practical tips, but it’s already a “sheet”. Obviously, this topic is interesting and vast. I am only at the very beginning of its development, so I will probably return to it more than once.
To sum it up:
1. A costume is a means of revealing a character’s character.
2. The costume can change the actor's figure.
3. The costume reflects the time and place of action, the style of the era.
4. Costume is an important part of the expressive solution and style of a play or film.
5. A costume can become a symbol.
THEATER COSTUME, element of the performance design. In the history of theater, three main types of theatrical costume are known: character, game and clothing actor. These three main types of costume exist at all stages of performing arts - from ritual and folklore pre-theater to modern artistic practice.
A character costume is a kind of visual-plastic composition on the performer’s figure, set in motion by him and voiced (by pronouncing text or singing), sometimes hiding his figure completely, similar to how a mask covered his face. Examples of character costumes in rituals and ceremonies different countries peace. The bell-shaped silhouette of the Indian costume was a paraphrase of the tower-tent temple of Nagara Shakhara and the sacred mountain Menu (the center and axis of the world in Hindu mythology). Chinese - with its form, design, ornamentation and color, expresses the ancient cosmological symbolism of the natural alternation of Light and Darkness, the merging of Heaven and Earth in the act of creation of the world. The shamanic costume of the peoples of the North embodies the images of a fantastic bird associated with the “upper world” and a beast (an inhabitant of the “lower world”). South Russian is a kind of model of the Universe. In traditional performances of the Beijing Opera, the costume represented the image of a formidable dragon, in the Japanese No theater - motifs of nature, and in the Baroque era of the 17th century. – Fair or Peace. If for ritual ritual and folklore actions character costumes (like all other elements of scenography) were the fruit of the creativity of anonymous folk artists, then in the 20th century, from the very beginning, artists began to compose them: I. Bilibin - in opera The Golden Cockerel N. Rimsky-Korsakov (1909), K. Frych - in Bure W. Shakespeare (1913), V. Tatlin - in Tsar Maximilian, P. Filonov - in tragedy Vladimir Mayakovsky finally, K. Malevich is in the project Victory over the sun(all three productions 1913). And then, at the end of the 1910s - the first half of the 1920s. a whole series of character costumes was created by the Italian futurists E. Prampolini, F. Depero and others, O. Schlemmer from the German Bauhaus, and in the ballet - P. Picasso, who showed grotesque Managers in Parade E. Satie and F. Leger - Negro Deities in Creation of the world D.Millo. Finally, the cubist costume “architecture” of A. Vesnin acquired character significance in A. Tairov’s performances - in Annunciation, his own Suprematist compositions on the figures of heroes Phaedra. On other scenes - “shell suits” by Yu. Annenkov in the play Gas G. Kaiser and A. Petritsky - in Viy, as well as fantastic collages as character costumes for the play Inspector, which were created by the students of P. Filonov (N. Evgrafov, A. Landsberg and A. Sashin) on the theme of stamps, coats of arms, seals, envelopes, etc. - the character of the Postmaster, recipes, signatures, syringes, enemas, thermometers - the character of the Doctor, bottles , sausages, hams, watermelons, etc. - the character of the Tavern Man. In the second half of the 20th century. costumes as independent visual characters, shown separately from the actors, as an element of scenography, were created by M. Kitaev and S. Stavtseva, and as various kinds compositions on the figures of actors - K. Shimanovskaya, D. Mataiten, Y. Kharikov.
A acting costume is a means of transforming an actor’s appearance and one of the elements of his performance. In ritual and folklore acts, transformation most often had a grotesque parody character, when men dressed up as women, women as men, young men as old men, beauties as witches, or when they portrayed various animals. At the same time, everything that was at hand was used: a jacket, a sheepskin coat, a casing, a sheepskin - always turned inside out, funnier and more amusing, as well as any other, somewhat ridiculous, “inverted” clothing, for example, extremely shortened trousers, an excessively wide shirt, holey stockings, all sorts of rags, rags, rags, bags, ropes; Everything that nature provided was used: grass, flowers, straw, leaves. Finally, various artificial decorations were also used for dressing up: colored paper, birch bark, foil, glass, ribbons, mirrors, bells, feathers, etc. Techniques of grotesque disguise passed into the performances of ancient Greek comedies, and into traditional theater East, where they were combined with the actor’s varied performance with elements of his costume: long sleeves and pheasant feathers in Peking Opera, trains, towels and fans in Japanese No. The performances of the Italian commedia dell'arte, plays by Shakespeare and Lope de Vega were based on endless disguises and disguises. At the end of the 18th century. Emma Hart (Lady Hamilton) based her famous dance on playing with a shawl, after which similar techniques (manipulations with scarves, bedspreads, veils and other similar elements of costume) were widely used in ballet theater 19th century, reaching its highest artistic heights in the work of L. Bakst, whose sketches of choreographic images included the dynamics of a variety of flying fabrics, belts, scarves, skirts, scarves, cloaks, capes, pendants, garters. On the dramatic stage, the tradition of costume playing along with the actor’s movements was continued - by means of cubo-futurist expressiveness - by A. Exter in the performances of the Chamber Theater Salome O. Wilde and Romeo and Juliet W. Shakespeare, and after her her student P. Chelishchev and other masters of the early 1920s: V. Khodasevich and I. Nivinsky, I. Rabinovich and G. Yakulov, S. Eisenstein and G. Kozintsev, finally again on the ballet stage, in productions by K. Goleizovsky - B. Erdman. If during this period play costumes formed a whole trend in scenography, then in the second half of the 20th century. they were also used quite widely by artists and directors, but out of necessity, as an element of the “palette” of means of expression at their disposal. Among the authors of modern play costumes are Georgian artists Sameuli, G. Alexi-Meskhishvili and N. Ignatov; examples of a similar kind can be found in theaters of other countries: in Poland, the Czech Republic, Germany, Italy.
A costume, like the clothing of a character, is often the basis for composing the types of costume discussed above (character and game), in all periods historical development theater is, to a greater or lesser extent, the embodiment on stage of what people wore in a given period. It was so in ancient tragedy, and it remains so in the performances of our days. At the same time, the general evolution of this type of costume was characterized by a movement from the conventional forms of real clothing (in the era of Baroque and Classicism) to its increasing historical, geographical, national authenticity, accuracy and authenticity. In the theater of naturalism and psychological realism, the costume becomes completely adequate to the character of the character, expressing not only his social status, but also his state of mind. At the same time, both today and in past centuries, costume remains the subject of special creativity by artists (among whom are the most outstanding masters fine arts and scenography) and they compose it (even seemingly everyday costumes of everyday use, not to mention fantastic ones), not only as separate work, but how essential component performance.
