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Our time is characterized by a rapid change of fashion cycles. A sign of the development of fashion is their seasonal turnover: spring - summer and autumn - winter. In this regard, we are witnessing a rapid change in fashion trends, the formation of new forms of clothing. The source of knowledge about the change in forms and structures is, first of all, the historical costume, which has been formed and approved for centuries. Folk costume is an invaluable integral asset of the culture of the people, accumulated over the centuries. Clothing, which has come a long way in its development, is closely connected with the history and aesthetic views of the creators. The art of modern costume cannot develop in isolation from folk, national traditions. Without a deep study of traditions, the progressive development of any type and genre of contemporary art is impossible.

Folk costume is not only a bright original element of culture, but also a synthesis of various types of decorative art, which brought traditional elements of cut, ornament, use of materials and decorations that were characteristic of Russian clothing in the past until the middle of the 20th century.

The formation of the composition, cut, and ornamentation features of the Russian costume was influenced by the geographical environment and climatic conditions, the economic structure and the level of development of the productive forces. Important factors were the historical and social processes that contributed to the creation of special forms of clothing, the role of local cultural traditions was significant.

The shirt is rightfully considered the most ancient type of clothing. Already in the VI century. in the costume of our ancestors - the Slavs - she occupied a leading place, and sometimes was the only piece of clothing. The women's shirt differed from the men's, in fact, only in length and richer trim.

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

The most common material to this day remains linen. In the Old Russian language, there were two terms: "hlast" - "canvas", "tlstyna" - unbleached fabric and "charge" - bleached canvas to designate the main material. Since ancient times, women have been engaged in spinning and weaving of linen. They believed that only good female hands that did not hold weapons could be entrusted with the manufacture of clothes, the first defender of man. Almost all women in rural families, and at first in urban families, owned this craft.

The most ancient shirts were sewn from one long linen, folded in half on the shoulders. Wedge-shaped inserts, obtained by cutting a rectangle diagonally, were sewn into the sides, expanding the hem. Then they cut the slit of the gate and, in the center of the chest. Thus, after the end of the cut, there was not a single extra shred left.

The procedure for decorating a shirt also developed in pagan times and is still strictly observed in folk costume. In ancient Russia, pearls, fragments with semi-precious stones and colored glasses, expensive braids and cords served as decoration for the clothes of the nobility. The clothes of the main part of the population were traditionally decorated with hand embroidery or patterned weaving. Ornamental stripes, and at a later time, ribbons, braids, appliqués from purchased fabrics, and colored lace were necessarily placed along the hem, the edges of the sleeves, on the shoulders, along the collar and along the incision on the chest. Such a peculiar system of protective lines, combined with a belt, which was obligatory to gird any shirt, according to ancient beliefs, protected the vital parts of the body. At the same time, the ornaments located along the edges of the clothes also protected the exposed parts of the body from evil spirits.

Festive and ceremonial shirts worn on certain days were especially heavily decorated. So, on the first day of harvesting the grasses, it was supposed to go out in a "mowing" with a wide patterned stripe on the hem. On the feast day of the harvest, they dressed up in a "harvest" shirt. In the last week before the wedding, the girls wore a shirt with 1 very long sleeves, called the "killer". In it, the bride was supposed to cry for fear of the coming family life in a strange house. But the wedding shirt was rightfully considered the most beautiful. It was embroidered with multi-color patterns, where the main place was occupied by red. The young wife put it on for several more years on major holidays, and then carefully kept it.

In the Russian national costume, as in the costumes of other nationalities, for many centuries there has been an unwritten rule: to pay more attention to women's clothing, since it is primarily designed to protect the health of the progenitor of the family.

In the southern regions, the straight cut of shirts was more complex, it was carried out with the help of the so-called polik - cut details connecting the front and back along the shoulder line. Poliks could be straight and oblique. Rectangular poliki connected four panels of canvas 32-42 cm wide each. Oblique poliks (in the form of a trapezoid) were connected by a wide base with a sleeve, a narrow one - with a neck lining. Both constructive solutions were emphasized decoratively.

Sarafan (Persian serapa, Turkic-Tatar "from head to toe") is the national costume of Russian women. It is worn over a shirt with puffy sleeves. If this is done through the head, then a number of decorative buttons are sewn onto the chest. The sundress can also be unbuttoned in front.

Several different types of sarafan are known, the formation of the cut of which and the decoration were influenced by the features of the area.

Its most ancient form is oblique on armholes or wide straps. The front and back panels of this sundress were connected on the sides with additional wedges. The front straight panel did not have a middle seam. In the Tver province, he was called "kostolan", in the northern regions - "hunchback".

The sundress in the northwestern provinces (Novgorod, Olonets, Pskov, etc.) had a different cut. He was more closed, and therefore he was nicknamed "shushun" or "capercaillie". Old Believers wore such sundresses.

This sundress was sewn from a cloth folded over the shoulders, with beveled wedges on the sides. Long, often fake sleeves were sewn on from the back.

A slanted dress with a slit at the front with buttons and loops.

It was distributed in the 19th century in all provinces of Central Russia. In the Yaroslavl and Tver provinces, he was called "feryaz", in Moscow - "Sayan", Smolensk - "sorokoklin". There were also such names - "kumashnik", "blue". This sundress was sewn as follows: two front panels and one back panel were straight, strongly beveled wedges were sewn to them, which expanded the clothes. The incision in the front was decorated with a red lace, braid, fringe, etc. Sometimes the front incision was sewn up, and the buttons and loops were left as decoration. Sometimes young girls sewed such sundresses with straps.

A straight, or round, sundress was sewn from several straight fabrics (from 4 to 7), the excess fabric was collected on top in a small assembly and closed with a narrow ribbon or trim. Narrow short straps on the back were sewn together, and in front - separately. Decorations in the form of decorative embroidery, braid, etc. were made along the bottom and top of the sundress. In the Moscow and Vladimir provinces, he was called a fur coat. Such a sundress was worn by both young and elderly women. The only difference was in color: the young ones sewed sundresses from light fabrics, the older ones used dark colors.

A sundress with a fitted bodice appeared in the late 19th - early 20th century. and was a kind of half-dress. Its barrels were cut along an oblique thread.

Wedding sundresses were especially different. In the Ryazan province, for example, the bride was married in a black sundress with a white scarf on her head, which was usually worn during mourning. On the very first day of their life together, the young woman appeared in her best sundress - most often it was of various shades of red. In the Vologda and Kostroma provinces, blue-pink, crimson sundresses were sewn from expensive fabrics. They were decorated with spun gold, braid, pearls.

Conditions of historical development, starting from the XII - XIII centuries. determined the most characteristic division of the forms of the Russian costume into northern and southern. In the XIII - XV centuries. the northern regions (Vologda, Arkhangelsk, Veliky Ustyug, Novgorod, Vladimir, etc.), unlike the southern ones, were not devastated by nomad raids. Artistic crafts intensively developed here, foreign trade flourished.

Starting from the XVIII century. The North turned out to be aloof from developing industrial centers and therefore preserved the integrity of folk life and culture. That is why in the Russian costume of the North, national features are deeply reflected and do not experience foreign influences.

The southern Russian costume (Ryazan, Tula, Tambov, Voronezh, Penza, Orel, Kursk, Kaluga, etc.) is much more diverse in terms of clothing. Multiple migrations of residents due to raids by nomads, and then during the formation of the Muscovite state, the influence of neighboring peoples (Ukrainians, Belarusians, peoples of the Volga region) led to a more frequent change of clothing and the diversity of its types.

In the South Russian costume, instead of a sundress, poneva was more widely used - belt clothes made of woolen fabric, sometimes lined with canvas. The fabric used for poneva is most often dark blue, black, red, with a checkered or striped (with a transverse stripe) pattern. Everyday ponevs got off modestly: woolen homespun patterned braid (belt) on the bottom. Festive ponevs were richly decorated with embroidery, patterned braid, inserts of calico, lace, tinsel lace, and sparkles. A wide horizontal stripe of the hem was combined with seams, vertical color inserts. The color scheme of the ponies was especially bright and colorful due to their dark background.

Poneva, in fact, is also a skirt, only its floors, as a rule, were not sewn. It was called a rastopolka, that is, swinging. The poneva was held on the throttle (belt, rope, cord, braid).

Made, as a rule, from checkered homespun wool, they were “kind”, “holy”, “dedicated” and “last”. And the ponevs were divided into bruises (solid blue) and reds (red) with a pattern. Poneva is most reminiscent of our straight skirts.

Apron

The most decorative and richly decorated part of both the northern and southern women's costume was the apron, or curtain, covering the female figure from the front. The apron was usually made of canvas and decorated with embroidery, woven patterns, colored trim inserts, and silk patterned ribbons. The edge of the apron was decorated with teeth, white or colored lace, a fringe of silk or woolen threads, and a frill of different widths.

soul-warming

In the clothes of the Russian North, from the ancient Russian costume, "epanechki" and dushegrey, short fur coats, quilted on wadding, with sleeves are preserved. Dushegreya - sleeveless women's chest clothing made of expensive factory fabrics. In these places, dushegrei were sewn from brocade. And it is cut in such a way that the fabric lays down in large folds at the back, and in front the shelves had a trapezoidal shape. When cutting, the brocade was strengthened (glued) with a coarse canvas fabric, sometimes it was lined with a newspaper, in order to keep the straight shape of the shelves, there were folds on the back. On narrow straps - a narrow galloon or lace. The shower warmer was fastened only with a brooch, which was pinned at the top or tied to a bow of wide ribbons. This indicates that it was previously worn with a sundress.

The layering of the costume, which had different lengths of simultaneously worn shirts, poneva, apron, bib, created a horizontal articulation of the silhouette, visually expanding the figure.

Hats

In the Russian folk costume, ancient headdresses and the very custom for a married woman to hide her hair, for a girl - to leave it uncovered, are preserved. This custom is due to the form of a female headdress in the form of a closed cap, a girl's - in the form of a hoop or bandage. Kokoshniks, "magpies", various bandages and crowns are widespread.

From jewelry used pearl, beaded, amber, coral necklaces, pendants, beads, earrings.

Fabrics, color, ornament

The main fabrics used for folk peasant clothing were homespun canvas and wool of simple linen weave, and from the middle of the 19th century. - factory-made silk, satin, brocade with an ornament of lush flower garlands and bouquets, calico, chintz, satin, colored cashmere.

Patterned weaving, embroidery, and prints were the main ways of ornamenting home textiles. Striped and checkered patterns are varied in shape and color. The technique of folk patterned weaving, as well as embroidery by counting the threads, led to rectilinear, geometric contours, the absence of rounded outlines in the pattern. The most common elements of the ornament: rhombuses, oblique crosses, octagonal stars, rosettes, Christmas trees, bushes, stylized figures of a woman, bird, horse, deer. Patterns, woven and embroidered, were made with linen, hemp, silk and woolen threads, dyed with vegetable dyes, giving muted shades. The range of colors is multicolor: white, red, blue, black, brown, yellow, green. Multicolor was decided, most often, on the basis of white, red and blue (or black) colors.

From the middle of the XIX century. homespun fabrics are being replaced by factory-made fabrics with printed floral, checkered, striped patterns.

Folk traditions in modern clothes

Folk art remains a real storehouse of ideas for fashion designers and designers. In the 70s of the last century, in the collections of fashion designers, manifestations of the “national spirit” were valued, but not in the ethnographic sense, but in the context of the “international style”: Russian style, Asian style, etc.

21st century brought new national traditions to modern fashion design - the aesthetics of postmodernism. When creating a model of clothes, the "quotes" method is used. A "quote" can be a detail of a national costume, an element of decor, an enlarged or deformed ornamental motif, cut or color scheme. Combining different "quotes", mixing elements of costumes of different nations, the designer creates a new image, with a specific and recognizable creative source.

Teenage clothing is somewhat influenced by "adult" fashion, but it is not characterized by frequent changes and radical upheavals. It is more stable, which is associated with the peculiarities of the physique of the age groups of children. The main requirements for teenage clothing (simplicity of cut, the utmost expediency of forms, sonority and freshness of color schemes) are fully reflected in folk clothes, where beauty and functionality are inextricably linked.

color harmony

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

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

To create a color harmony of a suit, it is important not only to know how colors are combined, to distinguish between compatible and incompatible colors, but also to be able to arrange the details of clothing according to color and color proportions into a single whole.

The foundations of color theory were laid by Newton, who was the first to try to systematize the world of colors by discovering the relationship between light refraction and color. He believed that white light, which before him was taken as homogeneous, decomposes after refraction in a prism into many different light waves. Newton circled the colors of his spectrum and added the missing magenta, which is obtained by mixing red and violet colors and is added to smoothly transition from violet to red. If the spectral colors (from red to purple) are arranged in sequence in a circle, then a chromatic circle is formed.

The whole variety of colors is divided into two groups - chromatic and achromatic.

Achromatic colors are white, black and all shades of gray - from white to black.

Chromatic colors are spectral colors and magenta.

There are three groups of colors by combination - related, related-contrasting and contrasting.

Related colors have at least one common (main) color in their composition. There are four groups of related colors - yellow-red, blue-green and green-yellow. Carefully selected related colors provide great opportunities for color composition solutions. For example, green and green-blue are related colors; they combine well in compositions with different sizes of color spots. A large number of spots of one color and a small amount of another is a good solution. When using related colors in a costume composition, one or both of them are usually used muted. Proper strength of colors is achieved by selecting related colors in such a way that they are not very bright. Yellow and yellow-green, green and green-blue, blue and purple, purple and red, red and orange, etc. are related colors.

In a tone composition, a strong effect is achieved through the different lightness of the colors used - by introducing light and dark tones in contrast. Harmonious combinations of related colors are reactive, calm, soft, especially if the colors are slightly saturated and close in lightness.

Related-contrasting colors. There are also groups of related-contrasting colors - yellow-red and red-blue, red-blue and blue-green, blue-green and green-yellow, green-yellow and yellow-red. The harmony of related-contrasting colors is more active and emotional in comparison with related ones.

Contrasting colors. These are yellow-red, blue-green, yellow-green and blue-red. The combination of harmonious contrasting colors is especially active, since the colors are doubly balanced by their opposite qualities. However, not all contrasting colors are harmonious. For example, yellow-red and green-bluish are inharmonious contrasting colors.

Achromatic colors are also involved in the creation of the composition of the costume: white, black, blue. Black and white alone or in combination are perceived brightly, as they are in contrast to the background. Both - black and white - look noble and advantageous. Gray looks spectacular in combination with black and white. Black color has a strong influence on chromatic, especially medium lightness and highly saturated red and green colors: these chromatic colors brighten, their saturation increases, they seem to glow. White, especially the strokes of chromatic colors, give the composition a peculiar flavor: the colors become airy, pastel; white color gives elegance to the costume.

The harmonious color scheme of a suit depends not only on the combination of colors, but also on how many of these colors are taken, what is the texture of the fabric. However, the recommended color combinations cannot be taken as binding.

The choice of fabric for the suit.

For the stage costume “Sudarushka”, we chose white crepe-satin for the shirt, since the white color goes well in any color compositions, and in the old Russian costume the shirt was always white.

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

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

Selection and justification of the material.

Crepe, crepe satin. The collective name of all fabrics with a granular knotted surface, acquired due to crepe twisting of yarn, interlacing of threads, embossing of fabric.

Crepe satin: satin weave, medium wrinkle, good drape, breathable, low hygroscopicity, medium heat protection. Medium shedding resists, as it has strong slip, high thread expansion in the seams. When WTO, it is necessary to take into account the thermal regime, since the fabric is made of synthetic and artificial fibers, and also has a shiny smooth surface, on which stains remain after moistening.

Possesses a good coloristic coloring of fabric, has the expressed gloss, strong coloring.

Costume analysis.

After analyzing folk costumes, we examined shirts, sundresses, ponevs. They decided to leave the cut of the shirt old, but use modern materials for decoration. Wide sundresses, ponyovs have a voluminous shape, and we would not like to emphasize the girlish figure, we chose a sundress with undercut barrels.

Model selection

Shirt: shirt cut, long sleeves, lace trim.

Sundress: semi-adjacent silhouette, undercut barrels, finishing - appliqué, embroidered braid, satin ribbon, slanting inlay.

Product finishing

Shirt: along the lines of the armhole of the sleeve, the bottom of the sleeve, the neckline, finishing with blue, lace sewing.

Sundress: mid-front line, bottom line - a blue stripe of blue crepe satin. The appliqué is symmetrical from the middle line to the bottom of the skirt. Contrasting trim with embroidered braid, bindweed braid, satin ribbon.

Construction

Construction of a drawing of the basis of a shoulder product with a one-piece sleeve.

Modeling, preparation of patterns for cutting

Sleeve: from point B2 along the line B2B5, measure the length of the shoulder + length of the sleeve, build a right angle from this point. Draw a parallel line from point G1 to the intersection.

Neck: set aside 2 cm from point B2, 6 cm from point B4, connect them with an arc.

Patterns: cut off the sleeve through points B1 and G2. Lines B1B6 midline and sleeve fold. We get three parts: back, shelf, sleeve.

Armhole: set aside 10 cm from point B2 (shoulder width). Connect the resulting point with a smooth line to the T point.

Neck: set aside 3 cm from point B2, 10 cm from point B4. Connect with a smooth line. Deepen the collar on the back by 2 cm.

On the line of the chest from the line of the middle of the pattern, set aside the measurement of the center of the chest. Draw a vertical line through the point from the shoulder line to the bottom line.

Patterns: front - middle part 1 piece, barrel - 2 pieces (cut along the oblique); back - middle part 1 part, barrel - 2 parts.

Expansion along the bottom line: expand the middle parts of the front and back along the bottom line from the waist line, expand the side details on both sides.

Manufacturing technology

Shirt: connect the shoulder seams of the back and front, connect them with the sleeves, making an insert of lace. Trim the bottom of the sleeve with gathered lace. Sew peplum for elastic band. Finish the neckline with gathered lace. Sew along the side line, process the bottom with a hem seam with a closed cut. Insert elastic band along the bottom line of the sleeve.

Sundress: before: connect the middle part with barrels, stitch a strip of finishing fabric along the line of the middle of the front. Run the appliqué on both sides with a finishing strip.

Back: connect the middle part with the barrels.

Connect the details of the product, process the armholes and the neck with a red oblique trim. Treat the bottom of the product with a strip of finishing fabric. Sew along the neck line along the cuts of the finishing strips with embroidered braid, a red satin ribbon.

economic calculation

Material Price Quantity Cost

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

lace sewing 24 rub. 4m. 56 rub.

braid embroidered 8 rub. 5m. 40 rubles

satin ribbon 4 rub. 8m. 32 rub.

dublirin 50 rub. 1m. 50cm 75 rubles

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

Total: 533 rubles.

We spent 533 rubles to make the costume. The table shows that the main costs were for the purchase of fabric. For the appliqué, a flap was used, which was left when sewing other products.

“The part of the set that is in the hands of the actors is his costume.”
French Encyclopedia.

“The costume is the second shell of the actor, it is something inseparable from his being, it is the visible mask of his stage image, which must merge so integrally with him in order to become inseparable ...”
A. Ya. Tairov.

Theater is a synthetic art form that allows us not only to hear, not only to imagine, but also to look, to see. The theater gives us the opportunity to be a witness to psychological dramas and a participant in historical deeds and events. The theater, the theatrical performance is created by the efforts of many artists, ranging from the director and actor to the production designer, because the performance is "the conjugation of different arts, each of which is transformed and acquires a new quality in this plan ...".

Theatrical costume is a component of the actor's stage image, these are the external signs and characteristics of the character being portrayed, which help the actor's reincarnation; 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 his voice creates a new essence of the stage image, starting from what is given in the play, so the artist, guided by the same data of the play, embodies the image by means of his art.

Throughout the centuries-old history of theatrical art, scenery design has consistently undergone an evolutionary transformation, caused not only by the improvement of stage technology, but also by all the vicissitudes of styles and fashion of the corresponding times. It depended on the nature of the literary structure of the play, on the genre of dramaturgy, on the social composition of the audience, and on the level of stage technique.

Periods of stable architectural structures of antiquity gave way to the primitive stages of the Middle Ages, which in turn gave way to royal court theaters with self-sufficient luxury of performances. There were performances in cloth, in complex constructive scenery, only in lighting design, without decoration at all - on a bare stage, on a platform, just on a pavement.

The role of the costume as a "moving" scenery has always been dominant. The point of view on his "relationship" with the actor, time and history, and finally, with his direct "partner" - the artistic design of the stage, changed.

In the process of the progressive development of the art of modern theater, the innovation of directing, the transformation of the method of artistic design, the role of the art of costume is not waning - on the contrary. With the growth of its younger and more flexible counterparts - cinema and television - the theater, undoubtedly, acquires in search and torment new forms of spectacular techniques, precisely those that would defend and define the position of theater as an enduring value of an independent art form. The costume, as the most mobile element of theatrical scenery, is given first place in this search.

The high modern culture of theatrical art, the subtle and deep directorial work on the play and performance, the talented acting of the actors require from the costume designer who designs the performance, especially careful penetration into the dramaturgy of the performance, close contact with the direction. Modern design is not canonized by the rules. It is individual and concrete in each particular case. “The work of a director is inseparable from the work of an artist. First, the director must find his own answers to basic set design problems. The artist, in turn, must feel the tasks of the setting and persistently seek expressive means ... ". Theatrical costume is first created by visual means, that is, a sketch.

Each performance or performance played on the stage is designed to bring the viewer, among other things, aesthetic pleasure from what he saw. That is why it is so important to dress the characters in the appropriate theatrical costumes. Then it will be easy to feel the spirit of the era of the work, to catch the character of the characters and just enjoy the beauty of the spectacle.

Theatrical costumes from antiquity to the present

The clothes of the actors have undergone modifications since the advent of the theater as such, and up to the present day:

They tried to create stage images in ancient times, experimenting with improvised materials. Even in ancient China and Japan, it was possible to observe actors in specific clothes, especially at festive or ritual performances. In India, in ancient times, street dancers also dressed in unusual bright saris to attract attention. And with the advent of the art of painting with natural dyes, saris became not monophonic, but patterned.
It is the “theatrical” that can be called a costume that appeared in ancient Greece. Grotesque masks, make-up were used, and the special color of the characters' attire indicated the status or profession of the hero of the performance.
Then the European theater began to develop in the era of feudalism, when performances, the so-called. "mysteries" were given by wandering artists - histrions. The appearance of the characters was distinguished by elegance and rich elements of decoration.
The Renaissance, with its comedies dell'arte, is characterized by grotesqueness. With the help of clothing items, hairstyles and wigs, headwear, shoes, masks and make-up, witty images were created, the inherent features of specific characters that were ridiculed or delighted the viewer (fancy feathers on hats, colorful pantaloons) were emphasized.
In the following centuries, in every European and Eastern state there were some theaters, musical salons, operas, ballets, etc. The costumes became more diverse, often conveying the spirit of the historical era, modern clothes, freeing themselves from excessive stylization. Therefore, on the stage one could see both images familiar to the viewer, as well as recreated historical costumes, naturalistic appearances and fantasy make-up.

The Russian theatrical costume deserves special attention. The buffoons are considered its first creators. Bright shirts, caftans with sashes, bast shoes, caps with bells, patches on trousers - all these elements of the costume resembled peasant clothes, but in an exaggerated satirical form. There was a church theater where the performers were dressed in white clothes, like angels. In school theaters, the characters had their own emblems. And under Tsar Alexei Mikhailovich, a professional theater operated. Therefore, the elements of the sovereign's costume had signs of royal dignity, custom-made embroidery was used, expensive stones and exquisite decorations were sewn on by hand.

Kinds

It is customary to distinguish three main types of costume:

Personal. This type is a figurative-plastic composition, which is a direct part of the whole image of the performer of the role. In a suit, the figure is often completely hidden. The actor himself sets it in motion and voices it. So, for the Peking Opera, images of a sacred temple or a dragon were characteristic.
Game. This is a means of transforming the appearance of the artist and an important element of his game. The transformation of characters in ritual and folklore actions by character often had a basis in the use of grotesque and parody, for example, when young men dressed up as girls.
Like the character's clothes. It is the main one in modern performances, often exactly resembling the traditional clothes of a particular era of action in the production. On the basis of such a suit, the above two types are created.

Tailoring Features

Tailoring stage outfits is a rather complex and creative activity. It is necessary to choose the right materials, accessories, create embroidery and appliqué if necessary. Theatrical costume must meet the following requirements:

To embody the era with accuracy, taking into account the historical, ethnographic, national features of the work and heroes.
Match the director's intent to express the essence of the character's character.
Give effect to the image of the actor in the eyes of the viewer.
It is good to sit according to the figure of its owner.
Convenience of wearing a costume (especially important for dancers participating in performances).

Since the costume designer selects a theatrical costume for a specific role and a specific actor, it is necessary to tailor it to the measurements. For this, it is better to turn to professionals. Tailoring Factory is a sewing production in Moscow and the Moscow region, here you can order tailoring of a costume for a performance, opera and ballet. The best materials will be selected and modern sewing technologies will be applied.

THEATER is a synthetic art form that allows us not only to hear, not only to imagine, but also to look, to see. The theater gives us the opportunity to be a witness to psychological dramas and a participant in historical deeds and events. The theater, the theatrical performance is created by the efforts of many artists, ranging from the director and actor to the production designer, because the performance is “a combination of different arts, each of which is transformed and acquires a new quality in this plan ...”

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

In the process of the progressive development of the art of modern theater, the innovation of directing, the transformation of the method of artistic design, the role of the art of costume is not waning - on the contrary. With the growth of its younger and more flexible counterparts - cinema and television - the theater, undoubtedly, acquires in search and torment new forms of spectacular techniques, precisely those that would defend and define the position of the theater as the enduring value of an independent art form. The costume, as the most mobile element of theatrical scenery, is given first place in this search.

The high modern culture of theatrical art, the subtle and deep directorial work on the play and the performance, the talented acting of the actors require the artist who designs the performance to have a particularly thorough penetration into the dramaturgy of the performance, close contact with the direction. Modern design is not canonized by the rules. It is individual and concrete in each particular case. “The work of a director is inseparable from the work of an artist. First, the director must find his own answers to basic set design problems. The artist, in turn, must feel the tasks of setting and persistently seek expressive means ... "

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

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2. Ancient theater costume 5
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5. Theatrical costume of Europe from XVIin. up to modern times 13
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1. What is a theatrical costume?

Theater is a kind of art that cannot exist without an audience, so everything in it is designed for an external effect. Theatrical costume (together with false mustaches and beards, wigs, cosmetics, masks) is part of theatrical make-up. Make-up (from the French "grimer" - "to paint the face") is the art of changing the appearance of an actor for a given role and the means necessary for this.

The theater (and make-up along with it) was born in the depths of the magical syncretic rite of antiquity. People saw in it a healing power that cleanses the body of various passions.

All the peoples of the world since ancient times have holidays associated with the annual cycles of dying and rebirth of nature. These holidays gave life to the theatre.

The ancient Greeks loved and revered the young god Dionysus. The supreme deity - Zeus - they honored only once every four years (Olympic Games); Athena - once every two years; Apollo - once every two years; but Dionysus three times a year. This is understandable: Dionysus was the god of winemaking. In March, people from all Greek cities came to Athens to Great Dionysia. During the week, they made deals, political alliances and just had fun.

The holiday began with the importation of a wooden Dionysus in a boat on wheels. This boat was accompanied by a choir of satyrs-mummers. Therefore, the appearance of this deity has always been associated with dressing up and carnival costumes.

The culmination of the holiday came on the third day. On this day, male animals were sacrificed to Dionysus, since he, having been born from the thigh of Zeus, was associated with a purely masculine principle. The victims could be roosters, bulls, but most often goats. When such a "scapegoat" was killed, they sang a sad "goat song" - a tragedy. Then the basket with the intestines and phallus of the goat was carried into the field to fertilize the earth, gradually getting drunk with wine dedicated to Dionysus. Returning home, the carriers of the basket scolded someone (for example, a local politician). Entering the city, they hung a komos (guts of a goat) near the man's house. This action, this crowd and those cheerful songs. which she sang were called komos ("revelers"). This is where the comedy comes from. True, there are other versions of the emergence of the theater.

As for the outfits of the participants in the holiday, it is known that they were animal skins (for greater resemblance to goat-legged satyrs). Later, thanks to the competition of poets on the stage, tragic and comic songs became independent theatrical genres.

2. Ancient theater costume

The official year of birth of the ancient theater is 534 BC. e .. when the tragedy of Thespides was first staged on the Great Dionysia.

By that time, theatrical costume was already very different from everyday. The artist, who at first was only one, went on stage in a magnificent and bright dress. On his face was a mask connected to a wig and equipped with a metal voice resonator located at the mouth. The mask had holes for the eyes. The actor put on shoes in koturny on a high platform. All this was calculated for the remoteness of the viewer, because the Greek open-air theater could accommodate up to 17,000 people. A bright dress, a large mask, high shoes made it possible to see the performer better. The resonator amplified the sound (although the acoustics in ancient theaters were such that a word spoken in a whisper in the center of the stage reached the last rows).

There were up to seventy different types of masks. They were also necessary because all the roles were then played by men. The actor changed the mask in the course of action, when he performed in a new role and when he showed the viewer a change in the mood of his character. The masks conveyed a typical expression of joy, sorrow, swindle, etc. They were made of wood or plaster and then painted.

Color symbolism played an important role. The rulers had purple robes: their wives were white; exiles are black or blue; young men are red; ordinary women are yellow; getters are motley.

Costumes were accompanied by permanent attributes to make the audience more easily recognize the character. The ruler had a scepter, the wanderer had a staff, Dionysus had a flowering branch of plush (thyrsus), Apollo had a bow and arrows, Zeus had lightning bolts, etc.

Thanks to long clothes and high shoes, the tragic actors looked monumental and moved smoothly. Comedians favored shorter and tighter outfits. Those depicting satyrs and silenes hooked a ponytail behind, put on an animal mask (or horns), and this exhausted their makeup. Such clothes allowed them to freely jump around the stage. In Rome, light genres were more loved and tragedies preferred comedy. There, pantomime entered the stage. Circus performances were very popular. Spectators more easily perceived phlyaks (from the Greek "phlyax" - "joke") - parodies of tragedies and comedies; memes - small sketches on everyday topics; atellani - funny improvisations.

The costume has become closer to everyday outfits. True, the color symbolism was still preserved. There were no longer masks in the mimes, and the audience could observe the facial expressions of the actors. Not only men, but also women played in these performances, which increased the erotic moment and created pretexts for public striptease.

Greco-Roman theatrical costume continued to influence stage costume in later times.

3. Theatrical costume of the European Middle Ages

In the Middle Ages, people did not forget the entertainment of antiquity, and almost every Christian holiday was accompanied by a clownish performance inside out: the crown - the jester, the cap - the king.

Histrions roam Europe (from the Latin "histrio" - "actor"), which in France are called jugglers, in England - minstrels. in Germany - shpilmans, and in Russia - buffoons. They are a theater of one actor, because they know how to act, to sing. walk on a tightrope, juggle. The costume of these people was convenient for acrobatics: leotards, soft shoes, a short belted tunic, vagants traveled next to the histrions - "tramps": half-educated schoolchildren, seminarians, priests-rasstrigi. Borders as such did not yet exist, and languages did not diverge too far from a single basis, which made it possible to be understood everywhere. The clothing of the Vagants did not differ from the everyday costume of a medieval person.

The Vagants played amusing performances - comu, in which the church was ridiculed in the image of the Mother Fool, because of which representatives of the official religion persecuted the artists.

However, the church also needed to increase the spectacle of its "representations", so a liturgical drama arises right inside the temple. Episodes from the Bible were staged by the priests themselves in their uniforms. But the more the moment of play in these productions increased, the more "indecent" they became within the walls of the church. Therefore, the performance was transferred first to the porch, and then to the square. A new genre appeared - mirakl ("miracle"), representing the miraculous events associated with the Virgin Mary and Jesus. On the basis of the miracle, a mystery ("mystery") appears - a theatrical action, remotely connected with the biblical story.

The characters of the mysteries could be not only the Virgin Mary, Jesus and biblical prophets, but also devils, the devil and just townspeople. Therefore, the costume became more diverse. Christ, the apostles, the prophets acted in the vestments of the clergy. And the performers of these roles themselves could be priests or monks (this was not forbidden). Merchants, artisans and other heroes had the clothes of the townspeople of their time. Fantastic characters dressed up in a complex costume with indispensable attributes such as horns, tails and wolf or ram skins for devils. Personified diseases (Plague, Smallpox), sins (Gluttony, Flattery), virtues (Truthfulness, Hope) could have masks.

However, often no special costumes were made (as well as scenery). The inscriptions "Paradise", "Hell", "God the Father", etc. were quite enough.

Light was the main category of medieval aesthetics, so the most important divine characters were in white and shiny clothes, and the devil's offspring were in black. Vera was dressed in a white dress. Hope is green. Love is in red.

As in the ancient theatrical costume, the heroes had constant attributes: Faith had a cross, Hope had an anchor, Love had a heart or a rose, Avarice had a wallet, Pleasure had an orange, Flattery had a fox tail.

Over time, the theatrical costume became more and more like an ordinary household one, and the household one became more theatrical.

4 Theatrical costume of the countries of Southeast Asia

The syncretism of primitive culture (the inseparability of various types of cultural activity) manifested itself in magical cities, where dances, music, painting, theatrical performances, etc. coexisted side by side in the depths of mythology. e. dancing and pantomime were part of the worship of the gods in ancient India. The epics "Mahab-harap" and "Ramayana", which appeared in the 1st millennium BC. e., formed the basis of the classical theater of India and those countries where Hinduism exists, since these epics are the sacred books of this religion. In various forms (actual theater, puppet theater, shadow theater, ballet) productions of episodes of the Mahabharata and Ramayana still exist. And now they use very bright, expensive costumes, masks or mask-like makeup. There are no scenery, everything takes place in the bosom of majestic nature.

In China, the theater also developed from dance and acrobatic elements that were part of sacred rites. In the 7th-10th centuries, dances on historical and heroic themes interspersed with small theatrical interludes spread. For the first time, special theatrical costumes appeared.

In the 13th-14th centuries, Chinese theater reached its peak in the form of zaju. This mixed performance included music, singing, dance and acrobatics.

There were no scenery, so the actors' play and their appearance were of particular importance. All roles were played by men. The most pathetic scenes were played out in slow motion.

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

In the following centuries, the zaju did not die, but was transformed into different forms. As before, there are few props on the stage, and what is there is used polyfunctionally: the table is both a mountain, and an altar, and an observation deck; black flags symbolize wind, red flags fire, etc. Color symbolism is used in make-up and costume: red is courage, white is meanness, yellow is the color of the emperor.

In Japan, several types of theatrical performances have also developed that have survived to this day. Kan'ami Kpetsugu and his son Zeami at the turn of the 14th and 15th centuries created the Noh theater from disparate song and dance numbers. They themselves were actors, stage directors, authors and composers (and Zeami was also a No theater theorist). Their work came at a time when the way of life of the Japanese was noticeably theatrical: people of low birth became the rulers, and, like all neophytes, they especially adhered to the ritual. The craving for spectacle gave rise to massive tea ceremonies or celebrations of admiring cherry blossoms (which in itself is absurd, because this is something very personal for the Japanese). Noh theater performances have become an obligatory part of ceremonies and receptions. Often many hours (and even many days) performances on historical and heroic themes began to change the course of real events (for example, the course of a holiday). The rulers got used to the images of stage heroes. And the shogun (military dictator) Toyotomi Hideyoshi, from a big fan of the No theater, turned into its actor and in 1593, during a three-day performance in honor of the birth of his son, he excelled in ten plays. He played himself.

The Noh theater has the characteristic features that have already been mentioned: the absence of scenery, the slowness of movements in important places of the performance, the male actors. The scenes unfolded before the image of a pine tree on a golden background. The image of a pine tree went back to the most ancient agrarian magic symbols, and gold personified the sun and the goddess Amaterasu. In addition, such a background symbolized a merger with nature, especially since the actions could go beyond the stage and merge into the real atmosphere of a reception or holiday.

Actor's costume until the 17th century. did not differ from the household costume of the nobility (later it began to be made according to engravings and samples of the XIV-XV centuries). There was a tradition - to give the actors expensive dresses (especially it spread during the time of the theater ruler Toyotomi Hideyoshi). As a result, the Noh theater also became a museum of luxurious attire. Now the oldest outfit kept in the theater is the shogun's costume of the 15th century.

In 1615, the ruler of Ieyasa Totkugawa issued a code regulating the colors and quality of fabrics. The ban on expensive materials also affected the Noh theatre. The directors began to look for a different figurative expression, no longer due to expensive outfits. The fabric of the costume turned into a symbolic book that could be filled with information. Now the stylized canonical costume of the No theater reveals a characteristic image. Everything in it is symbolic - from cut to embroidery.

Color plays an important role. White means nobility, red belongs to the gods and beauties, pale blue is associated with poise, brown means low birth.

Men play in the Noh theater, so masks and fans are important. The size, coloring, pattern, movement of the fan characterizes the character. The masks are simple but very elegant. They are made from cypress, primed and sanded. The mask is worn over the wig and fastened with ties. The slightest change in lighting or angle gives it a new expression. There are masks of different genders, ages, characters and even fantastic creatures.

5. Theatrical costume of Europe from the 16th century. up to modern times

During the Renaissance, the first permanent troupes working on a professional basis began to appear in Europe. They wander or are nailed to one place. People love to laugh more than cry, so the actors put on light, comic productions, farces and parodies. Wandering comedians continued medieval traditions and (like the entire culture of the Renaissance) turned to the ancient heritage. First of all, such troupes arose in Italy. It was there that the theater commedia dell "arte" appeared, that is, the "comedy of masks".

In the commedia dell'arte there was one scenery - a city street. There was no permanent plot: the head of the troupe (kapokomiko) asked it, and the actors improvised, as in ancient atellani. Those tricks and remarks that aroused the approval of the public were repeated and consolidated. The action revolved around the love of the young, which was hindered by the old and helped by the servants.

The most important role in comedy was played by the mask. A black mask could cover the entire face or part of it. Sometimes it was a glued nose or stupid glasses. The main thing is to create a typical face, pointed to a caricature.

There were two requirements for the costume: convenience and comicality. Therefore, on the one hand, it resembled the clothes of medieval histrions, and on the other hand, it was supplemented with characteristic funny details.

For example, Pantalone - a miserly merchant - was always with his wallet. His clothes resembled those of Venetian merchants: a jacket tied with a sash, short trousers, stockings, a mantle and a round cap. But one day the artist went on stage in wide red pants, the audience liked this characteristic detail. As a result, Pantalone and his pants merged so much in the minds of people that over time, the common name of pantaloons for women's underwear was formed from a personal name.

The doctor - another hero of the commedia dell'arte - presented a parody of a scientist and went out in a black academic gown with a lace collar and cuffs. In his hands were always paper scrolls on his head - a wide hat.

The captain, a military adventurer, wore a cuirass, bloomers, over the knee boots with huge spurs, a short cloak and a hat with feathers. His permanent attribute was a wooden sword, which would certainly get stuck in the scabbard when needed.

The most numerous and varied characters were servants (zanni), because it was they who acted as the "engines of progress" in a love conflict. Pulcinella had a huge hooked nose; Harlequin has so many patches that over time they were styled in a checkerboard pattern, Pierrot has a wide white shirt with a cut collar and long trousers; Brighella has a wide white blouse and matching trousers.

This folk theater, thanks to its light plots, was much more popular than the theaters of Shakespeare or Lope de Vega, which gave more preference not to spectacle, but to the depth of content. For the works of Lope de Pega, for example, even the name "cloak and sword comedies" appeared, because the artists really played in them only in everyday costumes modern for the author.

In parallel with the wandering troupes, court theaters also existed, the costumes of which numbered in the hundreds and were distinguished by their high cost. They were shown separately from the performance of the play.

In the XVII-XVIII centuries, the development of theatrical costume declined. The word comes to the fore, the dialogues absorb all the attention of the audience. On the stage, a household costume is used, devoid of historicism. This is the usual fashionable suit of the time. True, in the play you will not see a ragged servant or a poorly dressed shepherdess. The costume is ennobled. This is a consequence of the theatricalization of life. The theater is so deeply embedded in everyday life that the boundary "theatrical - everyday" costume is erased. It should be noted that in the XVII-XVIII centuries, theatrical costume often determines fashion (which has already been mentioned in previous chapters). The actors dressed better and more extravagantly than others. In the 17th century for Monsieur a la fashion, special audience seats were arranged on the stage, where they not only watched the performance, but discussed the artists and their costumes.

In the 17th-18th centuries, synthetic genres flourished: opera, ballet, circus (although they were known before). These genres include dramatic action, stunts, music, singing, and bright, memorable make-up. Synthetic genres absorb elements of everyday life. For example, the cancan ballroom dance (French cancan) with a characteristic high tossing of the legs arose around the 70s of the 18th century. Gradually, it becomes an integral part of the operetta - a musical and dance comedy genre.

In the 19th century, interest in history was revived in all areas of culture. Thanks to archaeological and literary finds, it was possible to learn more about the costumes of antiquity, therefore, in historical plays, for the first time, attempts are made to reproduce the original costumes of the past.

The development of critical realism as a method of art and a way of perceiving the world leads to the fact that on the stage you will no longer see peasant women in peignoirs and starched servants. Such props appear in the theater, which were not mentioned aloud in polite society before. The search for new forms of expression leads to naturalistic make-up. Here is what V. A. Gilyarovsky writes in his essays about Moscow and Muscovites:

“In 1879, a boy in Penza with the theater hairdresser Shishkov was a student, little Mitya. He was the favorite of the Penza entrepreneur V.P. Dalmatov, who only allowed him to touch his hair and taught him makeup. staged "Notes of a Madman" and ordered Mitya to prepare a bald wig, who brought a wet bovine bladder to the performance and began to put it on Dalmatov's well-groomed hair... The actors ran to the dressing room at the cry of the actor.

- You are a great artist, Vasily Panteleymonovich, but let me be an artist of my own business! - raising his head at the tall V.P. Dalmatov, the boy justified himself. - Just try it on!

V.P. Dalmatov finally agreed - and in a few minutes the bubble was put on, in some places greased, and B.P. Dalmatov’s eyes shone with pleasure: a completely naked skull with his black eyes and expressive make-up made a strong impression.

At the turn of the 19th and 20th centuries, the trend of modernism gives rise to new forms of theatrical costume. Outfits are stylized, turning into symbols. Europeans discovered the theaters of the East, which was reflected in the stage costume.

In the first years after the October Revolution, the theatrical costume completely disappeared, it was replaced by "overalls", since the actors are "workers of theatrical labor."

Gradually, everything went back to normal, and the theatrical costume returned to the stage again. Moreover, in the XX century. there was such a new spectacle as the theater of fashion. Model shows have turned into musical drama shows. So the household costume was finally openly "married" with the theater.

List of used literature

2. Gelderod M. de. Theatre: Sat.: Per. from fr. / Post-last. L. Andreva, p. 653-694

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

4. De Filippo E. Theatre: Plays: Per. with it. /Later. L. Vershinina, p. 759-775; Artistic N. Alekseev. -M.: Art, 2007. -775 p.

What is theatrical costume? Stage costume - why does an actor need it and why is it important for staging Children's stage costumes.