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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 various kinds masks. They were also necessary because all the roles were then played by men. The actor changed the mask in the course of the action when he performed in 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. Depicting satyrs and sileni clung to the back of a ponytail, 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. Were very popular circus numbers. 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 everyone Christian holiday accompanied 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. fantasy 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. Faith clothed in 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

Syncretism primitive culture(indivisibility of various types cultural activities) manifested itself in magical cities, where dances, music, painting, theatrical performances, etc. coexisted side by side in the depths of mythology. As early as the 2nd millennium BC. 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 show, shadow theater, ballet) performances 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, 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 decorations, so especially importance given to the play of actors and their appearance. 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 viewpoint; 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 mandatory integral part 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 No theater has character traits, which have already been mentioned: the lack of scenery, the slowness of movements in important places performances, 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 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 a common name was formed from a personal name. lingerie trousers.

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 their light stories, was far more popular than Shakespeare's or Lope de Vega's theaters, which favored depth rather than spectacle. For the works of Lope de Pega, for example, even the name "cloak and sword comedy" appeared, because artists really played in them only in contemporary author household suits.

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 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 have dramatic action, and tricks, and music, and singing, and bright, memorable makeup. 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 outfits of antiquity, so in historical plays for the first time they make attempts to reproduce the original costumes of the past.

Development 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 negligees 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 a few minutes later the bubble was pulled 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.

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"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 suit 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 progressive development of art contemporary theater, innovations in directing, transformation of the method of decoration, 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 the costume designer 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 the setting and persistently seek expressive means ... ". Theatrical costume is first created by visual means, that is, a sketch.

After you create at least one role, it will become clear to you. what does a wig, beard, costume, fake thing mean for an artist, necessary for his stage image.

K.S.Stanislavsky

Everything is important in a theatrical costume: composition, plasticity, rhythm, color, line. And the color is so great importance that it can be compared with painting. Color is especially important in theatrical historical and fantastic costumes, as well as in pop costumes. The costume creates a certain predetermined environment around a person, a special microcosm that helps the actor to more easily adapt to a new performance, to a new environment, to other people. Unlike other types of art, the costume is very flexible, mobile - it is easy to change it partially or even completely. This property of the costume more than once made it possible to quickly reflect major events in public life or other information about them, sometimes ahead of the events themselves. In this regard, it is interesting to recall the costumes of the period of the Great October Socialist Revolution - red riding breeches, leather jackets, Budyonovka, peakless caps, vests, red scarves. M. Gorky once remarked that if the revolution created colorful costumes, then it needed them. There are interesting memories of the first years of the work of the Cheka, how in those years many "former" tried to fit in with the new masters of the country. They did not shave, they walked around in coarse soldier's tunics, and some of them put on leather jackets. Such jackets were the best evidence of political views. Of course, Gorky was right - the costumes of the revolutionaries were not an accident - they helped create a generalized image of these desperately brave, courageous, selfless people. A costume can be created based on a shape or color. Each element can become a reference, but the color remains the first in terms of the strength of the emotional impact. It is enough to name any color, as an associative series immediately appears. But there is one serious important point: warm, especially bright colors visually expand and bring the figure of the actor closer to the viewer. Pure cold colors make the figure visually smaller and, as it were, move deeper into the scene.

Speaking of poster costumes, one can recall the peoples of India, who, in the course of the struggle for their independence, at the suggestion of Mahatma Gandhi, stopped buying English goods and introduced modest clothes made from homespun materials. The British perceived this costume as a rebellion, and sometimes they even shot him for it. Thus, the costume carries a specific pictorial language.

When starting to create costumes for a performance, variety, circus or other performance, the artist faces the question: what will I embody, for whom and how?

The first question involves an idea. The concept of the image and atmosphere of the performance. The second is an understanding of obligations to the audience and knowledge of the audience.

The idea of ​​the plot anticipates its composition, dictates the characters, their moral character, and hence their appearance.

The process of working on a theatrical costume is divided into three stages:

1)the period of accumulation and comprehension of material based on dramaturgy.

The artist, based on the knowledge of the laws of composition, the laws of the theater, as well as the tasks of this performance, uses them in his work. In this case, both the director and the actors are involved.

2)working on a sketch

3)translation of this sketch into volume and material.

The search for truth is not possible without emotions. That is why the emotions caused by the costume, the performance should not be random, but thoughts and associations should be organized and purposeful by the artist. Everything is very interconnected, because the viewer perceives not only with the help of hearing, smell, but also with the help of vision. And vision is a kind of world of images, which is formed due to associations, due to life experience. An artist must be a psychologist at the same time; should be able to predict the associations of his viewer. Each author-playwright requires his own, special form of performance, therefore, an artist, like an actor, must have the ability to "reincarnate" depending on what material he encounters: whether it is the dramaturgy of V. Shakespeare, A. Ostrovsky or N. Pogodin.

External credibility does not always decide the greater truth of the image. Shakespeare is illustrative in this respect. It is possible to transfer the real Elsinore and Danish warriors in heavy armor to the stage, but in such scenery and costumes it will be possible to play not Hamlet, but at best everyday scenes from the northern Middle Ages. Shakespeare, with his mighty generalization, does not tolerate verbosity and fragmentation, either in the interpretation of the director or in the design. It requires the scale of artistic thinking, simplicity and the utmost thoughtfulness of every detail. That's why working on Shakespeare's plays is everyone's touchstone. theater artist.

The direction of the theater artist's work also depends on the requirements of the genre.

Facing drama theater, he must remember that the basis of the performance is the actor and that the main task of the decorator is to provide the actor with the most favorable presentation, to create typical circumstances for notes and l that emphasize the meaning of the action.

In oner the artist acts in greater equality with the performers. Due to the fact that music is associated with visual sensations, the scenery here acts as a form of pictorial expression of music. This form should impress - hence the need for a full-fledged spectacular beginning in the opera. But entertainment should not be reduced to tinsel, stereotyped and prettiness, which even the great masters of the stage sinned. Our best opera decorators, Williams and Dmitriev, have always struggled with purely outward operatic impressiveness, being able to express the monumental spirit of an opera performance in a rather concise and restrained form. Due to the fact that in crowd scenes large groups actors, the color of the costumes is of particular importance. The movement of the crowd around the stage can give the spectacle tremendous dynamic power if the artist finds the right color key. So, for example, the artist F. Fedorovsky in the opera Khovanshchina by M. Mussorgsky managed to determine the emotional atmosphere of the performance in accordance with the music, with its truly high drama.

A theater artist, unlike a painter, sculptor and graphic artist, who say in their things what they want to say in this moment, can make public his thoughts and feelings only through the medium of appropriate dramatic material. The higher the quality of this material, the more interesting it is for the decorator to work on it.

Soviet dramaturgy provides the richest opportunities for the creative work of a theatrical artist. The artist each time has to re-seek the form of the modern performance, and if it is found to match the essence as much as possible dramatic work, it is difficult for all subsequent directors, even the most experienced, to get rid of it. For example, the design of the "Optimistic Tragedy" by Vs. Vishnevsky at the Leningrad State academic theater drama named after A. S. Pushkin (1955) to some extent repeats the decision of the same play in Chamber Theater in Moscow (1933).

A similar role in the Soviet theater was played by V. Dmitriev's design of "Yegor Bulychev" by M. Gorky (Evg. Vakhtangov Theatre, 1932), as well as N. Akimov's "Rift" by B. Lavrenev (Theater named after Evg. Vakhtangov, 1927;) and N. Shifripym "Virgin Soil Upturned" by M. Sholokhov (Soviet Army Theatre, 1957)

E.O. Kibrik: “Each object, figure or individual element must be positioned in this way. so that they are easily and clearly perceived by the viewer. When creating costumes, scenography, the artist must think about the performance as a whole. To do this, you need to separate the main from the secondary. The main task for the artist is to achieve the unity of the idea of ​​design and its implementation.

Of course, the costume is a very important part of the performance, and not only for the performer of this role, but also for his partners. The costume sometimes reveals some of the features of the character himself, veiled in the play.

But the difficulty lies in the fact that one should take into account the appearance of the actor himself and the character, the features of his character. The costume should help the actor convey the state of the character during the performance. To do this, it is necessary to provide for his interaction with things and with other characters. In addition, it is very important how the costume interacts with the scenery, under different lighting effects.

It's not a secret for anyone that the theater is a convention, i.e. as if "arranging" with the viewer about the rules of the game. The rules are always different, depending on the tasks, but there is still one main thing for everyone: there must be harmony and taste. For the theatre, it is very important that the convention adopted in this performance is understandable to the audience. Violation of the conditions of the game leads to a violation of the integrity of the work.

In the course of work, the artist gets acquainted with the historical costume, with the life of that time, which will be shown in the performance, sketches the most suitable costumes. And, analyzing this, it is necessary to find modern approaches to the disclosure of the play, which will make the performance understandable to today's audience. In this search, the artist is guided by his modern worldview, his knowledge of modern aesthetics, his heightened perception of everything new and relevant.

Having defined the main concept, we move on to the details - to the development of silhouettes, finishes, details. And at this stage there is a search for the individuality of each character. For this, small sketches are drawn in color. They reflect the course of reflection, the search.

The next stage is the working sketches, which are approved by the artistic council and the actors. The working sketch should be a good guide for the work of the workshops: it should clearly define the shape, silhouette, proportions, finishes. In addition, such sketches should be drawn not only from the front, but also from the side of the back, and in case of complex silhouettes, in profile.

When the graphic part of the work is completed and the sketches are approved, the last milestone work on a costume - translation of a sketch into material, into a costume. For the artist, the crucial part is the fitting. While the costume is not yet ready, it is necessary to gather together all the fabrics and trims, and pin them first on the mannequin. Then check the first general impression on the stage and light the mannequins as the actors will be lit.

At the fitting, the actors say how they feel in this costume, express their wishes. But the main thing in the process of all the finishing touches and alterations is not to lose the main idea, the idea. Peter Brook did not accidentally say. What is the highest praise for the performance, if we can say that it is solid. Only an integral completed composition can be called a work of art.

In a theatrical costume, the silhouette is determined not only and not so much by the style prevailing in art, but by the nature of the stage image, the psychophysical data of the actor.

In each suit, as a rule, there are many lines: a contour - a silhouette, lines of boards, lines of coquettes, pockets, a tie. All of them are different in nature and direction. The task of the artist is to combine them in such a way as to make the composition serve in the best possible way. For example, vertical lines, as well as smooth, rounded ones, create a feeling of calm movement; diagonal - more lively; horizontal - a feeling of slowness, almost static; asymmetric ones seem to be actively moving. In ancient ornaments horizontal line denoted the Earth, broken line - formidable forces of nature (lightning), undulating - water.

Color

A costume can be created based on a shape or color. Each element can become a reference, but the color remains the first in terms of the strength of the emotional impact. It is enough to name any color, as an associative series immediately appears. But there is one serious important point: warm, especially bright colors visually expand and bring the figure of the actor closer to the viewer. Pure cold colors make the figure visually smaller and, as it were, move deeper into the scene.

It is known that in different countries, in different time preference was given to any color or any color scheme. Such preferences are created by social causes and individual qualities of people.

For example, Pavel Ivanovich Chichikov (N.V. Gogol "Dead Souls") - "a landowner according to his own needs" - could not wear a uniform or uniform. But a black tailcoat would be too specific for him, since it was unambiguously perceived at the time to which the time of the poem refers. And then he puts on a "lingonberry-colored tailcoat with a spark" when he went to the governor's party, where "black tailcoats flickered and rushed apart and in heaps here and there, like flies on a white shining refined sugar." The alternation of the color names of the Chichikov color is not an accident. Variability becomes on a par with such characteristics of Chichikov as: “one cannot say that he is old, but not so that he is too young”, “not handsome, but not bad-looking”. It can be assumed that here Gogol's color has an emotional connotation - this is a means of psychological characterization of the character. Since the black tailcoat spoke of the frivolity of its owner, Chichikov, in order to make a solid impression, preferred to wear colored tailcoats.

And now about the degree of color saturation, i.e. about tone. It has the ability to evoke certain emotions. All colors that are on one side of gray seem light and joyful (towards white), and on the other side, more gloomy. Being between them, the middle one is the calmest for our eyes.

Compositions dominated by medium and close tones evoke feelings of balance. The average tone, depending on the environment, becomes either lighter or darker. White and black remain unchanged in any environment. The achromatic midtone is the best measure for fine-tuning the saturation of color tones.

To control himself, the artist can make a medium-gray mat for his sketch, and then he will get an accurate idea of ​​​​the tonal merits and demerits of his costumes.

In complex costumes with many details, three tones may not be enough. You can use one or two additional tones, which should gravitate towards the three main ones so that the costume does not lose readability.

In theatrical costume, great importance is attached to the silhouette, especially if the historical costume is taken as the basis. It needs to be modernized more carefully, because by changing it, the features of the dominant style in art change. It is enough to change the volume, mass, texture, color, finish. But the silhouette that most of all reveals the spirit of the time, carrying its aroma, must be preserved in its main features. Although in the theater everything can be not according to the rules.

In a theatrical costume, the silhouette is determined not only and not so much by the style that prevails in art. How much the character of the stage image, the psychophysical data of the actor. But whatever the decision, the silhouette remains the most important element of the costume composition. In modeling, silhouettes are divided into structural ones, which reveal and repeat forms. human body, and also emphasize how its advantages. So are the flaws, and the decorative ones, which deviate from the natural outlines of the figure, mask the shapes and lines. Such silhouettes visually distort proportions. They are the most suitable for solving complex costume problems: to identify sharply characterful images, to create fantastic, fabulous costumes. There may be complex silhouettes, conditionally consisting of one or several geometric shapes.

The silhouette line is just as important. It opens the forms of the main and additional volumes of clothing, creates an idea of ​​plasticity. The line helps the viewer to perceive the proportions of not only the entire costume as a whole, but also all the relationships of small forms and their harmony within it.

Scenography analysis

5.a. First option. In the center is a circle (hollow cylinder), as a symbol of inevitability and transience. On it is a rope ladder, located in the form catholic cross. The cross plays a big role in the performance as a symbol of faith, not the one that archbishops, inquisitors, etc. impose, but the one that inspires hope. From the circle, rope ladders diverge in different directions, which descend from the stage. Since the era we are considering is the era of the Inquisition, and as a result, the era of meanness, betrayal, people appear like snakes along these stairs from different angles. In addition, against the background of a circle of red velvet - a backstage. It descends at the moment of bloodshed, at the moment of the outbreak of hostilities. And that sets the tone. Thiel can create an image of the spirit of Flanders with hanging ropes, moving with the help of which he resembles a bird.

5 B. Second option. This option is based on the mast of the ship with its sails, rope ladders. At the beginning of the performance, the "sails" are held on the "mast", with the development of the plot they are lowered. And then one red color opens, then gray, then orange. It depends on the actions taking place on the stage. The cylinder plays the role of a frontal place (at the beginning of the performance).

Collection building methods

Collection of theatrical costumes for this performance

The methods that have been used in this thesis:

1.comparative-analytical.

Based on this method, a research work on the study of the historical costume of Flanders in the 16th century. As a result, it was found that for clothes given period influenced by France and Spain. In terms of color, the peasants' costumes are dominated by darker, earthy tones, in various interesting combinations. And, on the contrary, in the costume of the nobles - brighter, more saturated colors. This difference is the Spanish influence.

But in this collection, it was decided to change this color principle of the historical costume. King, queen, retinue at court (all Spaniards) - in black and white. They live by the principle of chess. And this mode of existence cannot be called life. It's a game. Checkmate.

2. The associative method is based on associations received from a creative source, in this case from G. Gorin's play "The Legend of Til".

Each character in this play has distinctive feature, each has its own character, its own unique image. In addition, almost all the characters change throughout the play, as a result of which the costume also changes.

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theatrical costume

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 portrayed character, 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 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 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. theater stage costume

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 the director is inseparable from the work of the artist. Firstly, the director must find his own answers to the main decorative problems. The artist, in turn, must feel the tasks of staging and persistently seek expressive means ... "

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

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