What devices are used in ballet costumes. Ballet costume: what do ballerinas dance in

The costume in ballet is one of the important components of the design of the performance, it meets the requirements of both a specific ideological and figurative content, and the specifics of choreographic art. The role of the Costume in ballet is more significant than in drama or opera, because ballet is devoid of verbal text and its spectacular side carries an increased load, it should be light and comfortable for dancing, not hide, but reveal the structure of the body, not hinder movement, but help and highlight them. The requirements of figurative-characteristic concreteness and danceability often come into conflict with each other. Both excessive "everything" and the schematic impoverishment of the costume are extremes. The skill of the artist in ballet lies in overcoming these contradictions and extremes, in achieving an organic unity of imagery and dance.

The box looked like this before

Classic modern tutu

Outstanding Master of Costume in ballet. is S. B. Virsaladze. His works (especially in the performances staged by Yu. N. Grigorovich) are characterized by an organic unity of figurative characterization and dance. The artist never impoverishes the costume, never turns it into a clean uniform and an abstract scheme. His costume always reflects the figurative features of the hero and at the same time is conceived in motion, created in unity with the idea and work of the choreographer. Virsaladze dresses not so much the characters as the dance. His costumes are distinguished by high, often refined taste. Their cut and color bring out and emphasize dance moves. The costumes in Virsaladze's performances are brought into a certain system that corresponds to the peculiarities of the choreography. They are matched in color with the scenery, developing their pictorial theme, adding new colorful strokes, dynamizing them in accordance with the dance and music. Virsaladze's works are characterized by a kind of "picturesque symphonism".

A significant contribution to the development of Costume in ballet was made by Russian artists of the early 20th century. For Bakst, the very concept of the costume was born in connection with the choreographic movement; in his sketches, the costumes are presented in the sharply characteristic, often exaggerated movements of the dancers. The costumes of K. A. Korovin are distinguished by their coloristic richness and pictorial unity with the scenery. A subtle sense of the era and the individuality of the character was characteristic of A. N. Benois. In the costumes of N. K. Roerich, the elemental power and primitive exoticism of the characters are conveyed. The artists of the "World of Art" often absolutized the colorful meaning of the costume and interpreted it as a purely picturesque spot in the overall picture, sometimes ignoring or even suppressing the dancer. But with all this, they unusually enriched the expressiveness of the costume.

Modern ballet theater is characterized by a variety of artistic costume solutions. He translates the entire historical experience of the development of the Costume in ballet, subordinating it to the special artistic tasks of a particular performance.

Pointe shoes - ballet shoes , usually delicate colors: pink, beige, gold ..

The word "pointe shoes" comes from the French term to dance "sur les pointes", that is, "on the tips of the fingers." Pointe shoes mean both the tips of the toes and the shoes in which they dance, leaning on the tips of the toes. In St. Petersburg they are called "forging" and "helmets", in Moscow - "fingers". Pointe shoes are the most important working tool for a ballerina. For one performance, the soloist sometimes changes them as much as three times. The star of the pre-revolutionary Mariinsky Theater Olga Spesivtseva "danced" a thousand couples a season. A corps de ballet dancer needs three pairs a month, soloists - four or five: pointe shoes do not last longer.
Until now, despite the progress, pointe shoes are made by hand. Each shoe has about 50 pieces. The most important is the "glass" - a hard toe pointe. The main secret of each company is in the glue for creating a glass.

In pointe dancing, the main thing is aplomb - this is a ballet skill to maintain balance in different poses, standing on the tip of your finger for two or three beats. And here it all depends on the "patch" - a mug on the tip of the pointe shoe, which makes it stable. So that the "patch" does not slide around the stage, it and the sole are rubbed with rosin. For each ballet with a certain type of choreography, shoes of different stiffness and type of patch are intended. Ballerinas even mark them on the inside with the names of performances: "Swan Lake", "Spartacus", "La Bayadere".

Ballet shoes are constantly evolving. In the era of Anna Pavlova, pointe shoes were only made of shiny black, white and beige satin, now they are made matte to visually lengthen the foot, and in all conceivable colors. Although the three colors mentioned above are still at the peak of popularity, the bright color of the shoes should not distract the viewer from the dance.

Pointe shoes are made by hand. Ballet shoe from Grishko, the most famous Russian manufacturer, consists of 54 parts. The upper is cut out of satin and coarse calico, the sole is made of genuine leather.

The most important detail of a pointe shoe is the "box" or "glass" - the rigid part above the support patch. It is made from 6 layers of burlap and textiles, sticking them one on top of the other. The “box” is glued into the toe of the pointe shoe, and then the master must carefully and quickly - so that the details do not move and do not stain the satin top of the shoe with glue - turn it from the inside out onto the face.

To feel the last and the fabric, the masters collect pointe shoes not on the table, but on their own knees. After that, the toe part is molded with a special hammer, put on the block, and sent to the dryer for about 15 hours, where it “tans” at a temperature of 55 degrees. After it, it remains only to put flexible arch supports into pointe shoes. The finished pair is carefully checked: put on a block, it must stand without support.

Grishko produces about 25-30 thousand pairs of pointe shoes per month, of which 70 percent are sent abroad. Ballerinas from 80 countries of the world dance in the pointe shoes of this Russian company.

What are pointe shoes for? Great Baryshnikov is in front of you.

The most popular pointe shoes are flesh-colored. Of course, other colors are also made. In fact, the manufacture of pointe shoes has many secrets, and many ballerinas seriously distinguish between the products of various companies and masters. Anna Pavlova believed that handmade shoes contain a particle of the master's soul.

It is difficult to say how environmentally friendly pointe shoes are today. In any case, the pointe shoes of the ballerina, who was the first in the world to stand on them, were eaten by fans. It's about Maria Taglioni.

Her shoes were auctioned and eaten..

The traditional costume of a ballerina is a skirt of a special cut - a tutu. Over time, when the development of ballet passed from one era to another, ideas about ballet outfits also changed. Ballet skirts were recognized not only to emphasize the figure of the dancer, but also to create her image and facilitate the performance. Women's skirts had a wide variety of shapes and were decorated in a peculiar way. The tutu is flat, horizontally planted at the waist of the dancer, thin tulle skirts. Which, as if rising from a gust of wind, froze in different forms - "plates", "bells" and many others. Historically, changes in the ballet costume, of course, went in the direction of minimizing forms. The tutu originated from women's suits below the knees, empire skirts called "bell". And the "bell", in turn, is a shortened version of the romantic tunic - a long skirt to the heels. These delicate costumes belong to the world of ghosts, jeeps, spirits in "La Sylphide", "Giselle", "Serenade", and since the beginning of the 20th century, since the time of "Chopiniana", a transparent tunic has been called "Chopenovka" in ballet vernacular. In Covent Garden, the corps de ballet of swans in Swan Lake is still issued in silvery elongated bundles, it’s hard to call them bundles, but they are very reminiscent of those captured on surviving engravings. In contrast to the white packs accepted in our tradition, “floating”, as if on the surface of a lake. Swan tutus, as well as a headdress made of feathers (in ballet slang, “headphones”), were invented by the same Ponomarev, noted by the English press, whose works can be used to study the era of the late 19th century and whose costume sketches for a large number of productions have been preserved in the St. Petersburg Theater Library. If at the time of Anna Pavlova the tutus were long and lush, then they became shorter and even shorter, and later - longer, but thinner. In this transformation, it is not difficult to trace the ballet fashion of each era, which, in turn, reflected "high fashion". The beginning of the century is a modern, hedonistic and refined style, which is why the packs are richly decorated with real feathers or precious stones. Pavlova's costumes were modeled by trendsetter Lev Bakst, he also sewed her casual clothes. The experience of the Russian-European avant-garde passed by our ballet (but by no means theatrical) fashion - only in the Diaghilev entreprise were there examples of constructivism in costumes (people-skyscrapers at Picasso in Parade), Suprematism (monochrome of Natalia Goncharova’s ritual clothes in Les Noces) ), the influence of fashion Chanel (in sports beach suits from the Blue Express). And yet, sometimes the art of the ballet costume reached constructivist heights (the most striking example is Tatiana Bruni's Bolt, but the sad fate of the production severely decided the fate of the decoration).

The utilitarianly simplified packs of the early Soviet years looked quite ascetic - the airy wavy line was not supposed to evoke bourgeois associations. The 50s-60s - the years of the "new wave" in European art coincided with the first foreign tours of our order-bearing theaters and brought the fashion for the universal mini: ballerinas in narrow tutus appeared in ballet palaces and dreams. In the 1970s and 1980s, their width increased, but they somehow became discolored with stylelessness - like a reflection of years of dull calm, at the same time "stagnation" and "underground", official art. There are cases when the costumes "ruined" the ballet, and, conversely, high-quality choreography will never be frightened off by laconic clothes. So, in the middle of the 20th century, leotards and leotards entered the ballet fashion - not just universal rehearsal clothes for dancers, but the signature stage costume of the Balanchine school. The black leotard has become synonymous with his "black" ballets ("Agon", "Four Temperaments", "Symphony in Three Movements"); Balanchine and unimaginable contours had flat packs under the gastronomic name "plates", echoing the curves of wide-brimmed hats in the Symphony of the Far West. After the tour of the Balanchine troupe of the New York City Ballet, they began to look at ballet with different eyes in the USSR, they even began to dress differently for the lesson: before that, women practiced in chitons made of gauze, and men in whatever they had to. More precisely, the first step in this direction was made by the visits to Moscow of the Royal Ballet and the Paris Opera in the late 1950s. By this time, Yuri Grigorovich's "Stone Flower" had just blossomed in Leningrad: no traditional costumes - Simon Virsaladze pulled the Mistress of the Copper Mountain into a spotted overalls. Then there was the "Legend of Love", after which the fashion for tight, like a second skin, ballet leotards was fixed in our country for a long time.

Meanwhile, tutus still occupy the place of the queen in the state of classical ballet. Until recently, there were constructive differences in their cut in Moscow and St. Petersburg: at the level of skirt shapes, outlines, the number of flounces and styling. It is important that packs of swans in St. Petersburg-Leningrad from time immemorial differed from nereids in Sleeping Beauty or shadows in La Bayadère.

But, as time shows, not only fashion is changing, because costumes of different cuts began to return to the performances of the Bolshoi. And the packs in the form of opened buds, appealing to imperial times, in Le Corsaire, the last major premiere of the theater, speak as much about the theater as they do about the whole country.

From its inception until the middle of the 19th century, ballet dance was performed in high-heeled shoes and long skirts. It was difficult to perform a number of elements in such an outfit, especially since the ballet was constantly being improved and acquired new positions and movements. At this time, pointe shoes known to the entire ballet world appeared. Pointe shoes are a special type of shoes that are fixed on the leg with ribbons, and the toe is reinforced with a hard block. The word pointe comes from the French "tip". French ballerinas could boast of being able to stand on their fingertips and perform complex elements at the same time. To facilitate such a dance, pointe shoes began to be used, which fixed the leg and allowed the ballerina to maintain balance. However, in order to start doing pointe shoes, you had to train for a long time. After all, these ballet shoes, as it facilitates the work of a professional dancer, can also harm an inexperienced performer.

In ballet schools, girls were taught classical dance elements for several years before they were allowed to wear pointe shoes. Dance skills and body flexibility contributed to the ballerina's mastery of pointe movement. Despite all the professionalism of the ballerina, before performing pointe shoes or class, it is necessary to warm up the legs and shoes well. If the ballerina neglects this rule, then her dance can end in serious injury. In order to dance en pointe, you need to work hard on strengthening your toes.

Modern pointe shoes are made of satin material, most often pointe shoes are ordered by the master for a particular ballerina. This is necessary so that they securely fasten the foot. A compacted material is placed in the toe of the ballet shoe, and the tapes intercept the leg at the ankle. ballet model collection design

Dance on pointe shoes is distinguished by a special grace and virtuosity of performance.

History of the ballet tutu. Photo – thevintagenews.com

A ballerina in the mind of any person is certainly represented in a tutu.

This stage costume has become an integral part of classical ballet.

However, this was not always the case. The modern image of a ballerina, before being finally formed, has undergone a lot of changes and has come a long way.

Many may be surprised, but until the second half of the 19th century, ballerinas performed on stage simply in elegant dresses, which differed little from those in which the spectators came.

It was a dress with a corset, a little shorter than usual, rather bulky. Ballerinas always performed in heels. The share of ballerinas was a little facilitated by the new fashion for antiquity. By the way, mythological subjects began to be used in ballet, for example, Cupid and Psyche.

Ladies began to wear airy, translucent dresses with a high waist. They were even slightly wetted so that the fabric fits the body better. Tights were worn under the dresses, and sandals were worn on the feet.

But over time, the technique of ballerinas became more complicated and lighter clothes were required for the stage. First, the prima abandoned corsets, then shortened the skirts, and the dress itself began to fit like a second skin.

Who invented the pack

For the first time in a ballet tutu, Maria Taglione appeared before the audience on March 12, 1839. On this day, there was the premiere of "La Sylphide", in which the ballerina performed the main part of the fairy fairy.

For such a role, an appropriate outfit was required. It was invented for the daughter of Filippo Taglioni.

According to one version, the clumsy figure of Mary became the impetus for the creation of the later classical ballet clothes. To hide the flaws, Taglioni came up with a dress that gave the whole appearance of the heroine airiness and grace.

The dress was created according to the sketches of Eugene Lamy. Then the skirt was sewn from tulle. True, in those days the tutu was not at all as short as it is now.

The next "transformation" of the pack happened a little later. But at first the ballet world took even such a modest attire with hostility.

The tutu was especially not to the taste of ballerinas with not very beautiful legs. But the delight of the audience and art critics, who admired the airiness of the dancers, knew no bounds. Not the last role in this was played by a pack. So this costume took root, and then became a classic.

By the way, there is a legend about Maria Taglioni. When she passed the border with Russia, the customs officers asked if she was carrying jewelry. Then the ballerina lifted her skirt and showed her legs. Maria was the first to take pointe shoes.

How the tutu got accustomed in Russia

Tsarist Russia was conservative and did not immediately accept the novelty. This happened only half a century later. But it was in our country that the pack changed again.

The innovator was the prima of the Bolshoi Theater Adeline Dzhuri in the early 1900s. The capricious lady did not like the long skirt in which she was to pose for photographers. The ballerina just took the scissors and cut off a decent piece of the hem. Since then, the fashion for short packs has gone.

How else has the pack changed

Although since the beginning of the 20th century the tutu has acquired the shape and form that we know to this day, people have always experimented with it. In productions, such as Marius Petipa, the ballerina could dress up in costumes of different styles.

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

In the 1930s and 1940s, the ballet tutu from the 19th century returned to the stage. Only now she was called differently - "shopenka". And all because Mikhail Fokin dressed the dancers in his Chopiniana. Other directors at the same time used a short and lush tutu.

And since the 60s, it has turned into just a flat circle. Whatever the pack is decorated with: rhinestones, glass beads, feathers, precious stones.

What are packs made of?

Ballet tutus are sewn from a light translucent fabric - tulle. First, designers create a sketch. Of course, the features of the figure of each ballerina are taken into account, and therefore the sketch of the dress for each dancer is different.

The width of the tutu depends on the height of the ballerina. On average, its radius is 48 cm.

One pack takes more than 11 meters of tulle. It takes about two weeks to make one pack. With all the variety of models, there are strict rules for tailoring.

For example, neither zippers nor buttons are ever sewn onto packs, which can come off during a performance. Only hooks are used as fasteners, but in strict sequence, or rather, in a checkerboard pattern. And sometimes, if the production is particularly difficult, the tutus are sewn up by hand on the dancer before going on stage.

What are the packs

The pack has many names. So, if you hear the words “tunic” or “tutu” somewhere, know that they mean the same pack. Now let's figure out what types of packs are.

The classic tutu is a pancake-shaped skirt. By the way, the soloists are directly involved in the creation of their costume. They can opt for a tutu shape that can be parallel to the floor or with a slightly dropped skirt.

"Shopenka", a long skirt, I also sew from tulle. This form of skirt is very good for creating mythical characters or inanimate creatures.

The advantage of such an outfit is that it hides insufficiently tightened knees and other shortcomings, but it draws attention to the feet.

Another type of dress that does not go out of ballet use is a tunic. His skirt is single-layer, sewn more often from chiffon. In this dress, the role of Juliet is played.

Why do we need tutus during rehearsals

For rehearsals of ballet performances, tutus are sewn separately. They are easier to put on and take off than those in which ballerinas go on stage.

So, all parts of the stage costume can be sewn together, while for rehearsals a bodice is not needed, but only a skirt with panties is used. Also, rehearsal packs don't have that many layers.

A rehearsal tutu is a must. After all, dancers should immediately see where the tutu will interfere, where it can ride up or be hurt by a partner. And the director will be able to form a dance pattern.

The tutu is so firmly entrenched that it is used not only on the ballet stage. True, outside of her pack serves for comic numbers of variety artists and even in the circus.

Baranova Anastasia, student of 5 "B" class

The history of creation and features of the Russian ballet costume

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What is ballet?

Ballet ( fr. ballet, from ital. ballo - dancing) - kind of stage performanceart; performance, the content of which is embodied in musical and choreographic images. A classic ballet performance is based on a certain plot,dramatic idea, libretto, in XX centurya plotless ballet appeared, the dramaturgy of which is based on the development inherent in music. The main types of dance in ballet areclassical dance and character dance. An important role is playedpantomime, with the help of which the actors convey the feelings of the characters, their "conversation" among themselves, the essence of what is happening. In modern ballet, other dance techniques are widely used, as well as elements of gymnastics, acrobatics, martial arts, etc.

The birth of ballet.

Dance classEdgar Degas,

At the beginning - as a dance scene united by a single action or mood, an episode in a musical performance, an opera. Borrowed fromItaly, during Franceblooms like a magnificent solemn spectacle -court ballet. The beginning of the ballet era in France and around the world should be considered October 151581, when a spectacle was presented at the French court, which is considered to be the first ballet - “The Comedy Ballet of the Queen” (or “Cercea”), staged by an Italian violinist, “the main intendant of music”Baltasarini de Belgioso. The musical basis of the first ballets was court dances, which were part of the old suite. In the second half17th centurynew theatrical genres are emerging, such ascomedy-ballet, opera-ballet, in which a significant place is given to ballet music, and attempts are made todramatize. But ballet becomes an independent type of stage art only in the second half of theXVIII centurythanks to the reforms carried out by the French choreographerJean Georges Noverre.

Russian ballet.

In Russia, the first ballet performance took place on February 8, 1673 at the court of Tsar Alexei Mikhailovich in the village of Preobrazhenskoye near Moscow. The national identity of Russian ballet began to take shape at the beginning of the 19th century thanks to the work of the French choreographer Charles-Louis Didelot. A real revolution in ballet music was made by Pyotr Ilyich Tchaikovsky, who introduced continuous symphonic development, deep figurative content, and dramatic expressiveness into it. The music of his ballets Swan Lake, The Sleeping Beauty, The Nutcracker, along with the symphonic music, acquired the ability to reveal the inner course of the action, to embody the characters of the characters in their interaction, development, and struggle. The beginning of the 20th century was marked by innovative searches, the desire to overcome the stereotypes and conventions of the academic ballet of the 19th century...

Ballet costume: what do ballerinas dance in?

The history of the ballet costume is quite logical. When slow minuets dominated the stage, the costumes were long, heavy, embroidered with precious stones, with many petticoats and petticoats. As the dance became more complex, the costume evolved accordingly. At first, corsets were removed, skirts became shorter and lighter, and the neckline became more and more frank.

Pack.

For the first time in what is now called a "tutu", the ballerina Maria Taglioni, the first Sylph and progenitor of"romantic ballet" (Taglioni is also known for the fact that she was the first ballerina in the world to become pointe shoes, but more on that later).

The hitherto unknown gauze skirt, woven, it seemed, out of thin air, legitimized the ballet costume. At first, the dancers (especially those with ugly crooked legs) even violently protested against the innovations, but then they calmed down - this airy cloud looked very beautiful.

In general, as you understand, the more technical the dance became, the costume became simpler and shorter. Packs came to the form we are used to now somewhere in the middle of the 20th century.

Now let's deal with the names. Tutus are different and change their appearance, depending on the ballet.

Tutu is a funny French word that just translates as a pack. It is this word that is used in English to refer to a ballet skirt.

The classic tutu is a pancake-like round skirt. Ballerinas dance in such, as you probably guessed, in the most classical ballets: Swan Lake, Paquita, Corsair, Acts 2 and 3 of La Bayadère, The Nutcracker, etc.

The standard radius of the tutu is 48 cm. But most often the size of the circle varies - depending on the height of the ballerina, the party and the general style of the performance. Soloists, depending on their physical data, can independently choose the shape of the pack - decorating their legs: they are even, parallel to the floor, slightly lowered, with a magnificent bottom, or, conversely, completely flat.

Romantic tutu or "chopinka"- long tulle skirt. It is she who is responsible for the creation of "otherworldly" fantastic images - the ghost of the deceased Giselle, the beautiful spirit of the Sylph. And the apotheosis of the romantic ballet "Chopiniana" is completely impossible to imagine without these wonderful airy skirts - they create the illusion of flight, air, freedom, the absolute unreality of what is happening.

A long fluffy skirt, of course, hides the ballerina's legs. On the one hand, it distracts from possible shortcomings, and on the other hand, it attractsall attention to the feet. But romantic ballets are saturated with fine technique and ugly non-working feet without a high lift somewhat knock down the romantic mood.

There is also such a thing astunic or tunic- this is the same tutu, ballet skirt.

Chiton - This is a single-layer skirt most often made of chiffon. In the chiton, for example, the part of Juliet is performed.

Packs, chopins, tunics, etc. are like stage and rehearsal.

If the costume, for example, of Odette, in which the ballerina enters the stage, is a single whole - that is, the upper (bodice) and lower part (actually, the tutu) are sewn together, then the rehearsal costume is only a skirt with "panties" that is put on rehearsal leotard (shopenki - no panties, just a skirt on a yoke).

Rehearsal packs consist of fewer layers.

You ask, why a tutu at a rehearsal? After all, it is quite possible to get by with standard rehearsal clothes - leotards and a swimsuit. But it is imperative to rehearse in what the ballerina will then take to the stage - so you can make sure that the skirt does not ride up, that the partner does not cling to it, in order to control the overall pattern of the dance.

Pointe shoes

Pointe shoes (from fr. pointe - point; sometimes pegs or helmets) -shoes, which is centuries, gradually turning into an indispensable element of classical ballet. Pointe dance is exclusively female.

This word has two closely related meanings.

1. Pointe shoes are called the tips of the toes. To dance on pointe - means to dance, relying not entirely on the entire foot, but only on pointe shoes. This system of ballet dance began to be used at the very beginning of the 19th century.

2. Pointe shoes are special ballet slippers in which the ballerina dances, leaning on the tips of her toes (on pointe shoes). Used when performing female classicaldance.

For the first time on stage in pointe shoes with a hard cork pad, she appeared on July 3, 1830.Maria Taglionias Flora in the ballet "Zephyr and Flora" in covent garden , London. She was the very first to dance on pointe-fingers - in 1832 in a ParisianGrand Opera in the ballet sylph» staged F. Taglioni . And the very first Russian ballerina - a pointe performer is calledAvdotya Istomin.

Men's ballet costume.

The history of the men's ballet costume began with costumes of such a complex design that it is now very difficult to imagine how one could even just walk in such outfits, not to mention how to perform various complex tricks while dancing. But over time, ballet dancers won the difficult struggle to free themselves not only from complicated and uncomfortable costumes, but also from a large number of clothes in general.

However, for this they had to go a long and hard way. The first ballet dancers performed in masks and high wigs with luxuriantly whipped hair, over which a headdress was worn. They wore knee-length framed skirts, long robes, and the like. Dancing men in high-heeled shoes. By the end of the 18th century, the dance technique became more complicated, and the costumes became lighter and more elegant. And over the following centuries, costumes become lighter and more frank, reaching such extremes as a bandage and even full nudity. Today, classical ballet dancers usually perform in tight leotards and turtlenecks or with an open torso, striking the audience with the grace of their movements and the perfection of a trained body.

The costumes of the "princes" in various performances can be considered a real work of art. Since the decoration uses a large amount of brocade, velvet, gold and silver cords and braid, various jewelry and stones. Ballet costumes of courtiers (tunics orcamisoles), also richly decorated with a variety of finishes. The costumes of minor characters, although they do not have bright finishes, also look interesting, for example, the armor of knights or the guards of the Sultan.

When, during the performance, music, dance, light, scenery and costumes merge together, you experience a real feeling of delight. Especially if you watch classical productions - The Nutcracker, Sleeping Beauty, Karsary, Swan Lake and others. Amazing performances performed by real ballet masters.

Grace that captivates the eye, magnificent pantomime, music that stirs to the depths of the soul - these are the words I describe my feelings after visiting the ballet. Ballerinas flutter like butterflies, barely touching the stage. Each movement seems light and airy, and you can’t take your eyes off the elegant costumes of the dancers .

The history of ballet began around 1400. The birthplace of this dance is Italy, but many associate ballet with France.

This is because it was in France that he gained strength and gained popularity, thanks to the choreographer Jean Georges Nover. The ballet costume at that time consisted of many layers and heavy fabrics, which did not allow dancers to perform the most elegant poses and movements. for long puffy and heavy skirts.

The revolution in the world of ballet fashion in the 19th century was made by the Italian ballerina Maria Taglioni. Even as a girl, Taglioni participated in various productions, but each of her appearances was different in that she refused the then fashionable high-heeled shoes, puffy dresses, makeup and wigs, and appeared on stage in a simple dress. It was she who first performed the dance on pointe socks and in a tutu skirt, which was made especially for her in 1839 according to a sketch by designer Eugene Lamy. A light tunic flowing through the air, resembling the shape of a flower, helped the ballerina perform movement technique and radiate fabulous unearthly light.

In France, there is even a custom among young people to leave their first pointe shoes on the grave of their predecessor. This spectacle, however, is not very impressive ...

Pointe shoes
The first ballet shoes appeared in the 19th century, before that, special corks, about 2 fingers thick, were put into ballerinas' shoes. Because of this, the shoes quickly wore out and became unusable.
Modern ballet shoes are made individually for each dancer, and not according to the usual standard sizes. Measurements are taken from the legs of ballerinas and a wooden block is processed, repeating the contour of the foot. A strong leather sole is nailed to the block, which is much smaller than the size of the foot and sheathed with material, most often satin fabric. Pointe shoes must be the same shape as the last, so they are hammered to the perfect shape. Insoles in pointe shoes are usually made of cardboard and leather, which gives flexibility to foot movements. .After drying, the block becomes so hard that it can even hammer nails.

ballet tutu
As I wrote above, for the first time a ballet tutu was created for the romantic and fragile Taglioni. There are two types of ballet tutu skirts: classical and chopinka (tunic).
The classic tutu is multi-layered, 10-15 layers of material and a rigid hoop are used in its manufacture. It takes about three days of painstaking and constant work to make one such tutu. a magnificent view, it is stored in a suspended state.