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FGBOU VO "Omsk University of Design and Technology"

Features of designing a children's theatrical costume

Borisova E.A., Tolmacheva G.V.

Summary

The article considers a children's theatrical costume as a design object with many tasks. For example theatrical performance"Angels" presents the stages of development of a children's costume, the subtleties of its specificity, manufacturing features are indicated. The most characteristic requirements are considered: functional, aesthetic, ergometric. But since the costume can not only captivate the actor to play and help reveal the image, it can perform additional functions that are important for children: cognitive and developing; adaptation and cohesion, improving mutual understanding in the team; development of a sense of individuality, assistance in self-expression. Appeal to the research topic is relevant, because in last years many circles, creative studios are being opened, and the design of a children's theatrical costume requires a professional, serious and careful analysis.

The main content of the study

Theater is an art form where much is calculated for an external effect. The role of the costume as a "moving" scenery has always been and remains dominant. But even more important is the theatrical costume in specialized theater studios which are part of the program of development and education of children. A costume is a means of transforming an actor, an element of a game, a part of a theatrical action. But it is also a design object, a product that many specialists are working on. Producer children's performance together with the actors and the artist forms the image of the future theatrical costume, sets tasks; costume designer, designer embody what was conceived in materials. The requirements for the design of a theatrical costume for a studio where children play have their own characteristics associated with the aesthetics, manufacture and operation of a theatrical costume. A modern loose fit is desirable, in accordance with the latest fashion trends, a simplified but effective approach to finishing and decorating. The choice of fabric should be consistent with the concept of the performance. In the article, the authors analyzed and outlined the main stages of the work. The most significant when designing a children's theatrical costume are functional requirements that determine the degree of compliance of the costume with the main target function - revealing the image, character and habits, mood of the hero. No less important are aesthetic requirements - the requirements of artistic expression, harmony, stylistic unity with the era and style of the performance. The costume should not only look spectacular from the stage, but also harmoniously fit into the overall visual concept of the performance. When designing a theatrical costume for children, it is especially important to take into account ergonomic requirements that characterize the degree of comfort and adaptability of the product to the actor: do not cause discomfort during the game (be hygroscopic and breathable), be comfortable for dance movements, and not cause difficulties when changing clothes between performances . Thus, the main task of the costume designer is to complete all the tasks and create the image of the actor.

Consider the design features, using the example of the performance "Angels", where the main artistic idea was that "Angels" live among people. The main artistic condition for creating costumes was "a non-standard image of angels and their paraphernalia", in order to remove the frames and develop the imagination of children, which is very useful for them. Creativity develops and enriches as the scope expands objective world, transformed by a person, the scope of his knowledge and skills. Since the "Angel" in the Abrahamic religions is a spiritual, incorporeal being, often depicted with wings ", these aspects were taken as a creative source when creating the project. As an alternative replacement for traditional theatrical wings, the designers developed removable armlets, which are secured in several layers of mesh fabric different color and shapes (from largest to smallest), cut out in the form of stylized feathers and attached to an adjustable elastic band. They are mobile, very functional, not bulky, when moving the hands they emphasize and enhance the effect of airiness, lightness. Such elements of the costume are also a way of inspiration for children, their emotional mood during the performance. The main color of the dresses was white. It symbolizes purity, spotlessness, innocence, virtue, joy; associated with daylight. The colors of the mesh fabric for decoration were chosen in pastel noble shades corresponding to the mythological attributes of angels: gold, beige, pink, blue.

The next task of the project is economy. Therefore, the main material of which is proposed for the manufacture of costumes is cotton, it is an inexpensive and natural fabric that has hygroscopic properties and strength. Decorating clothes is one of the most accessible and attractive means of self-expression, allowing you to declare your own uniqueness. The decor is made of nylon mesh, which, despite its softness, keeps its shape very well, at the same time it is light (which is important for a children's costume and which is a common problem in theater costumes)

The module of the decorative element is a ribbon cut from a grid. It does not require additional processing, due to this, several problems are solved: reduction of manufacturing time, simplification of manufacturing technology, lightness, effectiveness. Due to the softness and plastic properties of the mesh fabric, it is possible to form complex curved and concave decor lines, folds, creases, and molds in different ways. The transparency of the grid allows, when applying one color to another, to create the effect of airiness, lightness, color transition from one to another, which emphasizes the fantasy and unreality of the images of the performance.

Several actors are on stage at the same time. To maintain a single style in the project, the same silhouettes were chosen - white and trapezoidal. Psychologically, the same color and silhouette of the costumes perform the function of uniting the actors into one team, form a sense of cohesion, belonging to common action and task. On the other hand, the decor of the costumes and its color for each actor is deliberately made different, emphasizing individuality. A harmonious combination of color and decor in a costume is especially important, since it is they who make the costumes beautiful, harmonious, and interesting for children.

An important task in designing a children's theatrical costume is its modernity. Psychologists advise that in order for a child not to feel uncomfortable among peers, it is necessary to dress him in stylish, interesting clothes of a fashionable cut corresponding to trends, thus there is a sense of individuality, self-confidence, which is also important for the emancipation of the actor on stage. Clothes can give confidence to a person who is closed for some reason, but in his heart aspires to leadership. For example, if the child is an introvert, unfortunately, the opposite effect can occur. He will feel terribly uncomfortable, and this will prevent him from doing his usual things, communicating with other actors and spectators. For children, performances are, first of all, a way to communicate with each other, therefore, when the actors are dressed smartly, stylishly, expressively, they are free, energetic, contagious, and this is already a means of socialization, adaptation and the ability to build communication both among themselves and with the audience. . Responsibility for one's actions and awareness of one's own ability to influence the world around him usually strengthens the child's satisfaction and self-confidence.

When creating theatrical costumes, it is difficult and important to comply with functional, ergometric and aesthetic requirements. Children need comfort, they should be comfortable to move, at the same time theatrical action implies the "attachment" of the audience to the actors, that is, the external effect of the costumes is important.

So theatrical costume? this is not only a means of transforming the actor, an element of the game, but it is also a design object, when designing it, it is important to take into account many factors that affect the functionality of the costume.

In the course of the project study, it can be concluded that the design of a theatrical costume for children requires additional functions to be taken into account:

cognitive and developing;

aesthetically and playfully attractive;

adaptive.

At the same time, it is important to take into account psychology, symbolism, associations in order to help young actors understand and reveal images, characters, and improve mutual understanding between artists and spectators.

When designing theatrical costumes for a children's studio, as a result of a pre-project study, the following were chosen: the same color and silhouettes of dresses, in order to maintain a single style of the performance, create a sense of cohesion and unite the actors into one team. A variety of decor and its color fulfill the task of individualization. For the development of cognitive activity - various removable parts, large decorative elements made of light mesh fabrics were used. To get involved in the creative process of the game, pastel colors were chosen, spectacular decor, giving fabulousness, evocative joy, emphasizing the mythological symbolism.

children's theater costume

Literature

1. Amirzhanova A.Sh., Tolmacheva G.V. The role of creativity in the formation of an artistic personality // International Journal of Experimental Education. - 2015. No. 12-3. S.319-321. URL: http://elibrary.ru/download/74553964. pdf

2. Goethe, I.V. To the doctrine of color. Sat / Trans. from English. - M.: “Refl-book”, K.: “Vakler”. - 1996, - S.281-349

4. Hoffman A.B. Fashion and people. New theory of fashion and fashion behavior. 4th edition. - M.: KDU. - 2010. - P.228

5. Kostyukova Yu.A., Zakharova A.S., Chagina L.L. Features of theatrical costume design // Bulletin of KSTU. - Kostroma: 2011. - No. 1 (26). - P.99. URL: file: // /C: /Users/%D0%95%D0%B2%D0%B3%D0%B5%D0%BD%D0%B8%D1%8F/Downloads/1vestnik_kostromskogo_gosudarstvennogo_tekhnologicheskogo_uni. pdf

6. Timofeeva M.R., Tolmacheva G.V. Textile design. Innovative Technologies // International Journal of Applied and fundamental research. - 2015. No. 12-4. pp.722-726. URL: http://elibrary.ru/download/90776650. pdf

7. http://www.iddosug.net/articles. php? art=2283 Publishing House"Leisure"

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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 color is so important that it can be compared to painting. Color is especially important in theatrical historical and fantastic costumes, as well as in pop costumes. The suit creates a certain predetermined environment around a person, a special microcosm that helps the actor to more easily adapt to the new performance, to the 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. These jackets were the best evidence 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 the Chamber Theater in Moscow (1933).

A similar role in the Soviet theater was played by V. Dmitriev's design of "Egor 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 (Theatre Soviet army, 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 important stage of work on the costume begins - the translation of the 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 best way serve as a composition. 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, a horizontal line denoted the Earth, a broken line - formidable forces of nature (lightning), a wavy line - 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 ah, in different time preference was given to any color or any color scheme. These preferences are created social reasons and individual qualities of people.

For example, Pavel Ivanovich Chichikov (N.V. Gogol "Dead Souls") - "the landowner according to his needs" - could not wear a uniform, nor 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 tasks: to identify sharply characteristic 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 shape of a 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 circle to different sides diverge rope ladders that 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 revealed that the clothes of this period were 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.

THEATRE - synthetic look art 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. Theatre, theatrical performance is created by the efforts of many artists, from the director and actor to the production designer, because the performance is a "conjugation various arts, each of which in this plan is transformed and acquires a new quality ... "

theatrical costume is a component of the actor's stage image, it is external signs and the characteristics of the portrayed character, helping the reincarnation of the actor; 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.

high modern culture theatrical art, the subtle and deep directorial work on the play and the performance, the talented play 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.

THEATER COSTUME, performance element. In the history of the theater, three main types of theatrical costume are known: character, play and clothing. actor. These three main types of costume exist at all stages of performing arts - from ritual ritual and folklore pre-theater to modern artistic practice.

A character costume is a kind of figurative-plastic composition on the figure of the performer, set in motion by him and voiced (by pronouncing the text or singing), sometimes hiding his figure completely, similar to how the mask covered his face. Examples of character costume in rituals and ceremonies of different countries of the world. The bell-shaped silhouette of the Indian costume was a paraphrase of the tower-tent temple of Nagar Shakhara and sacred mountain Menu (center and axis of the world in Hindu mythology). Chinese - with its shape, design, ornamentation and color expresses the ancient cosmological symbolism of the natural alternation of Light and Darkness, the merging of Heaven and Earth in the act of creating the world. The shaman costume of the peoples of the North embodies the images of a fantastic bird associated with the "upper world" and an animal (an inhabitant of the "lower world"). South Russian is a kind of model of the Universe. In the traditional performances of the Peking Opera, the costume was the image of a formidable dragon, in the Japanese theater "No" - the motives of nature, and in the Baroque era of the 17th century. - Fair or World. If for ritual ritual and folklore performances, character costumes (like all other elements of scenography) were the fruit of the work of anonymous folk masters, then in the 20th century, from its very beginning, artists began to compose them: I. Bilibin - in the opera The Golden Cockerel N. Rimsky-Korsakov (1909), K. Frych - in Bure W. Shakespeare (1913), V. Tatlin - in Tsar Maximilian, P. Filonov - in tragedy Vladimir Mayakovsky, finally, K.Malevich - in the project victory over the sun(all three productions in 1913). And then, at the end of the 1910s - the first half of the 1920s. a whole series of character costumes were created by the Italian futurists E. Prampolini, F. Depero and others, O. Schlemmer from the German Bauhaus, and in the ballet - by P. Picasso, who showed grotesque Managers in Parade E. Satie and F. Leger - Negro Deities in Creation of the world D. Millau. Finally, the cubist costume "architecture" of A. Vesnin acquired character significance in the performances of A. Tairov - in Annunciation, his Suprematist compositions on the figures of heroes Phaedra. On the other scenes - Y. Annenkov's "shell suits" in the play Gas G. Kaiser and A. Petritsky - in Viy, as well as fantastic collages as character costumes for the performance auditor, which were created by the students of P. Filonov (N. Evgrafov, A. Landsberg and A. Sashin) on the topic of stamps, coats of arms, seals, envelopes, etc. - the character of the Postmaster, recipes, signatures, syringes, clysters, thermometers - the character of the Doctor, bottles , sausages, hams, watermelons, etc. - the character of the Man-Tavern. In the second half of the 20th century costumes as independent visual characters, shown separately from the actors, as an element of scenography, were created by M. Kitaev and S. Stavtseva, and as different kind compositions on the figures of actors - K. Shimanovskaya, D. Mataitene, Y. Kharikov.

A game costume is a means of transforming the appearance of an actor and one of the elements of his game. In ritual and folklore performances, the transformation most often had a grotesque-parodic character, when men dressed up as women, women as men, young men as old men, beauties as witches, or when various animals were depicted. At the same time, everything that was at hand was used: a zhupan, a sheepskin coat, a casing, a sheepskin - always turned inside out, funnier and more amusing, as well as any other, somehow ridiculous, “inverted” clothing, for example, over-shortened pants, an unreasonably wide shirt, stockings with holes, all kinds of tatters, rags, rags, sacks, ropes; everything that nature gave was also used: grass, flowers, straw, leaves. Finally, various artificial decorations were also used for dressing: colored paper, birch bark, foil, glass, ribbons, mirrors, bells, feathers, etc. The techniques of grotesque masquerading passed both into the performances of ancient Greek comedies and into the traditional theater of the East, where they were combined with the actor’s varied play with elements of his costume: long sleeves and pheasant feathers - in the Peking Opera, trains, towels and fans - in the Japanese “But”. Performances of the Italian commedia dell'arte, plays by Shakespeare and Lope de Vega were built on endless disguises and disguises. At the end of the 18th century Emma Hart (Lady Hamilton) built her famous dance on the game with a shawl, after which similar techniques (manipulating scarves, bedspreads, veils and other similar elements of the costume) were widely used in ballet theater 19th century, reaching its highest artistic height in the work of L. Bakst, whose sketches of choreographic images included the dynamics of various flying fabrics, belts, scarves, skirts, scarves, raincoats, capes, pendants, garters. On the dramatic stage, the tradition of the costume, which plays along with the movements of the actor, was continued - by means of cubo-futuristic expressiveness - A. Exter in the performances of the Chamber Theater Salome O. Wilde and Romeo and Juliet W. Shakespeare, followed by her student P. Chelishchev and other masters of the early 1920s: V. Khodasevich and I. Nivinsky, I. Rabinovich and G. Yakulov, S. Eisenstein and G. Kozintsev, finally again on the ballet stage, in the productions of K. Goleizovsky - B. Erdman. If during this period play costumes constituted a whole trend in scenography, then in the second half of the 20th century. they were used by artists and directors also quite widely, but out of necessity, as an element of the "palette" of means of expression available to them. Among the authors of modern play costumes are Georgian artists Sameuli, G. Aleksi-Meskhishvili and N. Ignatov, examples of a similar kind can be found in theaters of other countries: in Poland, in the Czech Republic, in Germany, in Italy.

The costume, as the clothes of the character, being, often, the basis for composing the types of costume discussed above (character and game), in all periods historical development theater in greater or lesser degree is the embodiment on the stage of what people wore in given period. So it was in ancient tragedy, so it remains in the performances of our days. At the same time, the general evolution of this type of costume was characterized by a movement from the conventional forms of real clothing (in the era of baroque and classicism) to its ever greater historical, geographical, national authenticity, accuracy and authenticity. In the theater of naturalism and psychological realism, the costume becomes fully adequate to the character of the character, expresses not only his social status, but also his state of mind. At the same time, both today and in past centuries, the costume remains the subject of special creativity of artists (among them the most outstanding masters of fine art and set design) and they compose it (even seemingly everyday everyday costumes, not to mention fantastic ), not only as individual work but as an essential component of the performance.

Based on the book by Zakharzhevskaya R. V. "The History of the Costume"

I'm ashamed to admit it, but I'm the type of directors and actors for whom stage costume does not have of great importance. I really don't care what I'm wearing on stage, and even the most accurate costume doesn't help me better get used to the image of the character, because the internal adjustment to me is much more important. As a director, I never stick to an era or location, preferring to think that it doesn't matter and that the story I want to tell could have happened anywhere, anytime. The reason for such indifference to the visual component in me is probably my complete ignorance in fine arts and underdevelopment of visual perception. But I myself understand how mistaken I am and how much my productions lose because of this.

So, what is a stage costume and why is it important for both the actor and the production as a whole? 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. It is wrong to think that the suit is limited only to clothes. This is also makeup, hair, shoes, accessories (umbrellas, scarves, scarves, briefcases, bags, hats, jewelry). Only in such a complex of things is the concept of a costume complete.

For an actor, a suit is matter, a form inspired by the meaning of the role. Claude Autan Lara, a well-known French film director, writes in the article “The costume designer in the cinema must dress the characters”: landscape, clothing conveys a state of mind: through it, each of us discovers some part of his personality, his habits, his tastes, his views, his intentions ... The costume says that this person has just done what it is going to do, and that is why the costume in the cinema must first of all be a psychological indication ... "

Even during the preparatory work on a play or film, the artist draws sketches of costumes, starting from the idea embodied in the dramaturgy, the director's idea, the stylistic decision of the future production and, of course, from the characterization of the characters. The sketch suggests the style of wearing the costume, gait, provides for the necessary deformation of the figure, head positioning, hand movement and the manner of holding them, the sharpness of the silhouette drawing, the actor in the costume.

A bad costume can "kill" an actor; good - "raise", give the key to understanding the role, to the disclosure of certain qualities of the character. If the costume is uncomfortable, if it falls off, tears, clings to the props and scenery, hampers movement, then the actor (and the audience along with him) will constantly be distracted by him, forgetting about the line of the role. At the same time, a good costume that reflects the character's character will help you get used to the role better, feel the truth, and even create the required emotional state.

Moreover, the viewer is also able to consider many of the characteristics of the character simply by his appearance. Recall at least Charlie Chaplin with his famous tramp. “The bowler hat, the mustache and the cane speak of prosperity, but what a sad disappointment we experience when our gaze glides over the baggy frock coat and “foreign” trousers falling down on the boots! No, life has failed! The parts of the clothes so talentedly played, built in contrast, created an image that was unforgettable in terms of persuasiveness and power of influence, which became a symbol of the “little man”.

The costume is able to express the psychological characteristics of the hero, i.e. betray the properties of his character (kindness, stinginess, swagger, modesty, daring, panache, coquetry, etc.) or state of mind and mood. A person's character is always reflected in his appearance. How a suit is worn, what details it is complemented with, in what combinations it is made up - all these are features that reveal the character of the owner. And the actor must remember this. An elegant lady in a normal state of mind cannot be careless in a suit. A responsible officer cannot afford not to fasten all the buttons on his uniform. On the other hand, it is precisely such deviations from the norm that will give out a special emotional state of the hero.

The suit can express and social characteristics hero. By the costume, the viewer unmistakably recognizes the rich and the poor, the military and the intelligentsia, the nobles and the townspeople.

In addition, a costume on stage can change the figure of an actor, not only according to the image and age, but also according to fashion. Deformation, if we are not talking about a plastic change of the figure by means of thicknesses or overlays, is carried out by changing the proportional ratios of the main lines of the figure and a special cut of the suit, moving the waist line, various forms of the bodice. Such changes can be of great help in creating characteristic roles and heroes living in a certain era.

Just having a good costume for an actor is not enough. Work with a suit. It is "settle in", "age", "wear out". This is also a kind of psychological work with the costume, one of the real means of "revitalization" and "spiritualization" of the costume. I'm not talking about the fact that you just need to get used to the costume, because the sooner the actor finds the costume, the sooner he starts rehearsing in it, the better. Thus, the completion of the creation of a costume-image remains with the actor: how he will beat it, how he will get used to it, how he will be able to wear it.

The costume, of course, reflects the time and place of action. This is especially important in everyday and realistic performances. If the costumes are accurate to the era or beautifully styled for it, the audience will have more confidence in what is happening on stage. I'm not talking about the blunders in costumes in the movies, which especially corrosive viewers then procrastinate for a long time and with pleasure (you can read examples).

The costume, like the scenery, depends on the style of the performance. “... There comes a moment when the director, as it were, suddenly discovers that he has found a solution to the performance, and from that moment on he will already have the key to every detail. The found style will tell you how the actors should walk, how they should sit, whether they should speak romantically upbeat or everyday down to earth. The same style will tell you whether the decorations should be simple or sophisticated, whether the furnishings should be authentic or cheerfully painted on the back; should the costumes be combined in sharp color contrasts or be of the same type? .. ” The stylistic features in the key of which the performance is decided are determined primarily by the measure of their need to identify the genre of a dramatic work and reveal its essence. Therefore, for example, the costumes in Lyubimov's Hamlet, Nyakroshyus and Zeffirelli are so different from each other.

Sometimes a costume can become an independent symbol, when the viewer perceives it no longer just as the hero's clothes, but reads the director's idea, a metaphor embedded in the costume. I have already spoken about this, mentioning Charlie Chaplin, whose costume has become a symbol of both the “little man” and Chaplin himself. The red dress of the heroine of the play "Kalkwerk", about which I am, endows her with some demonic features, she is perceived as a threat, danger. Moreover, the very change of the usual gray dress to bright red indicates the unreality of what is happening, that this is just a dream created by the sick imagination of the hero.

Wanted to write a few more practical advice, but already the “sheet” turned out. Obviously, this topic is interesting and immense. I am only at the very beginning of its disclosure, so for sure I will return to it more than once.

Summing up:

1. A costume is a means of revealing the character's character.

2. The costume can change the figure of the actor.

3. The costume reflects the time and place of action, the style of the era.

4. A costume is an important part of the expressive decision and style of a play or film.

5. A suit can become a symbol.