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

Theatrical costumes from antiquity to modern times

Actors' attire has undergone modifications since the appearance of the theater as such, until today:

• They tried to create stage images back in ancient times, experimenting with available materials. Also in Ancient China and Japan, one could observe actors in specific clothes, especially at festive or ritual performances. In India, in ancient times, street dancers also wore unusual bright saris to attract attention. And with the advent of the art of painting with natural dyes, saris became not monochromatic, but patterned.
• It is precisely “theatrical” that can be called a costume that appeared in Ancient Greece. Grotesque masks and makeup were used, and the special color of the characters' clothing indicated the status or profession of the hero of the performance.
• Then European theater began to develop during the era of feudalism, when performances, the so-called. “mysteries” were given by traveling artists - histrions. The appearance of the characters was distinguished by elegance and rich elements of decoration.
• The Renaissance, with its comedies dell'arte, is characterized by grotesqueness. With the help of items of clothing, hairstyles and wigs, headdresses, shoes, masks and makeup, witty images were created, emphasizing the inherent features of specific characters that were ridiculed or admired by the viewer (fancy feathers on hats, colorful trousers).
• In subsequent centuries, every European and Eastern state had one or another theatres, music salons, operas, ballets, etc. Costumes became more and more diverse, often conveying the spirit of a historical era, modern clothes, freeing themselves from excessive stylization. Therefore, on stage one could see both images familiar to the viewer, as well as recreated historical costumes, naturalistic looks and fantasy makeup.

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

Kinds

It is customary to distinguish three main types of costume:

1. Character. This type is a visual-plastic composition, which is a direct part of the integral image of the role performer. In a suit, the figure is often completely hidden. The actor himself sets it in motion and voices it. Thus, Peking Opera was characterized by images of a sacred temple or a dragon.
2. Game. This is a means of transforming the artist’s appearance and an important element of his game. The transformation of characters in ritual and folklore actions was often based on the use of grotesque and parody, for example, when young men dressed up as girls.
3. Like the clothes of a character. Is the main one in modern performances, often exactly resembling the traditional clothing of a particular era of action in the production. On the basis of such a costume, the two types listed above are created.

Sewing features

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

• To embody the era with precision, taking into account historical, ethnographic, national characteristics works and heroes.
• Comply with the director's intent to express the essence of the character's character.
• Make the actor's image more impressive in the eyes of the viewer.
• It fits well according to the figure of its owner.
• Ease of wearing the costume (especially important for dancers participating in productions).

Since the costume designer selects a theatrical costume for a specific role and a specific actor, it is necessary to tailor it to measurements. To do this, it is better to turn to professionals. "Tailoring Factory" is a sewing production in Moscow and the Moscow region, here you can order tailoring of costumes for plays, operas and ballets. Will be selected best materials and applied modern technologies sewing

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

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

A acting costume is a means of transforming an actor’s appearance and one of the elements of his performance. In ritual and folklore acts, transformation most often had a grotesque parody character, when men dressed up as women, women as men, young men as old men, beauties as witches, or when they portrayed various animals. At the same time, everything that was at hand was used: a jacket, a sheepskin coat, a casing, a sheepskin - always turned inside out, funnier and more amusing, as well as any other, somewhat ridiculous, “inverted” clothing, for example, extremely shortened trousers, an excessively wide shirt, holey stockings, all sorts of rags, rags, rags, bags, ropes; Everything that nature provided was used: grass, flowers, straw, leaves. Finally, various artificial decorations were also used for dressing up: colored paper, birch bark, foil, glass, ribbons, mirrors, bells, feathers, etc. Techniques of grotesque dressing have passed into performances ancient Greek comedies, and in traditional theater East, where they were combined with the actor’s varied performance with elements of his costume: long sleeves and pheasant feathers in Peking Opera, trains, towels and fans in Japanese No. The performances of the Italian commedia dell'arte, plays by Shakespeare and Lope de Vega were based on endless disguises and disguises. At the end of the 18th century. Emma Hart (Lady Hamilton) based her famous dance on playing with a shawl, after which similar techniques (manipulations with scarves, bedspreads, veils and other similar elements of costume) were widely used in ballet theater 19th century, reaching its highest artistic heights in the work of L. Bakst, whose sketches of choreographic images included the dynamics of a variety of flying fabrics, belts, scarves, skirts, scarves, cloaks, capes, pendants, garters. On the dramatic stage, the tradition of costume playing along with the actor’s movements was continued - by means of cubo-futurist expressiveness - in A. Exter’s performances Chamber Theater Salome O. Wilde and Romeo and Juliet W. Shakespeare, and after her her student P. Chelishchev and other masters of the early 1920s: V. Khodasevich and I. Nivinsky, I. Rabinovich and G. Yakulov, S. Eisenstein and G. Kozintsev, finally again on the ballet stage, in productions by K. Goleizovsky - B. Erdman. If during this period play costumes formed a whole trend in scenography, then in the second half of the 20th century. they were also used quite widely by artists and directors, but out of necessity, as an element of the “palette” of means of expression at their disposal. Among the authors of modern gaming costumes are: Georgian artists Sameuli, G. Alexi-Meskhishvili and N. Ignatov, examples of a similar kind can be found in theaters of other countries: in Poland, the Czech Republic, Germany, Italy.

A costume, like the clothing of a character, is often the basis for composing the types of costume discussed above (character and play), in all periods of the historical development of theater, mostly or to a lesser extent is the embodiment on stage of what people wore in this period. This was the case in ancient tragedy, this remains the case in the performances of our days. At the same time, the general evolution of this type of costume was characterized by a movement from the conventional forms of real clothing (in the era of Baroque and Classicism) to its increasing historical, geographical, national authenticity, accuracy and authenticity. In the theater of naturalism and psychological realism, the costume becomes completely adequate to the character of the character, expressing not only his social status, but also his state of mind. At the same time, both today and in past centuries, the costume remains the subject of special creativity by artists (among whom are the most outstanding masters visual arts and scenography) and they compose it (even seemingly everyday costumes of everyday use, not to mention fantastic ones), not only as separate work, but as an essential component of the performance.

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

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

A acting costume is a means of transforming an actor’s appearance and one of the elements of his performance. In ritual and folklore acts, transformation most often had a grotesque parody character, when men dressed up as women, women as men, young men as old men, beauties as witches, or when they portrayed various animals. At the same time, everything that was at hand was used: a jacket, a sheepskin coat, a casing, a sheepskin - always turned inside out, funnier and more amusing, as well as any other, somewhat ridiculous, “inverted” clothing, for example, extremely shortened trousers, an excessively wide shirt, holey stockings, all sorts of rags, rags, rags, bags, ropes; Everything that nature provided was used: grass, flowers, straw, leaves. Finally, various artificial decorations were also used for dressing up: colored paper, birch bark, foil, glass, ribbons, mirrors, bells, feathers, etc. Techniques of grotesque disguises passed into the performances of ancient Greek comedies and into the traditional theater of the East, where they were combined with the actor’s varied performance with elements of his costume: long sleeves and pheasant feathers in the Peking Opera, trains, a towel and fans in the Japanese No. The performances of the Italian commedia dell'arte, plays by Shakespeare and Lope de Vega were based on endless disguises and disguises. At the end of the 18th century. Emma Hart (Lady Hamilton) based her famous dance on playing with a shawl, after which similar techniques (manipulations with scarves, bedspreads, veils and other similar elements of costume) were widely used in the ballet theater of the 19th century, reaching their highest artistic heights in the work of L. .Bakst, whose sketches of choreographic images included the dynamics of a variety of flying fabrics, belts, scarves, skirts, scarves, cloaks, capes, pendants, garters. On the dramatic stage, the tradition of costume playing along with the actor’s movements was continued - by means of cubo-futurist expressiveness - by A. Exter in the performances of the Chamber Theater Salome O. Wilde and Romeo and Juliet W. Shakespeare, and after her her student P. Chelishchev and other masters of the early 1920s: V. Khodasevich and I. Nivinsky, I. Rabinovich and G. Yakulov, S. Eisenstein and G. Kozintsev, finally again on the ballet stage, in productions by K. Goleizovsky - B. Erdman. If during this period play costumes formed a whole trend in scenography, then in the second half of the 20th century. they were also used quite widely by artists and directors, but out of necessity, as an element of the “palette” of means of expression at their disposal. Among the authors of modern play costumes are Georgian artists Sameuli, G. Alexi-Meskhishvili and N. Ignatov; examples of a similar kind can be found in theaters of other countries: in Poland, the Czech Republic, Germany, Italy.

A costume, like the clothing of a character, is often the basis for the creation of the types of costume discussed above (character and play), in all periods of the historical development of theater, to a greater or lesser extent, it is the embodiment on stage of what people wore in a given period . It was so in ancient tragedy, and it remains so in the performances of our days. At the same time, the general evolution of this type of costume was characterized by a movement from the conventional forms of real clothing (in the era of Baroque and Classicism) to its increasing historical, geographical, national authenticity, accuracy and authenticity. In the theater of naturalism and psychological realism, the costume becomes completely adequate to the character of the character, expressing not only his social status, but also his state of mind. At the same time, both today and in past centuries, costume remains the subject of special creativity of artists (among whom are the most outstanding masters of fine art and stage design) and they compose it (even seemingly everyday costumes of everyday use, not to mention fantastic ), not only as a separate work, but as an essential component of the performance.

Dancing, theater and various shows have become firmly established in the life of every person. The audience, while at the performance, evaluates not only the actors’ performance, but also their image. A stage costume helps to reveal it most widely.

Scope of use and main tasks

The costume can be made for both individual and group performances. You can see it in the following moments:

• Theater.
• Dance.
• Promotions and costume shows.
• Striptease show.
• Sport competitions. Gymnastics and figure skating.

The stage costume plays an important role and helps complement the image. It solves the following problems:

1. With its help you can reveal your character as widely as possible.
2. Changes the character's figure and appearance depending on the required situation.
3. Helps to create the necessary time, era, its style and place of action.
4. Is an important part for expression inner world in a film or play.
5. It can become a symbol of an entire era.

Let's take a closer look at the theatrical costume, without which not a single performance can be performed. Performances, as well as films, have firmly won their place in modern cultural life.

Theater outfit

A stage costume is not only clothes, but also makeup, shoes, accessories, and hairstyle. Only together they complement each other and reveal the image most fully. In productions, the costume conveys internal state, helps to understand what the hero just did or is about to do.

Even before the start of a performance or filming, the artist creates sketches. They are formed depending on the idea, the director’s plan, the production style and the character of the character. Subsequently, the sketches will help the actor more clearly convey the smallest nuances of the hero: his gait, manner of dressing, facial expressions and even the position of his head.

An incorrectly selected stage costume does not fulfill its direct duty and also creates a lot of inconvenience. It tears, clings to the surrounding scenery, forces the actor to be distracted from the game and does not allow him to fully enter into the role.

Also, thanks to the costume, the viewer instantly determines social status hero. He unmistakably recognizes a rich nobleman, a simple worker, a military man or a teacher.

Sewing stage costumes

Except theatrical arts, clothing is very popular in dance performances. Due to its widespread use and demand, there has been enormous competition. After all, in order to win the audience, it is not enough to provide a simple dance, it is necessary to carry out a real show. That's why stage costumes, which create amazing and stunning images, play such a big role.

There are many different types of dance as well as styles. Projects are created for them that help reveal their individual world and character.

1. Modern dance. The costume is characterized by an urban style with the presence of subcultures. It is very similar to sportswear in that it requires freedom of movement, but can be modified by other musical trends.
2. Ballroom dance. Beauty prevails here. A beautiful ballroom dress is a successful foundation for a dancing couple. It should be elegant and graceful. The stage costume is decorated with rhinestones, fringe or feathers.
3. When sewing such a suit, camp attire predominates. Bright fabrics are used, which help to imagine various tents and tents.
4. Latin dance. A prerequisite for sewing such an outfit is a cut that allows you to give looseness to your movements. Incisions along the entire length of the leg are often used.
5. This bright representative Russian culture, in which there is a combination of many types of fine arts. The folk stage costume for men is represented by a national shirt, trousers made of flax or dyed wool and a caftan. The female one consists of a shirt with embroidery on the chest and long sleeves, an apron, a bib and a sundress. Each part has its own version of the ornament. The headdress is represented by a closed cap, bandage or hoop. All this is complemented by a variety of kokoshniks, headbands and crowns.

Children's stage costumes

If a child is involved in dancing, then he needs clothes that are comfortable and do not restrict his movements. Using stage costumes, he feels special, important, and also tunes in to maximum work and discipline.

Girls need a special skirt or dress, special shoes, as well as tights or socks. It all depends on the type of dance the child is doing. Boys should have trousers, a belt and a shirt (for example, for ballroom dancing).

Unfortunately, such costumes are expensive and are made to order using materials with added decor. It will be easier to order a stage costume for a boy. There are no strict requirements for it, and it should only set off the girl’s dress.

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1. What is a theatrical costume?

Theater is a form of art that cannot exist without an audience, so everything in it is designed for external effect. Theater costume (including false mustache and beard, wigs, cosmetics, masks) is part of theatrical makeup. Make-up (from the French "grimer" - "to tint the face") is the art of changing the appearance of an actor for a given role and the means necessary for this.

Theater (and with it makeup) originated in the depths of the magical syncretic rite of antiquity. People saw him healing power, cleansing the body of various passions.

Since ancient times, all peoples of the world have had holidays associated with the annual cycles of death and rebirth of nature. These holidays gave life to the theater.

The ancient Greeks loved and revered the young god Dionysus. They honored the supreme deity - Zeus - 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, on the Great Dionysia, people from all Greek city-states came to Athens. 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 satyr 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, 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 drinking wine dedicated to Dionysus. Returning home, the basket carriers scolded someone (for example, a local politician). Having entered the city, they hung komos - goat intestines - near the man's house. That action, that crowd and those fun songs. which she sang were called komos ("revelers"). This is where the comedy comes from. True, there are other versions of the origin of the theater.

As for the outfits of the festival participants, it is known that they were animal skins (to make them more similar to goat-footed satyrs). Later, thanks to a poetry competition at theater stage, tragic and comic songs became independent theatrical genres.

2. Ancient theater costume

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

By that time, the theatrical costume was already very different from the everyday one. The artist, who at first was only one, appeared on stage in a lush and bright dress. On his face was a mask connected to a wig and equipped with a metal voice resonator located near his mouth. The mask had holes for the eyes. The actor wore buskins on a high platform. All this was designed 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, and high shoes made it possible to see the performer better. The resonator amplified the sound (although the acoustics ancient theaters was such that a word spoken in a whisper in the center of the stage reached the last rows).

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

The symbolism of color played an important role. The rulers had purple clothes: their wives were white; exiles - black or blue; young men - red; ordinary women are yellow; hetaeras are variegated.

The costumes were accompanied by permanent attributes so that the audience could 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, etc.

Thanks to their long clothes and high shoes, the tragic actors looked monumental and moved smoothly. Comedians wore shorter, more fitted outfits. Those portraying satyrs and silenei tied a ponytail behind them, put on an animal mask (or horns), and that was the end of their makeup. Such clothes allowed you to freely jump around the stage. In Rome, they preferred light genres and tragedies preferred comedy. There pantomime entered the stage. Circus acts were very popular. The audience more easily perceived fliaks (from the Greek "phlyax" - "joke") - parodies of tragedies and comedies; mimes - small scenes on household topics; atellans - funny improvisations.

The costume became closer to everyday outfits. True, the color symbolism was still preserved. The mimes no longer had masks, and the audience could observe the actors’ facial expressions. Not only men, but also women played in these performances, which enhanced erotic moment and created reasons for public stripteases.

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

3. Theatrical costume of the European Middle Ages

In the Middle Ages, people did not forget the entertainment of antiquity, and almost every Christian holiday was accompanied by buffoonery reversed: the crown is for the jester, the cap is for the king.

Histrions (from the Latin “histrio” - “actor”) roam around Europe, which in France are called jugglers, in England - minstrels. in Germany they are shpilmans, and in Rus' they are buffoons. They are a one-man show because they can act and sing. walk on a tightrope, juggle. The costume of these people was suitable for acrobatics: tights, soft shoes, a short belted tunic; traveling next to the histrions were vagans - “vagabonds”: half-educated schoolchildren, seminarians, defrocked priests. There were no borders as such yet, and languages ​​did not diverge too far from a single base, which made it possible to be understood everywhere. The clothes of the vagants did not differ from the everyday costume of a medieval person.

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

However, the church also needed to increase the entertainment value of its “performances,” 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 acting in these productions increased, the more “indecent” they became within the walls of the church. Therefore, the performance was moved first to the porch and then to the square. A new genre has appeared - miracle ("miracle"), representing miraculous events associated with the Virgin Mary and Jesus. At the base of the miracle, a mystery (“secret”) appears - a theatrical action vaguely related to the biblical plot.

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 has become more diverse. Christ, the apostles, and prophets performed in the vestments of clergy. And the performers of these roles themselves could be priests or monks (this was not prohibited). Merchants, artisans and other heroes wore 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 of devils. Personified diseases (Plague, Smallpox), sins (Gluttony, Flattery), virtues (Truthfulness, Hope) could have masks.

However, often no special costumes were made (as well as sets). The inscriptions “Heaven”, “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 spawn were in black. Faith was clothed in White dress. Hope - in 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 rose, Avarice had a wallet, Pleasure had an orange, Flattery had a fox’s tail.

Over time, the theatrical costume became more and more similar to an ordinary household one, and the everyday one became more theatrical.

4 Theatrical costume in Southeast Asian countries

Syncretism primitive culture(the inseparability of various types of cultural activities) manifested itself in magical cities, where dancing, music, painting, theatrical performances, etc. coexisted side by side in the depths of mythology. Back in the 2nd millennium BC. e. Dancing and pantomime were part of the worship of 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 - holy books this religion. In different forms (actually theater, puppet show, shadow theater, ballet) productions of episodes of “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 lap of majestic nature.

In China, theater also developed from dance and acrobatic elements, which were part of sacred rituals. 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 XIII-XIV centuries Chinese theater reached its peak in the form of zaju. This mixed performance included music, singing, dancing and acrobatics.

There was no scenery, so particular importance was attached to the performance of the actors and their appearance. All roles were played by men. Most pathetic scenes played out in slow motion.

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

In subsequent centuries, zaju did not die, but was transformed into different forms. As before, there are few props on stage, and what is available is used multifunctionally: the table is a mountain, an altar, and Observation deck; black flags symbolize wind, red ones - fire, etc. Color symbolism is used in makeup and costume: red - courage, white - meanness, yellow - 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 Noh theater from scattered song and dance numbers. They themselves were actors, stage directors, authors and composers (and Zeami was also a theorist of Noh theater). Their work occurred at a time when the Japanese way of life was noticeably theatricalized: people of low birth became rulers, and, like all neophytes, they especially adhered to ritual. The craving for entertainment gave rise to mass tea ceremonies or admiration festivals cherry blossoms(which in itself is absurd, because for the Japanese this is something very personal). Noh theater performances have become mandatory integral part ceremonies and receptions. Often hours-long (and even days-long) performances on historical and heroic themes began to change the course real events(for example, 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 Noh theater, turned into an actor and in 1593, during a three-day performance in honor of the birth of his son, he performed in ten plays. He played himself.

Theater No 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 in front of an image of a pine tree against a golden background. The image of the pine tree went back to the most ancient agrarian magical symbols, and gold personified the sun and the goddess Amaterasu. In addition, such a background symbolized merging with nature, especially since the actions could go beyond the stage and join the real atmosphere of a reception or celebration.

Actor's costume until the 17th century. did not differ from the everyday costume of the nobility (later they began to make it according to engravings and samples of the 14th-15th centuries). There was a tradition of giving expensive dresses to actors (it especially spread during the time of the theater ruler Toyotomi Hideyoshi). As a result, the Noh theater also became a museum of luxurious clothing. Now the oldest outfit stored in the theater is the costume of the shogun from the 15th century.

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

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

In Noh theater the actors are men, so masks and fans are important. The size, coloring, design, and movement of the fan characterize the character. The masks are simple, but very elegant. They are made from cypress, primed and sanded. The mask is put on the wig and secured 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. European theatrical costume from the 16th century. to modern times

During the Renaissance, the first permanent troupes working on a professional basis began to appear in Europe. They wander or stick to one place. People like to laugh more than to cry, so actors stage light, comic performances, farces and parodies. Wandering comedians continued medieval traditions and (like the entire culture of the Renaissance) turned to the ancient heritage. The earliest such troupes arose in Italy. There the theater commedia dell'arte, that is, "comedy of masks", appeared.

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

The mask played the most important role in comedy. The black mask could cover the entire face or part of it. Sometimes it was a glued-on nose or stupid glasses. The main thing is to create a typical face, sharpened to the point of a cartoon.

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

For example, Pantalone - a miser merchant - always had his wallet. His clothes were similar to the clothes of Venetian merchants: a jacket tied with a sash, short pants, stockings, a robe and a round cap. But then one day the artist appeared on stage in wide red pants, and the audience liked this characteristic detail. As a result, Pantalone and his pants became so merged in people’s minds that over time, a common noun was formed from his personal name lingerie trousers.

The doctor, another hero of the commedia dell'arte, was a parody of a scientist and appeared in a black academic robe with a lace collar and cuffs. He always had paper scrolls in his hands and a wide hat on his head.

The captain was a military adventurer, wearing a cuirass, trousers, boots with huge spurs, a short cloak and a hat with feathers. His constant attribute was a wooden sword, which certainly got stuck in the sheath when needed.

The most numerous and varied characters were servants (zanni), because they were the “engines of progress” in a love conflict. Pulcinella had a huge hooked nose; Harlequin has so many patches that over time they were stylized into a checkerboard pattern; Pierrot has a white wide shirt with a cutter collar and long trousers; Brighella has a wide white blouse and matching pants.

This folk theater, thanks to its light stories, was much more popular than the theaters of Shakespeare or Lope de Vega, which gave greater preference not to entertainment, but to the depth of content. For the works of Lope de Pega, for example, even the name “comedy of the cloak and sword” appeared, because the artists actually played in them only in contemporary to the author household suits.

In parallel with the traveling troupes, there were also court theaters, 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 17th-18th centuries, there was a decline in the development of theatrical costume. The word comes to the fore, the dialogue absorbs all the attention of the audience. On stage, everyday costume is used, devoid of historicism. This is the usual fashionable costume of that time. True, in the play you won’t see a ragged servant or a poorly dressed shepherdess. The suit is refined. This is a consequence of the theatricalization of life. Theater enters so deeply into everyday life that the boundary between “theatrical and everyday” costume is erased. It should be noted that in the 17th-18th centuries, theatrical costume often determined fashion (as already mentioned in previous chapters). The artists dressed better and more extravagantly than others. In the 17th century for Monsieur à la mode, special spectator seats were arranged on stage, where they not only watched the performance, but discussed the artists and their costumes.

In the 17th and 18th centuries, synthetic genres flourished: opera, ballet, circus (although they were known before). In these genres there are also dramatic action, and tricks, and music, and singing, and bright, memorable makeup. Synthetic genres incorporate elements of everyday life. For example, ballroom dance Cancan (French cancan) with a characteristic high throwing of the legs arose around the 70s of the 18th century. Gradually it becomes an integral part of operetta - a musical and dance comedy genre.

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

Development critical realism as a method of art and a way of perceiving the world leads to the fact that you no longer see peasant women in negligees and starched servants on stage. Props appear in the theater that were never mentioned out loud in polite society before. The search for new forms of expression leads to naturalistic makeup. This is what V. A. Gilyarovsky writes in his essays about Moscow and Muscovites:

“In 1879, as a boy in Penza, under the theater hairdresser Shishkov, little Mitya was a student. This was the favorite of the Penza entrepreneur V.P. Dalmatov, who alone allowed him to touch his hair and taught him how to do makeup. Once V.P. Dalmatov was at his benefit performance staged "Notes of a Madman" and ordered Mitya to prepare a bald wig. He brought a wet bull's bladder to the performance and began to put it on Dalmatov's well-groomed hairstyle... At the actor's cry, the actors came running to the restroom.

- You are a great artist, Vasily Panteleimonovich, but let me be an artist in my field! - Raising his head to the tall V.P. Dalmatov, the boy made excuses. - Just try it on!

V.P. Dalmatov finally agreed - and after a few minutes the bubble was put on, lubed here and there, and B.P. Dalmatov’s eyes shone with pleasure: a completely bare skull with his black eyes and expressive makeup made a strong impression.

On turn of the 19th century and the 20th century, 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 stage costumes.

In the first years after the October Revolution, the theatrical costume completely disappeared, it was replaced by “overall clothes,” since actors are “theater workers.”

Gradually everything returned to normal, and the theatrical costume returned to the stage again. Moreover, in the 20th century. such a new spectacle as fashion theater appeared. Model shows have turned into musical and dramatic shows. So the household costume finally openly “combined” with the theater.

List of used literature

2. Gelderod M. de. Theater: Sat.: Per. from fr. / Afterword L. Andreva, p. 653-694

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

4. De Filippo E. Theater: Plays: Trans. with it. /Afterword L. Vershinina, p. 759-775; Artist N. Alekseev. -M.: Art, 2007. -775 p.

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