From the long skirt to the "cloud of gas": the story of a ballet pack. Ballet costume who came up with a pack

In god we trust. ALL OTHERS MUST BRING DATA.

Battle for body or male ballet costume: from Camzole and Pantalon to a full nude

Today it seems that the body in the dance has always been open for the viewer: the less on it wearing, the better. In reality, the ballet appeared on the light, ripened from the legs to the head. It was hiding and all hid, but the dance could not accept such injustice. And the great battle for the body, free from the costume of the shackles.

In men in a ballet costume, it all started with such a bells, that today it is impossible to even imagine how in such orders it was possible not to dance, but simply move along the scene. But the dancers showed themselves with real fighters for the complete liberation of the body from rags. True, the path that they had to do to appear in front of the spectators almost naked, only the busting of the "Stamp" Fig, named the bandage, or generally naked, was long, thorny and scandalous.

Skirt on the carcass

What was the dancer of the birth times of ballet? The face of the artist hid the mask, the head decorated with a high wig with puff whose whipped hair, whose ends were dropped on his back. On top of the wig was put on another incredible headdress. Fabrics for costumes were heavy, dense, generously whipped. The dancer appeared on the stage in the skirt on the frame, reaching almost to the knee, and in the shoes in high heels. It was used in the male dress and the gowns from gold and silver brocade, reaching from behind to heaven. Well, just a Christmas tree, just not luminous with multi-colored light bulbs.

By the end of the 18th century, a ballet suit gradually begins to change, becoming easier and elegant. The reason is the complicated dance technique, requiring the liberation of the male body from heavy outfits. The costumes of innovations, as always, dictates the legislator mod - Paris. The leading performer is now wearing Greek Chiton and sandals whose belts are wrapped the ankle and the foundation of caviar of naked legs. The dancer of the demiccript genre performs in a short camsole, pantaluckers and long stockings, a characteristic role dancer - in a theatrical shirt with an open collar, jacket and pants. In the second half of the XVIII century, such an important attribute of the male outfit also appears, by the way, who lived to the day of today's, as a bodily color of Triko. This amazing invention is attributed to the costume of the Paris Opera Malo. But it is unlikely that this talented Monsieur assumed that his dense mating product in the twentieth century will turn into something elastic, seductively taking off not only legs, but also the bulges between them. Why male dignity, if, of course, the dignity, tightly tightened by a translucent cloth, will look at rarity erotic, attracting the greedy attention of some viewers, especially loving ballet. But before that was still far.

Albert without pants

Everything went through traditions and decenings, while the great reformer of the ballet theater and a passionate fan of the hot male body Sergey Dyagilev did not reveal his own entrepreneurs - Russian seasons of Dyagilev. This is where everything began - scandals, noise, hysteria and all sorts of stories related both to the Dyagilev himself and with his lovers. After all, if the ballerina reigned on the stage, and the dancer played the role of obedient cavalier - helped during rotation, so as not to fall, raised higher to show the balletomans, which is under the skirts, then the dancer makes a dancer to the balletomans. Moreover, as a rule, the dancer, with whom he lives an active sexual life.

To work on their ballets, Dyagille attracts outstanding artists of modernity. Some of them are also not indifferent to the male body.

A loud scandal associated with a special sexual orientation of Dyagilev, but only with a stage costume, broke out in 1911 on the play "Giselle", in which Vaclav Nizhinsky is the official lover of Dyagilev, - Dancing Count Alberta. On the dancer, everything that was required by the role was, the trico, a shirt, a short rush, only the pants, mandatory at the time for the dancer, did not find it. And therefore, the expressive thighs of the Nizhinsky appeared to the auditorium in their frank appetiteness, which was outraged by the Empress Maria Fedorovna present at the performance.

The scandalous story ended with dismissal of Nizhinsky "For Helling and Disrespect" to the Imperial Scene. But the dance searches of the artist did not stop, he continued his struggle for the freedom of body in dance. In the same year, Nizhinsky appears in the ballet "Ghost Rosa" in a suit created by the Lvd Bakstom, tosing a figure like a glove. A little later in the "afternoon rest of the Faun" Dancer Nizhinsky appears on the stage in such a lot of tribone, which today looks modern and sexy. True, all these revelations occur already beyond the limits of their native, but underwent Russia.

This is a sweet word - bandage

In the fifties, the wizard of the dance, the waging body, especially the masculine, Maurice Bejar came up with a universal outfit for the dancer and dancer: a girl in black tight, young man in Triko and with naked torso. Then the fit of the young man is improving, and the young man remains only in one band.

What is a bandage? This is such a piquancy! Something like smelters, but the buttocks are fully open, and between them a tonny ribbon, which is not at all visible, as it is drowning between the buttocks, opening the audience all their seductive charm.

Buttocks, elastic like two miles

But in the Soviet Union, as you know, there was no sex. It was not on the ballet scene. Yes, of course, love existed, but clean - "Bakhchisarai Fountain", "Romeo and Juliet", but no frankness. It concerned the male costume. The dancer put on dense panties, on top of them three, and beyond the trico, and Waton's pants. Although you look at the most powerful telescope, do not see any charms. All this failed the figure, was disgusting aesthetics of the dance, but correlated with the laws of the country of the victorious socialism, where there is no sex nor a naked body.

As an anecdote sounds today the phrase of the Minister of Culture Catherine Furtseva, addressed to Maya Plisetskaya, who danced in Karmen-Sita with very open legs: "Maya, cover the flats, this is a big theater!" But these were the 70s. And is it not a joke, that in the journal "Soviet ballet" the chief editor personally watched the photos of dancers. Since the photo could be printed in the photo, which is in groin in men. And in the Central Committee, such frankness was not approved. That is why the editor-in-chief was worried. And if we found a criminal photo with a clearly expressed male dignity on it, then the dignity is mandatory retailed.

Nevertheless, they were found in the Soviet deception, shameless, who did not want to put up with a similar uniform. They say that on one of the performances in the Kirov (Mariinsky) theater, year in 1957, an outstanding dancer Vakhtang Chabukiani appeared on the stage in a very frank form: in white leggings, put on a naked body. Success exceeded all imaginable limits. Acute in the tongue, an outstanding ballet teacher Agrippina Vaganova at the sight of a dancer turned into a sitting in the bed and sodged: "And without eyepieces I see such a bouquet!"

In the footsteps of Chabukiani, another dancer Kirovsky went, while still not a ballet dissident and gay with a world name, but only the soloist of the theater Rudolf Nureyev. Two first acts "Don Quixote" he danced in a traditional costume allowed by the Soviet bosses - in Triko, on top of which short pants with bulbs were put on top. Before the third act, the scenes broke out a real scandal: the artist wanted to put on only a white tight trico over a special ballet bandage and no pants: "I don't need these abochurs," he said. Theatrical authorities tightened the intermission for an hour, lumbling Nureyev. When the curtain was finally opened, the audience experienced shock: it seemed to everyone that he forgot to put his pants.

Rudolf in general sought to maximize nude. In "Corsaire" he went out with a bare breast, and in the Don Quixote, an incredibly subtle trite created the illusion of naked skin. But in full power, the artist turned around the Soviet Motherland. So, in the "Sleeping Beauty", supplied by him for the national ballet of Canada, Nureyev appears to be covered in the floor-long raincoat. Then he turns his back to the hall and slowly slowly lowers the cloak while he does not pour out just below the buttocks.

For ballet "Lucifer" Designer Holston designed Rudolf Golden bandage with precious pebbles that decided to sew right on the dancer. One can only imagine what feelings overwhelmed the designer who looked into the crotch in the crotch of Nureyev and taking the sweetest parts of his body! But Nureyev was not up to feelings - he turned his ankle a few days ago and so I was irritably on Holvolon: "Take my bandage and do what you want, and I give me a rest at least an hour!" Havolton was very offended, promising never to work with Nureyev.

Nureyev was a pioneer on nudity in Leningrad, and in Moscow with him I rolled Maris Liepa. Like Nureyev, he adored his body and as strongly exposed him. It was Liepa who was the first in the capital went to the stage in the bandage, put under the tribone. His son, Andris Liepa, during the years, when there was no taboo on the part of the costume, appeared with the naked torso and in a lean, which seemed to burst with overvoltage in the most seductive places.

Between the legs - the shoulder from the coat

Theatrical artist Alla Kozhenekova says:

We did one ballet performance. During the costume of the costume, the soloist says to me that he does not like the costume. I can't understand what's the matter: everything sits well, it looks great in this costume ... And suddenly it comes to me - he does not like Gulfik, it seems that he is too small. On the other day I say to the dressmaker: "Please, please, shoulder from the coat and insert it into the bandage." She is: "Why? Why?" I am: "Listen, I know what I say, he will like it." On the next fitting, the dancer puts all the same suit and informs me: "You see, it has become much better." And after a second adds: "Only it seems to me that you put a female player, and it is small ... you need to insert a man." I barely stayed from laughter, but I did how he asked. Portnika sewed to the bandage the player from the sleeves Raglan male coat. The artist was in the seventh heaven from happiness.

Once inserted a snack leg, but now it is no longer in fashion - not the format, but the shoulder from the coat is what it is necessary.

Removed everything

In fact, today, the audience is no longer surprised by anything: neither a man in a ballet pack, nor the most tight trite, neither even a bandage. If only naked body ... Today, increasingly and more often the naked body appears in the teams confessing the modern dance. This is a certain bait and seductive toy. The naked body can be sad, pathetic or joking.

This joke a few years ago, american troupe "Dancing men Ted Schuena" played in Moscow. The scene went out with young people, modestly dressed in short female dresses resembling combinations. Dance did not have time to begin, as the auditorium came to ecstasy. The fact is that under the skirts of men did not wear anything. The public in a crazy desire to see the rich men's economy, which they unexpectedly opened, almost fled from their seats. The heads of the enthusiastic spectators turned out after dance pyruetics, and the eyes seemed to come out from the eyepieces of binoculars, which in one instant buried in the scene, where the dancers from the soul shattered in their mischievous dance. It was both ridiculous, and exciting, stronger than any steep striptease.

At the end of the twentieth century, the body won the body in the struggle for his freedom. And it is natural. After all, what is a ballet performance? This is the dance of bodies, awakening the bodies of the audience. And to watch such a performance best with the body, and not through the eyes. Here for this bodily awakening of the audience and need complete freedom to the dance body. So what lives freedom!

The ballet costume is one of the important components of the design of the performance, it meets the requirements of both a specific ideological-shaped content and the specifics of choreographic art. The role of a ballet costume is more significant than in a drama or opera, because the ballet is devoid of verbal text and its spectacular side bears an increased load, it must be lightweight and convenient for dance, not to hide, but to identify the body structure, not to flicker movement, but help And emphasize them. Requirements for figurative specific concreteness and dance often come together in contradiction. Both excessive "Conditional" and a schematic depletion of the costume are extremes. The skill of the artist in the ballet is to overcome these contradictions and extremes, in achieving the organic unity of imagery and dance.

Before the pack looked so

Classic modern pack

An outstanding master of the costume in the ballet. Is S. B. Virsaladze. His works (especially in performances set by Yu. N. Grigorovich) is characteristic of the organic unity of figurative characteristics and dance. The artist never imposes a suit, does not turn it into a clean uniform and an abstract scheme. His suit always reflects the shafts of the hero and at the same time conceived in motion, created in unity with the idea and the work of the balletmaster. Wirzaladze dresses not so many characters as dance. His costumes are high, often exquisite taste. Their cut and color detect and emphasize dance movements. Costumes in Wirzaladze performances are shown in a certain system that meets the peculiarities of choreography. They are correlated in color with scenery, developing their picturesque theme, complementing with new colorful strokes, dynamizing according to dance and music. Wirzladze's works are peculiar a kind of "picturesque simpleness".

Significant contribution to the development of costume in the ballet was made by Russian artists of the beginning of the 20th century. Baksta himself the plan for the costume was born due to choreographic movement; On his sketches, the costumes are presented in the disreteracted, often extended dancers movements. Costumes K. A. Korovina are distinguished by colorful wealth and picturesque unity with scenery. The delicate feeling of the era and the individuality of the character was characteristic of A. N. Benua. In the costumes of N. K. Roerich, the spontaneous force and primitive exotic character were transferred. Artists of the "Art World" often absolished the colorful value of the costume and interpreted it as a purely picturesque spot in the overall picture, sometimes ignoring or even overwhelming the dancer. But with all this, they are extremely enriched by the expressiveness of the costume.

A modern ballet theater is characterized by a variety of art decisions. It replaces the entire historical experience in the development of the costume in the ballet, subjugates its special artistic tasks of a particular performance.

Punts - Ballet Shoes , usually gentle color: pink, beige, gold ..

The word "pointe" happened from the French term to dance "Sur Les Pointes", that is, "on the tips of the fingers." Punts simultaneously means the tips of the toes and shoes in which they dance, leaning on the tips of the toes. In St. Petersburg, their name is "forging" and "helmets", in Moscow - "fingers". Punts are the most important working tool of the ballerina. For one performance, the soloist sometimes changes them already three times. The star of the pre-revolutionary Mariinsky Theater Olga Svetisvtseva "danced" for the season for a thousand couples. The actress of the core fee is required per month three pairs, soloists - four or five: the longer pointes do not serve.
Until now, despite the progress, pointes are made in manual. In each shoe of about 50 and parts. The most important is the "glass" - the hard sock of the Poant. The main secret for each company is in the glue to create a glass.

In the dance on pointes, the chief - aplomb is a ballet skill to hold the balance in different poses, standing on the tip of the finger in two or three times. And then it all depends on the "Piglet" - a mug on the point of pointe, which makes it stable. In order for the "Piglet" to not slide on stage, it is soles rubbing the rosin. For each ballet with a certain type of choreography, different stiffness are meant and type Piglet shoes. Ballerinas even mark them on the inside of the names of performances: "Swan Lake", "Spartak", "Bayaderka".

Ballet shoes evolve all the time. In the era of Anna Pavlova, the pointe was only from a brilliant satin of black, white and beige color, now they are made by matte, to visually lengthen the foot, and all imaginable colors. Although the three above-mentioned colors are still at the peak of popularity - the bright color of the shoe should not distract the viewer from the dance.

Puints are made manually. Ballet shoe from Grishko, a famous Russian manufacturer, consists of 54 details. The top is cut out of the atlas and bosy, the sole is made of genuine leather.

The most important detail of the pointe is "box" or "glass" - a hard part over the support patch. It is made of 6 layers of burlap and textiles, sticking them one on another. The "box" passes into the toe of the pointe, and then the master should be carefully and quickly - to make the parts not shifted and not blurred by glue the satin top of the shoe - recall from the inside on the face.

To feel the block and fabric, the masters collect pointes not on the table, but on their own knees. After a special hammer, the skeletal part on the block is molded onto the block, and send it about 15 hours into the dryer, where he "sunbatches" at a temperature of 55 degrees. After it, it remains only to put flexible supinators into pointes. The finished couple is carefully checked: reliably on the block, it should stand without support.

Grishko produces about 25-30 thousand pairs of pointes per month, of which 70 percent goes abroad. The pointers of this Russian company dance ballerina 80 countries of the world.

What are the pointes for? Great Baryshnikov in front of you.

The most popular pointes have a bodily color. Of course, other colors are made. In fact, the manufacturer has a lot of secrets, and many ballerinas seriously distinguish the products of various firms and masters. Anna Pavlova believed that shoes collected in manual contains a particle of the master's soul.

It is difficult to say how much environmentally friendly products are pointes today. In any case, pointe ballerina, which first in the world rose on them, were eaten by fans. This is about Mary Taloni.

Her shoes were sold with auction and bewilder ..

Continuing to explore the Internet for compliance with the search word "ballet", stumbled upon his favorite resource Gay.Ru, the inhabitants of which are very, as it turned out, the ballet love. And much attention is paid to him.
That's what I found on the most interesting (and more than once discussed) the topic of a ballet costume.

Male ballet costume: from Camzole and Pantalon to full nude

In men in a ballet costume, it all started with such a bells, that today it is impossible to even imagine how in such orders it was possible not to dance, but simply move along the scene. But the dancers showed themselves with real fighters for the complete liberation of the body from rags. True, the path that they had to do to appear in front of the spectators almost naked, only the busting of the "Stamp" Fig, named the bandage, or generally naked, was long, thorny and scandalous.
Skirt on the carcass
What was the dancer of the birth times of ballet? The face of the artist hid the mask, the head decorated with a high wig with puff whose whipped hair, whose ends were dropped on his back. On top of the wig was put on another incredible headdress. Fabrics for costumes were heavy, dense, generously whipped. The dancer appeared on the stage in the skirt on the frame, reaching almost to the knee, and in the shoes in high heels. It was used in the male dress and the gowns from gold and silver brocade, reaching from behind to heaven. Well, just a Christmas tree, just not luminous with multi-colored light bulbs.
By the end of the 18th century, a ballet suit gradually begins to change, becoming easier and elegant. The reason is the complicated dance technique, requiring the liberation of the male body from heavy outfits. The costumes of innovations, as always, dictates the legislator mod - Paris. The leading performer is now wearing Greek Chiton and sandals whose belts are wrapped the ankle and the foundation of caviar of naked legs. The dancer of the demiccript genre performs in a short camsole, pantaluckers and long stockings, a characteristic role dancer - in a theatrical shirt with an open collar, jacket and pants. In the second half of the XVIII century, such an important attribute of the male outfit also appears, by the way, who lived to the day of today's, as a bodily color of Triko. This amazing invention is attributed to the costume of the Paris Opera Malo. But it is unlikely that this talented Monsieur assumed that his dense mating product in the twentieth century will turn into something elastic.
Albert without pants
Everything went through traditions and decenings, while the great reformer of the ballet theater and a passionate fan of the hot male body Sergey Dyagilev did not reveal his own entrepreneurs - Russian seasons of Dyagilev. This is where everything began - scandals, noise, hysteria and all sorts of stories related both to the Dyagilev himself and with his lovers. After all, if the ballerina reigned on the stage, and the dancer played the role of obedient cavalier - helped during rotation, so as not to fall, raised higher to show the balletomans, which is under the skirts, then the dancer makes a dancer to the balletomans.
A loud scandal associated with a special sexual orientation of Dyagilev, but only with a stage costume, broke out in 1911 on the play "Giselle", in which Vaclav Nizhinsky is the official lover of Dyagilev, - Dancing Count Alberta. On the dancer, everything that was required by the role was, the trico, a shirt, a short rush, only the pants, mandatory at the time for the dancer, did not find it. And therefore, the expressive thighs of the Nizhinsky appeared to the auditorium in their frank appetiteness, which was outraged by the Empress Maria Fedorovna present at the performance. The scandalous story ended with dismissal of Nizhinsky "For Helling and Disrespect" to the Imperial Scene. But the dance searches of the artist did not stop, he continued his struggle for the freedom of body in dance. In the same year, Nizhinsky appears in the ballet "Ghost Rosa" in a suit created by the Lvd Bakstom, tosing a figure like a glove. A little later in the "afternoon rest of the Faun" Dancer Nizhinsky appears on the stage in such a lot of tribone, which today looks modern and sexy. True, all these revelations occur already beyond the limits of their native, but underwent Russia.

This is a sweet word - bandage
In the fifties, the wizard of the dance, the waging body, especially the masculine, Maurice Bejar came up with a universal outfit for the dancer and dancer: a girl in black tight, young man in Triko and with naked torso. Then the fit of the young man is improving, and the young man remains only in one band. But in the Soviet Union, as you know, there was no sex. It was not on the ballet scene. Yes, of course, love existed, but clean - "Bakhchisarai Fountain", "Romeo and Juliet", but no frankness. It concerned the male costume. The dancer put on dense panties, on top of them three, and beyond the trico, and Waton's pants. Although you look at the most powerful telescope, do not see any charms. Nevertheless, they were found in the Soviet deception, shameless, who did not want to put up with a similar uniform. They say that on one of the performances in the Kirov (Mariinsky) theater, year in 1957, an outstanding dancer Vakhtang Chabukiani appeared on the stage in a very frank form: in white leggings, put on a naked body. Success exceeded all imaginable limits. Acute in the tongue, an outstanding ballet teacher Agrippina Vaganova at the sight of a dancer turned into a sitting in the bed and sodged: "And without eyepieces I see such a bouquet!"
In the footsteps of Chabukiani, another dancer Kirovsky went, while still not a ballet dissident and gay with a world name, but only the soloist of the theater Rudolf Nureyev. Two first acts "Don Quixote" he danced in a traditional costume allowed by the Soviet bosses - in Triko, on top of which short pants with bulbs were put on top. Before the third act, the scenes broke out a real scandal: the artist wanted to put on only a white tight trico over a special ballet bandage and no pants: "I don't need these abochurs," he said. Theatrical authorities tightened the intermission for an hour, lumbling Nureyev. When the curtain was finally opened, the audience experienced shock: it seemed to everyone that he forgot to put his pants.
Rudolf in general sought to maximize nude. In "Corsaire" he went out with a bare breast, and in the Don Quixote, an incredibly subtle trite created the illusion of naked skin. But in full power, the artist turned around the Soviet Motherland. So, in the "Sleeping Beauty", supplied by him for the national ballet of Canada, Nureyev appears to be covered in the floor-long raincoat. Then he turns his back to the hall and slowly slowly lowers the cloak while he does not pour out just below the buttocks.

Between the legs - the shoulder from the coat
Theatrical artist Alla Kozhenekova says:
- We did one ballet performance. During the costume of the costume, the soloist says to me that he does not like the costume. I can't understand what's the matter: everything sits well, it looks great in this costume ... And suddenly it comes to me - he does not like Gulfik, it seems that he is too small. On the other day I say to the dressmaker: "Please, please, shoulder from the coat and insert it into the bandage." She is: "Why? Why?" I am: "Listen, I know what I say, he will like it." On the next fitting, the dancer puts all the same suit and informs me: "You see, it has become much better." And after a second adds: "Only it seems to me that you put a female player, and it is small ... you need to insert a man." I barely stayed from laughter, but I did how he asked. Portnika sewed to the bandage the player from the sleeves Raglan male coat. The artist was in the seventh heaven from happiness.
Once inserted a snack leg, but now it is no longer in fashion - not the format, but the shoulder from the coat is what it is necessary.
Nureyev was a pioneer on nudity in Leningrad, and in Moscow with him I rolled Maris Liepa. Like Nureyev, he adored his body and as strongly exposed him. It was Liepa who was the first in the capital went to the stage in the bandage, put under the tribone.
Man or woman?
But the most interesting thing is that men in the twentieth century tried not only to expose the body as much as possible, but also cover. Some especially attracted women's ballet costumes. This shock caused in Russia the creation of a male ballet Valery Mikhailovsky, whose artists actually performed a female repertoire in the most real ladies' outfits.
- Valery, who had the idea of \u200b\u200bcreating such an unusual troupe? - I ask Mikhailovsky.
- The idea belongs to me.
- Nowadays, it is difficult to hit the audience something, but as yours, so to speak, women-men dances were perceived ten years ago, when the team appeared. Did you blame you in a homosexual clutch?
- Yes, it was not easy. All sorts of gossip cameras. Nevertheless, the audience is happy with pleasure. And no accusations in homosexuality were not. Although everyone is waited to think and see what he wants. We are not going to persuade anyone.
- Before your male ballet, something like this existed in the dance world?
- In New York, there is a troupe "Ballet Trocader de Monte Carlo", but what they do is completely different. They have a rude parody of the classic dance. We also parody ballet, but do it, owning the profession.
- Do you want to say that the technique of women's classical dance mastered perfectly?
- In general, we initially did not try to replace the woman in the ballet. A woman is so beautiful that it is not worth the encroachment. And no matter how elegant, sophisticated, plastic, neither a man still will never dance the woman dancing. Therefore, dancing female parties follows with humor. What we demonstrate.
But at first, of course, it was necessary to master the female technique.
- And what kind of shoes do your young men? Male or female?
- From forty-first to forty-third. And it was also a problem - there are no female ballet shoes of this size in nature, so we are placed on the order. By the way, each of the dancers has its own nameplate.
- How do you hide your men's advantages - muscles, chest hair and all sorts of other spicy details?
- We do not hide anything and are not trying to mislead the public; On the contrary, we emphasize that they are not women, but men.
- And yet, someone can deceive. Probably there were a lot of all sorts of funny episodes?
- Yes, grabbed. It was, it seems to be in Perm. The guys already applied, in the wigs, heated on stage before the start of the performance, and I stand behind the scenes and hear the conversation of two cleaners. One other says: "Listen, have you ever seen such hefty ballerinas?" What does that respond to: "No, never, and you hear, what bass they say?" - "Yes, what is surprised here, all smoked."
- And no one offered to your artists from the viewers-men and the heart?
- Not. True, somehow one viewer who paid big money for a ticket, came for the scenes and demanded that he was proved that they were not women, but men, looking from the auditorium, he did not disassemble.
- And how did you prove it?
- The guys were already smoothed, without packs, and he understood everything.
Removed everything
In fact, today, the audience is no longer surprised by anything: neither a man in a ballet pack, nor the most tight trite, neither even a bandage. If only naked body ... Today, increasingly and more often the naked body appears in the teams confessing the modern dance. This is a certain bait and seductive toy. The naked body can be sad, pathetic or joking. This joke a few years ago, american troupe "Dancing men Ted Schuena" played in Moscow. The scene went out with young people, modestly dressed in short female dresses resembling combinations. Dance did not have time to begin, as the auditorium came to ecstasy. The fact is that under the skirts of men did not wear anything. The public in a crazy desire to see the rich men's economy, which they unexpectedly opened, almost fled from their seats. The heads of the enthusiastic spectators turned out after dance pyruetics, and the eyes seemed to come out from the eyepieces of binoculars, which in one instant buried in the scene, where the dancers from the soul shattered in their mischievous dance. It was both ridiculous, and exciting, stronger than any steep striptease.
Our former compatriot is completely naked in one of the ballets, and now the international star Vladimir Malakhov. By the way, when Vladimir still lived in Moscow, he was severely beaten in the entrance of his own house (so it was on the head to impose seams) precisely because of unconventional sexual orientation. Now Malakhov is dancing around the world, including completely naked. He himself believes that nudity is not shocking, but the artistic image of the ballet in which he dances.

At the end of the twentieth century, the body won the body in the struggle for his freedom. And it is natural. After all, what is a ballet performance? This is the dance of bodies, awakening the bodies of the audience. And to watch such a performance best with the body, and not through the eyes. Here for this bodily awakening of the audience and need complete freedom to the dance body. So what lives freedom!
The article is taken from the information resource www.gay.ru.

The history of ballet costumes began several centuries ago. The first primary ballerinas were forced to wear alive on the sight, but extremely heavy dresses: magnificent long skirts and corsets decorated with stones, pearls, swans, because of what movements were obtained compound. Fully ballet clothes have changed for women thanks to Balletmister Filippo Taloni, who in the 19th century for the first time developed a completely new suit and came up with pointes for his daughter. Other connoisseurs of stories claim that Maria Taloni became the title, but the design itself was created by the artist Eugene Lami. And for the first time in March 1839, the world saw Maria Taloni on pointers, elegantly performing complex ballet pa.

Since then, clothes for the ballet began to change quickly, becoming all shorter and easier. After all, it was really difficult to dance on pointers in bulky skirts with heavy corsets. The skirts began to sew from air fabrics, their length was before the knees, changing slightly, then in a smaller side. The volume also gradually decreased.

A whole epoch in the development of the Ballet of the USSR was the period of the "iron curtain". Then the most common classic pack began. And thanks to the fact that the trends of Western fashionnits were closed for Soviet ballerinas, over time, the world community recognized that there are no equal in the technique and beauty of the execution of the Russian school. Elegant body lines, depoted to the ideal of movement - Russian ballerinas admired everything from the moment the "curtain" fell, and until today.

In the modern dance there are no such strict requirements for clothing. For example, a ballet suit for a girl can consist of a training skirt and a trico, swimwear and white socks. Of course, a suit will be completely different for performances. But, nevertheless, the ballerina today appear in the fitting dresses, in Triko, in the skirts of free cut and, of course, without a classic sun skirt does not cost.

The pack always deserves separate attention. After all, it is with her the costume of the ballerina receives a complete end of the image. The most common types of packs are the most common:

1. A classic pack - a round, standing skirt out of 10-12 layers, which can be seen on ballerits in such modulations, such as, for example, "Swan Lake", "Don Quixote", "Pahita", etc. Most often, steel hoop is inserted into it for rigid fixation. The exception can be a pack for the smallest. So that the skirt is always in the form, it is preferable to store in a standing position in a special case.

2. A bundle-bell or chopenka - elongated, air skirt. There are no hard rings in it, and the number of layers of the fabric is much less than in classical. Thanks to this, the ballerina looks particularly trembling and gently. Schopin is ideal for the performance of romantic roles. For example, for the production of "Sylphilia", "Vision of Rose".

3. Chiton is a single-layer guipure skirt, which adds fragility and so slim female body on stage. Most often is put on to produce "Romeo and Juliet".

Any clothing for ballet, buying you can, displays individuality, emphasizes sophistication and femininity. Although it seems that, for example, a classic skirt cannot be sewn differently, slightly and lowering the edge or lifting them will turn out a completely new image! To decorate beads, rhinestones, pearls, stripes, feathers - and now it turns out a completely new suit that no one has. Contact us - and we will make your image perfect!

On March 12, 1839, a ballet bundle appeared. In this outfit, Maria Taloni came to the Paris scene, who performed the Salphide Party in the eponymous stage. A bundle, which is a magnificent multi-layer skirt, produced a real extension. Over time, this suit has become traditional for the ballerin

How ballerins dressed before the package.

Ballerina in the minds of any person seemed certainly in a pack. This scenic costume has become an integral part of the classic ballet. However, it was not always. The modern image of the ballerina before to form finally, has undergone a lot of changes and has passed a long way.

Many may be survived, but until the second half of the XIX century, the ballerina performed on the stage simply in elegant dresses that differed little from those in which the audience came. It was a dress with a corset, slightly shorter than the usual, rather bulky. The ballerina performed necessarily on heels. The share of ballerinas facilitated a little new fashion for antiquity. By the way, the ballet began to use mythological plots, for example, Amur and Psyche. The ladies began to wear air, translucent dresses with an overwhelmed waist. They even urine them, so that the fabric is better to fit the body. Under the dresses were put on triko, and on the feet - sandals. But over time, the ballerin's technique has complicated and easily easily clothing for the scene. At first, the prima refused corsets, then rooted the skirts, and the dress itself began to make it easier as the second leather.

Who invented a pack.

For the first time in a ballet pack in front of the audience, Maria Talon appeared on March 12, 1839. On this day, the premiere of "Silphides", in which the ballerina performed the main batch of fabulous fairies. This role required the appropriate outfit. He came up with Filippo Taloni daughter. According to one of the versions, the impact of the classical ballet clothing has become the unziping figure of Mary. To hide disadvantages, Taloni came up with such a dress, which gave the heroine to the heroine and grace. Created a dress on the sketches of Ezhena Lami. Then the skirt was sewed from a fate. True, in those days a ballet package was not at all as short as now. The next "transformation" of the package happened somewhat later. But even such a modest bale world at first perceived in the bayonets. Especially not to taste, the package came ballerinas with not very beautiful legs. But the delight of viewers and art historians who admired the dancers, there was no limit. Not the last role was played in this pack. So this costume passed on, and then became a classic.

By the way, there is a legend about Mary Taloni. When she drove the border with Russia, the customs officers asked if she was carrying jewels. Then the ballerina lifted the skirt and showed her legs. Maria was the first who rose to pointe.

Maria Tiloni in the ballet "Marshmallow and Flora". That's how the first pack looked, now it is called "Schopin"

How the pack took root in Russia.

Tsarist Russia was distinguished by conservatism and did not immediately adopted a novelty. This happened only after half a century. But it was in our country a pack again modified. An innovator was the primary theater of Adeline Giuri in the early 1900s. The capricious individual did not like the long skirt in which she had to pose in front of photographers. The ballerina simply took the scissors and grabbed a decent piece of hem. Since then, it went fashion for short packs.

As a package was still modified.

Although from the beginning of the 20th century, the ballet pack acquired that form and view that we know and have been experimenting with it always. In production, for example, Marius Petipa, Ballerina could change in costumes of different styles. In some scenes, she appeared in the usual "civilian" dress, and for solo batches she put on a bundle to demonstrate all his skills and talent. Anna Pavlova performed in a long and wide skirt. In the 30-40s, a ballet pack of the XIX century time returned to the scene. It was only called now differently - "Schopin". And all because Mikhail Fokin's dancers dandped in his "Chopenian". Other directories at the same time used a short and lush bundle. And from the 60s, it turned simply into a flat circle. Than just neither decorate the pack: rhinestones, glass, feathers, precious stones.

What packages do.

Ballet packs sew from light translucent fabric - fate. First, designers create a sketch. Of course, the features of the figure of each ballerina are taken into account, and therefore the sketch of the dress for each dancer is yours. From the growth of the ballerina depends the width of the pack. On average, its radius is 48 cm. Next to the case, seamstations are proceeded. This is a painstaking work, because the craftsmen need to lay the folds of the fabric in a certain way. One bundle takes more than 11 meters of fate. The manufacture of one pack takes about two weeks. With all the variety of models, there are strict rules of sewing. For example, on packs never sewn neither lightning, no buttons that can break away during the performance. Also use only hooks, but in a strict sequence, or rather, in a checkerboard order. And sometimes, if the setting is particularly difficult, packs are sewn by hand on the dancer before going to the scene.

What are the packs.

The pack has a lot of titles. So, if you hear somewhere the words "Tyuby" or "Tutu", know: they indicate all the same pack. We will figure it out now, what are the varieties of packs.

The classic pack is a skirt in the form of pancake. By the way, soloists are directly involved in creating their costume. They can choose a pack of packs that can be parallel to the floor or with a slightly lowered skirt.

"Schopin", a long skirt, also sewing from a fate. Such a shape of the skirt is very good for the creation of mythical characters or non-living beings. Plus, such an outfit that he hides insufficiently tightened his knees and other shortcomings, but attracts attention to the footsteps.

Another type of dress that does not come out of a ballet help, - Hiton. His skirt is one-layer, sew it more often from chiffon. In such a dress, the role of Juliet is performed.

General Rock Ballet "Onegin" John Cranco

Why do you need packs during rehearsals.

For rehearsals of ballet layouts, the packs are sewn separately. It is easier to wear and remove them than those in which the ballerins go on stage. So, all parts of the stage costume can be sewn among themselves, whereas for the rehearsal bodies do not need, but only use the skirt with panties. In addition, the rehearsal packs do not make so many layers. A pack on the rehearsal is simply necessary. After all, the dancers should immediately see where the pack will interfere, where she can get out or a partner can hurt her. And the director will be able to form a dance pattern.

Where use a ballet pack.

The package so firmly strengthened that it is used not only on the ballet scene. True, outside her pack serves for comic numbers of pop artists and even in a circus.