Theatrical costume, its history and features. Theatrical costume and accessories as one of the ways to form the external image of the theater In the 19th century, interest in history was revived in all areas of culture. Thanks to archaeological and literary discoveries

The art of theatrical costume

“The part of the set that is in the hands of the actors is his costume.”
French Encyclopedia.

“A costume is the actor’s second shell, it is something inseparable from his being, it is the visible face of his stage image, which must merge so completely with him in order to become inseparable...”
A. Ya. Tairov.

Theater is a synthetic art form that allows us not only to hear, not only to imagine, but also to watch and see. Theater gives us the opportunity to witness psychological dramas and participate in historical achievements and events. Theater, theatrical performance is created through the efforts of many artists, starting from the director and actor and ending with the production designer, for the performance is “a combination of different arts, each of which is transformed in this plan and acquires a new quality...”.

A theatrical costume is a component of an actor’s stage image; these are external signs and characteristics of the portrayed character that help the actor’s transformation; a 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 voice, creates a new being of a stage image, starting from what is given in the play, so the artist, guided by the same data from the play, embodies the image through the means of his art.

Over the course of centuries of history theatrical arts set design consistently underwent 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 drama, on the social composition of the viewer, on the level of stage technology.

The periods of stable architectural structures of antiquity gave way to the primitive stage of the Middle Ages, which in turn gave way to royal court theaters with the self-sufficient luxury of performances. There were performances in cloth, in complex constructive decorations, only in lighting design, without decoration at all - on a bare stage, on a platform, just on the pavement.

The role of the costume as a “moving” decoration has always been dominant. The point of view on his “relationship” with the actor, time and history, and finally, with his direct “partner” - the artistic design of the stage - changed.

In the process of progressive development of art modern theater, innovation of directing, transformation of method decoration The role of the art of costume is not declining - on the contrary. With the growth of its younger and more flexible brothers - cinema and television - theater, undoubtedly, acquires in its search and torment new forms of spectacular techniques, precisely those that would defend and define the position of theater as an enduring value independent type art. The costume, as the most movable element of theatrical scenery, is given first place in this search.

The high modern culture of theatrical art, the subtle and deep director's work on plays and performances, and the talented performances of actors require that the costume designer who designs the performance must carefully penetrate into the dramaturgy of the performance and close contact with the director. Modern design is not canonized by the rules. It is individual and specific 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 the basic problems of the set. The artist, in turn, must feel the tasks of the production and persistently seek expressive means...”
A theatrical costume is first created using visual means, that is, a sketch.
Theater costume sketch

Theatrical costume plays an important role in the formation positive image theater to its target audience.

Theatrical costume is a broad concept and includes everything that artificially changes a person’s appearance by sticking to his body - this is a whole complex of things: hairstyle, makeup, shoes, headdress and the dress itself. The semantic meaning of a suit as a bodily mask is confirmed by the lexical meaning of the word “suit”: “the word is borrowed from the Italian “costume”, which means “usual”, “custom”, “habit”, and in the plural - “mores” Kokuashvili N.B. Clothing as a cultural phenomenon // Signs of everyday life. - Rostov-on-D., 2001. - pp. 38-44..

Theatrical costume always reflects the era in which the play takes place. To create a theatrical costume, decorative artists use various sources of information: frescoes, sculptures, paintings, written sources.

Theatrical costume is the only system capable of artificially changing a person’s appearance, emphasizing or destroying the harmonious unity of the body, or certain parts of it, and creating artistic image. Let's assume this real situation: seeing a girl in a dress that gives her figure a shape that is close to ideal, we can exclaim, “What a beautiful girl! ", which will mean that this suit fulfilled its “aesthetic function”, it made a person beautiful. Numerous non-functional details, for example, pattern, fabric design, its color, texture, lace, gathers, decorative buttons, embroidery, appliques, patches flowers, etc., at first glance are only decorative elements of costume details, but upon careful analysis it turns out that they help shape the image, and figurative perfection is one of the powerful sources of beauty. In this case, one aesthetic aspect theatrical costume imperceptibly transforms into another, which can be called the artistic function of the costume, designed to create an individual image and style.

Without compiling a typology of theatrical costume, it is impossible to study its role in shaping the image of the theater. The variety of theatrical costume can be compared with the variety of life situations or human characters that are embodied through this costume on stage. The main way to understand its essence is typology, division into classes, groups, types, etc. in different planes.

By this issue no completed studies. Although it is worth noting that every author who begins to study theatrical costume and costume in general classifies it according to some criterion. Most of literature on costume - historical and ethnographic research, therefore, in them the costume is divided on geographical or temporal grounds. In the literature devoted to the emergence of clothing elements, their development, and methods of image formation, the suit is usually divided in relation to the body, design and functions.

Each type of classification opens up new areas of research, revealing unexpected problems and new aspects of the costume.

We have already said that a theatrical costume should be understood as everything that artificially changes a person’s appearance by sticking to his body, this includes clothes, headdress, shoes, hairstyle, jewelry, accessories, makeup. The definition already contains the first and main classification - the subsystems of the suit are listed.

The main planes of the typology:

1. Anthropological

a) in relation to the body

The basis of the classification is the degree of proximity to the body, and as a result, the degree of influence on the body.

Let's list them from the closest to the farthest: body paint (tattoo, makeup, make-up), clothes, shoes, hats, jewelry, accessories (also have a different effect: for example, glasses are closer than a handbag).

Many systems, such as clothing, also have differences within themselves (underwear and outerwear).

This basis must be taken into account when creating and consuming theatrical costumes, because the human body can only accept certain materials, textures, and substances. The entire history of costume production is developing in the direction of creating the most comfortable and health-safe materials and substances (makeup, makeup).

b) in relation to parts of the body (types of clothing, hats, shoes, etc.)

We have already met this classification in the definition and therefore it can be called determining when systematic approach to study the costume. Let's build a complete hierarchy of systems and subsystems of a theatrical costume.

Cloth. According to the method of fastening to the body, clothing is divided into waist (skirts, trousers, shorts, panties, etc.) and shoulder (shirts, dresses, sundresses, raincoats, coats, fur coats, jackets, T-shirts, sweaters, etc.) The configuration and plasticity of the body dictate the differences in the elements of the costume. Clothes are placed on three parts of the body - torso, arms and legs.

All clothing is also divided into three layers: underwear, underwear and outerwear.

Linen. Manufacturers divide lingerie into three types: everyday (practical, made of dense natural or mixed materials, smooth), festive (elegant, with all kinds of decorations, matching clothes for special occasions) intimate lingerie (open, transparent, with all kinds of decorations, overhead details (ruffles, bows, lace, beads), often with a hint of a joke.

In the 12th century, elegant intimate home clothes appeared (usually for morning dressing): negligee, polonaise, peignoir, schmiz, which still exist today. IN Europe XIX Thanks to travel to the tropics, pajamas became famous.

Underwear. This is the most numerous section of clothing; listing all its types is difficult and impractical; this entire array is located between underwear and outerwear. However, you should pay attention to the following feature, which depends on the climate. In hot countries, underwear and underwear are often combined to form rather revealing garments, worn every day in order to minimize materials present on the body. While the clothes of the northerners are multi-layered, which increases the number of types of clothing.

Blazer section: blazer, jumper, jacket, vest, jacket, sweater, tuxedo, tailcoat, suit (two-piece, three-piece, with a skirt or trousers), shirt (blouse).

Leg clothing: trousers, shorts, socks, stockings, tights.

We highlight the dress (sundress) and skirt separately.

Outerwear. The variety of types of outerwear is not so great; the division is based, first of all, on seasons and, of course, design and material. Let us list the main types of outerwear: sheepskin coat, fur coat, coat, jacket, coat, raincoat.

Costume historians identify about seventeen types of coats.

You should also pay special attention to individual elements of clothing, which, as a rule, have a special symbolic power - collars, cuffs, ties (scarves, shawls), socks (stockings), belts (belts), gloves (mittens). These minor details can completely change the information load of the suit as a whole.

Shoes are divided into: sewn, cut and attached to the foot with various slings, wicker.

By design, shoes are divided into sandals and clogs, shoes, boots and boots.

Hats. The headdress has always been associated with the head, so it had a strong symbolic meaning. In works of art, the headdress could serve as a substitute for the head.

The whole variety of jewelry is divided into: clothes (brooches, cufflinks, buckles, clasps, pins), body jewelry (earrings, necklaces, chains, pendants, rings, bracelets) and hair jewelry (hairpins, tiaras, etc.).

According to the method of fastening, the world of jewelry consists of the following subsystems: neck (chains, pendants, necklaces, chokers, ribbons, pendants, beads, medallions); ear (earrings, clips, studs); bracelets (for arms and legs); finger (rings, signet rings); hair decorations (hairpins, hairpieces, wreaths, tiaras, temple rings, ribbons, etc.).

Hairstyle - the decoration of the head, in many ways symbolizes the structure of its internal content, the worldview of each person and the era as a whole.

Hair on the head, since it covers the upper part of the human body, symbolizes spiritual forces, higher powers, and embodies the spiritual state of a person. Body hair is associated with the influence of irrational, lower forces, biological instincts. Hair also signifies fertility. In Hindu symbolism they mean the “lines of force” of the Universe. Thick hair is the embodiment of life's impulse, being associated with the desire to succeed. Hair color is important. Dark hair have dark, earthly symbolism, while light (golden) ones are associated with the sun's rays, purity and goodness, and all positive mythological and fairy-tale heroes had blond hair (Snow White, Snow Maiden, Goldilocks). Copper-red hair indicates a demonic character and is associated with Venus. For centuries there has been an idea that a witch must be red-haired, and that such people are always lucky. Many witchcraft rituals are associated with hair, as human spiritual energy. When we lose our hair, we lose our strength, like the biblical Samson. Downside hair loss is a voluntary sacrifice. Anyone who rejects earthly life in order to take the path of absolute asceticism is obliged to cut their hair (monastic tonsure). People have been paying attention to their hairstyle for a long time great importance. According to Diderot, a hairstyle makes a woman more attractive, and in a man it emphasizes his character traits.

Makeup. Through makeup, an actor can change his face, give it such an expressive form that will help the actor to most fully and comprehensively reveal the essence of the image and convey it to the viewer in the most visual form. But makeup is important not only as an external drawing of the character of the character portrayed by the actor. Also in creative process working on a role, makeup is a definite impetus and incentive for the actor to further reveal the image.

The initial forms of theatrical makeup arose on the basis of magical body painting and ritual masks, directly related to the magical and animist-religious ideas of primitive man.

2. Demographic

There is an obvious division into male and female costume elements, colors, textures, and materials.

Men's - restrained shades, usually dark, with a predominance of black, there are often strict contrasts, hard textures, dense, heavy, opaque fabrics, geometric and technical patterns and textures.

Women's - pastel shades, the whole pink palette, light, soft textures, easily draped, transparent, with sparkles, embroidery, guipure, floral, plant motifs, polka dots and soft lines in texture and patterns, pearls and mother of pearl - material for accessories and jewelry.

A theatrical costume can differ by gender either in minor details (for example: the side of the fastener) or in general in the entire form. So, in the 17th century, men widely used chic lace, but now it is the prerogative of ladies, one of the symbols of femininity. Signs of femininity and masculinity, of course, changed among different nations and in different eras, but were always present. The exception, perhaps, is the end of the 20th century, with its idea of unisex.

For a long time, there have been differences between children's and adult costumes. Within these groups there are gradations: small children, adolescents, youth, mature people, the elderly, old people. The costume contains special details for the older generation and special ones for the younger generation. Here are some examples: a bow or bib is always a symbol of childishness for us, a scarf tied on a woman’s head is usually associated with old age, a suit with obvious signs of eroticism can only be worn by young people. Such stereotypical symbols become firmly entrenched in culture.

As in the case of gender, a division into children's and adult designs, colors, textures and materials is accepted.

Concept of children's costume independent group arose only in the second half of the 18th century in England. Until this time, children's clothing was only a smaller copy of adult clothing. This division is largely due to the dramatic complication of the costume, which made it too inconvenient for children.

The main environmental planes of a theatrical costume.

1. Historical (temporal) - eras, centuries, periods, years...

This classification, applied to a suit, is the most common in historical science. With this approach, the history of things and phenomena is studied from the point of view of their belonging to a particular time. The most generally recognized large gradations: primitiveness, antiquity, the Middle Ages, Renaissance, XVII, XVIII, XIX, XX centuries. The development of costume in this case is considered as a linear process, the focus is on the features that distinguish one era from another. The researcher's attention is focused on the stylistic features of the costume common to all architectural arts of each period.

Within each era, it is customary to distinguish smaller periods, their names are generally known.

2. Natural.

Spatial-geographical. Here the most striking division occurs into two poles - east-west. Of course, the differences go far beyond geography. Many works are devoted to the “East-West” problem, and all the problems discussed in them are reflected in one way or another in the costume. Further division occurs in a simple scheme: continents, countries, regions, cities, villages, city blocks.

Climatic. Due to the fact that one of the first functions of the suit was to protect the body from natural influences, the suit, first of all, began to differ in its adaptability to various climatic and natural conditions.

Of course, the planes intersect in reality, forming a wide range of natural conditions that require a special suit. Winter night in the southern forest and a summer day in the northern mountains, northern and southern sun, rain and wind in the steppe and in the forest, etc. largely determine the variety of costumes of the peoples inhabiting our planet.

With the development of human activity and industry, new suits are constantly appearing, specially adapted for exposure to extreme natural conditions, which allows people to make their way to the most inaccessible corners of the Earth and unexplored environments. Humanity has developed equipment for conquering mountain peaks, the depths of the sea, impassable tropical forests, deserts and the poles.

3. Ethnographic - ethnic groups, peoples, tribes (rites, customs). This is one of the common classifications of theatrical costume. The bulk of all literature on costume is ethnographic works containing detailed descriptions costumes of certain ethnic communities and associated customs and rituals. Based on such studies, it is good to study such a phenomenon as national costume.

4. Separate rituals of certain ethnic communities.

Many works devoted to theatrical costume of a particular era are based on division by class. The clothing of various classes is initially determined by their inherent way of life; its fixed form works as a sign indicating a particular layer of society. The leader stood out among his fellow tribesmen, he was revered as special person. The cut and details of the costume indicate status in society, family traditions, etc. And in modern world this function of the suit exists (for example, in a business suit - the thinner the stripe, the higher the status of its owner). Mistakes here were always extremely undesirable and could cause offense. People were very sensitive to their position in society and always tried to somehow emphasize it in a suit. Often different classes have different ethical, aesthetic, etc. norms, which is also reflected in the suit. In a class society, external signs are simply necessary to establish the nature of relationships and communication.

During the transition from a subsistence economy to a market structure, with its division of labor and exchange of goods, each business had its own professionals, and, as a result, the same type of suit. Its form largely depended on the specifics of the activity and contained elements that united people of the same profession into a certain corporation, thereby emphasizing the commonality of occupations that left an imprint on their character, worldview, and attitude towards others. We even characterize groups of people by naming signs or elements of their clothing, for example: “people in white coats,” “people in uniform,” “white collar workers,” and everyone immediately understands who we are talking about.

The following professions have the most clearly defined and easily distinguishable costumes: military, medical professionals, workers transport companies, catering, etc.

Confession. This typology involves studying the costume of representatives of various religions, as well as their branches and heretical movements. Each religion establishes and determines certain forms of costume, special cut, silhouette, colors, accessories and details.

Depending on the degree of influence of religion on the life of society in a given period, these features in one way or another affect all forms and types of costume.

5. Aesthetic - hierarchy of styles, change of fashions, etc.

A fairly extensive body of literature devoted to theatrical costume is based on this very classification. The history of theatrical costume, as a rule, is based on consideration various styles costume and fashion that replaced each other throughout the existence of mankind. Researchers of modernity also actively use this hierarchy in their works, considering the palette of styles that are both present in our time and underlie the science of image. In this regard, it should be noted that the study of costume style is built in two directions: historical styles and modern ones. The concept of “modern” includes not only styles that arose in the last decades of the current century, but all the variety of costume styles that our contemporaries have at their disposal, as well as the very attitude towards style as an instrument. This is due to the fact that on modern stage development of mankind, the style of the current era can be defined as polyvariance, i.e. it cannot be defined unambiguously, it depends on many reasons and easily changes depending on the situation, mood, etc. Therefore, we will list the main historical styles that were formed in a particular era, and then the main styles in which one can express oneself modern man. Of course, many modern styles are based on certain historical styles.

We list the main historical styles:

Antique. The body was considered as a mirror, supposed to reflect the perfection of the world. The costume obeyed the laws of logic and harmony. The antique style is the image of a “Greek column”, striving upward towards light and perfection. The use of fabrics of a certain width in accordance with the dimensions of the loom, the clothes are not cut, but gathered in vertical folds, the outfit is designed in accordance with the structure of the human figure, the shoes are practically one sole.

Romanesque. It carried the heritage of antiquity, but with certain excesses. The simple, form-fitting dress (sewn in two parts) was trimmed with a wide border.

Gothic. It was at this time that cutting appeared, which became unusually complex and masterly. Clothes are tailored to fit your figure. The costume of that era is akin to Gothic architecture. Predominance of vertical lines and pointed details.

Renaissance. The desire for harmony, expressed in symmetry and absence of excesses. In everything there are only natural proportions. Contemporaries tried to create a rich and elegant costume that could highlight a person’s dignity. For the first time, women's dress is divided into long skirt and bodice. The clothes are distinguished by the use of expensive fabrics, complex ornaments, unusual sleeve designs, and a combination of two colors and materials.

Baroque. The emergence of new materials, the most popular are velvet and metal. The desire for luxury and eccentricity. Formality, stiffness of heavy outfits.

Roccoco. Dresses become more elegant, huge outfits are reduced to more human sizes. An abundance of folds and connections with the use of satin, the richest underwear. The predominance of pastel colors in the outfits and an abundance of accessories.

Empire style He followed in the footsteps of ancient fashion (this only applied to women's suits). Characteristic features: simplicity of lines, vertical folds, shift of the waistline under the chest, puff sleeves, deep neckline. A dark tailcoat appeared in the men's wardrobe, which was worn with a tie, a patterned vest and a top hat.

Dandy. IN early XIX century, a type of modestly but perfectly dressed gentleman has been created - the dandy. The main sign- the external simplicity of the suit combined with its high cost and perfect cut. The increased role of the tie, which becomes the only eye-catching decoration on a snow-white shirt.

Romanticism. This style is most clearly manifested in women's suit, distinctive features which is considered to have a fitted bodice, wide sleeves, a lot of flounces, ruffles and bows, light color shades, which creates a feeling of airiness and tenderness.

Modern. Ego is characterized by a rejection of all old norms in the suit. Art Nouveau is distinguished by the S-shaped silhouette of a lady's suit, loose, see-through dresses, decorativeness and extravagance combined with fantastic images.

Today, some styles are developing in costume, others are born and dying, it is simply impossible to describe them all. But it is still possible to identify several of them that have characteristic features and consistently exist in modern costume. Let's look at each of them and at the same time explain what psychological characteristics we can get together with a certain style suit.

Business style. Often fits the definition of “classic”, and also wears many elements of a sporty style. The main characteristics are businesslike, respectable, serious, self-confident, decent, trustworthy, strictly elegant, comfortable. This style distinguished by strict silhouettes, mostly dark or light, restrained, muted colors, plain materials (only non-contrast checks and stripes are allowed). The main role is played by a business suit in combination with a skillfully selected shirt (blouse), often white. It’s not for nothing that knowledge workers are called “white collar workers.” Particular attention is paid to the quality of materials and workmanship. Strict lines and muted blue-gray-brown colors are present in all accessories and other costume systems (hairstyle, makeup). Personifies and emphasizes rationality, logic, will, determination, restraint.

Style for every day - for work, business visits, official trips.

Romantic. Can be called the complete opposite business style, being the personification of emotionality, sensitivity, dreaminess, tenderness, sentimentality. Of course, it is most widespread among women. We can say that he is the personification of femininity, emphasizing all the advantages of the female figure. The lines of the silhouette are soft, smooth, an abundance of draperies, a variety of characteristic finishes (ruffles, bows, frills, frills, lace, molds, flounces, embroidery. The colors are delicate, soft, all shades of pink and blue. Drawings and textures - floral, plant, peas , delicate fantasy.Accessories, hairstyle and makeup are sophisticated, refined, graceful.

Style for dates, relaxation, evening, cafe, theater, etc.

Sports. Various sports gave the world different kinds suit - shorts, T-shirts, baseball caps, leggings. Another source of sports style was clothing for military operations (warm comfortable jackets, overalls, helmets, metal fittings, patch pockets, raglan sleeves). The silhouettes of this style are straight, trapezoidal, less often - semi-fitting and fitted.

A rich color palette, frequent contrasts in color and texture, an abundance of fittings, stripes, emblems, stitched overlays. The main characteristics of the style: convenience, functionality, looseness, dynamism.

Varieties of style - "safari", denim, marine.

A style for travel, holidays outside the city, at home, for active, dynamic people who value practicality and convenience in a suit above all.

Folklore. It is formed on the basis of folk costume. The main psychological characteristics are a clear connection with a certain people, traditionalism, folk wisdom, tranquility, associations with eternal values. The silhouettes are usually simple, with expressive details of folk costumes. Natural materials and colors, the most common pattern is geometric, which goes well with the structure of the fabric. The use of such finishes as embroidery, hemstitching, lace, weaving, appliqué, patchwork technique, fringe, beads, metal parts.

The style is applicable for recreation, theater and concert events, and for friendly communication with foreigners.

"Country". In many ways it is close to the folklore style, although the signs of one or another national costume are not clearly expressed in it. This style is more of a fantasy, a variation on the theme of rural life, in which the features of many people can sometimes be discerned. folk costumes. In terms of psychological impact, this style is similar to pastoral, radiating ease, pleasant relaxation, carelessness, dreaminess, simplicity, and a romantic idea of life and nature. Colors, designs and materials are natural: canvas, straw, cambric, flowers, pastel colors, cheerful floral designs, bright checks, mostly gray-brown tones.

6. Production.

First of all, it is necessary to highlight artificial and natural materials who have various ways processing and consumer qualities.

In most cases, the material radically influences the overall direction and nature of shaping. Here the basis is the physical properties of the material, which predetermine the structural-spatial and plastic solution of the thing. The variety of shapes increases dramatically when combining different materials.

By technology.

The processing of the material also determines the shape. Constantly improving technologies make it possible to perform extraordinary miracles at the present stage. But there were times when the design and dimensions of a suit were determined by the width of the loom. In the history of mankind in research purposes Three major periods can be distinguished: manual, machine and information production methods.

Given the materials and technologies, the location of the material in space (design) also determines the variety of shapes.

The above classifications intersect, forming a complex network. But they do not reveal the essence of objects - the deep principles of their creation, functioning and evaluation.

Each type of costume creation presupposes its own goals, its own understanding of the perfection and beauty of things, and is based on its own measure and system of principles. If the pole of practical utility is completely dominated by rational calculation and reliance on the objective laws of nature, then the opposite, artistic pole is dominated by the irrational principle - intuition, subjective associations, subconscious, conventional ideas, etc.

Each of these principles can play a different role, from dominance to complete submission. Depending on the location of the costume forms on this axis, six main types of object-based creativity are distinguished, and, accordingly, six types of costume formation.

1. Rational-utilitarian. Here the practical function of the suit as a useful thing is embodied to the maximum. With this approach, one goal is pursued - to provide protection from external influences, ease of use. Here we include waders, helmets, soldiers' uniforms, etc.

2. Rational-aesthetic. Here, along with the previous function, a mood appears for the beauty of a thing, understood as a consequence of its comprehensive practical perfection. Here we can include work clothes, many types of casual clothes, etc.

3. Holistic. This type of creativity is aimed at creating a form that harmoniously combines extremes, giving things artistic and practical integrity. This type includes most types of suit, which at the same time equally acts as a perfect thing and as a sign.

IN following types The artistic principle in theatrical costume takes on a leading role.

4. Stylizing. In this type, the expressive form of the object often loses connection with its practical basis. In the fifth type, creative objects are no longer useful practically and materially, but spiritually. Beauty in decorative costume is no longer directly related to practical principles. Using the form famous styles things are given the characteristics of a prototype, an aura of associations associated with it. This type of suit mainly acts as a set of signs that forms the image of the owner. We also often use such clothes in everyday life, using different styles suit depending on the situation and fashion.

5. Decorative. The costume largely loses its practical meaning, and its form is subordinated to some artistic idea, for the implementation of which various visual arts. This includes primarily carnival and ritual costume.

6. Artistic. The latter type penetrates into the very core of the illusory world of figurative models of reality. Practical aspects appear only during the production of the work to ensure its existence. This type is a manifestation" high art", where beauty can give way to other aesthetic relationships. The costume acts as a work of art and performs all the functions inherent in art, especially in merging with the person who dressed it. This type includes stage costumes, collections of famous couturiers. They are concentrations of ideas and images, and their creators are called costume designers.

As the analysis showed, classifications of theatrical costume can be made on a variety of planes. The choice of plane of consideration depends on the objectives of the study each time.

Each performance or performance performed on stage is designed to bring the viewer, among other things, aesthetic pleasure from what they see. That's why it's so important to clothe 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:

People 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 natural dyes saris became not plain, 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, in every European and eastern state there were certain theaters, music salons, operas, ballets, etc. Costumes became more and more varied, often conveying the spirit historical era, modern clothes, freeing itself 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 exaggeratedly satirical form. There was a church theater where the performers were dressed in white clothes, like angels. In school theaters, the characters had their own emblems. And under Tsar Alexei Mikhailovich there was a 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:

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.
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.
Like the clothes of a character. It is basic 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 quite complex and creative look activities. 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. The best materials will be selected and applied modern technologies sewing

graduate work

2.1 Theatrical costume. Types of theatrical costume

Theatrical costume plays an important role in forming a positive image of the theater among its target audience.

Theatrical costume is the only system that can artificially change a person’s appearance, emphasize or destroy the harmonious unity of the body, or certain parts of it, and create an artistic image. Let's assume this real situation: seeing a girl in a dress that gives her figure a shape that is close to ideal, we can exclaim “What a beautiful girl!”, which will mean that this costume has fulfilled its “aesthetic function”, it has made the person beautiful. Numerous non-functional details, for example, pattern, fabric design, its color, texture, lace, gathers, decorative buttons, embroidery, appliqués, false flowers, etc., at first glance are only decorative elements of the costume details, but upon careful analysis it turns out , they help shape the image, and imaginative perfection is one of the powerful sources of beauty. In this case, one aesthetic aspect of a theatrical costume imperceptibly transforms into another, which can be called the artistic function of the costume, designed to create an individual image and style.

There are no completed studies on this issue. Although it is worth noting that every author who begins to study theatrical costume and costume in general classifies it according to some criterion. Most of the literature on costume is historical and ethnographic studies, and therefore categorizes costume along geographical or temporal lines. In the literature devoted to the emergence of clothing elements, their development, and methods of image formation, the suit is usually divided in relation to the body, design and functions.

Each type of classification opens up new areas of research, revealing unexpected problems and new aspects of the costume.

The main planes of the typology:

1. Anthropological

a) in relation to the body

The basis of the classification is the degree of proximity to the body, and as a result, the degree of influence on the body.

Many systems, such as clothing, also have differences within themselves (underwear and outerwear).

b) in relation to parts of the body (types of clothing, hats, shoes, etc.)

We have already encountered this classification in the definition and therefore it can be called decisive in a systematic approach to the study of costume. Let's build a complete hierarchy of systems and subsystems of a theatrical costume.

All clothing is also divided into three layers: underwear, underwear and outerwear.

In the 12th century, elegant intimate home clothes appeared (usually for morning dressing): negligee, polonaise, peignoir, schmiz, which still exist today. In 19th Europe, pajamas became famous thanks to travel to the tropics.

Blazer section: blazer, jumper, jacket, vest, jacket, sweater, tuxedo, tailcoat, suit (two-piece, three-piece, with a skirt or trousers), shirt (blouse).

Leg clothing: trousers, shorts, socks, stockings, tights.

We highlight the dress (sundress) and skirt separately.

Costume historians identify about seventeen types of coats.

Shoes are divided into: sewn, cut and attached to the foot with various slings, wicker.

By design, shoes are divided into sandals and clogs, shoes, boots and boots.

Hats. The headdress has always been associated with the head, so it has a strong symbolic meaning. In works of art, the headdress could serve as a substitute for the head.

Hairstyle - the decoration of the head, in many ways symbolizes the structure of its internal content, the worldview of each person and the era as a whole.

Hair on the head, since it covers the upper part of the human body, symbolizes spiritual forces, higher powers, and embodies the spiritual state of a person. Body hair is associated with the influence of irrational, lower forces, biological instincts. Hair also signifies fertility. In Hindu symbolism they mean the “lines of force” of the Universe. Thick hair is the embodiment of life's impulse, being associated with the desire to succeed. Hair color is important. Dark hair has dark, earthly symbolism, while light (golden) hair is associated with the sun's rays, purity and goodness, and all positive mythological and fairy-tale heroes had blond hair (Snow White, Snow Maiden, Goldilocks). Copper-red hair indicates a demonic character and is associated with Venus. For centuries there has been an idea that a witch must be red-haired, and that such people are always lucky. Many witchcraft rituals are associated with hair, as human spiritual energy. When we lose our hair, we lose our strength, like the biblical Samson. The downside to hair loss is that it is a willing sacrifice. Anyone who rejects earthly life in order to take the path of absolute asceticism is obliged to cut their hair (monastic tonsure). People have paid great attention to hairstyle since ancient times. According to Diderot, a hairstyle makes a woman more attractive, and in a man it emphasizes his character traits.

Makeup. Through makeup, an actor can change his face, give it such an expressive form that will help the actor to most fully and comprehensively reveal the essence of the image and convey it to the viewer in the most visual form. But makeup is important not only as an external drawing of the character of the character portrayed by the actor. Even in the creative process of working on a role, makeup is a certain impetus and incentive for the actor to further reveal the image.

The initial forms of theatrical makeup arose on the basis of magical body painting and ritual masks, directly related to the magical and animist-religious ideas of primitive man.

2. Demographic

There is an obvious division into male and female costume elements, colors, textures, and materials.

Men's - restrained shades, usually dark, with a predominance of black, there are often strict contrasts, hard textures, dense, heavy, opaque fabrics, geometric and technical patterns and textures.

A theatrical costume can differ by gender either in minor details (for example: the side of the fastener) or in general in the entire form. So, in the 17th century, men widely used chic lace, but now it is the prerogative of ladies, one of the symbols of femininity. The signs of femininity and masculinity, of course, changed among different peoples and in different eras, but were always present. The exception, perhaps, is the end of the 20th century, with its idea of unisex.

As in the case of gender, a division into children's and adult designs, colors, textures and materials is accepted.

The concept of a children's costume as an independent group arose only in the second half of the 18th century in England. Until this time, children's clothing was only a smaller copy of adult clothing. This division is largely due to the dramatic complication of the costume, which made it too inconvenient for children.

The main environmental planes of a theatrical costume.

1. Historical (temporal) - eras, centuries, periods, years...

This classification, applied to costume, is the most common in historical science. With this approach, the history of things and phenomena is studied from the point of view of their belonging to a particular time. The most generally recognized large gradations: primitiveness, antiquity, the Middle Ages, Renaissance, XVII, XVIII, XIX, XX centuries. The development of costume in this case is considered as a linear process, the focus is on the features that distinguish one era from another. The researcher's attention is focused on the stylistic features of the costume common to all architectural arts of each period.

Within each era, it is customary to distinguish smaller periods, their names are generally known.

2. Natural.

Of course, the planes intersect in reality, forming a wide range of natural conditions that require a special suit. A winter night in the southern forest and a summer day in the northern mountains, northern and southern sun, rain and wind in the steppe and in the forest, etc. largely determine the variety of costumes of the peoples inhabiting our planet.

3. Ethnographic - ethnic groups, peoples, tribes (rites, customs). This is one of the common classifications of theatrical costume. The bulk of all literature on costume is ethnographic works containing detailed descriptions of the costumes of certain ethnic communities and the customs and rituals associated with them. Based on such studies, it is good to study such a phenomenon as national costume.

4. Separate rituals of certain ethnic communities.

Many works devoted to theatrical costume of a particular era are based on division by class. The clothing of various classes is initially determined by their inherent way of life; its fixed form works as a sign indicating a particular layer of society. The leader stood out among his fellow tribesmen; he was revered as a special person. The cut and details of the costume indicate status in society, family traditions, etc. And in the modern world this function of a suit exists (for example, in a business suit - the thinner the stripe, the higher the status of its owner). Mistakes here were always extremely undesirable and could cause offense. People were very sensitive to their position in society and always tried to somehow emphasize it in a suit. Often different classes have different ethical, aesthetic, etc. norms, which is also reflected in the suit. In a class society, external signs are simply necessary to establish the nature of relationships and communication.

The following professions have the most clearly defined and easily distinguishable costumes: military, medical workers, transport workers, catering workers, etc.

Depending on the degree of influence of religion on the life of society in a given period, these features in one way or another affect all forms and types of costume.

5. Aesthetic - hierarchy of styles, change of fashions, etc.

A fairly extensive body of literature devoted to theatrical costume is based on this very classification. The history of theatrical costume, as a rule, is based on the consideration of various costume styles and fashions that have succeeded each other throughout the existence of mankind. Researchers of modernity also actively use this hierarchy in their works, considering the palette of styles that are both present in our time and underlie the science of image. In this regard, it should be noted that the study of costume style is built in two directions: historical styles and modern ones. The concept of “modern” includes not only styles that arose in the last decades of the current century, but all the variety of costume styles that our contemporaries have at their disposal, as well as the very attitude towards style as an instrument. This is due to the fact that at the present stage of human development, the style of the current era can be defined as polyvariance, i.e. it cannot be defined unambiguously, it depends on many reasons and easily changes depending on the situation, mood, etc. Therefore, we will list the main historical styles that were formed in a particular era, and then the main styles in which a modern person can express himself. Of course, many modern styles are based on certain historical styles.

As mentioned above, a theatrical costume is an element of the design of the performance. The peculiarity of any costume is the purpose for which it is created. And based on the goal, usually the director’s, an artistic image is built...

A study of the artistic and graphic features of sketches of theatrical costumes and the possibility of using them in the depiction of a modern costume

The sketch suggests the manner of wearing the costume, the gait, provides for the necessary deformation of the figure, the position of the head, the movement of the hands and the manner of holding them, the sharpness of the silhouette drawing, the actor in the suit. Even for modern plays...

A study of the artistic and graphic features of sketches of theatrical costumes and the possibility of using them in the depiction of a modern costume

Unusual theater Mysteries as a creative source of the modern collection of this course work, aims to bring historical and ethnic costume from museums to the theatrical stage...

Costume of the Middle Ages and modern times

Cultural processes in Ukraine in the XX century. Culture of the peoples of Transcaucasia. Features of theatrical art

Theater is a type of stage art that depicts life in a stage performance, how the actors perform before the spectators, as well as the setting that these stage performances are staged by a singing group of artists and the location, booths, etc. vayutsya vistavi...

Basic styles of jazz dance

Broadway jazz has become one of the popular types of modern dance. This style arose back in the 20s of the twentieth century, at a time when jazz began to be played professionally...

Origins of German national theater go back to formative times folk rituals, religious ideas, various kinds of games and holiday fun. The author of most of the fair's performances was Hans Sachs (1494-1576)...

Features of the development of theatrical art in Germany and Russia at the beginning of the twentieth century

The history of Russian theater is divided into several main stages. The initial stage, associated with folk games, rituals, holidays, originates in the tribal society...

Practice of using theatrical accessories. Formation of the external image of the theater

Development of culture during the period of independence in various spheres

Theater, obviously, is a collective art, so it is important to see in its final product the most important reason for success, in order to crown it with the most important primacy of the state...

Avant-garde theaters

Theatrical avant-garde (from the French avant garde - vanguard), the term was transferred from the sphere of politics to the field of art in 1885; means new unconventional art forms, which appeared at the end of the 19th century...

The aesthetics of Rainer Werner Fassbinder's theater

Without entering the Munich film school, R.V. Fassbinder began to study acting in private theater school, where Fassbinder R.-V. “kept to himself” Films free your head: Essays and working notes // Film scripts. 2000. N 3. P. 139....

The aesthetics of Rainer Werner Fassbinder's theater

Fassbinder stage aesthetic director Although the formation of the Anti-theater was, in principle, a formal renaming of the Action theater, the group now had a leader, no matter how Fassbinder himself rejected it...

The aesthetics of Rainer Werner Fassbinder's theater

In 1969, in Bremen - the German theater mecca of the 1960s-70s - the theater staged a thirteen-hour event - “showdown”, where two films were shown - “Katzelmacher”, “Love is Colder than Death”, two performances - “Coffee House”, “Anarchy in Bavaria” "...

THEATER is a synthetic art form that allows us not only to hear, not only to imagine, but also to look and see. Theater gives us the opportunity to witness psychological dramas and participate in historical achievements and events. A theater, a theatrical performance, is created by the efforts of many artists, from the director and actor to the production designer, for the performance is “a combination of different arts, each of which is transformed in this plan and acquires a new quality...”

Just as an actor, in word and gesture, movement and timbre of voice, creates a new being of a stage image, starting from what is given in the play, so the artist, guided by the same data from the play, embodies the image through the means of his art.

Throughout the centuries-old history of theatrical art, set 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 drama, on the social composition of the viewer, on the level of stage technology.

In the process of progressive development of the art of modern theater, innovation of directing, transformation of the method of artistic design, the role of the art of costume does not decline - on the contrary. With the growth of its younger and more flexible brothers - cinema and television - theater, undoubtedly, acquires in its search and torment new forms of spectacular techniques, precisely those that would defend and define the position of theater as the enduring value of an independent art form. The costume, as the most movable element of theatrical scenery, is given first place in this search.

The high modern culture of theatrical art, the subtle and deep director's work on plays and performances, and the talented performances of actors require that the artist designing the performance must carefully penetrate into the dramaturgy of the performance and close contact with the director. Modern design is not canonized by the rules. It is individual and specific 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 the basic problems of the set. The artist, in turn, must feel the tasks of the production and persistently seek expressive means..."

A theatrical costume is first created using visual means, that is, a sketch.