What is a theatrical costume? Theatrical costume and accessories as one of the ways to form the external image of the theater

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

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

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

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

THEATER 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. Theatre, theatrical performance is created through the efforts of many artists, from the director and actor to the production designer, for the performance is a “conjugation different arts, each of which in this plan is transformed and acquires a new quality..."

Theatrical costume is a component stage image actor, this external signs and characteristics of the portrayed character, helping 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.

Periods of stability architectural structures 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 the enduring value of an independent art form. The suit, as the most movable element theatrical scenery, is given first place in these searches.

High modern culture theatrical art, subtle and deep directorial work on a play and performance, talented acting require from the artist designing the performance a particularly thorough penetration into the dramaturgy of the performance, 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.

“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. 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...”.

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.

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.

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.

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 - the 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 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.

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 inherent features for specific characters that were ridiculed or delighted by the viewer (fancy feathers on hats, colorful trousers).
In subsequent centuries, every European and Eastern state had one or another theatres, music salons, operas, ballets, etc. Costumes became more and more varied, often conveying the spirit historical era, modern clothing, 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 he acted professional theater. Therefore, elements of the sovereign’s costume had signs of royal dignity, custom embroidery was used, and expensive stones and exquisite decorations were sewn on by hand.

Kinds

It is customary to distinguish three main types of costume:

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

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

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

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

Scope of use and main tasks

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

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

Stage costume plays important role and helps complement the image. It solves the following problems:

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

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

Theater outfit

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

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

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

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

Sewing stage costumes

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

There are many various types dance, as well as its styles. Projects are created for them that help reveal individual world and character.

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

Children's stage costumes

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

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

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