The costume shop, props, sewing, decoration shop - this is where the “visual” part of any production of the Opera and Ballet Theater is created. In each workshop, like bees, several people work: on average, from three to four. Unlike artists - public people, these masters are not spoiled by the attention of the press and the audience. We decided to rectify the situation and visited places where outsiders are usually forbidden to enter. My journey behind the scenes of the Opera and Ballet Theater began with the costume department.
Artist's wardrobe
The costume shop is located on the third floor of the theater and consists of two spacious rooms. From floor to ceiling, in two rows, suits hang on the crossbeams. It is difficult for an ordinary person to understand on what basis they are hung. Rada Viktorovna Menshchikova, head of the costume shop, explains, pointing out certain groups of costumes:
- Here - the play "Mr. X", here "Aleko", even further "La Traviata". In this room there are costumes for the choir and soloists, in the next room - for ballet dancers (we usually buy ballet tutus). And that's not all: some of the costumes are stored in our warehouse.
It turned out that the entire wardrobe of the artists of the Opera and Ballet Theater consists of - just think about it! - from almost three million different outfits! In fact, of course, a little less, because the accounting department considers one, and not several things, to be a separate suit. But still, the figure will turn out to be impressive - any fashionista would envy such a huge and diverse wardrobe. Moreover, the costumes are not quite theatrical.
“A real theatrical costume should not be washed, because when creating it, materials are used that are usually not intended for sewing,” says Rada Viktorovna. - From the stage, a real theatrical costume will look like a product made of expensive velvet, decorated with pearls. In fact, all this beauty will turn out to be an ordinary tinted fabric and a broken mirror that is held on with glue. We are trying to sew outfits that can then be washed and cleaned: we use real velvet, we sew all the beads by hand. Once the artists from the capital came to us, they were delighted with our outfits: they don’t have such costumes.
But in order to preserve all this beauty created by the seamstresses of the theater, you need to make a lot of efforts. Before setting - obligatory ironing, after - if necessary, washing and darning. Moreover, most of the costumes have to be washed by hand: ballet tutus, crinoline and corset dresses, richly decorated outfits.
“Sometimes we take off costumes that can be squeezed out, because artists spend so much energy and effort during a performance,” says Rada Viktorovna. - It even happened that during the performance, from the emotions that the artists are trying to show on stage, the buttons flew off and the skirts fell off. Once a button came off on the petticoat of one artist. She stepped over her skirt with such dignity and with a slight movement of her legs threw it back. The viewer thought that everything was as it should be.
- And during one performance, how many artists do you need to dress? I ask.
“I and my two assistant costumers help an average of 50 artists get dressed,” Rada Viktorovna answers. - Even during the performance, you need to help them change clothes. It happens that each artist has from two to five or six costumes. After the end of the performance, we also help to remove the costumes.
Rada Viktorovna admits, although the work is difficult, it is very interesting, and most importantly, beloved: “I, like Koschey, languish over gold: all costumes are dear to me.”
More than 200 costumes per season
The costume shop is the place where the costumes end up after the seamstresses and props have done their work. So the next destination is the sewing shop, and then the sham shop.
The sewing workshop is also located on the third floor, but in a different wing of the theatre. Climbing up the spacious stairs, on one of the steps I notice a piece of fabric, apparently someone accidentally dropped it. “So I’m going in the right direction,” a thought flashed through my mind.
Entering one of the rooms of the sewing workshop, I pay attention to the paper patterns hung on the walls. It turned out that this is a template for every artist. In the center of the room is a table, behind which Oksana Anatolyevna Ryndina, an artist-designer, is engaged in cutting.
Do you design costumes for artists? I'm interested.
- No, now I'm cutting out costumes for controllers - employees who meet the audience, - Oksana Anatolyevna answered. - You should have come when we are sewing costumes for the performance: everything here is littered with fabrics, sequins ...
Despite the fact that I got to the sewing shop at the wrong time, I was not at all upset. And without that, I learned a lot of interesting things. For example, during the season a team of four people has to sew more than 200 costumes: for one large-scale production, about 120 and for two or three smaller ones - 50-60 outfits each.
A lot of restoration work in the workshop.
- The capital's artists have contracts under which they are required to monitor their figure and keep the same weight for a certain time, - says Oksana Anatolyevna. - But we don’t have this, it happens that the artist will recover - we embroider the costume, if the artist is replaced, we also have to alter the thing. Our job is to do everything to make it convenient for the choir and soloists to move on stage.
- Do the artists express their wishes regarding the future costume? I ask.
- It happens, but in fact, the artists should not discuss the costume. If the production designer proposed just such a model, then it should be so. He coordinates the artistic part of the work with the director, but not with the artists.
Having learned a little about the work of the sewing workshop, I go to where they decorate outfits and the stage.
A bee in heels and a samovar from a bottle
The prop and decoration workshops are located in different rooms on the basement floor. The competence of the first is decorating costumes and creating soft scenery for productions, the task of the second is to decorate the stage with hard scenery.
The fake shop is a spacious bright room and three employees. There are sewing machines here, along the walls there are high racks with boxes where every little thing is stored: beads, sequins, fringe. On one of the shelves there is a worker bee in high heels and with a bouquet, like a bride. Workers say that this is their kind of talisman, which helps to solve even the most difficult task.
“Sometimes we have to reinvent the wheel,” says Alevtina Anatolyevna Zatonskaya, shop manager. “Sometimes everything we create has to be redone. Indeed, sometimes the intended thing on the stage does not look at all. So, once we sewed gloves from shiny fabric for the singer. When she went on stage and the ramps were turned on, the gloves suddenly turned into real armor - I had to redo the thing.
Work in the decoration shop is also not easy. Designer Yegor Galashenko says that it is not uncommon to have to rack your brains for weeks to create a certain detail of the scenery.
“Inventing something new, trying to solve an unsolvable problem is difficult, but very interesting,” Yegor admits.
Thanks to the imagination of the workers of the decoration shop, a samovar appears from an ordinary bottle, an alarm clock from a bucket, and much more. On stage, these objects look like real ones.
Unlike the sham shop, the scenery shop has a different situation. It is located in a locksmith shop, where there is a lot of wood, various tools, cardboard boxes. It is here that the most original scenery of the Opera and Ballet Theater is born. Sometimes, if more space is needed, the workers move with the material to larger rooms and already there they create decorations for the next production.
The applause of the audience is also addressed to those who are behind the stage during the production. The artist's success is partly their success. Fashion designers, costume designers, designers and props - without them, the existence of the theater is impossible. They create the brilliance and beauty of the stage, always remaining behind the scenes.
"And her legs are crooked!": a story about the creation of theatrical costumes and not only
Klops.Ru decided to find out how they are sewn, worn and where exclusive theatrical costumes are stored, as well as what stories the actors themselves are associated with them.
The premiere of the performance based on Molière's "Imaginary Sick", which was worked on by the capital's director Nikita Grinshpun, took place on October 1 at the Kaliningrad Regional Drama Theatre. Two more Muscovites also took part in the work on the production - composer Pavel Akimkin and artist Ksenia Shimanovskaya, who is responsible for stage design and costumes for the actors.
By the way, it was the outfits that became the special pride of the performance: they combine the fashion trends of the 17th-18th centuries, as well as a creative look at the modern interpretation of the play.
“Here, you see, you can have a bite right away,” actor Anatoly Lukin, who plays the role of the protagonist’s brother, very believably pretends to tear off a plastic berry from a bunch of grapes hanging from his hat. “The god of winemaking is Bacchus, that’s why I have a hat like that. That brother is sick, and I'm healthy, so I can afford to drink."
In the corridor near the dressing room, a long-haired girl appears in a bright outfit, her coloring reminiscent of a Harlequin costume - this is actress Maria Savelyeva, who plays several minor roles in the play at once.
“But this is a pillow suit,” Lukin jokes, alluding to wide trousers that imperceptibly pass into sleeves and are fixed in order to maintain a square shape with a soft frame.
"In one of the acts, gypsies come on stage. I am one of them - a street performer. It would be too easy to put on a wide skirt for me. I really like the costume: it is comfortable and put on in just a couple of seconds. When I first saw it, I immediately I realized that he is very chic and unusual. "
In stage outfits, you can dance, fight and somersault without fear of crushing or tearing. However, the costumes are not so comfortable in everything: the artist is very hot in them. Pleasantness in wear is the last thing the artist thinks about when creating a costume - this is, first of all, the image of the hero and one of the important elements of the entire external design of the production.
“When you change clothes all your life, you begin to treat the suit as a working material. True, I remember a couple of chic outfits that suited me so much that I simply didn’t want to take them off - they were a suit for the role of the Prince of Orange and the uniform of commandant Von Lyache. When I put on the uniform, I realized that I didn’t even need to do makeup - it was such an internal hit. The costume helps a lot to create a special feeling and to believe in the reality of what is happening," says Lukin.
The actor also recalled the most ridiculous costume that he had to try on in his long career: back in the Novosibirsk Youth Theater, Lukin played a hut on chicken legs in a fairy tale: “I put on stockings with claws, the “log box” itself and followed Baba Yaga around the stage. And then received credit for this role.
Since fabrics for costumes are often artificial and not very pleasant to the body, men put them on cotton T-shirts, while women do not always have this opportunity - their outfits are more open and tight.
“We go to meet the actors and try to always make a thin cotton lining so that he doesn’t go too far in his outfit,” says a seamstress from a sewing shop about the attitude to the problem.
During the performance, the actress literally jumps out of her skirt several times, so the garment is made on a drop-down frame
So, one of the costumes for the "Imaginary Sick" is not just an outfit, but also a test of the physical capabilities of actress Marina Yungas, who plays the wife of the protagonist Belina. According to the script, she literally jumps out of her skirt several times, so the garment is made on a drop-down frame. Since it was not possible to quickly find light aluminum for the frame, it had to be made from thick metal wire, and now the skirt weighs at least five kilograms. Moreover, since the design must be removable, the actress has to carry her skirt in her hands.
Of course, you should not expect complete authenticity from such outfits: silk stockings replace nylon knee-highs, expensive brocade - curtain fabric, and satin shoes - Chinese ballet flats with tulle bows sewn to them.
“In this performance, all the costumes are generally easy to put on, but it happens, of course, quite the opposite: there are all sorts of laces ... Here are corsets - I can’t stand them ... When this skirt was sewn for me, I asked her to hang out a little , - lifts up her blouse so that a thin waist can be seen, actress Maria Avramenko, who plays the role of the eldest daughter of the protagonist Angelica.
A stage costume is always sewn for a specific actor and according to his standards, but it happens that outfits are inherited when an actor ends his career, dies .... Theatrical figures have no superstitions associated with this - they are well aware that such is their life and work ... And in general, there were no special signs regarding outfits in the theatrical environment. The main condition is the consent of the actor to play a role in this particular outfit.
“For example, I have a very small shoe size and I often have to play in shoes of a much larger size, which even hurts,” says Maria Avramenko. “But in terms of costumes, the artist always goes towards the actor, because if he doesn’t like the outfit, very, very, very bad. They are looking to pick me up, because I have to feel comfortable and harmonious in a suit. "
Moments when you have to feel uncomfortable because of the costume happened to any actor or actress. They have a lot of tricks to unnoticeably for the viewer to correct the defect in the outfit.
If something slipped or fell, then in no case should you try to fix it furtively - the viewer will notice everything. On the contrary, it is necessary to pull it up or put it back in place as if this action had been planned in advance.
Even if the viewer himself suddenly drew attention to a flaw in the outfit or to the fact that it absolutely does not suit the person he is wearing, this does not bother the actors.
“It seems to you that you are a star, but someone will definitely find some joint in your image. It was like that when I played in The Master and Margarita. My friend was sitting in the auditorium. I go out in a negligee and in heels, and some teenager in the hall says (and my friend hears this): “Yes, her legs are crooked!” My friend, of course, was not at a loss and answered: “Everyone would have such crooked legs! ". With whom does not happen? Whoever wants, he will find something to complain about," Maria says absolutely without embarrassment.
The actors assure that it is absolutely not important in what sequence they turn into the intended hero: first you can do your hair, and then put on an outfit, or vice versa.
In the dressing room. A simple hairstyle with a braid a la Timoshenko is done by an experienced master in just 10-15 minutes. From above, hats cling to a dozen hairpins. Wigs are attached to nets with the same devices.
For the performance "The Imaginary Sick" wigs were specially ordered from the capital's stylists. They were made for almost every actor involved in the production, but in the end, the director decided to leave some characters with natural hair.
“The main thing is that the wig does not move, does not slip, but the rest is a matter of habit. Sometimes the face itches a little in the place where the elastic is adjacent to the skin,” says Lyubov Orlova, an actress who plays the role of Toinette’s maid. “It is important that the wig I kept it on my head well and didn’t fly off. Once, in fact, I had a problem with a wig: it caught fire from a spotlight. It smokes, but I don’t notice. A colleague told me about this and put out the flame with his hand. "
Playing on stage with your own hair is easier and easier, but if you use a wig, your hair will suffer less from regular harmful styling. But make-up artists absolutely do not care: to cling to the artist's head with a wig or conjure over his native hair. Moreover, they can turn an almost bald man into the owner of a luxurious hairstyle, but they admit that it is almost impossible to transform the owner of a long braid into a shaved head.
“And it’s also very difficult to fix the frame structure on the head of an actor who has to dance according to the script. You need to fix it so that it doesn’t fall off - and all this also needs to be done only with the help of ordinary hairpins and ribbons. And sometimes you also need to change the outfit and hairstyle actor during the performance - here we are already at a short start with everything we need!", - says make-up artist Marina Tereshchenko.
And if the dancing actors need to fasten the wig "tightly", then the singing ones have to hide the microphones under it. A box with a radio transmitter is lowered into a pocket of a belt specially sewn for this purpose.
Interestingly, even in the case of wigs, actresses are capricious and selective. They may flatly refuse to wear a wig that does not suit them.
“At first I had a different wig - now my “beloved” Cleante wears it,” Maria Avramenko shares. “I put it on and didn’t immediately understand what kind of monster was looking at me from the mirror - just some kind of horror! I like, I really don't like being blonde."
The artist Ksenia Shimanovskaya can already be safely called a "guru" in her profession - during her career she created collections of costumes for almost two hundred performances. It was not by chance that she was invited to work on sketches of costumes for "The Imaginary Sick" - the performance needed a special atmosphere.
“This is a comedy and anything is possible here - I surrendered to the will of my imagination and did what my heart wanted. I wanted the costumes to be strange and funny,” Ksenia spoke about the concept that Ksenia adhered to in this case.
It took the artist a month to work on the sketches, and then there was still a lot of work to be done in a team with Kaliningrad seamstresses and props masters.
“I always control the process of creating costumes, because every groove is important to me. In this collection, I remember every button! Here, all the costumes are nice to me. artist
Ksenia found all the materials and accessories for the outfits herself in Kaliningrad stores. She assures that the creation of costumes for men and women, in terms of complexity, is absolutely the same. But if the budget is quite modest, then the artist has to work with a vengeance.
"You can make a costume out of a doormat. Even an empress' outfit can be sewn from the cheapest fabrics. The more obstacles, the more imagination. And it doesn't matter if it's a comedy or a tragedy - you can turn around everywhere! You just need to allow yourself to do it," the artist concluded.
The artist set herself the task of making costumes "weird and funny"
In the sewing shop, despite the silence and the seemingly measured course of life, work is in full swing. Officially, the working day for the seamstresses from the drama theater is from nine in the morning to five in the evening, but they assure that they often have to work 12 hours a day.
Of all the outfits that had to be sewn for the production of Moliere's play, the most difficult, as the employees of the tailoring shop admit, was to build a bear costume.
“We never have a question about how long it takes to sew a particular costume. Sometimes a complex outfit needs to be made in a day. For example, yesterday, we shoveled forty meters of fabric in a day - we sewed white coats for musicians and other participants productions of "The Imaginary Sick". At the last moment, we were told what and how many there would be. The director initially assumed that there would be musicians, but did not know how many. But in the end, he might even abandon the idea altogether, "says the head of the sewing shop Natalya Dudkin.
On what account should stage costumes be counted? Do I need to put an inventory number on the elements of costumes? Are suits in stock distinguished? How are the elements of the stage costume taken into account: separately or as one fixed asset?
Legislation prescribes accounting for certain types of non-financial assets in a special manner. This applies in particular to stage costumes used in cultural institutions. In this article, we will consider typical questions of practitioners on this topic.
Stage and production means of cultural institutions are a set of material design items for performances that operate in an unchanged natural form for a long period. Stage equipment includes costumes, underwear, shoes, hats, costume props (beads, belts, wallets, fans, brooches, etc.). Such rules are provided for in 1 Temporary guidelines approved by the Order of the Ministry of Culture of the Russian Federation dated August 10, 2007 No. 1249 (hereinafter referred to as Recommendations No. 1249).
On what account should stage costumes be counted?
As a general rule, items of clothing are subject to inclusion in the inventory (clauses 99, 118 of Instruction No. 157n). However, in accordance with sect. 1 of Recommendation No. 1249, stage costumes are stage equipment. The latter can be included both in the composition of fixed assets and in the composition of inventories, depending on their useful life (section 2 of Recommendation No. 1249). Instruction No. 157n does not contradict this approach. This is important, since Recommendations No. 1249 are currently applied only to the extent that they do not contradict Federal Law No. 402-FZ of 06.12.2011 “On Accounting” and Instruction No. 157n.
In accordance with paragraph 38 of Instruction No. 157n, material objects of property, regardless of their value, with a useful life of more than 12 months, intended for repeated or permanent use on the right of operational management in the course of the institution's activities when it performs work, provides services, and carries out public powers (functions) or for the management needs of the institution are accepted for accounting as fixed assets.
Thus, stage costumes in most cases meet the specified criteria and must be accounted for in the account intended for accounting for fixed assets. Moreover, the above applies to all elements of the stage costume (including shoes, headgear, etc.).
We emphasize that the cost of the costumes does not matter. So, according to the materials of the audit of one of the institutions, specialists of the regulatory authorities considered it a violation that there were 15 collars and 15 peakless caps worth 3,750 rubles. were registered not as part of fixed assets (on the sub-account “Theatrical and national costumes, hats”), but as part of soft inventory (see, for example, the inspection report posted on the official website of the Suksunsky district of the Perm Territory http:// www.suksun.ru/ (Audit Commission/Control measures/Report No. 1 dated April 16, 2015)).
In fairness, it should be noted that the courts do not always regard such an accounting option as a violation. So, according to the materials of one of the cases, the inspectors insisted that the accounting of stage costumes in inventories constitutes an offence. The courts of the first and appeal instances were completely on the side of the institution, pointing out that costumes, underwear, shoes, hats, costume props (beads, belts, wallets, fans, brooches, etc.) belong to theater stage equipment and are not taken into account in composition of fixed assets (Resolution of the Seventeenth Arbitration Court of Appeal dated June 17, 2010 No. 17AP-4156/2010-AK). The court of cassation took a more cautious position, pointing out that the possibility of using the suit for more than 12 months by the inspectors has not been proven, and only therefore it is impossible to talk about a violation expressed in improper accounting of fixed assets (Resolution of the FAS UO dated 09.22.2010 No. Ф09-7501 / 10 -C1 in case No. A60-63300/2009-C9).
At the same time, there are few such examples of judicial resolution of such a situation. Therefore, the reluctance to organize the accounting of fixed assets is fraught with risks.
According to paragraph 53 of Instruction No. 157n, fixed assets are recorded on an account containing the corresponding analytical code of the synthetic account group (10, 20, 30, 40) and the corresponding analytical code of the type of synthetic account of the accounting object. The actual question is on which account to take into account the costumes. Inspectors recommend using accounts 0 101 28 000 “Other fixed assets - especially valuable movable property of the institution”, 0 101 38 000 “Other fixed assets - other movable property of the institution” in this situation. (See, for example, the information posted on the official website of the administration of the municipal formation of the Tigilsky municipal district http://www.tigil.ru/ (KSU / Information on inspections / Information on the results of the inspection of the targeted and effective use of funds allocated to ensure the performance of functions municipal state institution of culture "Itelmensky folklore ensemble" Elvel ").
What OKOF code do stage costumes belong to?
This issue is a constant source of controversy among practitioners. There are different points of view.
The OKOF classifier (approved by the Decree of the State Standard of the Russian Federation of December 26, 1994 No. 359) contains code 16 3696601 "Stage clothes". At the same time, according to Recommendations No. 1249, the term “stage clothes” (or rather, “stage clothes on duty”) does not apply to stage costumes. Stage clothes include a set of elements located on all planes and made of a special type of fabric. Stage clothing performs a dual function: both aesthetic and technical. This is a theatrical curtain, backstage, harlequin.
Some experts believe that stage costumes belong to category 16 3696605 "Stage props", however, in our opinion, equating costumes with props is not entirely justified. Props do not mean costumes, but specially made items (sculpture, furniture, dishes, jewelry, weapons, etc.) used in theatrical performances instead of real things.
Another option is to classify suits in category 16 1721000 "Textile garments (except clothing)". Despite the indication “except for clothing”, supporters of this approach refer to Decree of the Government of the Russian Federation dated 01/01/2002 No. 1 “On the Classification of Fixed Assets Included in”, containing a reference to OKOF and including category 16 1721000 “Textile garments (except clothing), including theatrical costumes. If stage costumes are not considered clothing in the sense in which this term is used, for example, in relation to overalls, uniforms, etc., stage costumes can be classified in category 16 1721090 "Other textile garments".
In our opinion, the latter position is more justified.
Do I need to put an inventory number on the elements of costumes?
In accordance with clause 46 of Instruction No. 157n, each inventory item of fixed assets, except for items worth up to 3,000 rubles. inclusive and objects of the library fund, regardless of their value, a unique inventory serial number is assigned, regardless of whether it is in operation, in stock or on conservation.
If the fixed asset object is complex (a complex of structurally articulated items), that is, it includes separate elements (structural items) that together form a single whole, then each such element (structural item) must be marked with an inventory number assigned to the main means (a complex object, a complex of structurally articulated objects).
The inventory number assigned to an item of fixed assets is retained by it for the entire period of its stay in the institution.
The absence of inventory numbers on fixed assets or unreliably applied inventory numbers can be considered a serious violation of accounting standards. Therefore, on stage costumes included in fixed assets, inventory numbers must be. At the same time, if accession numbers are assigned, but not applied, this is also a violation (see, for example, information on inspections published on the official website of the Novosheshminsky municipal district of the Republic of Tatarstan http://novosheshminsk.tatarstan.ru/ (About the district / Authorities Local Government/Chamber of Control and Accounts/Progress Report/Progress Report for 2013)).
The number can be applied by embroidery or by attaching a token. Other numbering options (such as paint) may cause damage to the suit. However, in sect. 4 of Recommendation No. 1249, they are provided for. In particular, it is said that inventory numbers can be applied to stage equipment with paint (resistant to abrasion and chemical influences), branding, notching, embroidery, etc. - so that they are not seen by the viewer, but easily could find a theater worker.
Do I need to allocate suits that are in stock?
Not all costumes are used in the activities of the institution every year. A classic example is the costumes of Santa Claus and the Snow Maiden, which are relevant only in December. Therefore, the question arises whether it is necessary to somehow reflect this fact in accounting.
- control of the safety of stage and production facilities;
- correct documentation and timely reflection in the accounting of the receipt of stage and stage assets, their internal movement (from workshops to subdivisions servicing the stage; from performance to performance; from the current repertoire to stock) and disposal (gratuitous transfer, sale or liquidation) .
In addition, recording of stage and production facilities is carried out with a division into facilities that serve the current repertoire and facilities that are in stock.
Therefore, in some way it is necessary to allocate costumes that are in stock (for example: by introducing separate sub-accounts). It should be noted that today there are no materials of inspections of the activities of institutions that would confirm that the regulatory authorities record the absence of this option for organizing accounting as a violation. Moreover, it can be problematic to prove that stage costumes are in stock. The same costumes can be used in several events at once.
Is it possible to take into account all the elements of a stage costume as one main means?
Accounting for fixed assets has certain features, and in practice, the accountant may be interested in reducing the accounting units in order not to take into account separately such elements as hats, stage shirts and skirts, but to take into account a single composite item of fixed assets - a stage costume.
In accordance with clause 41 of Instruction No. 157n, an item of fixed assets is an object with all fixtures and fittings or a separate structurally separate item designed to perform certain independent functions, or a separate complex of structurally articulated items that are a single whole and designed to perform a certain work.
A complex of structurally articulated items is one or more items of the same or different purposes, having common devices and accessories, common control, mounted on the same foundation, as a result of which each item included in the complex can perform its functions only as part of the complex, and not independently. .
Similarly, in sect. 4 of Recommendations No. 1249 states that a separate item of fixed assets is considered a finished item designed to perform separate independent functions, or a separate complex of structurally articulated items that are a single whole and jointly perform separate work.
In our opinion, this is not applicable to individual elements of a stage costume, since there are no obstacles to using them separately.
In what cases will the cost of the costume be increased?
According to clause 27 of Instruction No. 157n, the book value of non-financial assets is their initial cost, taking into account its changes. The change in the initial (book) value of non-financial assets is made in cases of completion, additional equipment, reconstruction, including with elements of restoration, technical re-equipment, modernization, partial liquidation (decommissioning), as well as revaluation of non-financial assets.
In the case of stage costumes, it can be difficult to decide whether to increase the recorded value of a given asset in a given situation. For example: if an institution purchases beads or lace to decorate a suit that is already on the books, the accountant may have doubts about recording this transaction.
Completion refers to the construction of new parts to the fixed asset. Moreover, the new parts must be inseparable from the main tool itself without causing damage to the latter. Therefore, completion can be discussed in the case of accounting for such a fixed asset as an object of real estate.
Additional equipment is the addition of a fixed asset with new, previously missing parts. However, the additional equipment in relation to the stage costume is ironic. As a rule, additional equipment leads to the appearance of new qualities and properties in the property.
Reconstruction and modernization is understood as the re-equipment of fixed assets, which leads to a change in their main technical and economic indicators.
Thus, all of the above cases of changes in the value of fixed assets are not very applicable to stage costumes. We can talk about completion, additional equipment, reconstruction or modernization if, as a result of the work performed, the initial performance of the fixed asset is improved or increased (power, quality of use, etc.).
Therefore, in our opinion, the initial cost of the costume will change extremely rarely. Returning to the example above, the cost of beads or lace used to embellish a stage costume should not add to its original cost.
In conclusion, we list some conclusions regarding the peculiarities of taking into account stage costumes:
1) since the useful life of stage costumes, as a rule, exceeds 12 months, they are subject to accounting as part of property, plant and equipment;
2) for the purpose of applying the OKOF, stage costumes should be classified as "Textile garments" (code 16 1721000);
3) on the stage costumes included in the fixed assets, inventory numbers must be affixed. The number is applied in such a way that it is not visible to the viewer, but is easily recognizable by an employee of a cultural institution;
5) elements of the stage costume (headwear, stage shirts and skirts), which can be used separately in the activities of the institution, should be considered as independent objects, and not as one main tool (costume).
Instructions for the use of the Unified Chart of Accounts for Accounting for State Authorities (Government Bodies), Local Self-Government Bodies, Management Bodies of State Extra-Budget Funds, State Academies of Sciences, State (Municipal) Institutions, approved. Order of the Ministry of Finance of the Russian Federation dated December 1, 2010 No. 157n.
One of the main rooms in the theater, like an auditorium, stage, etc. there is also a costume room, without which it is impossible to prepare any performance at a professional level. Even the monologue of one actor also involves the use of costumes from the stock of the theater, which are necessarily stored there.
But the key word here is “stored”, which means that optimal conditions should be created so that fabrics that are considered quite whimsical material are preserved for as long as possible. Sometimes even costumes are made of paper or cardboard, which puts even more demands on their safety. In principle, the dressing room is in many ways similar to the dressing room, so you can use the tips on the network for arranging such a room. But there is also its own specificity, which requires compliance with special subtleties.
Window installation
Natural lighting must be present in the dressing room, because under the light of artificial lamps or sunlight, the same colors look different. But first, it is better to provide additional protection against UV radiation or immediately order a special double-glazed window that reflects solar ultraviolet radiation.
Modern windows for the dressing room are also good because they maintain a uniform temperature and the state of the internal atmosphere, excluding waterlogging or sharp fluctuations in degrees. But this is possible if during the installation of windows all the basic rules and recommendations are observed, which we advise in more detail from the specialists of the Rehau Partner company. This will avoid drafts through the frames, the formation of condensation on the double-glazed window and, as a result, extend the service life beyond the period set by the manufacturer.
Equipment installation
The most demanded thing in the dressing room is a hanger - a special design that allows not only to store costumes, avoiding their deformation, but also to promote the demonstration of clothes. The hanger has a floor version, so there is no need to think over special fasteners for these products, it is enough to purchase them in the required quantity. Each design is designed for a certain number of suits, and the recommendations of their manufacturers should not be violated in order to ensure air access to clothing, reduce possible contact in order to avoid the formation of mold.
Special brackets are selected for hats, but if space permits, you can also install furniture with drawers that will protect them from dust.
Buy additional accessories
Often, in order to save space, the dressing room is combined with a dressing room and a rest room. In these rooms, a different set of equipment is used, so it is important to provide for its placement in such a way as to maintain ergonomics and not create unnecessary inconvenience for the attendants.
Work as a costume designer in a theater or film studio is one of the most inconspicuous, on the one hand, and on the other hand, it is indispensable for creating unique stage images for actors on the stage of the theater or on the set.
Almost every theater or film studio has a costume shop where stage costumes are made and stored, both newly made and leftover costumes from past productions and films. And, moreover, these costumes can be unique, suitable only for a specific production or film, and reusable, which can be used for many performances and filming.
The director, starting work on staging a new play or film, together with the production designers, also involves costume designers to select stage clothes that would most accurately visually correspond to the image of a particular character in the play or feature film. As a rule, the best costumers provide significant assistance in the selection process, and in doing so, it can be invaluable.
In addition, the costume designer monitors the condition of the stage costumes and, if necessary, sends them to the tailor shop for washing, repair or restoration, and if minor and urgent repairs are needed, he himself carries out it. During filming or a performance, the costume designer is constantly near the actors in order to quickly eliminate shortcomings in clothing or help the actors change clothes.
Costume designer profession
The costumer profession is predominantly a profession for women. However, it is not uncommon for men to have it. An employee of this profession, for example, a dresser-props, is a specialist in the costume shop, who monitors the cleanliness and safety of not only stage clothes, but also stage props in the form of weapons, canes, etc. In this shop, costumes are stored with special tags, where the names are indicated productions and films with the names of the actors who used them. This is necessary so that there is no confusion if the artists have understudies. In addition to the tag, the costume for each stage image is provided with a special inventory, which lists all the details: a headdress, shoes, underwear, a cane, glasses, and so on.
Before the start of the performance or shooting, the costume designer must carefully check the completeness of the stage clothing. And, putting it in the appropriate order, he and the assistant dresser carry the clothes to the dressing rooms in the theater or on the set, where the artists are preparing for the exit. At the same time, they need help in dressing the costume, for example, tightening a corset or putting on a cryoline skirt. Sometimes the stage image is such that a make-up artist is required to assist the actor in applying make-up appropriate to the image.
Costume designer in the theater
Theatrical costume designer is a specialist in the production department in the theater who is in charge of stage costumes.
In large theaters, where there are numerous troupes of artists, stage costumes, and hence the dressers who deal with them, are sometimes divided into men's and women's costumes, stage clothes of the main characters of performances and extras clothes, ballet and opera costumes of actors, etc.
As already noted, during the preparation of new performances, the costume designer is in close contact with the director and artist, controls the process of tailoring costumes and participates in their fitting. He must have a good knowledge of trends and styles, both modern clothing models and costumes from historical eras. In theaters that have long been in the service of Melpomene, costume designers have at their disposal stage clothes, sometimes of great value. They, over time, become exhibits of theatrical museums and exhibitions. Therefore, with what degree of responsibility the costume designer works in the theater depends on whether the stage costumes will be preserved as exhibits of the history of a particular theater. In such theaters, a vacancy as a costume designer is a unique opportunity to join the art and become the curator of museum costumes.
Costume designer: a profession in cinema
When going with a film crew to location shooting, a costume designer who is involved in the creation of a feature or television film or series must carefully pack the costumes involved in the shooting into wardrobe trunks and suitcases. And in the process of their transportation, vigilantly monitor the safety of your luggage. At the same time, he always takes an iron on a business trip, as well as a solid supply of various threads and needles for repairing suits. Wherever the shooting takes place, the costume designer of the film crew must have time to iron the stage clothes and, if necessary, quickly repair it.
Recently, paying tribute to the importance of the profession of a costume designer in cinema, in the credits of films, along with the name of the director or actor, the costume designer began to appear, which makes him actually a co-author of the film.
Dresser at the House of Culture
The duties of a costume designer in the House of Culture are no different from the duties of his colleagues in the theater or cinema. Being in the team of the House of Culture or the Philharmonic Society, the costume designer must have artistic taste, responsibility, diligence, interest in the field of art, participating in all events of the cultural center.
Here, too, he must know all types, brands, sizes and other features of costumes, accessories and props. In addition to knowledge of modern and historical costume, he must skillfully care for stage clothing, cleaning, ironing, and making minor repairs. Organize such a convenient order for storing costumes and their details so that they can be easily found.
Job description of a dresser (duties of a dresser)
Costumer responsibilities include:
- proper maintenance of performances, filming, television programs, performances by artists;
- storage, selection and receipt of stage costumes, as well as shoes and headgear, which are selected by the artist or his assistant;
- the implementation of partial or complete dressing of artists and participants in mass scenes;
- minor repairs to stage clothing during filming, staging or rehearsals;
- stowage and packaging of costumes, shoes and hats;
- ensuring the proper preservation of costumes;
- constant duty on the set, productions and during rehearsals.
The costume designer must know the wardrobe of the theater, film studio, House of Culture well. Safety rules for the repair of stage clothing, ironing, cleaning and washing costumes. The procedure for maintaining, turnover, as well as the preparation of documentation.
